Romberg Bevel

[quote name='Bilbo' timestamp='1339359172' post='1687459'] I was saying that you may be fooled intpo thinking a Bb blues is in Bb because its called a Bb blues but it isn't and that, when the mode changes from Bb mix to Eb mix, it is a key change, but the chart will remain in the same key that it started in and not change key. My point is that, if you know what key the tune is in, don't be fooled into thinking that the whole thing remains in that key for the whole tune.. [/quote] A Bb blues is in Bb harmonically. I don't think we hear a 12 bar blues as constantly changing key - it's really a variation of an 'old as the hills' I, IV, V surely? It [i]could[/i] be described differently, but then to be consistent we couldn't really admit chord IV7. If I were to read a blues in Bb, I'd expect the key signature to have two flats and the usual accidentals that signify 'blues in Bb', and, happily, the majority of music I've encountered does this.

[quote name='visog' timestamp='1339347409' post='1687201'] Eh? What! Can you go again only slower...? [/quote] I think he's trying to say that you might be mistaken in thinking that a Bb blues is in Eb because it can use the same notes as an Eb major scale (though that clearly becomes problematic when you get to the F chord) and to beware of accidentals that colour the music and don't necessarily influence the basic harmonic structure.

[font=Arial, sans-serif]Church organists have long had to put up with this kind of thing. I think it goes with the territory. I'd be surprised if it was a genuine objection to electric guitar bands as has been suggested, considering that these are quite long in the tooth now.[/font] [font=Arial, sans-serif]The impressively-named Marmaduke P. Conway, who was organist at Ely Cathedral before he retired offered this advice for organists in 1949, which I hope helps the OP:[/font] [font=Arial, sans-serif][i]The organist...will do well to cultivate a rhinoceros-like “thickness of skin”. He will almost certainly find his work objected to by somebody, whatever methods he adopts. He will do wisely to take note of the likes and dislikes of his vicar or minister, and to allow for them to some extent in his work and choice of music; but if he allows himself to be influenced by the opinions of all those who are only too ready to express them, he will find his life a sorry burden. As in everything else, a man's competence for his job, and the right personality, are his best safeguards against irresponsible or unjust criticism.[/i][/font]

I think there may be some confusion with the terminology. The 'major' bit of a major seventh chord refers to the seventh, not the triad. Putting 7 after a chord means add a 'flat' seventh (properly a 'minor seventh') to this triad. Putting maj7 after a chord means add a 'sharp' seventh (properly major seventh!) to this triad. If we want to indicate a major triad we just write the letter. Writing C means play a C major triad. So C7 is saying play a C major triad with a 'flat' (minor) seventh added (C E G Bb). Similarly, if we write Cm, it means play a C minor triad. Writing Cm7 means play the C minor triad with a 'flat' (minor) seventh added (C Eb G Bb) So C Maj7 is saying play a C major triad with a major seventh added (C E G B). Cm Maj7 is saying play a C minor triad with a major seventh added (C Eb G B). Hope this helps!

Just seen this! I transcribed it for a pupil a few weeks back. [attachment=98443:solo.jpg]

[quote name='endorka' post='1072232' date='Dec 29 2010, 11:37 PM']When playing over a major chord, don't use the major 3rd in the bassline - substitute the major 6th instead. Unless you are playing reggae, in which case the major 3rd is ok. From Carol Kaye - and I've found it to be true almost 100% of the time.[/quote] I don't think that's right - that would consign pretty much every bassline to the 'cheesy' bin. The major third's always good, isn't it? I think Carol says something along the lines of think about chord tones rather than scales. I like Carol Kaye but she does ramble alot and often says do something then plays something else (on her tapes at least!). She plays a hell of alot of thirds for someone who tries to avoid 'em.

I'm thinking of getting me a bass like this: [url="http://www.fender.com/products/search.php?partno=0190116800"]Fender '62 Precision[/url] but I'm not that keen on the price - I was thinking more like a third of what these retail at! Are there any alternatives for a 'complete' P? I'm looking for one with the pickup/bridge covers and that, which would sit well with my MIA Jazz and Precision Deluxe - in other words, not crap.