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Old 02-10-2007, 04:11 PM   #61
Scourge441
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Quote:
Originally Posted by musiclover2399
Well though the modes use the same key signatures at the beginning of musical staff and the chords in a certain key can be derived from another, they're not exactly the same. I'm willing to explain further if I get to handle next monthes lesson.

Also yeah I was wrong about the C#9 thing Luckily I was corrected.

Still, he should explain how the modes relate in keys, since the chords in a key are derived from the modes.
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Old 02-11-2007, 10:47 AM   #62
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to check out my modal excersise thread...great coverage of the modes in G maj....all patterns are moveable too
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Old 02-12-2007, 08:34 PM   #63
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Originally Posted by Applehead
So we dont need to know about chords right? Wrong. Knowing what notes are in a chord is a valuable skill to have a bassist.


you can also use Bass chords.
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Old 02-13-2007, 04:23 AM   #64
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^ We know you can use bass chords, but this is not about bass chords.
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Old 02-13-2007, 04:21 PM   #65
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very good lesson! I know most of it so it helps to know the rest. Can someone tell me what diminished means?
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Old 02-13-2007, 05:07 PM   #66
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Diminished means lowered (flat)
Augmented means raised (sharp)
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Old 02-13-2007, 05:11 PM   #67
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Are there more Modes?

Where could one find them?
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Old 02-13-2007, 08:58 PM   #68
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Yes there are more, the seven we repeatedly talk about are today's MODERN modes. Back in the day they had several different ones.
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Old 02-21-2007, 03:03 PM   #69
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This is kinda a noob question and might have already been answered or something.

But why are bass scales never on the G string?
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Old 02-21-2007, 03:27 PM   #70
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Quote:
Originally Posted by Woogles
This is kinda a noob question and might have already been answered or something.

But why are bass scales never on the G string?


well, they are... the notes are on the G string as well. its just that with a lot of exercises and demonstrations, you can work through a scale from the tonic to the octave without using the 4th (g string), that is, if you start the scale with a note on the E string.
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Old 02-21-2007, 06:19 PM   #71
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can someone explain things like relative keys? (i think thats the term for it)

I mean, I know that A minor is the relative minor of C Major. C Major and A minor are both in the key of C. No sharps, no flats. But why then, do we need two scales that contain the same notes? They both have C D E F G A B. I know it has something to do with intervals and stuff but i cant really explain it.

Like when I was going through this lesson with my bass (great lesson btw) and I played the locrian mode starting on B, the end result was B C D E F G A and then back to B....

Can someone tell me why these things overlap? I reckon there are a bunch of others that overlap so why do we need 80 million scales????

(btw i know that there arent 80 million scales that was just an exaggeration in case anyone wants to get funny)

this is probably a really newb question and its probably basic theory but I just need someone to tell me directly.
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Old 02-21-2007, 08:19 PM   #72
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I am unsure but personally I think it's because of what chords you would use in that key and what tones you resolve to. Like in C major you will resolve a lot to C and maybe G in a minor you would resolve to a and maybe e. That's just what my thinking is.
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Old 02-21-2007, 10:27 PM   #73
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when you get into tonality, most chord progressions will want to resolve to the beginning and should. resolving a Gmaj to an Emin could work, but and Amin would leave it a bit incomplete.
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Old 02-22-2007, 08:43 PM   #74
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XeNoCiDe730, I totally understand where you're coming from and have a simple answer. Scales with the same notes sound different because of how they gravitate towards the root. For example, play the C maor scale starting on the A string, pretty light sounding right?

Hit the open E, let it ring, and immediately play the scale again. Sounds different aye? It's because of how the notes are contrasting, very much like how a guitarists chords sound the way they do, because of how they react to eachother.

I can go into much more detail, if you want me to send a PM or look for when I eventually do a lesson myself.
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Old 02-22-2007, 11:15 PM   #75
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I've always played Phrygian like this, are you sure this isn't right? I'm still new, so forgive me if I'm incorrect:

---------------------------------------------8--10
------------------------------8--10--11---------
---------------8--9--11-------------------------
---8--9--11-------------------------------------
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Old 02-23-2007, 08:22 AM   #76
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well am new here and am feeling at home love to chat with anybody available
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Old 02-23-2007, 08:24 AM   #77
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whatz up with anybody
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Old 02-23-2007, 09:07 AM   #78
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This isn't a chat room. It's a forum. If you don't have anything to contribute or a question please don't post.
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Old 02-23-2007, 03:31 PM   #79
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Quote:
Originally Posted by Piro Gonzalez
I've always played Phrygian like this, are you sure this isn't right? I'm still new, so forgive me if I'm incorrect:

---------------------------------------------8--10
------------------------------8--10--11---------
---------------8--9--11-------------------------
---8--9--11-------------------------------------


you've lowered the 5th as well as the 2end, this is a locrian scale. if it were a phrygian you would have left the 5th unchanged.
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Old 02-24-2007, 12:05 AM   #80
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Quote:
Originally Posted by musiclover2399
XeNoCiDe730, I totally understand where you're coming from and have a simple answer. Scales with the same notes sound different because of how they gravitate towards the root. For example, play the C maor scale starting on the A string, pretty light sounding right?

Hit the open E, let it ring, and immediately play the scale again. Sounds different aye? It's because of how the notes are contrasting, very much like how a guitarists chords sound the way they do, because of how they react to eachother.

I can go into much more detail, if you want me to send a PM or look for when I eventually do a lesson myself.

holy crap that makes a lot sense!...

i was all wrapped up in the notes I didnt notice the way the different scales progressed...

that sounds reasonable...it certainly helps explain the different scales with the same notes but I have a feeling theres more to it than that. I'd really like some more info if you dont mind, out here in the thread so everyone can read it as opposed to the PM where only I would be able to read it...I can wait for a new lesson though, that way it can be more thorough and everything, you should run it by one of the bass forum mods.

btw just call me xeno
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