bass wizard posts
Found 400 results
Found 400 results
StuartBahn Tying a rag around he neck, nearish the nut, also works well, for noise control in these situations. Of course, the other problems start when that rag comes off !!
Says a guy with the username 'bass wizard".
I really only have one general issue with CAGED (and other conceptual systems that share this same issue) which is the transfer required between an instance of the conceptual device and the desired result. This transfer, for example, includes using a major chord, or major scale, or major scale degrees, or major scale intervals, or major scale shapes, or major scale fingerings, etc. as the basis from which to play a non-major chord, scale, scale degree, scale interval, scale shape, or fingering, etc.
The short form of this issue is "thinking, visualizing, or hearing in your head what you do not intend to play in order to play what you do want to play" - this is a fundamental musical disconnect or mismatch that I will always warn against whenever appropriate. The OP has already been confused by CAGED, found a source arguing against it, and requested opinions about it. I stand by the opinion and advice I wrote; CAGED should be avoided.
All five of your assertions of "incorrect" are themselves incorrect, so I'm left wondering if you do not understand CAGED, or me, or both. If you want to pursue this in depth (beyond the scope of this thread), I'd entertain any new thread you wished to start wherein we and any interested others might follow through on discussion of CAGED.
I strongly recommend avoiding CAGED.
You see, it is already confusing you!
The F and B are not missing from the CAGED because F=E and B=A
CAGED letters represent the cowboy chord shapes above the barre of barre chords
So the F shape is the barre version of the E shape, and the B shape is the barre version of the A shape
Strangely, the barre versions of the C and D shape are the same shape (unless you play "Girl D")
Problems with CAGED:
- major chords only (some will say you can derive/construct the minor, seventh, and other types from major) Incorrect
- if you derive the other chord types, you are using a chord you do not want to hear or play to derive a chord you do want to hear and play Incorrect
- the names of the shapes are the major cowboy chord shapes before applying the bar, but once you are using these barres you are no longer playing the letter name of the shape; you are playing a different named chord Incorrect
- so basically it totally confounds the root names of chords you are playing with the cowboy chord name that you are not playing, and it uses the type of chord you may not want to hear and play (major) to derive the type of chord you do want to hear and play Incorrect
The whole CAGED thing is a monstrous mess... if you want to learn to play by ear you must never fool around with CAGED!!!! Incorrect
CAGED is a way of breaking down the major scale across the entire fretboard. It is not just about triad. That is just one step. The idea is that you learn the root notes across the fretboard. Then you learn a major chord built off the root in five different places across the fretboard. You then add two more notes to that chord to get the Pentatonic linked to each major chord shape and finally the full diatonic major scale linked to each chord shape across the entire fretboard.
Also those people that create some kind of dichotemy "this way is better than that way" are pretty silly. Both have advantages. Learn both. Use them for what they are...learning tools. What you really want to practice though is applying musical ideas in your practice of the scales. Those should be your own musical ideas as well as learning other songs. The more songs you learn that move all over the fretboard will free you up more and more across the fretboard.
As far as I can see, CAGED is based on the major C, A, G, E, and D cowboy chords, specifically the major chord tones, of which there are three, and since the chord is comprised of notes played on the strings, one note per string, both as a chord and arpeggio.
Once you add the non-chord tones of major to produce minor or more than three notes per octave, you have bumped up to pentatonic or diatonic, and the whole CAGED thing is irrelevant. Once you are actually playing scales, the only thing CAGED is doing is indicating tonics of those scales corresponding to the roots of the CAGED chords, but now those scales (except major) no longer relate or correspond with those CAGED major chords. In order to get to the scales you have to step away from CAGED as soon as you have the scale tonic from the CAGED major chord root - that root showing the tonic is all the CAGED gives you at the point you are playing scales.
If you are learning pentatonic and diatonic scales, you have already broken past what the CAGED has to offer (which is really just a totally bizarre, confusing, and redundant way to simply assign the notes on the fourth, fifth, and sixth strings as tonics of scales).
Damn, I'm really sorry. Stay safe out there mate #PrayForTheWestMidlands
The real mystery is: when will people stop think that everything is modal?
Recently, I listen to a backing track.In that only two chords were there in the background ,those were D power chord and E power chord.So, i asked a guy about the scale he was playing to solo over that track.He told it is closely associated with mixolydian and also said that since only two chords were there in the backing track therefore deducing a scale out of them might just be jumping soon to a conclusion .So, i am confused about how did he get to know that mixolydian will be fit in to create a good solo over that track.Can anybody please help me out with it?
Knowing where notes are and chord tones and intervals won't allow you to play fast. The only way you'll play fast is if you practice for speed. If you don't have the physical ability, you won't be flying anywhere regardless of how well you may know the neck. That was kind of my point with this thread. There is a mental aspect and physic aspect of playing things like fast scale runs and many people same to undervalue the latter when the latter is much more important to technical playing. You can have all the knowledge in the world but without technique, what good is it?
Like in the scale run I posted. I don't care how easily you can identify notes and what intervals they are relative to an underlying progression of possibly F-G-Am or just F-Am or how easily you could tell me the names of the notes if we transpose up a third or whatever. Unless you have the chops to play the scale run, you can't play the scale run and that's that.
bass wizard Yup. Also, not just to see them as patterns, but to know the intervals present and how to handle them.
So since the big 1992 fuckup they're pretty reliable, we all agree
iirc the exit polls predicted Tory majority. The pre-election polls were shouting hung Parliament.
Ah you're right - sorry - I was going by memory.
hasn't been wrong in 25 years
basically they hang around outside polling stations asking which way you voted
Ever gossip about folks when they aren't around?
Ever stonewall an individual as they walk by you?
Ever avoid eye-contact?
Ever noticeably change your tone of voice when someone enters a room?
It all adds up. None of those things warrant a killing, but it all adds up eventually. It's called slow violence, and violence always retaliates. Sad story.
The IRA weren't known for suicide attacks, they wanted to survive to strike again.
Your mayor "Sadiq Khan" is urging you to remain calm, I give it less than a month before there's another attack.
And now a PSA from Donald Trump.
He simply stated to remain calm about the increased amount of armed policed. No need to swallow everything Donald says as fact. You're better than that, I hope.