playing scales
first let me say i play mostly by ear and what little bit of theory i know is self taught. i hear mention of playing the scales for the bass line in song. this seems odd to me since the ascending or descending tones of the scale seems like it would clash with the melodies of the song this being said i assume (even tho i hate to do that, which is why the post on this topic) they actually mean play the notes form that scale in a fashion that would work along with the song's melody. so is this a correct assumption ?
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Greg
Http://www.myspace.com/kybassmaniac
*and it harm none,do what thou will*
I would venture to say
I would venture to say YES.
Since a scale goes from one octave to the next you are not hitting every note but just a few, there are exceptions.
Example, say yer playing a Jazz tune using a Blues scale in C, C/Eb/F/Gb/G/Bb/C
You might only play Eb G Bb or perhaps C F Gb etc etc etc ... but it is still within the blues scale.
Then again, you could also be playing a Pentatonic Minor or Natural Minor or Melodic Minor (desc) ... since the same notes appear in those scales as well.
Hazz
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The way I use scales is
The way I use scales is really more in argeggio style. If I'm outlining a chord--let's say it's G--I'll play a major triad or even a GBCD walk-up.
To clarify, I'll just add some examples in:
|-----------------------------------||-----------------------------------|
|--------------2-----3----5---------|
|--------3--------------------------|
G minor
|-----------------------------------||-----------------------------------|
|--------------1-----3----5---------|
|--------3--------------------------|
Patrick goes into this more than I can here in ...Dummies. He explains how to outline Majors, Minors, and Half-diminished chords using selected scale tones that support the chord structure. The same principles apply to any chord type.
I don't know if that answers your question, but I hope so.
Bo
You don't love me, you just love my FINGERSTYLE!
Peavey T40; SX/Squier P-bass; Spector Legend 5
Roland Bass 30 Cube
Bo
You don't love me, you just love my FINGERSTYLE!
Peavey T40; SX/Squier P-bass; Spector Legend 5
Roland Bass 30 Cube
yeah
i think it does. if i am reading it all correctly then it just confirms thru theory what i already do by ear.....
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Greg
Http://www.myspace.com/kybassmaniac
*and it harm none,do what thou will*
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Greg
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*and it harm none,do what thou will*
Hello GR rhodus, playing by
Hello GR rhodus,
playing by hear made a lot of great musicians. But knowing what scale you play in relation to the chords progression is a plus for you.
Practice the following scales in the 12 keys :
http://www.musiclassroom.com/cours/harmonie_1.php?lang=en
and find relationships between them and the 6 natures of the chord ( major, minor, dominant, half diminished and diminished ).
http://www.musiclassroom.com/home.php?lang=en
http://www.musiclassroom.com/home.php?lang=en
There are several options
There are several options and severals ways of thinking about it. First, the options:
1. Playing just the root of the chord
2. Bouncing between the root and the fifth of the chord (e.g. the "country bounce")
3. Playing notes from the arpeggio of the chord (e.g. R, 3rd, 5th, 7th).
4. Playing notes from a scale associated with the chord
These all work, and can work musically, depending upon note choice.
Now, a few ways of thinking about it:
1. Holding down the root: If the other instruments are playing very busy parts, pounding on the root can help anchor the piece, creating a simple and solid solid foundation with which the other instruments can contrast.
2. The root/five approach is really just a slightly more complicated version of #1. The root and the fifth are the most stable notes in a chord. And, except for diminished or augmented chords, the two least notes least likely to clash with whatever else is going on.
3. Outlining the changes. Playing notes from the chord's arpeggio adds some harmonic depth. Generally, you want to make sure you hit the root on the first down-beat of the measure (and, perhaps, a good deal more often than that). But you can also impart the other qualities of the chord by playing 3rd, 5th, and (for 7th chords) 7th. This is especially useful in smaller combos where there aren't a lot of other instruments already outlining the chords.
4a. Playing melodically and/or contractually. Some bassists, some of the time at least, play a melodic line that goes along with the melody (sometimes caries the melody) of the song. Paul McCartney is pretty famous for this style of playing. There are plenty of others. Geddy Lee would be a pretty good example.
4b. If the melody in the bass is different enough from the melody of the song to be of interest in its own right, you can consider it a counter-melody or a contractual/counterpoint line. This is probably the least common, but pretty much every bassist does it when he/she takes a big fill. And some bassists maintain it all the way through the song. Steve Harris manages it a lot.
There's also an interesting variation on #3 in which you play the chord tones (i.e. the arpeggio) but also allow yourself to play "approach notes" (i.e. notes 1/2 step or 1 step higher or lower--even if they are not in the parent scale) on the up beats before you land on a chord tone on the downbeat.
Wheat
bassplaying.com
Wheat gave a good answer.
Wheat gave a good answer. But, you can run up throgh a scale if you are riffing and get away with it. As long as it's not some slow riff. For example there's a song we do in "a minor" The guitar is playing an "a minor" chord. I start on an "a" hit every note in the "a minor" scale sail past the octive and end on an "e". It's a pretty fast riff with three fingers flying. With something like that the note you start and end on are the critical ones. I start on an "a" and end on an "e" both notes are in an "a minor chord".
Dave