[QUOTE=chelsea713]uhhh the order of bass flats is BEADGCF.....the order of the names of the key sign for those flats is FBEADGC....for example, the KEY of F has one flat called B or the KEY of B flat has 2 flats called B and E[/QUOTE]

so why are you posting what i already said? and trying to correct me when u said they exact same thing?

a 7 string Bass is F(well F#) B E A D G C, the first key with flats in it is F, which is the only key that isnt flat, that has flats in it. I dont get what you are trying to say.. its the same thing i said...

[url]www.musictheory.net[/url]

what is syncopation?

hate to use wikipedia, but its got a pretty good lesson on it.

[url]http://en.wikipedia.org/wiki/Syncopation[/url]

[QUOTE=radioheader]what is syncopation?[/QUOTE]
notes that are played between the beats. or notes that are accented on off beats such as 2 and 4

so im looking at this site ...

and it says to learn all scales in all keys and modes ...


im confused :confused: maybe im reading it wrong?

also can someone tell me what jazz chords are ... and can i arpegiate chord inversions?

What are some scales used in non-western music? Such as in the Mediterranean, the Middle East or India?

[QUOTE=Pukeboy66]so im looking at this site ...

and it says to learn all scales in all keys and modes ...


im confused :confused: maybe im reading it wrong?

also can someone tell me what jazz chords are ... and can i arpegiate chord inversions?[/QUOTE]
chords that involve tensions and upper structure triads(triads that involve tensions) yes you can arpegiate the inversions

[QUOTE=radioheader]What are some scales used in non-western music? Such as in the Mediterranean, the Middle East or India?[/QUOTE]
harmonic minor, and its modes sound very eastern, there are a lot of pentatonic scales that are oriental sounding. there is a book by joe churipacorn(sp?) and he has all of those scales

and what are tensions?

[QUOTE=HaVIC5]There's a shirt I've seen that says "The Musician's Theory of Relativity: E=Fb"[/QUOTE]
couldnt we just get rid of E and call it Fb? couldnt we do the same with B?

[QUOTE=Pukeboy66]and what are tensions?[/QUOTE]

If I'm not mistaken, it is dissonance created by the chord tones. For instant there is a lot of tension in a dominant seventh chord which wants to resolve to a tonic chord.

[QUOTE=muthafunkabass]couldnt we just get rid of E and call it Fb? couldnt we do the same with B?[/QUOTE]

Why would you want to do that? That would make it more confusing.

Every scale must have a letter name for each tone in the scale. Now if you were playing a C major scale, for instance, you would have... C D Fb F G A B C... Not cool. :thumb:

[QUOTE=Pukeboy66]and what are tensions?[/QUOTE]
I always thought its when you add more thirds to a 7th chord (making 9th, #11th, and 13th)

[QUOTE=paranoid923]I always thought its when you add more thirds to a 7th chord (making 9th, #11th, and 13th)[/QUOTE]
we have a winner

i understand most music theory but i just dont understand how to use it. i know note names and everything. everything just seems boring though, root 3rd and 5th arent the most fun thing to use all the time and i was just wondering how maybe my knowlege of theory could help me think of cool grooves and stuff, but it just hasnt really come to me yet.

[QUOTE=joegog88]i understand most music theory but i just dont understand how to use it. i know note names and everything. everything just seems boring though, root 3rd and 5th arent the most fun thing to use all the time and i was just wondering how maybe my knowlege of theory could help me think of cool grooves and stuff, but it just hasnt really come to me yet.[/QUOTE]
the root thrid and fifth are a great basis for lines, but you have to think of all the other notes a that are also available. you could play all 12 notes as long as you hit the root third or fifth on a heavy beat. try playing arround with diffrent notes and rhythms

Ok today we learned the circle of 4ths. And I asked my music teacher why is it that every other circle I see has 12 keys on it, he said thats the old school way of doing it. So now we have two circles. I looked up the circle of 4ths and I got a cirlce with 12 keys. are my two circles just the same thing as the "oldschool circle?

New cicles' keys are

C [0 #'s]
F [1= B]
Bb [2= BE]
Eb [3= BEA]
Ab [4= BEAD]
Db [5= BEADG]
Gb [6= BEADGC]
Cb [7= BEADGCF]

and the circle of 5ths keys are

C [0 #'s]
G [1= F]
D [2=FC]
A [3=FCG]
E [4=FCGD]
B [5=FCGDA]
F# [6=FCGDAE]
C# [7=FCGDAEB]

So does this sound right?

Whoops...thought I posted in here. Sorry!

We have a music theory thread stickied at the top...take advantage of it. :thumb:

-Gav

[QUOTE=I0Play0Bass]Whoops...thought I posted in here. Sorry!

We have a music theory thread stickied at the top...take advantage of it. :thumb:

-Gav[/QUOTE]

And here it is. :)

[url]http://www.sputnikmusic.com/lesson.php?lessonid=141[/url]

I posted this lesson about bass chords a while ago, please take a look and tell me what you guys think of it :)

what does 12 bar blues refer to and how do I play it?

12 bar blues is a certain chord progression (sorry i dont remember it i think its like i iv iii) over 12 bars

its the tonic, subdominant, and dominant? I think I got it.

[QUOTE=radioheader]its the tonic, subdominant, and dominant? I think I got it.[/QUOTE]

You are correct, also called the I IV V.

/fail

[QUOTE=Pukeboy66]/fail[/QUOTE]


:lol:

4 bars of I
2 bars of IV
2 bars of I
1 bar of V
1 bar of IV
2 bars of I

There are of course hundreds of variations on that, but yeah, that's the most basic one you'll find.

manticore guy: :upset:

can someone give me a GOOD example of a time and place to use chord inversions ... and what id use them for ect.

[QUOTE=Pukeboy66]manticore guy: :upset:

can someone give me a GOOD example of a time and place to use chord inversions ... and what id use them for ect.[/QUOTE]
youd use them for arranging pieces of music for an ensemble

thanks

[QUOTE=Pukeboy66]thanks[/QUOTE]

You would usually use an inversion to create different motion. A first inversion of a tonic chord has more pull towards IV, for instance, and is used a lot for that purpose. It has scale degree 3 in the bass and the stepwise motion to scale degree 4 creates this (at least I think). Root position chords are best used for strong places in the music and for cadential purposes. Ending a song on a first inversion tonic chord would most likely not be the best thing to do... it doesn't sound complete.

Listen to Extreme's "More than Words"... that's a very famous example of an inversion being used... the first three chords are I - I6 - IV...

Another common inversion that is used in rock music today is the V6 (first inversion of the dominant) which is used often to walk down the scale in the bass voice to a vi chord (as the V6 contains the leading tone in the bass).

ie. I - V6 - iv
bass: 1 - 7 - 6

Hope this helps a little... inversions allow for infinite possibilities of progressions. Very cool stuff. Good luck!

- Darrell

Im way to busy to get a teacher so can anyone recommend a good theory book/books.

the bass bible.


i have it and i love it.:D

are there modes for scales that are not major? Does a scale such as the melodic minor have modes for it?

yes. im rusty on the names of these modes but the name of the 5th one is the ahava raba scale (got that from bass player magazine). i think its my favorite scale

Does anyone know if you can use diatonic chord substitions while walking a bass line? For example, for a major chord you can substitute a minor chord a third below, so for C you can substitute Am, and theres a bunch of other substitutions. Anyone know if you can use those rules while walking?

For the most part, no. Diatonic chord substitutions might work with passing chords in comping, but basing walking lines around them will make for a really weak sound.

Alright thanks Havic