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Post by HowardK on Oct 29, 2004 8:47:40 GMT -5
Actually I do know of a very good article written by a player on another board. Here's a link: www.talkbass.com/forum/showthread.php?t=125519The key thing is to take it step by step, to not rush and not move on until you've really nailed each stage. It's a very well written article actually, I read it shortly after I had my first few theory-based lessons and it helped it all sink in a lot. Another thing I find really works, is when you learn a scale or chord, jam on it for ages using only the notes in that scale or chord, write basslines using only the notes from that chord or scale. Be strict with yourself - spend and hour a day playing just notes from C Major (CDEFGABC), etc, etc. You'll notice how much more melodic your playing gets in no time, and you'll start to recognise the sounds you're learning all over the place.
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Post by GranTorinoBassman on Nov 1, 2004 10:43:26 GMT -5
Thanks Brother - that should keep me going for a while
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Post by HowardK on Nov 2, 2004 6:06:44 GMT -5
Another tip: When you learn the scales in that article, learn each in two ways: in one position, i.e. over three strings, and over two strings, i.e. moving your hand up down the neck. This will help you make position shifts when you need to, as well as help you find some tasty slides for fills
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Post by Graham on Nov 4, 2004 19:20:23 GMT -5
Question: do you actually think in terms of scales when you play, or create lines? I find I rarely think in terms of scales, even when I'm playing from a chart, but more in tems of basic harmony, plus colour tones. I.e. I'd use notes from a dim half/whole scale over a functioning V7 chord, but I woundt beccessarily think of the scale, I'd just use the notes. The only time I find scale choices useful is when "noodling over changes".. which I try to avoid doing most of the time ;D i tend to naturally think in terms of key, and then scale secondary to that - ie in a ii-V-I progression in C ill think "no sharps or flats" (though not explicitly, it just what i see in my minds eye), and then for each chord change ill think of the scale usually ascociated with that chord - D dorian, G mixolydian, C ionian - as i find knowing the effect a certain note will have [whether inside or outside the changes] is easier to anticipate when related to the scale. thinking of the key gives me the outline of what im [inset VERY LARGE inverted commas] allowed to play, whereas thinking of scale allows me to think - right, im going to play a G#, thats a diminished 5th on the D-7, minor 2nd over the G7 and an augmented 5th (or minor 6th, natch ;D) over the C ionian. although again, this isn't being processed explicitly, otherwise id have to hope i'd be allowed quite a long solo and when i say thinking of the scale, i don't mean in terms of sequence, i try to think of the scale as a pool of notes to choose from rather than a melodic line if that was what you were implying. but none of this is really a conscious decision, its just how ive discovered my mind works.
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