- Thread starter johans
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johans
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dlloyd said:
i agreei was to overwhelmed on my first couple lessons and end up stop taking lessons from him, its way beyond a beginner grasp i think
yeah through the time i learn and pick up on my own
interval, string skipping, i know my major and minor scales and chords well, but that's just it
and good website or any tips for me to start picking up the scale and chordal theory ?
dlloyd said:
Yeah,
Chordal theory is the only way to learn bass that makes sense. It is possible to learn from scales I am sure but what a time consuming method that really does nothing for your ear training. My opinion here I know.
One should hear Intervals and cycles. Once that happens you can create.
my not so important opinion
tk
kdsi44
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OH MAN.....TO HEAR YOU GUYS TALK ABOUT Israel Houghton AND MATT REDMAN BLOW ME AWAY....IVE BEEN PLAYING IN A PRAISE AND WORSHIP FOR THE LAST 8 YEARS.....WOO-HOO.....ARE YOU REALLY GONNA BE GIGGING WITH MATT REDMAN.....PLEASE LET ME KNOW.....BTW....I REALLY DIG DELIROUS, DAVID CROWDER....LET ME KNOW WHAT YOU THINK
johans
Well-known member
yeap
to my surprise lots of christian band out there using MM basses man!
i saw steven curtis chapman's bassist uses im pretty sure stingray 4 and 5
passion, charlie hall's band bassist uses 4 string honeyburst ray!
woohoo rocks!
to my surprise lots of christian band out there using MM basses man!
i saw steven curtis chapman's bassist uses im pretty sure stingray 4 and 5
passion, charlie hall's band bassist uses 4 string honeyburst ray!
woohoo rocks!
phatduckk
Well-known member
this is kinda off topic but not worth starting a thread for ... can anyone suggest a good book teaching tapping technique for bass? preferrable something i can get on amazon or something.s
thx guys
thx guys
spectorbassguy
Well-known member
Oh yeah! Matt Redman has also written some great worship books. My wife and I liked "The Unquenchable Worshipper" so much that we got each member of our praise team a copy. Amazing fellow.kdsi44 said:
Here are some of the artists we do on our praise team:
• Paul Baloche (A LOT - in fact our WL knows him personally after attending two Integrity Worship Songwriter Conventions)
• Israel & New Breed
• Brian Doerksen
• Michael Gungor (Friend of God and Bigger Than My Imagination)
• Paul Wilbur (Shalom Jerusalem, Jerusalem Arise, Lion Of Judah)
• Some Hillsong & Vineyard stuff
• Kirk Franklin
• Delirious - I really like History Maker
• Lots of Originals too
Yeah and I see a lot of MM's in both contemporary and the newer hard rock Christian music!
johans
Well-known member
spectorbassguy said:
i hear you todd
i have book too
great for a worshippers
by the way
check out too Ron Kenoly's book, Lift Him Up
purely inspiring and annointed
shaver
Well-known member
i like to play alot of 9 chords, and major chords in alot of my old bands minor songs.
johans said:
i was to overwhelmed on my first couple lessons and end up stop taking lessons from him, its way beyond a beginner grasp i think
yeah through the time i learn and pick up on my own
interval, string skipping, i know my major and minor scales and chords well, but that's just it
The best thing to do initially is to go through the major scale constructing the basic triads.
For instance, in the key of C, the "I" triad (music theory often gets into roman numerals) is C, E, G. C to E is an interval of a major third (four semitones) and C to G is an interval of a "perfect" fifth (seven semitones).
Major triads are always constructed from a root, a major third and a perfect fifth.
If you were to look at the "II" triad: D, F, A... you would find that it's constructed differently. D to F is an interval of a minor third (three semitones) and D to A is a perfect fifth (seven semitones)
Minor triads are always root, minor third, perfect fifth.
Is that all familiar stuff so far?
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Psychicpet
Well-known member
Doods! very cool thread ...so far atleast...
Anywho, Matt redman GIG!?!?!?!?! You dawg! that'd be a great hang. As for chording, I'm fully in agreeance with 10ths/3rds route. I don't really find alot of situations that I play in that warrant the use of anything more than double stops.Mind you, please push the envelope to include bass-chording, it'd sound good if used right. Just this last week I was playing for David Ruis and Rita Springer and for David's sound check he had a random loop going and I started in on this little three chord 3rds thing (which does;by itself;sound a bit like a Sam Roberts tune but I don't own his disc so I'm not gonna take responsibility for ripping him off) anywho David loved it and I can now say that in a matter of 3 minutes I've co-written a song with David Ruis, now as to what he'll do with it I'm not sure but we did play it for every set this last week AND it involved bass chording so:
push the envelope, BE TASTEFUL and get really acquainted with Major and minor scales first before tackling any higher theory 'cuz it's all built off of those.
pd
Anywho, Matt redman GIG!?!?!?!?! You dawg!
that'd be a great hang. As for chording, I'm fully in agreeance with 10ths/3rds route. I don't really find alot of situations that I play in that warrant the use of anything more than double stops.Mind you, please push the envelope to include bass-chording, it'd sound good if used right. Just this last week I was playing for David Ruis and Rita Springer and for David's sound check he had a random loop going and I started in on this little three chord 3rds thing (which does;by itself;sound a bit like a Sam Roberts tune but I don't own his disc so I'm not gonna take responsibility for ripping him off) anywho David loved it and I can now say that in a matter of 3 minutes I've co-written a song with David Ruis, now as to what he'll do with it I'm not sure but we did play it for every set this last week AND it involved bass chording so:push the envelope, BE TASTEFUL and get really acquainted with Major and minor scales first before tackling any higher theory 'cuz it's all built off of those.
pd
Talking about chord theory, someone was asking whether it is important or not.
What i found is that before i learnt all the theory i was pretty much playing what i am now, however it has made me a better bass player because i now understand what im playing and why.
I found the most important thing for bass to get a knowlege of main appegiated chords, i.e. Major, Minor, 7,M7, diminished, etc etc. it makes it alot easier for improvising or constructing bass lines.
I finished the relevant exams for the bass, however i still have found little use of applying the modes. i.e. phrygian, lydian. The only one i use is myxolidian naturally because it is just the seventh. but to be honest i didn't fully understand why all of those modes are useful. Why an how do you guys apply your knowledge of the modal scales?
What i found is that before i learnt all the theory i was pretty much playing what i am now, however it has made me a better bass player because i now understand what im playing and why.
I found the most important thing for bass to get a knowlege of main appegiated chords, i.e. Major, Minor, 7,M7, diminished, etc etc. it makes it alot easier for improvising or constructing bass lines.
I finished the relevant exams for the bass, however i still have found little use of applying the modes. i.e. phrygian, lydian. The only one i use is myxolidian naturally because it is just the seventh. but to be honest i didn't fully understand why all of those modes are useful. Why an how do you guys apply your knowledge of the modal scales?
Rhys said:
There's a common misconception that a chord progression is also a modal progression... that if you're playing a progression that goes, say, IV - ii - V - I, you're playing Lydian - Dorian - Mixolydian - Ionian. You're not. It's all standard major stuff.
Modes can be difficult to understand, and it's all too easy to get hung up on them and allow them to get in the way of *just playing*.
It's all about where the harmony rests. There's a lot of good examples in jazz. "So What" by Miles Davis (or Coltrane's "Impressions"... essentially the same tune) is a modal piece. It's minor, but rather than sitting on the vi of the major scale, it sits on the ii. The root is clearly "D" and that's where it stays for sixteen bars, but you don't find many Bb's... it's all natural B's. It has the same set of notes as C major... therefore D dorian. The only change is where it goes to Eb dorian.
If you're more "rock" Steve Vai often plays with the lydian mode, which is a bit like a major scale with an augmented fourth... has a "dreamy" mood to it. If you want to get down with the klezmar types, you're going to have to get into your harmonic minor modes (I have a bit of a soft spot for the lydian minor or dorian #11)
They started impressing people when the hair metal "virtuosi" of the '80s started going on about them. Most of the time, we have no valid reason to think about them.
basspastor
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We played "Trading My Sorrow" yesterday in church; A very awesome song.spectorbassguy said:Intro to "Trading My Sorrows" is cool. I also sometimes will play the 3rd and 7th of a chord up an octave when going from a root to a 4 (i.e. E to A). Also lots of Root + Up octave thirds. And Root + fifth for a mean growl.
I am somewhat different I suppose but I let my fingers slide from one end of the neck to the other
What I am getting at, there is so much you can do with that song if you don't get a lot of strange looks from the Music Director. Since I am the Pastor I get by with a little more. Just my input for the day.
Psychicpet
Well-known member
dlloyd said:
A) those are the Major modes..... (they're the scales that correspond with those chords, giving you some more ideas if you're stuck and need to 'be creative' like, hmm,it's the IV chord..maybe I'll do a run that brings out that #4 or hey, it's the ii chord... better bring out that maj6 in a minor lick)
B)Absolutely Agree
C)Absolutely Disagree
any theory,if we understand it, can be to our advantage.Don't lose inspiration on the way to intellectual pursuits but don't disregard what could be a useful tool.
my 2-bits
johans
Well-known member
dlloyd said:
honestly not really ..
