paul_c2

Don't worry about that - I spotted it just after posting. Its originally in Bb, however I am rewriting it in a different key. I tried a few different ones, including F, then updated the title, but its subsequently changed to Eb. I think I'll get a lot of dirty looks from the sax players if I put it into E!!!

PS I know about giving them (noteheads as) slashes and chords, but the above is more complicated to describe as a chord (D7 no root no fifth, Eb7 no root no 5th) than just giving the actual notes like everyone else in the band.

I almost did this as a poll. How well can guitarists read? And if not, how on earth do you communicate (musical ideas) to them? For example, here is a little extract from something I'm working on. Its a repeating pattern. The whole piece, almost, is based on one chord, so there's not much variety, I think there's this little riff and two others for them to play. Would you expect a guitarist to "get" this in: A) about 4 seconds (ie, they can sight read so long as they look ahead a little) B) about 30 seconds (ie you could hand it to them, they could look at it then play it once prepared) C) about 1 week (you give it to them one week, they come back next week having prepared it) D) never

Can you explain to me the rationale behind setting the listing price? I can see its relisted, and was at £2500 with 0 bids previously. Are you not too worried about selling it, just want to wait for the best possible price?

Personally I think I did mine with a socket set. Very easy (with the right tool).

I suspect the strings are heavier gauge, so have more tension, so have pulled the neck more curved, raising the action to above where the buzz occurred previously.

Sorry, if the truss rod and bridge have been adjusted properly, wavy neck is exactly the conclusion that can be drawn in this situation. If not, what else is it?

There's Amazon, eBay, a number of online music shops, and I'm sure other online outlets too. I can't recommend one over another, but since strings typically arrive in sealed packaging, I don't think there would be any issues with the cheaper suppliers.

If the truss rod and action have been set up properly (and the above posts tell you how to do that), yet its still not right, then it sounds like the neck is wavy (or at least.....the tops of frets). For a new guitar, I'd want it properly corrected or replaced, it sounds like you have a duff one. I'd not be messing about with the nut or frets, but the above is fair game. I suspected it would be an online purchase.

If its new, why don't you take it back for the shop to sort out? Did you play the bass before you bought it?

Get them online, shops are always going to cost more.

Use of a V7 --> I is extremely common, I'd not particularly attribute it to the Beatles. Why is is common? Because, in "Western" music it creates a tension-resolution to the ears. The tension is due to the tritone in the 7th chord (between the 3rd and 7th of the chord). And the resolution, taking D7 -> G as an example, is because of both F# --> G and C --> B, semitone movements of the notes of the tritone in opposite directions, to the root's chord tones. In the minor the resolution isn't quite as strong but its still the strongest one available, and hence why its perceived as a resolution. Google "Perfect Cadence"

So we have Gm, Cm and D (major or 7). This is a I-IV-V progression, very common in pop/rock. The notes are: G Bb D C Eb G D F# A This screams "harmonic minor" and the F# really helps resolve back to the root, since it is a semitone away (rather than the F natural to G if it were natural minor). The use of an Eb chord in the progression reinforces its minor (Eb is the m6 of the G); and also the use of Eb-D is a strong chord change, since they have parallel movement in semitones (if it were a modulation, it is nicknamed "the truck driver's gear change", it is so obvious and unsubtle). Also the use of Eb-F-G is a distinctive sound because it is once again parallel movement, in whole tone step. I'm not 100% sure the D7#9 is in the music, from listening to it. But if I take the above as correct, its an altered chord with both a major 3rd and minor 3rd (the #9 is the same as a b10 or m10), so it has a pleasing dissonance there and a distinctive sound; and it also creates an ambiguity in whether its clearly major or minor. In effect, it "softens" the strong resolution of D7 -> Gm and adds variety. I'm sure others will analyse it completely differently!

Can you post the chord progression?

...But the problem is, you might never "finish" learning the scales if the approach is to arbritarily learn all of them. There's scales I don't know, and there's scales I've learned but forgotten because they simply aren't used commonly enough to justify it. Instead, there should be a more rounded approach to knowing the relationships between scales and chords, ie when a certain scale might be used over a chord progression; or why it might change, etc etc. And also there is a conection between the actual fingerings used, the 'best' position to play something in, the intervals, the notes of a chord, what chord it is and why, and how the bassline fits in with the other instruments playing, eg is it doing its job as a strong bassline or is it "away with the fairies" in a particular place. There can be a lot going on, and if you stopped to analyse it you'd be focusing on note choice, harmony, etc but in the distance it could also be interpreted as a "scale" holding it together in the background, but its more of an indirect coincidence. To start with, its certainly worth knowing what's "diatonic" and if/when it departs from this (which is ridiculously easy to spot if its written music - because there will be an accidental!), what the most common variations are and what function it has.

Yeah, "you don't know what you don't know" - if you get lessons, then they will be able to identify any gaps in your knowledge and fix that, which will benefit you long term. If you try to self-teach, you'll subconciously pass them by.....

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No. What's more important is that you can fluidly combine "playing scales", being in a (hand) position and knowing when to shift (or not), notes on the fretboard, intervals, notes on the page (reading). Once you understand the interrelationships between those, then it all comes together.

I am going to make some wild assumptions (which are vaguely scientific, but mainly come from rules of thumb) and guess at a suitable PA: bass is 200W drums is keeping up with the bass, so 'say' 200W (of course......volume isn't actually measured in watts....) guitar is 100W (there is a rule of thumb #1 that the bass is typically twice the guitar power) TOTAL "500W" Rule of thumb #2, the vocalist(s) should be half the overall sound, ie band is 500W, so vocalist needs 500W. Now here's a smart tip: some active speakers have 2 (mic) inputs - so if it really is just for the vocalists, the mics are dynamic (not condenser - they'll need phantom power) and the band is going to not go thru the PA, then you can save even bothering with a mixer. You won't get EQ or reverb...but you don't need a mixer. This also assumes that the vocalist can "monitor" themselves by the sound from the PA, without having to stand too near it and get feedback. If that's not possible, then its probably possible to 'chain' some kind of monitoring off of the thru/out of the speaker(s) (they typically contain input(s) and a thru/out to connect another speaker...and another...and another...if you wanted). Or you could feed the mics into something with 2+ channels which could be used for monitoring; then onto the speaker(s). For this, we use a Behringer B205D mounted on a separate mic stand - it has 3 inputs (one is RCA stereo pair) and bass/mid/treble EQ. Then onto an Alto TX212 (but this has only one input). This gives us 300W RMS, which is more than enough in our situation (but its a different situation than yours). For your situation, and guessing at the power (I am going to guess their power claim is peak; RMS is likely to be half or less), one of these: https://www.thomann.de/gb/behringer_b12x.htm or these : https://www.thomann.de/gb/mackie_thump_12a.htm would do it. If you wanted the band to be able to monitor, or wanted more than 2 inputs, or wanted to use condenser mics then you'll need a mixer. I am assuming you already have mics? If there is no separate sound guy (who isn't playing too), then go for ones with a switch; otherwise go for something without a switch.

I don't see any advantage in buying that one, to buying a bunch of separate bits to put together your own PA. Firstly, do you need one or two (or more) speakers? What size venues are you looking to cover? Secondly, how many inputs do you need and what kind? Thirdly, how are you going to do monitoring? The singer will definitely need some, what about everyone else?

Either/any will do that. If you can never see yourself writing more than 4 parts together, then Sibelius First is free. I don't know how else its "cut down" though.

None of them will "do corrections" and automatically produce perfect (or even technically correct) sheet music - you still need to know reasonably well, where the notes should be etc. They'll get part way there though. This is because there is accepted variation in some (but not all) cases, and if they tried to do it as "my way or the highway" then it would get really awkward, really quick for certain situations. I've used Musescore and Sibelius and found Musescore more approachable. Also it is free vs paid for Sib, so it made sense to go with it. If I were in a professional situation sharing things with lots of others though, Sib might be the better choice since its more widely used at pro level.

We've had a bit of a learning experience but all of the above is fixable, you just need to figure out a way of fixing it. Rehearsals become not so much simply about the music, but all the bits in between, getting to know the equipment, knowing what to do if something goes wrong or is missing, who can reasonably transport what, etc etc Eventually you get used/accustomed to what needs to be done by who at a gig or its prep, so there's no worries about the admin side and you can focus on the music and make it much more relaxing and enjoyable for everyone. Sounds like the singers need to just get more comfy with gigging etc too.....which takes time.......