leftybassman392

Strictly speaking the last triad is a minor flat5, which is actually ambiguous (when you add the 7th you get a min7b5 {BDFA} - sometimes called a half-diminished - chord, rather than a full diminished chord {BDFAb}). Picky little technical point, but otherwise all good. In summary, these are the standard triads for the major scale and it's modes. They're all available in all the modal scales (although which ones you use most depends which scale you're using of course). ETA: For completeness, the 4-note chords go: Maj7, Min7, Min7, Maj7, Dom7, Min7, Min7b5

[quote name='72deluxe' timestamp='1452094350' post='2946333'] That was the missing piece of information! You can put the triads of [i]that[/i] mode (essentially the building blocks of chords) over the "original" scale?[/quote] In a word, yes. Once you know where the root note for the new mode is you just transfer everything into the new positions. In fact all the chords from the original scale are still available; all that's changed is the priorities. A good exercise would be to write down the I, IV and V chords for each mode (the Locrian is a bit fiddly, but worth the effort). [quote] Have you ever considered writing a book? [/quote] I don't have the patience to write a book I don't think (and in any case there's an excellent series of articles on the subject by Major Minor at the top of this forum), but I have done a series of articles - on this very forum in fact. It's on Ancient Greek music. Bit of a special interest thing I know, but just something that I've always been interested in (and was inspired by an early discussion on modes here on the forum). I keep meaning to go back and take up where I left off, but it hasn't happened yet...

I'm going out for a short walk now and will be back in a little while. Doctor's orders. It can be a bit of a brainmelter - a short pause might be a good idea at this point, just to give you some time to get your head around it.

[quote name='AntLockyer' timestamp='1452093561' post='2946320'] So is the first chord of D Dorian D Minor? Second E Minor etc.? [/quote] Yes. It wouldn't do any harm to take a few minutes to assemble the 1-3-5 chords for each note in the D Dorian scale. Don't worry if the chord at B looks a bit odd - it's meant to.

[quote name='72deluxe' timestamp='1452092477' post='2946300'] Is the fact that they have different names important in a fundamental way that I am completely missing? [/quote] Short answer, yes it looks that way. To (briefly) reiterate, each mode is a scale in it's own right, with it's own character. Within any scale (modal or otherwise) each note in the scale has a specific relationship with the root note of that scale. In a C major scale the root note is a C, so the E will be a major 3rd and G will be a perfect 5th; when you play them together you get a C major chord. The relationship of each note to the current root note is central to the whole idea of musical harmony. All modes do is to change the position of the root note (which in turn means that all the other notes will have a different relationship to it). As I said before, you have to learn to think of each mode as a completely new scale. If you play a piece using the scale of E Phrygian, you're using the same notes as the ones you would use in C Major, but instead of having the 3rd and 5th at E and G respectively you now have them at G and B, and if you now play E, G and B together you get an E Minor chord (sometimes called the root chord for the E Phrygian scale).

[quote name='Zenitram' timestamp='1452091689' post='2946286'] But... er... notes are always in the same place, aren't they? [/quote] Where the notes are within each mode. See above...

[quote name='72deluxe' timestamp='1452091383' post='2946281'] Thank you, that helps a bit. I suspect I am overthinking it. I have always added runs in my playing that are basically going up and down a scale (or pausing and doing it twice, for interest...), but based on the "root" (dominant?) key of what we are playing in, is it permissible to play any of the modes over it? I am mainly hung up on the fact that the actual notes played are all [i]identical[/i] between the modes. If a song is in E minor, I know I can play G major over the top and they are identical notes. This is a mode, surely? But they are still the same notes so I don't fully understand (at all?) how it helps with playing because I'll still be putting in exactly the same notes. So the mood of the song does not suddenly change, as they are the same notes. [/quote] They are the same notes, but their position within the scale alters as you play the different modes. Example: Let's say you're playing in C. major, you have the notes C(root), D(2nd), E(maj 3rd), and so on. If you then find yourself playing in A Aeolian then the C becomes the min 3rd, D becomes a perf 4th and E is the perf 5th ( all against a root note of A). If you now move to E Phrygian, C becomes the flat 6th, D the flat 7th and E is now the root. Same notes, different names. Does that clarify things?

In principle you can do it with any scale ('mode' is usually read as 'mood', so that each mode has it's own character - which it gets from the placement of the notes); it's just that the standard Major scale is the one that most people work from. (Each mode functions as a scale in it's own right by the way, just for the avoidance of doubt - in any given section of music you'll be playing within the confines of the modal scale you're using: it's not a free-for-all...) It also depends how adventurous you want to be. You can still get away with just playing roots and fifths, but things start to get interesting when you want to work a bit more with the chord harmonies - for any given mode, you can build chords in exactly the same way as you do with the standard major scale. You may find it useful to start playing around with thirds, fifths and sevenths. Once you understand how it all fits together, you'll be able to expand your horizons. It does depend a bit on your playing style of course. Not everybody will need to know about major sevenths... Hope that helps. Edit to add: try not to overthink it. There's a lot to be said for taking each mode in turn and just playing around with it for a while - get used to where the notes are. As others have said, sooner or later the penny will drop, and then you'll be fine and will probably wonder why you ever had any problems with it. One final thing that might be worth adding is that not everybody believes in modes. If you're playing what you want to play and it sounds like you want it to, then what's the problem?

Yup, that's it. If you take each of the 7 notes from the original major scale in turn and play an octave up from each of those start points (using the notes from the original scale of course...), you will have played the 7 modes in sequence. Everything else follows from that. If you want to explore it a bit further, you can do the same with any 7-note scale - the Altered Scale beloved of many Jazz players is actually the 7th mode of the (ascending) Melodic minor scale.

There seem to be three basic options here: 1. Author is expecting to be taken seriously, in which case the level of his delusion is a pretty good source of humour in it's own right; or, 2. Author is not expecting to be taken seriously, in which case then fair enough - cutting edge humour and all that. Personally I don't really find it funny, but - as with musical taste - each to his or her own; or, 3. Author is looking to make a serious point but doing it in such a way as to stimulate discussion by being deliberately provocative, in which case he appears to have succeeded (to some degree at least). Long and winding tale cut to shribbons, he's letting us know that there's some songs he [s]doesn't like[/s] [i]really[/i] doesn't like...

Back on topic... Didn't watch it this year. In all honesty I don't feel that I've missed anything...

Good for you matey! A corner of the entertainment business that most musos don't think about too often (if at all), and a great reminder that money isn't everything.

I'd go blue as well. I know it's a classic Fender colour but I've never really liked CAR. (As it happens I'm not a huge fan of the blue either, but if that's your only other choice...)

Looks like a terrific bargain for somebody. One thing I would say though is that I found the LP quite an odd guitar to live with - fabulous sound of course, but you couldn't sit down with it on your lap, upper fret access was a joke and (mine at least was) pretty heavy to have on your shoulder for an hour at a time. Mine was an '80s Custom that I bought from a guy in the States. It smelled like somebody had been sick on it (which didn't help me warm to it's charms - not the guitar's fault I know, but all the same...). I couldn't get on with it and sold it on at a very small profit after about 6 months.

Just so I'm clear, this is a Basschat thread in which folks are discussing All Our [size=1][i]Basschat[/i][/size] Yesterdays (but only the humorous bits)... is that right?

They were the first big league band I ever went to see; Folkestone Lees Cliffe Hall, 1970 IIRC. I would have been 16 or 17. Still one of the best gigs I ever attended. Pual Kossoff was one of my early guitar heroes, and the solo to 'Alright Now' was one of the first I ever learned (extended album version, natch...), along with Albatross as I recall. Great memories; thanks for posting.

Yellowjackets. [url="https://www.youtube.com/watch?v=LPA9z-jLPh4"]https://www.youtube.com/watch?v=LPA9z-jLPh4[/url] Jamie Haslip, Robben Ford: what's not to like?

A truly obnoxious person with a very nice voice. Whereas I on the other hand...

Riff rather than chords, but: [url="https://www.youtube.com/watch?v=Ok7WG_Nikvw&list=PL3BAD747B7190147F&index=7"]http://www.youtube.com/watch?v=Ok7WG_Nikvw&list=PL3BAD747B7190147F&index=7[/url] Always has done... not quite sure why, but hey!

Thankfully I don't suffer from this one any more now that I've retired from active service - no, really - although I was sorely tested by Whynot's recent Warwick Streamer sale... However I did have a philosophy of any instrument earning it's keep over it's lifetime with me - quite often it worked too...

For the type of gigs you're playing you won't need too much monitoring. Bass & drums will mostly take care of themselves. You really only need to hear the vocals properly; everything else is essentially optional. Simple, set & forget mixing will be plenty good enough - people spend silly money of this kind of kit when the gigs they're doing really don't need it. Plenty of good mixers around at very reasonable prices (both new & used - Behringer would be a good place to start) - without knowing your stage geography it's hard to be sure, but I can't think you'll need more than 8 or 10 main channels plus a couple of auxes for the monitoring (subgroups are a bit of a luxury at this level IMHO). As long as the mixer does the job you want it to, it really doesn't matter about the specifics of the technology. Just a thought though - WiFi is something else to go wrong. If you're confident that it'll work everywhere you go then use it; if you're not then don't. As for the monitors themselves, bigger chassis units will generally give you more depth but if you're only really monitoring the vocals how much do you need, really? Also less going through the monitors makes for a less confused sound, especially with less expensive kit. Precise layout depends on your stage setup, but for simplicity you might want to start with a couple across the stage front, one for the drummer and one for wherever; I assume it's still possible to daisychain them, so only the first one needs to be powered in each chain (helps keep costs down and wiring solutions simpler). ETA: Do you really need someone out front for pub gigs? Sweaty rooms? Trailing wires for people to trip over? Alcoholic beverages and tipsy punters in close proximity to electricity...?