dlloyd

[quote name='thisnameistaken' post='548503' date='Jul 23 2009, 01:32 AM']Ah OK that's fair enough. I might be double-confused here though... So are modes really only used to give a certain character to a melody, or do people ever write songs using the chords of a particular mode? If they do, that's sort-of what I was asking about originally - examples of songs which are written around the chords of a particular mode.[/quote] Well, the chords that harmonise any particular mode will be shared by other modes. What defines the modality is where the melodic resolution of the piece. Take Scarborough Fair for example. The chords are Am G and D, and the notes that are found in the melody are those that you would find in the key of G major, but the melody sits around the A, so it's A dorian.

[quote name='Paul S' post='548558' date='Jul 23 2009, 08:04 AM']Is it just practice that is required?[/quote] Yes. (intelligent practice that is)

[quote name='thisnameistaken' post='548333' date='Jul 22 2009, 10:21 PM']OK well here's a song I know. The chords in the verse are Em and C, but there is no C natural in E Dorian. So is this incorrect info at Wikipedia or am I missing something? The melody over the Em chord does use E Dorian, but there's a C natural that resolves to B at the end of the melody. See how easily confused I am? [/quote] Yep, the 'Eleanor rigby picks up the rice in the church where a wedding has been' bit is E dorian, but it shifts on the next line to C ionian. That's not to say that Lennon and McCartney were thinking in those terms at the time.

There's also Ishibashi. They won't sell new instruments to the uk, but have a large stock of used Fenders. [url="http://www.ishibashi.co.jp/u_box/e/ubox.cgi?word=2&or8=32&key=Fender&value5=&select5=down&sort=&print=40&T=gazo"]http://www.ishibashi.co.jp/u_box/e/ubox.cg...t=40&T=gazo[/url]

[quote name='Zoe_BillySheehan' post='547828' date='Jul 22 2009, 04:52 PM']Thought i'd post it here.. because the recording thread doesn't get looked at too much... its the 6th track down.. hoping ive put the bass high enough in the mix, because ive just played along with the track.. its on here: [url="http://www.myspace.com/zoeheslopbass"]Myspace.com/ZoeHeslopBass[/url] Thankyooou! Z x[/quote] Seriously well done Zoe! It's really difficult to get through that song without tripping up and losing it. It took me weeks to get it anywhere near that level. Any wibbly bits will sort themselves out as you keep banging away at it.

The wikipedia pages for the modes have examples on them: eg. [url="http://en.wikipedia.org/wiki/Dorian_mode"]http://en.wikipedia.org/wiki/Dorian_mode[/url] "Along Comes Mary" by The Association[4] "Drunken Sailor"[5] "Eleanor Rigby" by The Beatles[6] "Scarborough Fair"[5] "The Snows, They Melt the Soonest" Traditional[citation needed] "Milestones" by Miles Davis — The composition takes the form aabba with the a sections in G Dorian and the b sections in A Aeolian.[7] "The End" by The Doors[8] "Smoke on the water" by Deep Purple[8] "The Way I Feel" by Gordon Lightfoot[8] "Apache" by The Shadows[citation needed] "So What" by "Miles Davis" Written in D dorian and E♭ dorian.[9] "Earth Song" by Michael Jackson, the wailing chorus is in dorian[citation needed] I can't speak for the accuracy of those.

[quote name='Crazykiwi' post='547175' date='Jul 21 2009, 11:40 PM']Clarification on the assertions and speculation being made by people who aren't in possession of all the facts? I'm collecting more facts.[/quote] He got a fine of €2000, which is the maximum amount for driving (as calculated by a talkbass poster): 5 hours and 24 minutes or more without rest or 10 hours and 48 minutes in one day with or without rest or 67 hours and 12 minutes in one week with or without rest or 108 hours in two weeks with or without rest Two drivers or not, a look at their tour dates would suggest those were easy targets to hit: July 3 Paris France July 4 Strasbourg France July 5 Vienne France July 6 Montreaux Switzerland July 8 Istanbul Turkey July 9 Belgrade Serbia July 11 Rotterdam Netherlands July 15 Juan Les Pins France July 16 Vittoria Gasteiz Spain July 17 Stockholm Sweden July 18 Pori Finland July 22 Patrimonio France (Corsica) July 24 Oeiras Portugal Aug 2 Marciac France (although there is a suggestion on the talkbass boards that the offence was committed before this tour...)

[quote name='Crazykiwi' post='547130' date='Jul 21 2009, 11:00 PM']I've asked for clarification from people involved about what's gone on.[/quote] What clarification is required? The driver broke the law and was fined appropriately. The police followed standard and required procedure in collecting the fine on the spot.

[quote name='steve-soar' post='547109' date='Jul 21 2009, 10:45 PM']Jaquo III-X What a silly name. Cygnus X1. arse part.[/quote] It's J[b]au[/b]qo III-X See... not so silly, huh?

His Gypsy Project material (for me) is where he really shines... Check out the 2002 Viennes concert DVD, where he plays with most of the big names in that style. Here he is playing with Richard Galliano... [url="http://www.youtube.com/watch?v=1VhuvkFZ1Hk"]http://www.youtube.com/watch?v=1VhuvkFZ1Hk[/url]

Bought some books off Fatos... quick and easy transaction... loads of communication. Nice one!

[quote name='7string' post='533477' date='Jul 6 2009, 01:35 AM']If you're ever in Glasgow, you can always pop in and have go on my Sei bass. I can understand the trepidation in ordering blind though. When I ordered mine, I knew that this might be the only chance (financially) I would have to one. It is a leap of faith, but then again you're in the hands of an incredibly skilled luthier.[/quote] I'll have to take you up on that offer some time Even if seven string basses are a slightly frightening idea! I'm postponing this particular instance of GAS for the time being. I've been doing some sums and could afford a Sei if I juggled some gear, but I'd have to sell my double bass... which I've decided would not be a good idea.

[quote name='mcgraham' post='533535' date='Jul 6 2009, 09:10 AM']Any kind of anchoring (which I shall call intentional application of force by your body on the bass) that isn't directly contributing to plucking the strings is wasted energy and adds tension. Better to avoid this.[/quote] Anchoring your thumb doesn't have to be forceful.

I use a moving anchor technique and keep my thumb parallel to my fingers. Everyone's hands are different (to an extent), but theoretically there will be less tension in the hand if you play with the thumb under the fingers.

[quote name='EdwardHimself' post='532884' date='Jul 5 2009, 11:52 AM']well think about it this way, you've been waiting over 18 years to get one. Surely you can wait till 2010 for it to be finished?[/quote] Waiting for it to be built wasn't the issue.

Try this: Stand up straight. Relax your right arm and hand completely, letting your hand hang by your side. Your wrist and hand will naturally fall into a good playing position. Put your thumb on the E string, and your first finger-tip on the A string, keeping your hand relaxed in the position outlined above. (My thumb bends backwards slightly when I do this, but I don't think that's a problem) Keeping your first finger fairly straight, pull it upwards towards your thumb. It will naturally let go of the string, sounding it. Let the fingertip come to rest against your thumb. Try the same with the thumb on the E string and the first finger on the D string. This time, let the finger come to rest against the A string. This is similar to a classical guitar technique called the 'rest stroke' (as opposed to 'free strokes'). Try also moving the thumb from string to string, say using the A string as an anchor when playing repeatedly on the D string.

[quote name='Major-Minor' post='525764' date='Jun 27 2009, 10:21 AM']Hi dlloyd I tried to get to read this article but got fed up with registration process - too convoluted for my poor brain ! Perhaps you could give us a precis of the contents ? The Major[/quote] See if you can get it from here... [url="http://basschat.co.uk/index.php?act=attach&type=post&id=27944"]http://basschat.co.uk/index.php?act=attach...st&id=27944[/url]

[quote name='Major-Minor' post='525764' date='Jun 27 2009, 10:21 AM']Hi dlloyd I tried to get to read this article but got fed up with registration process - too convoluted for my poor brain ! Perhaps you could give us a precis of the contents ? The Major[/quote] I'll download it on monday. I don't have access to it from this computer.

[quote name='Major-Minor' post='524599' date='Jun 26 2009, 09:20 AM']Actually composers like Satie and Debussy (and Ravel/Walton/Poulenc/Stravinsky/Delius etc) were writing during the period when jazz was in development, so they were influenced by jazz as much as jazz was taking ideas from them.[/quote] Yes. Here's an interesting article on the influence of jazz on French music in the time period we're talking about... [url="http://mq.oxfordjournals.org/cgi/reprint/XXI/1/53.pdf"]http://mq.oxfordjournals.org/cgi/reprint/XXI/1/53.pdf[/url] Let me know if you can't open it, but I don't think it's password protected. Edit: I just got to the end of it. I don't agree with the conclusion about the 'failure of French jazz', but then it was written from an American perspective in 1935.

[quote name='silddx' post='523716' date='Jun 25 2009, 03:06 PM']Ah, thank you! I am pleased you are going to expand on this though I what is the origin of these cycles, classical theory?[/quote] It comes down to the fifth (and fourth) being so prominant in the harmonic series.

[quote]As for the Neopolitan stuff, I think MM is right. This is another way of repackaging stuff that is known by other terms elsewhere. It sounds a lot like figured bass to me but I am not 100% on 'classical' theory; my knowledge all comes from the use of theory in jazz. Its the sounds that matter not the names![/quote] It's not figured bass (which is just a system for notating chords), but its name likely comes from figured bass notation, in that a 1st inversion major triad is indicated with a six. I don't really agree that it is a repackaging of stuff that's known by other terms elsewhere. [i]As I understand them[/i] they usually imply a fairly specific use of a chord to prepare a common or garden dominant chord. You'll get b5s and b9s creeping in, but they'll resolve to a basic 7 chord before it itself resolves. Should we worry about them? Probably not. Historically interesting, but of little practical use for most of us.

[quote name='Major-Minor' post='522324' date='Jun 24 2009, 09:13 AM']Whilst this is really fascinating stuff (and thanks dlloyd for bringing it to our attention), I think the jazzer should be aware that this all relates to 19th century musical thinking and is possibly not something that needs to be ingested and retained. I haven't heard any of these terms since music college 40 years ago ![/quote] It was more a point of interest than anything else, but I thought it worth mentioning since Spiltmilk had stumbled across Neopolitan sixths. I find this stuff interesting for a few reasons, but what particularly intrigues me is the influence that classical harmonies had on jazz. It's pretty well documented that Satie and Debussy (for example) had a big influence on various jazz musicians and composers, and their use of devices like the French sixth certainly appears to have filtered into the jazz vocabulary in the form of tritone subs and altered dominants. But yeah... there's no need to think of them in these terms.

[quote name='Major-Minor' post='521931' date='Jun 23 2009, 06:07 PM']But can I just say I have never seen the chord symbol Emb6. While it is perfectly logical, I think it better to write it (and think it) Cmaj7/E.[/quote] That's a fair point.

While you've mentioned the Neopolitan sixth, it might be worthwhile mentioning the augmented sixths (to see if I understand them correctly): Italian sixth French sixth German sixth They also usually come before the dominant chord. An Italian sixth also comes before the dominant chord, but is built from a root that's a semitone sharp of the dominant... so in C major, you're talking about Ab. You add a major third ( C ) and the augmented sixth (F#). You end up with a chord that's enharmonic with an Ab7 without the fifth, which is almost like a tritone subbed secondary dominant. The French sixth is similar, but adds another note, which is the #4... in this case D, giving you a chord that is enharmonic with Ab7b5. The German sixth is like an Italian 6th with an added fifth. In C major, that would essentially add the 5th (Eb) to the Ab7 chord.

[quote name='YouMa' post='513248' date='Jun 14 2009, 12:23 PM']Surely cyanocrylate or super glue would crack and flake it has very little flexability,i think i would stick with some sort of epoxy.[/quote] I've had a thin layer of superglue on my fretless for a couple of years... no flaking, and it gets a lot of use.