Here's the deal. And I'm drunk so forgive me for being choppy.
You're in key of F, so you've got two big beautiful major chords to use called Bb and C, and just to add some tension, let's bounce around between those two. Yeah, and while we're tossing the audience around, let's strap 'em in like a roller coaster with a big fat pedal tone, like Bb!
That's pretty much my impression of it. I use that sequence sometimes. Chords here are IV and V (that is Bb and C in the key of F) but we lock down the Bb like a seatbelt. When it finally lets us go, it's like the Gravitron!
John's assessment is completely correct. The C/Bb is spelled like a V chord in third inversion (Bb C E G)*, but it doesn't FUNCTION like a V chord, so I call it differently.
*Footnote - C7 is the V7 chord in key of F. It is spelled C E G Bb. In first inversion it is E G Bb C. In second inversion it is G Bb C E. In third inversion it is Bb C E G. For it to function like a V chord, it has to go to I. Here it just loops back to IV, so I'm calling the low Bb a pedal tone rather than a part of the chord. John, feel free to claim that and get some extra credit with the prof. Just kiddin' I know ya don't need it!!!
Well,the guitars are playing the chords, without the inversion, as they usually do, and I am playing the Bb. I have no idea whether or not the piano was playing the Bb. Something sounded awful until I dropped the Bb, and just played the root..
It's most likely because the guitar low notes are "muddying up" the mix. I'll bet if they switch to only using the top 4 strings it would sound much clearer.
"You're in key of F, so you've got two big beautiful major chords to use called Bb and C, and just to add some tension, let's bounce around between those two. Yeah, and while we're tossing the audience around, let's strap 'em in like a roller coaster with a big fat pedal tone, like Bb!
That's pretty much my impression of it. I use that sequence sometimes. Chords here are IV and V (that is Bb and C in the key of F) but we lock down the Bb like a seatbelt. When it finally lets us go, it's like the Gravitron!
John's assessment is completely correct. The C/Bb is spelled like a V chord in third inversion (Bb C E G)*, but it doesn't FUNCTION like a V chord, so I call it differently.
*Footnote - C7 is the V7 chord in key of F. It is spelled C E G Bb. In first inversion it is E G Bb C. In second inversion it is G Bb C E. In third inversion it is Bb C E G. For it to function like a V chord, it has to go to I. Here it just loops back to IV, so I'm calling the low Bb a pedal tone rather than a part of the chord. John, feel free to claim that and get some extra credit with the prof. Just kiddin' I know ya don't need it!!!"
It's hopeless...
"Freedom of expression is important, but I have learned that people want to know how much you care before they care how much you know." The only time a bass player gets noticed is when he stops playing.
I got it Tony! Don't give up! Just start with the first spot in the explanation that doesn't make sense and we can go from there. The cool thing is no one minds our "dumb" questions here!
I'm off to work on the book, again. The kids are fed, the dogs were walked, the birds bathed. Honey is ready for DEAL OR NO DEAL, so I'll take advantage of some quiet time.....I HOPE.
"Freedom of expression is important, but I have learned that people want to know how much you care before they care how much you know." The only time a bass player gets noticed is when he stops playing.
John, I hope you don't mind if I take you up on that! I'm trying to put it into a simple format...I'll have it posted soon.
Thanks again!
"Freedom of expression is important, but I have learned that people want to know how much you care before they care how much you know." The only time a bass player gets noticed is when he stops playing.
I will post some factoids from the Bass Logic book later today. They are gems that help a lot. I was looking through it at lunch and "light(flash) bulbs were going off. I am starting to "get it"!
Ok, let me start by saying that so often this stuff gets me SO ****** off that I just have to walk away from it. When that happens, it can sometimes take me a week to get back to it. By the time I get back to it, I've forgotten what little I learned BEFORE it ****** me off and I have to start OVER again.
THAT'S the point I'm at AGAIN. I don't understand why this S*** has to be so difficult to understand. There has GOT to be a simple sure fire method, an IDIOT'S guide to music theory.
Charly, being we play the same type of music, I think you know where I'm coming from. MOST of it DOESN'T allow for "riffs". Most are a slow, worshipful type of songs. BUT we do have some rocking stuff. My playing is STALE, I usually play ROOT, FIFTH, Octave. It sounds ok, but it is PREDICTABLE. BORING.
That being said, here is what I DO understand, possibly we can go from there.
I UNDERSTAND the Root, Third, Fifth gig in MAJOR CHORDS. I'll use "C" to make it consistent.
C D E F G A B C. GOT IT. The TRIAD or ROOT, THIRD, FIFTH is C, E, G.
I UNDERSTAND in a MINOR CHORD or triad, the THIRD is Flatted,
C D Eb F G A B C
and in DIMINISHED CHORDS, the THIRD and the FIFTH is also flatted.
C D Eb F Gb A B C
In Augmented, the 5th is SHARPED.
C D E F G# A B C
I don't have the chords down to memory. Usually I'll get the music a week before we play. I'll listen to the CD and LOOK for, say a whole note where the tone just hangs. I'll look up the chord on a chord chart, pick the ROOT, THIRD, and FIFTH and play with it to see what I can use without making it sound too busy.
I'm ALWAYS looking for PASSING NOTES ( I don't know them because I don't know the scales).
I have a book on scales but it gets so freaking nutty, who the hell can remember over 120 scales?
Some examples are: Tertiary Form F# MINOR HARMONIC(What the hell is THAT? I edited myself) this stuff REALLY gets my blood pressure pumping! F SHARP MINOR? Sounds like an oxymoron, I'm just a moron.
TERTIARY FORM G# MINOR HARMONIC,
TERTIARY FORM G# MINOR MELODIC,
QUARTERNARY FORM F# MINOR HARMONIC....give me a break. WHICH FREAKING SCALES ARE THE MOST COMMON ONES I'D USE?
That's about the extent of my knowledge. The BASS LOGIC book SHOWS me what RIFFS to play, but I don't understand if they are MOVABLE or not. I got SO hot, I put it down and counted to 4001. I like that number, it has a calming effect.
I know a major scale's fingering is 2 4, 1 2 4, 1 3 4. I don't even have a minor scale's fingering down because the books I have show a few different ones. I've TRIED a FEW lessons locally, and all they want to do is teach me FUNK, I've called and called, I just can't find a teacher to teach me THEORY.
I guess that's it, cathartic as it is, I just don't get it.
NOW WHAT?
"Freedom of expression is important, but I have learned that people want to know how much you care before they care how much you know." The only time a bass player gets noticed is when he stops playing.
It's hopeless...