#16
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Then I'll assume that's why it's like it is. It would be helpful if they would mention that so us beginners don't try to make sense of what they think they know.
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#17
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#18
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Good. Glad it makes reasonable sense to those that already have a solid understanding.
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#19
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I'll try it the way I thought it should be and see how it sounds.
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#20
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I appreciate all those that have taken the time to discuss this with me, it has been helpful.
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#21
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The C C# D is hinting at a passing diminished chord, the #IVdim7, which is very common.
This makes sense, you just have to let go of the "alternating bass' thought there. It's valid bass motion.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#22
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Just to add to all the above...
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What this exercise is doing is combining alternating bass with brief "walking" moves. A walking bass line involves the arpeggio, and often passing scale notes in between. It will usually aim to lead to the next chord root via half-step - and the 7th of the next chord is probably the most common, leading up by half-step. (Down from a half-step above is also possible.) As the others say, the governing rule is "does it sound good". That over-rules any other rule, such as "1-5 bass lines".
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#23
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One additional practical consideration is the duration of the leading/passing tone. A quarter note may be long enough to imply a chord change while a shorter note (8th or 16th) has a "stealthier" presence with its quicker motion.
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#24
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A point of discussion on what you, and others have said. Is the governing rule "does it sound good?" hold up if a lesson is leading somewhere? If the lessons are taking one down a path, and myself as a beginner doesn't know any better, should I say "Well that sounds good, I'll do this ..."? Or should the beginner (me) stay within the bounds of instruction in the "appeal to authority" argument? Just for chatting purposes.
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#25
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Later in the book, and actually fairly soon, these small examples are moved beyond and "things" are added. Crawling, walking, suffering injury then laying there, crawling again, walking .... walking a bit more, then trotting, is the path I appear to be on.
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#26
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FYI the next lesson explained what was going on. I wish they would have skipped going "ahead" as I'm sure, as a beginner, it has caused more than myself to stop and stare, unnecessarily.
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Gibson J-45 Studio Martin Road Series 13e Fender DG-8 |
#27
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Wonder, I think what you didn't get is that there are four bass notes to the measure. On the 2 and 4 beats where there is a chord, the bottom note is one of the bass notes. Where the 4 beat is just a bass note without a chord, it is the leading tone to the next root.
...................................G.............. .......C.........................D So the bass line is going 1 5 5 5/ 1 5 5 3/ 1 3 5 3/ 1 3 1 #1/ I etc. As others have said going back to C instead of G on the 3rd beat of the 4th measure is just because it sounds better--it gives a stronger movement up to the D. You will get confused thinking of leading tones going from the 7th to the root of the next chord, because a leading tone does not need to be a chord tone (if the chord is dominant or minor it won't be), and does not need to be below the root to which it leads. Leading tones are always a semitone below or above the root of the next chord. A walking bass line, like an alternating bass line, is typically a quarter note on each beat in 4/4 time. But a walking line is not just root and fifth--it arpeggiates the chord to include root, third, fifth, and sometimes other chord tones, and often--but not always--uses leading tones to get to the next root. A walking line gives a feeling of forward harmonic movement, and is commonly associated with a swing rhythm.
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"Still a man hears what he wants to hear, and disregards the rest." --Paul Simon Last edited by Howard Klepper; 07-06-2017 at 09:00 PM. |
#28
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What was their explanation? . |