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srsfallriver

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  1. Are you from Fall River, MA?

  2. Can you expand on some examples of how you use ques? Some basics would be point to the top of your head for "go back to the top" or the old bass or guitar neck swinging down for a stop.
  3. As a bassist, when I play with new people I: 1. Keep my playing simple. 2. Watch everyone and listen to everyone. 3. Try to reign in anyone who is rushing or slowing the tempo. 4. Que hits and watch for qued hits. (you may want to talk over ques before you play the first note!) At an open mic, when filling in, or when working with a filler, these can keep things running smoothly.
  4. For fusion: maj7 - 9th's are most common (the guitarist typically thinks in terms of a min7th chord built off the 3rd of the maj7th = the highest 4 notes of a maj9 chord). 13th's are used often in passing and #11th's are used least often. min7 - 9ths are most common if available (the guitarist typically thinks in terms of a maj7th chord built off the b3rd of the min7th = the highest 4 notes of a min9 chord), 11th's are quite common and 13th's are generally avoided. dom7 - 9th's & 13th's are very common either unaltered (for major targets) or altered (for minor targets) (the guitarist typically thinks in terms of a min7b5 chord built off the 3rd of the dom7th = the highest 4 notes of a dom9 chord). In general, which chords get extensions and how the extensions are used is determined by how those extensions relate to the chords that follow. The root of a D min7 becomes the 5th of a G7 becomes the 9th of a Cmaj7. The b3rd of a D min7 becomes the b7th of a G7 resolves to the 3rd of a Cmaj7. The 5th of a D min7 becomes the 9th of a G7 becomes the 6th/13th of a Cmaj7. The b7th of a D min7 resolves to the 3rd of a G7 becomes the 7th of a Cmaj7. The 9th of a D min7 chord becomes the 13th of a G7 becomes the 3rd of the Cmaj7th chord. The 11th of a D min7 becomes the root of a G7 becomes the 5th of a Cmaj7. An alternative view (for guitar) is to use dyads and triads for comping that fit within the chord scales of the progression since playing fully extended chords would make for a very muddy sound since the piano is also extending the harmony but over a wider range than is available on the guitar. Each chord from the diatonic progression has a unique set of extensions, so it's not quite as simple as thinking in terms of major / minor / dominant. An interesting point is that the major and minor pentatonic scales are equal to the extensions that are common among the various major and minor chord scales. Most of this is covered in basic harmony courses. Lots of good info here. Thanks!
  5. Yes this is true...but it's not so much tension that you're adding but harmony instead. Between Maj and Min chords the 5 is the same: A Major = A C# E Am = A C E The note that matters most between those two chords is the C# or the C, so the 5 (E in this case) can be omitted with out changing the sound/character of the chord very much. The 9 is a very common "extension" you can add to the maj7 chord, making it a maj9 chord. The 13 is also but needs to fit the medoly a little more so than the 9 just "working" most of the time. You can get ALL this info, and fill in the gaps to the knowledge you have here: http://lessons.mikedodge.com Read through at least the Intervals and the Chord Construction sections. It'll get on a life long path of understanding all this stuff. It's all covered in those lessons. Enjoy! Thanks. I'll be checking that link out!
  6. to me, adding a 9th and 13th to all your chords might be overdoing it. and yeah, if you are playing with a bassplayer.. you dont need to play roots and fifths anyways. i guess it depends.. what kinda music we talkin about? That particular group was a jazz group (more fusion than standards). I play all styles however and was interested in how one might approach chord tensions differently in different genres.
  7. (I posted a similar thread on another forum but got no responses. Sorry if I broke some HC rule or something.) A keyboard player that I once giged with told me that, for just about every major7 chord he played, he would drop the root and fifth and add the 9 and 13 (a Cmaj7 would be b,d,e,a). My question is, do any of you use a similar approach, what chords do you commonly alter and how, and which tensions work best in which situations for you? I know there are charts with "available tensions" but I'm looking for opinions from people that actually play around with altering chords.
  8. Very short version (and general warning for giging overseas): I did a gig in a fairly poor European country, met a girl, fooled around, and to my surprise she came to the States a month later in the hopes that I'd marry her so she could stay here. I fooled around a bit more but I told her no way and she ended up finding someone else to keep her here. A few years later, I giged in the same country with another band. The exact same thing happened again! One of the guys in the band said that the girls there will hook up with just about any American guy that they can get, just to get out of thier situation.
  9. I usually just play a few two-octave scales in broken thirds, run through a couple of bee-bop heads, and I'm ready to go. (That's at a gig.) At home I'll do what I've already mentioned and then quickly go over some of the material from the last time I practiced. After that dive into new stuff.
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