I think how much music theory is necessary is largely dependent on what you are going to use it for.
For composing, transcribing, transposing, and wanting to know why something works, or does not work, within a song I think it is necessary to know a little more about music theory than just the basics.
I have found that there are so many things in music, in general, that are personal to an individuals wants and needs. Another example, of things personal to an individual musician, would be whether they play only TAB or actually play from a full music score. @PamPurrs hates playing from TAB
I personally do not care for TAB, because of the lack of information, especially if you do not know the song, but that’s just me.
We have all heard about famous musicians that can’t read music or know diddly squat about theory.
The amount of theory Josh exposes beginning Bassists to in the B2B course is more than adequate.
What do you think about the amount of theory in the B2B course?
In the end as long you are happy with what you are doing that is all that matters and it’s all good.
We’ll, it’s hard for me to judge that from the aspect of being a beginner because I played music for ~10 years when I was young and then more recently, played keyboard and guitar on and off for 4 years. In addition to that, I’ve also spent a fair amount of time over the last 3 years working on theory before I even started to play bass.
I think that for the context of this course, the amount of theory is fine. If people want to learn more theory, there are plenty of additional resources out there… but I expect most people will not be interested in that.
So here’s an interesting one. I’m working on a cover and started questioning the key it is in. Here’s an excerpt of my isolated bassline and drums (which is most of the song, really):
The song is all natural notes; specifically this bassline is C, B, G, A, F, and D. I have verified this both with tabs and live videos. It’s definitely those notes.
75% of the online key/chord finder sites say it is Am, 20% CMaj, and 5% FMaj. However, while the bassline starts on C, it always resolves to F. I strongly doubt it’s A minor - it doesn’t sound like it, and it’s really unlikely you would resolve to a minor 6th. Likewise, while it sounds closer to a major scale, it’s not likely CMaj, as you would not resolve to a major 4th - that would leave tension. And it can’t be FMaj because of the B.
I think the sites are all wrong. I think it’s F Lydian.
Apart from that, it could also be FMaj if you consider the B to be chromatic one-offs. And indeed it only transits through them as 16th notes. So F Major would be the second choice I think, though really I think it’s Lydian. Some evidence for this would be a guitar part that stays tremolo-picking on the B for a bit (or at least sounds that way to me).
From the excerpt you played, it’s definitely in C.
If there are moments where it hangs on the 4 chord - or even if it ends on the 4 chord - it doesn’t eliminate the option of it being in the key of C.
Lots of tunes end on that 4 chord for exactly what you described - that sense of being unresolved.
If it’s in F lydian, it would have F as it’s sonic home and resting place. Maybe things change, but the part above that you shared is all about C.
Wow! That’s interesting. When you put it that way I can see it now.
I would have thought that the resolution of that one (on F) would have been of more weight the start because it moves right off of C. But it does keep coming back to it and I can see why it would be the center. And when I think about it that way the kind of clincher is where it ascends in the second part. It both goes up from C and down from C, but always starts out there and comes back to it. So while it always ends up at F, it starts from (and keeps coming back to) C.
I’m self taught, but the most important thing to remember is that the bass is primarily a rhythm instrument. In other words, groove is king. Of course playing the correct notes is important too, but without a good groove, it will sound just plain sucky. From viewing Josh’s excellent videos, I am guessing his lessons emphasize this too.
When are rounds “dead”.
As a flats lover I find it even harder to know if my rounds are toast. Because they are always brighter than my flats basses, which is more the norm for me.
Also, having a lot of basses, strings don’t get played as often as if staying on one bass, so, do they wear out just by sitting there as well as via playing?
Ultimately, it is a matter of taste! Some like their rounds to be less bright to begin with and only appreciate them after a break-in period, when a lot of the crispness is gone…
Also, it’s a gradual process and thus super-hard to really notice. Still, one test would be to see how much sustain they have lost - older strings have a faster decay. That would require to have a reference value from when they are new
And… some rounds just seem to last longer than others (i.e., before they are too dull for a given taste).
For me, personally, I tend to change rounds about once every 9-12 months (or when I feel I want to try something new), and so I don’t think I ever had them really dead.
I would say rounds are dead sounding and need to change when they start to sound closer to the flats - missing those higher harmonics that they used to have, less bright and zingy, etc. They also become harder to keep in tune and intonate, I’ve found. I usually change them 1-2 times a year.
As long as you like the tone and the intonation is still good, they’re find
Being metal, they do age over time with no playing which is why they’re usually sealed in plastic bags with some kind of gas when new… but it’s not something I worry about too much. because I don’t like very bright strings.
Hey gang. I have this question. I am trying to figure out all my instruments and making noises with them instead of spending all my free time here in the forum. (Sorry for neglecting you. ) I am trying to figure out how to work with scales and pretty much everywhere is mentioned that Tonic (root note, first degree … who knows) will be/want to be the center point and resolution of anything in that given scale.
Here is a little piece of track in Eb major. ( Stream Prjct A3 by Prestor Allen | Listen online for free on SoundCloud) And pretty much nothing evolves and resolves in Eb there. The guitar is pretty much evolving from C and getting back there. Bass and synth brass are going around G#. The only thing that is evolving around Eb are the Horn chords in the beginning.
I just wonder if anyone can explain to me what that mantra of “Tonic is the sonic center and the note that a melody wants to resolve into.” actually means and if actually a melody in a scale you come with should be rewritten to evolve around Tonic and it will actually work better. (I would rather ask than try to figure it out on my own.)
Thanks for any input, I am actually really lost on this one.
That track sounds like a mess so I don’t have much to add about it but songs generally don’t exist just as individual melodies or baselines, they exist as a chord progression and the individual parts fit into/over that. Common chord progressions are ii-V-I for jazz and I-V-vi-IV for pop.
I suggest that you start by analyzing the chord progressions, baselines and melodies of some popular songs. If you don’t mind jazz, something like Autumn Leaves is good. If you want to learn to write a book, it’s a good idea to read some books first
