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#184402 by Starfish Scott
Mon Sep 03, 2012 11:38 am
lol You can't even spell when you quote.

Don't write checks with your mouth that your pathetic old bag of bones ass can't cash, bitch.

Because I'm the one that stamps it NSF. And damn sure you'd get more than 1 stamp on that big ass fivehead of yours.

You can think what you like, but when my Sasquatch foot comes a knocking at your door, all your flowery language will leave you and what do you have left? Gut check time. AS IF.

(make sure it's loaded, jr) lol

#184405 by JCP61
Mon Sep 03, 2012 11:44 am
I can see it now!!

Image
are you supposed to run away from trekkies?
I'm not sure what the rules are.
:lol:

#184408 by Starfish Scott
Mon Sep 03, 2012 11:48 am
lol Come on now, PCP.

You have to do better than that..

That was as weak as your music in general.
Try harder big guy, you are just showing that you're tentative.

Either that or you are a weak link creatively speaking. (That's my guess)

#184412 by JCP61
Mon Sep 03, 2012 12:10 pm
no,
I think that is right on target

#184431 by Tyler Riddim Murphy
Mon Sep 03, 2012 3:51 pm
That'll be a fun conversation to finish somewhere else.

#184435 by VinnyViolin
Mon Sep 03, 2012 4:02 pm
Chief Engineer Scott wrote:lol You can't even spell when you quote.

Don't write checks with your mouth that your pathetic old bag of bones ass can't cash, bitch.

Because I'm the one that stamps it NSF. And damn sure you'd get more than 1 stamp on that big ass fivehead of yours.

You can think what you like, but when my Sasquatch foot comes a knocking at your door, all your flowery language will leave you and what do you have left? Gut check time. AS IF.

(make sure it's loaded, jr) lol


This post exemplifies the very lowest point of forum participation. Unable to think of an intelligent response, Chief Engineer Scot resorts to threats of physical violence. :cry:
Indefensibly moronic!

#184436 by Tyler Riddim Murphy
Mon Sep 03, 2012 4:04 pm
Moronic and Neanderthalic

#184437 by Planetguy
Mon Sep 03, 2012 4:09 pm
Tyler Riddim Murphy wrote:Moronic and Neanderthalic


welcome to BAND MIX IT UP! sadly there's just waaaay too much sh*t slinging around here. too many axes too grind. and too many folks looking for the adrenaline rush of a border war.

ah well....best to know what to expect and dress accordingly. :cry:

#184439 by Planetguy
Mon Sep 03, 2012 4:16 pm
and now back to our irregularly scheduled program....


well...i'd say that listening to whatever genre of music you aspire to play is a requirement if you want to sound authentic. sounds like you're already doing that.

it's all well and good to aspire to be "original' and take chances... but learning the basic moves, vocabulary, and repertoire are not roadblocks towards that end. don't believe anyone who tells you otherwise.

as expected the minor pentatonic and blues scales have been mentioned but i didn't notice any mention of major pentatonic scale.

the formula for a major pentatonic scale is 1 2 3 5 6...in the key of "E" that's E F# G# B C#. that major 3rd (G#) and the major 6th (C#) impart a "happier" vibe ("happier"???....insert adjective of your choice if ya have a better one). you hear BB King use this a lot and you hear it in a lot of Louis Jordan style "jump" tunes.

something else to consider is how to get a lot of uses out of ONE thing.

for instance...going back to the minor pentatonic scale for a moment....
the most obvious choice for a blues in 'E' might be an 'E' minor pentatonic.....buuuuuuut you can also use B minor pent. or F# minor pent. or C# minor pent.

now here's a real useful and cool thing.....the C# minor pentatonic uses the notes C# E F# G# B. look familiar???

it uses the same notes that are found in an E Maj pentatonic scale! AHA!

if you ain't already hip.....every chord has a close kissin' cousin...or "relative".

every major chord has a relative minor and conversely every minor chord has a relative major chord.

E major's "relative minor" is C# minor. so, how do you arrive at that?
count up six notes (a major 6th) of the (entire) E major scale.(E being 'one') E F# G# A B C# D#

or count backwards (downwards) three notes (a minor 3rd) E D# C# B A G# F#

confused yet? :wink:

#184441 by PaperDog
Mon Sep 03, 2012 4:27 pm
I don't see what all the whining about forum context is... DO we not all think outside of 2 dimensions?

Hey, Here's a thought...Ask (post) some intelligent "Music related topics/questions " and maybe someone will respond in kind...

<Crickets>

But if you guys expect a note-by-note breakdown of music theory , composition or playing style, maybe you should fork up up some cash and make an offering to a music "teacher", who can guarantee your success, in 21 days or less , without a single stitch of political, religious or economic overtones...

Of Course, if you are interested in being a song writer, then I would say "embrace your groove on" and get familiar with the life you have been hiding from. :)

That would mean embracing non music subjects. And just so we can distinguish each other as human beings and not BOTs, please be prepared to get dirty ...as you walk past the cages of shit-slinging monkeys on this forum (Guilty as charged here!)

After-all, Song-writing necessarily requires a "broad" perspective of life-force, specifically in a social context, where...wouldn't ya know....political, religion and economics seem to have an impact.

Just saying :P

#184442 by Tyler Riddim Murphy
Mon Sep 03, 2012 4:28 pm
No it makes sense. The C# F# G# B E and are all in the key of C#. Is that important? And the rest of it makes perfect sense.

#184445 by PaperDog
Mon Sep 03, 2012 4:36 pm
Tyler Riddim Murphy wrote:No it makes sense. The C# F# G# B E and are all in the key of C#. Is that important? And the rest of it makes perfect sense.

To Me, all a key provides is your point of reference. Wait till you get into transposition.... You'll see the beauty of this...

Also,. scales, in and of them selves, are tracks of direction...with respect to that key... By no means are they required as a hard and fast rule. SO, you can jump tracks... and pull off some interesting lead work...(Presuming you have the skill to jump gracefully)

I should also add... WHen you master the formal scales (WHich sadly, I have not taken the time to do) , you will discover that these scales can serve as "black-box" inserts into the arrangement of any piece you want. (Keeping in mind the key of the piece)
Last edited by PaperDog on Mon Sep 03, 2012 4:39 pm, edited 1 time in total.

#184446 by Planetguy
Mon Sep 03, 2012 4:38 pm
Tyler Riddim Murphy wrote:No it makes sense. The C# F# G# B E and are all in the key of C#. Is that important? And the rest of it makes perfect sense.


well, those notes are in the key of C# minor AND they're in the key of E major.

Emaj = C#min and sooooo..... C#min = Emaj

important because you can reckon Emaj as C#min.

so, if it's the same notes...why the big deal, right? because if you're playing "position" type stuff...it can lead you to some things you might not otherwise tumble on.

#184452 by Tyler Riddim Murphy
Mon Sep 03, 2012 5:05 pm
Ok good to know!

#184454 by DainNobody
Mon Sep 03, 2012 5:09 pm
hope your gig went well planetguy, I do appreciate your kind gesture of offering me a free drink..

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