| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 38.4 | whole tone scale | HYDRA::BOLDUC | | Thu Feb 20 1986 13:04 | 13 |
| Was the Whole Tone scale mentioned? As the name implies, the
intervalic distance between every note in the scale is a whole tone.
The scale is used over augmented chords. The C whole tone would
be: C,D,E,F#,G#,A#. Like the augmented chord the whole tone scale
has a lot of tension and is used in passing to a diatonic chord.
There is no resolution within this scale. Basically, when improvising
you sweat it out till you hit a more resolving chord. Joe Pass loves
the whole tone scale, so if you're interested check out one of his
albums. Its one thing to be technically correct but its a whole
other world to be artistic. If you want a challenge practice the
whole tone scale over a recorded augmented progression.
Denise
|
| 38.5 | Another whole toner | FGVAXU::MASHIA | | Sun Feb 23 1986 13:25 | 6 |
| Another example of a musician who relies heavily on the whole tone
scale is jazz flutist Hubert Laws. Most of his improvisations are
based on it. Check out any of his albums.
Rodney M.
|
| 38.6 | if you want it? | NWD002::MILLSSC | | Tue May 10 1988 04:50 | 4 |
| ask someone about diatonic harmony.and if you would like if
you send me your mail stop i can send you some interesting moveable
shapes
scott
|
| 38.7 | | FOOT::THATCHER | | Thu May 19 1988 07:12 | 9 |
| Hi Scott,
Yes please. I have been learning to play for about six months now,
I'm taking lessons, but anything that I can get to practice which
might stretch me would be useful.
Regards
Derrick (VERY slowhand) Thatcher.
|
| 38.8 | Why not here? | CSC32::G_HOUSE | Greg House - CSC/CS | Thu May 19 1988 11:18 | 7 |
| RE: .6
Why don't you post it here? Will get widespread attention and possibly
spark ideas (and responses) from other noters.
Thanks,
Greg
|
| 38.9 | I'm waiting | POLAR::PENNY | For the Benefit of Mr. Kite | Fri Sep 02 1988 11:22 | 2 |
| It has my attention. But, I don't see anything here for a while
now. Is it in the works??? dep
|
| 38.10 | lets move those fingers. | NWD002::MILLSSC | | Thu Apr 19 1990 03:02 | 6 |
| hello again folks i have been gone on leave of absence however
i will attempt to post it here if not you can wright to me at
33206 2nd pl sw federal way WA. 98023
my sincere apologies
scott.
|
| 38.11 | | PNO::HEISER | last daze | Wed Jul 25 1990 18:04 | 4 |
| Joe Satriani's Hindu Scale as written in the latest Guitar World. If I
buy the issue, I'll post it here ;-)
Mike
|
| 38.12 | What he calls it... | SMURF::BENNETT | Pigbot: porcine avenging machine | Thu Jul 26 1990 14:30 | 13 |
|
He says the Fifth Mode on the Ascending Melodic Minor which he
calls `Aolian Dominant'. To which I say "Say What?"
I tried to work thru it last night. What confuses me is:
Is Ascending Melodic Minor a degree I or degree VI mode?
How are the other modes generated?
- Rotation thru the degrees?
- Chromatic variation (AscMelMin+#4 == AscMelLydian??)
- Circle of Fifths?
Is this a job for Wm. J. Buckley?
|
| 38.13 | Case Solved! | ICS::BUCKLEY | What's up, Doc? | Thu Jul 26 1990 15:11 | 20 |
| Yeah, Aeolian Dominant.
Ascending Melodic Minor, in C, looks like this
C D Eb F G A B C
1 2 b3 4 5 6 7 1
The 5th mode G A B C D Eb F G
of this is: 1 2 3 4 5 b6 b7 1
| |
---- Tri-tone --------
Aeolian mode is defined as 1 2 b3 4 5 b6 b7 1
Aeolian Dominant comes from the fact the scale has a natural 3rd degree
instead of a flatted 3rd degree...creating a tri-tone with the flatted
7th degree, hence the Dominance (the characteristic by which a dominant
chord is defined!).
Buck
|
| 38.14 | Dominant.... | SMURF::BENNETT | Pigbot: porcine avenging machine | Fri Jul 27 1990 12:03 | 38 |
|
Geez.... I thought Dominant was called that because of the old
degree names (don't know if these are correct....)
1 Tonic
2 SuperTonic
3 Mediant
4 SubDominant
5 Dominant
6 SubMediant
7 SubTonic.....
Anyway... you answered my main question. The Ascending Melodic
Minor is a `I' mode in the `Aeolian' system of modes...
Aeolian Tonic C D Eb F G A B C
1 2 b3 4 5 6 7 1
Aeolian SupTon D Eb F G A B C D
1 b2 b3 4 5 6 b7 1
Aeolian Med Eb F G A B C D Eb
1 2 3 #4 #5 6 7 1
Aeolian SubDom F G A B C D Eb F
1 2 3 #4 5 6 b7 1
Aeolian Dom G A B C D Eb F G
1 2 3 4 5 b6 b7 1
Aeolian SubMed A B C D Eb F G A
1 2 b3 4 b5 b6 b7 1
Aeolian SubTon B C D Eb F G A B
1 b2 b3 b4 b5 b6 b7 1
Does that make sense?
|
| 38.15 | | CHEFS::DALLISON | Ya wanna go eat some dinner eh? | Wed Oct 31 1990 11:54 | 8 |
|
Anybody come up with any cool licks using any of the Indian scales?
Apparently, each different Indian scale represents a different time of
the day. I have an article about them in an old UK magazine somewhere -
I'll bring it in and enter some stuff if anyone is interested.
-Tony
|
| 38.16 | | ICS::BUCKLEY | Night of the Living Duff! | Wed Oct 31 1990 12:01 | 8 |
| Here's a fav exotic lick of mine in A minor:
e-17-12-13-16-13-12----------------------------------------------------
b-------------------17-12-13-16-13-12----------12-13-12----------------
g-------------------------------------14-13-14----------14-13 (wide vib.)
d----------------------------------------------------------------------
a----------------------------------------------------------------------
e----------------------------------------------------------------------
|
| 38.17 | Indian "scales" | TOOK::SUDAMA | Living is easy with eyes closed... | Wed Oct 31 1990 13:04 | 28 |
| > <<< Note 38.15 by CHEFS::DALLISON "Ya wanna go eat some dinner eh?" >>>
>
>
> Anybody come up with any cool licks using any of the Indian scales?
>
> Apparently, each different Indian scale represents a different time of
> the day. I have an article about them in an old UK magazine somewhere -
> I'll bring it in and enter some stuff if anyone is interested.
>
> -Tony
Indian music isn't based on scales, it's based on ragas.The definition
of a raga typically includes more than just a set of notes, which we
think of as a scale. It might include, for example, a different set of
notes for ascending patterns than for descending patterns. It might
also include certain characteristic patterns (like what we would call
"riffs") associated with it. It might also include a particular mood
that was to be created. Like you said, certain ragas are associated
with particular seasons, moods, times of day, etc.
There are ragas that correspond pretty much to our scales and modes,
but there are thousands of ragas, whereas we only have a relatively
small number of recognized modes in Western music.
I do fool around with some Indian forms sometime, but I don't have time
right now to get into it. Jog me again tomorrow and I'll explain some.
- Ram
|
| 38.18 | | CHEFS::DALLISON | Ya wanna go eat some dinner eh? | Thu Nov 01 1990 08:07 | 45 |
|
For anybody who's interested...
E|---+-X+-X+--+--+--+--+--+--+--+--+--+--+--+
B|---+--+-X+-X+--+--+--+--+--+--+--+--+--+--+
G|---+--+--+-X+-X+--+--+--+--+--+--+--+--+--+
D|---+--+--+-X+-X+-X+--+--+--+--+--+--+--+--+
A|---+-X+-X+--+-X+-X+--+--+--+--+--+--+--+--+
E|---+--+-X+-X+--+--+--+--+--+--+--+--+--+--+
G Raja Gunkali
E|---+-X+-X+--+--+--+--+--+--+--+--+--+--+--+
B|---+--+-X+--+--+-X+--+--+--+--+--+--+--+--+
G|---+--+--+-X+-X+--+--+--+--+--+--+--+--+--+
D|---+--+-X+-X+-X+--+--+--+--+--+--+--+--+--+
A|---+-X+-X+--+-X+--+--+--+--+--+--+--+--+--+
E|---+--+-X+--+--+--+--+--+--+--+--+--+--+--+
G Raja Tilang
Tilang is related to the Mixolydian Mode and is a common one in
English folk music. its distinguishing features are the huge gap
between the tonic and second degree, and the preseance of both a
flattened and major seventh. Gunkali is more complex with a
flattened ninth and augumented 9th.
Well, as mentioned in -1, Raga is the name given to Indian
scales, and as I mentioned previously, there are different Raga's
for different times of day (for example, the Gunkali example is
an afternoon Raga, so you get your butt severley kicked if you
were shreading away at 9:00am, playing your fav Gunkali licks!).
Tilang is an evening Raga, so this is the beast you need to bring
out and wail with at those bar-b-q's (don't forget the currys)
and parties.
In Indian music, they often had a Drone playing in the
background, continiously. A drone isn't an insult to your
tone-deaf brother - it is an instrument which churns out the root
note of the raga, an octave and perhaps another note.
FWIW,
-Tony
|
| 38.19 | | BSS::COLLUM | Oscar's only ostrich oiled an orange owl today | Thu Nov 01 1990 10:18 | 8 |
| Some non-Western (Eastern????) musical forms are based on scales, or
whatever they're called, that are not 12 tones per octave. Like maybe
15 or 17 tones per octave, so you just can't play them on a guitar
unless you're REAL good with your whammy bar.
I'm not, that's for sure.
Will
|
| 38.20 | Hungarian Minor | HAVASU::HEISER | kwah yttik ym yub | Wed May 08 1991 16:24 | 14 |
| I've been trying to find some documentation on Ethnic/Cultural scales,
but am not having any luck.
However, the "Surfing with the Alien" songbook has some that Joe
Satriani uses on "Lords of Karma". In the second theme, there is a
Slavic 1 2 b3 4 b5 b6 7 scale which the transcriber refers to as a
reordering of the Hungarian Minor. The Hungarian Minor is normally
spelled 1 2 b3 #4 5 b6 7.
On the Usenet postings about Minor modes, I think this is what they
were referring to. A lot of these ethnic scales seem to have a b3 in
them.
Mike
|
| 38.21 | Ethnic/Cultural scales | HAVASU::HEISER | losing my religion | Thu Jul 11 1991 12:34 | 42 |
| Well after researching thru my local library, I finally came across
some Ethnic/Cultural scales. Most of these seem to be variations on
the Harmonic Minor (or Minor Modes if you will). I'll post the scale
name, how the scale is spelled, and a brief analysis of the scale.
Something I've discovered on the Oriental/Asian scales: use your bridge
pickup, and pick the strings near the bridge. Really gives it an
authentic sound! If anyone knows of more, or variations of these, let
us now. BTW - all the examples in standard notation used the key of C.
1. Japan (Kokin Joshi) 1 b2 4 5 b7 F harmonic minor pentatonic
2. Prometheus 1 2 3 #4 b7 G melodic minor without the
1st & 2nd degrees
3. Pentatonic (Major) 1 2 3 5 6 C major scale without 4th &
5th degrees
4. Ritusen 1 2 4 5 6 F major pentatonic scale
5. P'Yongio 1 2 4 5 6 b7 F major without 7th degree
6. Hungarian Gypsy 1 2 b3 #4 5 b6 b7
7. Oriental 1 b2 3 4 b5 b6 b7
8. Double Harm. Minor 1 b2 3 4 5 b6 7 G7 altered
9. Hungarian Minor 1 2 b3 4 5 b6 7 Harmonic minor
Wolf Marshall's 1 2 b3 #4 5 b6 7 Hungarian minor version mentioned
in "Surfin..." tab book
Joe Satriani's 1 2 b3 4 b5 b6 7 Hungarian minor version used on
"Lords of Karma"
10. Hungarian 1 #2 3 #4 5 6 b7 Lydian b7 with a #2
11. Roumanian 1 2 b3 #4 5 6 b7
12. Super Lochrian 1 b2 b3 b4 b5 b6 b7 Db melodic minor starting
on major 7th
13. Overtone 1 2 3 #4 5 6 b7 G melodic minor starting on
4th degree
14. Hindustan 1 2 3 4 5 b6 b7 C mixolydian with a #5 (b6)
15. Persian 1 b2 3 4 5 b6 7
16. Neopolitan major 1 b2 b3 4 5 6 7
17. Neopolitan minor 1 b2 b3 4 5 b6 7 C harmonic minor with a b2
18. Lydian minor 1 2 3 #4 5 b6 b7
19. Balinese 1 b2 b3 5 b6 Ab major
20. Scriabin 1 b2 3 5 6
21. Japan (Hiro Yoshi) 1 2 b3 5 b6 C harmonic minor without the
4th & 7th degrees
22. Japan (Iwato) 1 b2 4 b5 b7
23. Japan (Khmoi) 1 b2 4 5 b6 F harmonic minor pentatonic
24. Hawaiian 1 2 b3 5 6
|