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How many scales are there?
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<blockquote data-quote="Simon" data-source="post: 615893" data-attributes="member: 1571"><p>Wow - this thread seems to be drawing out some interesting points. Nice ideas Tris and great to hear from a guitarist's point of view, especially the 'fear based' angle. A real obstacle to performing. For me, the mental block of scale theory created alot of this. </p><p></p><p> Martin - if you 'know where you are in a scale', you've already assumed a whole bunch of other notes that go along with that note you're playing. Premeditated, so to speak. And if you're a theory buff, you've probably mapped out the entire tune with 'this scale goes here' post its. Tried it, didn't work, better off learning tunes and copying recordings by ear.</p><p></p><p></p><p>"Start with Pythagoras and work your way to Schoenberg." Weren't these guys mathematicians? Heheh. You're kidding me, right? I'm not a crusty academic who owns a lute, just a hobby sax player who at one time studied at a music college. Music ain't maths. As soon as they start releasing CDs of Band in a Box type generated music, I'll reconsider. Or perhaps this is why alot of sax players nowadays sound like Trane digital patterns they study, cos they think it is?</p><p></p><p></p><p>Converting a tune to numbers... man o man. That is pure old school Berklee. The whole scale/chord theory thing. It's only an 'ear thing' in that your ears happen to be around at the time. You've just labelled pitches with a number. Whether you're aware of this or not but if you play numbers you don't need to listen at all. Why not play the phonebook as a scale degree exercise? Make '0' a rest and before you know it, you're playing scales to the 9th!</p><p></p><p>Here's another example of the scale theory verbage:</p><p></p><p>I know 4 minor scale sounds. The first 5 notes of each are exactly the same. The variations between them are semitones in the 6th and 7th degrees. As a 'scale theory' player I could devote vast tracts of time running these in 12 keys, through various patterns and starting on each note. I could try this with the band I play in, but they'd lose interest pretty quickly. </p><p></p><p>As an ear player I could try these different sounds out over a sequencer or play along, listening to the overall groove of the music, trying articulations and rhythms and listening to what happens. I would then try these ideas out with a band on say 'Blue Bossa' or 'Invitation', tunes with extended minor sounding harmonies. Mistakes will be made, notes will clash, some rhythms and lines might go over time. But I'll develop my own personal preference of notes and ideas, which I'll try to remember and transfer to other tunes with similar harmonies.</p><p></p><p>So tell me, which one sounds like an uninspiring mission to you?</p><p>Should also point out I reckon that music should be a social activity. If it ain't you're just practising until the next gig.</p><p></p><p>Hannah, now try 'On when the saints', starting on 3 fingers down G.</p><p></p><p>Simon</p></blockquote><p></p>
[QUOTE="Simon, post: 615893, member: 1571"] Wow - this thread seems to be drawing out some interesting points. Nice ideas Tris and great to hear from a guitarist's point of view, especially the 'fear based' angle. A real obstacle to performing. For me, the mental block of scale theory created alot of this. Martin - if you 'know where you are in a scale', you've already assumed a whole bunch of other notes that go along with that note you're playing. Premeditated, so to speak. And if you're a theory buff, you've probably mapped out the entire tune with 'this scale goes here' post its. Tried it, didn't work, better off learning tunes and copying recordings by ear. "Start with Pythagoras and work your way to Schoenberg." Weren't these guys mathematicians? Heheh. You're kidding me, right? I'm not a crusty academic who owns a lute, just a hobby sax player who at one time studied at a music college. Music ain't maths. As soon as they start releasing CDs of Band in a Box type generated music, I'll reconsider. Or perhaps this is why alot of sax players nowadays sound like Trane digital patterns they study, cos they think it is? Converting a tune to numbers... man o man. That is pure old school Berklee. The whole scale/chord theory thing. It's only an 'ear thing' in that your ears happen to be around at the time. You've just labelled pitches with a number. Whether you're aware of this or not but if you play numbers you don't need to listen at all. Why not play the phonebook as a scale degree exercise? Make '0' a rest and before you know it, you're playing scales to the 9th! Here's another example of the scale theory verbage: I know 4 minor scale sounds. The first 5 notes of each are exactly the same. The variations between them are semitones in the 6th and 7th degrees. As a 'scale theory' player I could devote vast tracts of time running these in 12 keys, through various patterns and starting on each note. I could try this with the band I play in, but they'd lose interest pretty quickly. As an ear player I could try these different sounds out over a sequencer or play along, listening to the overall groove of the music, trying articulations and rhythms and listening to what happens. I would then try these ideas out with a band on say 'Blue Bossa' or 'Invitation', tunes with extended minor sounding harmonies. Mistakes will be made, notes will clash, some rhythms and lines might go over time. But I'll develop my own personal preference of notes and ideas, which I'll try to remember and transfer to other tunes with similar harmonies. So tell me, which one sounds like an uninspiring mission to you? Should also point out I reckon that music should be a social activity. If it ain't you're just practising until the next gig. Hannah, now try 'On when the saints', starting on 3 fingers down G. Simon [/QUOTE]
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