Double Bass Dominant scales

Don‘t forget the Spanish-Phrygian 8-note scale in that context: a mix of the fifth mode of harmonic minor and Phrygian (fifth mode of natural minor).
Different from half tone/wholetone and altered (seventh mode of melodic minor).
Is this a legit scale though? To me this just sounds like you've added a chromatic approach note to the III. You could take the same scale (HM5) and add a chromatic approach note between the I and the VII when descending. Does this create a new scale as well in your opinion? This seems overly complicated to me.
Regarding the video (which I haven't watched lol): there's another way to get that 13b9 sound without having to use the diminished scale (but still using the scalar approach): it's myxo b9, the 5th mode of harmonic major.
 
I love how the Open Studio Studs, almost always include (play) a LH chord voicing (and a bass note root!) that is derived from (or compliments) the scale being discussed and demonstrated.
I have very little use for scales/Melodic Material that is NOT related to, or juxtaposed against, some kind of Harmony.
(That is a very SOLID YT lesson.)
IMFO, of course.
 
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May I ask you what is that so called scale?
C Db D# E F G Ab Bb?

In this thread, it has been called Phrygian dominant, which makes sense. I always thought of it as a sort of “bebop minor “ of the resolution chord, in this case of F. It’s a sound that Kenny Barron uses a lot to great effect.
I have very little use for scales/Melodic Material that is NOT related to, or juxtaposed against, some kind of Harmony.
(That is a very SOLID YT lesson.)
IMFO, of course.

Agree that it’s a solid YT lesson, but doesn’t “related to, or juxtaposed against, some kind of harmony” justify basically anything and everything? IMFO, of course.🧐
 
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but doesn’t “related to, or justified against, some kind of harmony”
Hey...I said "juxtaposed against..." not "justified against". There is a huge difference (to me) in the meanings of those 2 words. Wouldn't you agree?
(Now I see why you flunked out of "Court Reporter" school!)
IMFO, of course. (tm)
(smiley face and a lady's muddy boots emoji here)
Thanks, Chris.
 
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Hey...I said "juxtaposed against..." not "justified against". There is a huge difference (to me) in the meanings of those 2 words. Wouldn't you agree?
(Now I see why you flunked out of "Court Reporter" school!)
IMFO, of course. (tm)
(smiley face and a lady's muddy boots emoji here)
Thanks, Chris.

All good. But to be fair, I only failed at typing school - that typo was fixed within 2 minutes of posting. Let me know where to send the royalty check for unauthorized use of IMFO: if Spotify, I’ll send your $0.000000000000000000000012 royalty payment through Zelle to avoid the processing fees.

But the question, once corrected, is a valid one: doesn’t “related to, or juxtaposed against, some kind of harmony” cover pretty much anything a person might play? It’s kind of like saying “Heads and tails”. Also, isn’t a juxtaposition also a relation, just a sort of second level one?

Further, what’s the meaning of life, and does the little light really turn off when you close Schrödinger’s refrigerator? 🧐

But all such ontological abstractions aside, I agree that all approaches, whether organic relations (heads) or superimpositions (tails) can be justified, as long as what justifies them is actual intent. As Hal Galper once said in a week long piano masterclass I took with him back in 1989, “Your outside **** is only as good as your inside ****.” Truer words have seldom been spoken!
 
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I'm much more concerned that all of you could walk right past the idea that the Pythagorean theorem somehow has no connection to music. As a lifelong math nerd, I bow my head in shame for all of you.....

If only there was an entire tuning system based on it, I might see your point…
 
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But the question, once corrected, is a valid one: doesn’t “related to, or juxtaposed against, some kind of harmony” cover pretty much anything a person might play? It’s kind of like saying “Heads and tails”. Also, isn’t a juxtaposition also a relation, just a sort of second level one?

Yes - beyond an unaccompanied atonal monophonic soloist, melody and harmony are two cheeks of the same backside. Probably best not to dwell too long on where rhythm might fit the analogy!!
 
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All good. But to be fair, I only failed at typing school - that typo was fixed within 2 minutes of posting. Let me know where to send the royalty check for unauthorized use of IMFO: if Spotify, I’ll send your $0.000000000000000000000012 royalty payment through Zelle to avoid the processing fees.

But the question, once corrected, is a valid one: doesn’t “related to, or juxtaposed against, some kind of harmony” cover pretty much anything a person might play? It’s kind of like saying “Heads and tails”. Also, isn’t a juxtaposition also a relation, just a sort of second level one?

Further, what’s the meaning of life, and does the little light really turn off when you close Schrödinger’s refrigerator? 🧐

But all such ontological abstractions aside, I agree that all approaches, whether organic relations (heads) or superimpositions (tails) can be justified, as long as what justifies them is actual intent. As Hal Galper once said in a week long piano masterclass I took with him back in 1989, “Your outside **** is only as good as your inside ****.” Truer words have seldom been spoken!
I'm simply advocating for hearing Melodic Material (for ex. "8th Mode of Latvian b11"??? ) within a Harmonic Context in an effort to eliminate Inadvertent Outside Playing.(The worst kind...)
I think the Open Studio Studs do a very good job at presenting this material in a symbiotic Melodic and Harmonic context. (It very often isn't,)
I stand/sit by my original statement. IMFO, of course.
(...face....boots...emoji here.)
Thanks for your detailed response, Chris. Stay Kool.
 
"Dominant scales"?

You mean, like over G7?

I'd play notes from G A B C D E F.

These two note collections:
G Ab Bb Cb Db Eb F
G Ab Bb B C# D E F

are obviously going to add a lot of extra tension, due to the half steps to the usual G7 notes. The Ab, Db (C#), Eb (D#) are going to be the main ones.

I mean, over a 7th chord people play a lot of stuff. Sometimes I like to throw in a whole tone scale. But it's important to note that all this exotic stuff is SEASONING. Personally I love a bit of pepper on my baked potato. But I'm not real interested in making a whole meal out of ground black pepper.

In the context of playing bass, this kind of stuff gets even less real-world useful. Over a G7 chord, in the real world, on an actual bandstand, how often are you going to play a Bb or a Db, before the trumpet player starts throwing mutes at you?
 
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In the context of playing bass, this kind of stuff gets even less real-world useful.
Strongly Disagree...In my "real-world" world, ALL melodic/harmonic instruments are encouraged to hear/understand/participate in the melodic/harmonic fabric of the moment.
Your opinion may support your "world", but it does not support mine.
Please understand: I say this NOT to argue with you, but only to present a different reality to others who may be interested in this subject. Not looking for a BassBrawl.
IMFO, of course.
Thanks for your interest, turf.
 
If only there was an entire tuning system based on it, I might see your point…
Pythagorean tuning is based on the fifth only. Just intonation. Not very useful as the major third is generated by four fifths and not a single just intonation third. So this third is too high, even when compared to equal temperament.
Pythagorean tuning was more an applied theory than a mirror of practical tuning.
It took some time until the Pythagoreans realized that their theory didn’t fit the reality.

One can ignore some scale notes if you only play basic chord notes on the bass, but if stepwise lines should be played too, one should know which notes are in between.
I do the first only in very rare cases, but it might depend on the style of music played.
 
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