Quote:
Originally Posted by scotty_b
I have only given the latest comments a superficial reading, given lack of sleep over the past few days, but I must ask; is any scale actually 'natural' or merely a human construct? In this instance, a construct of European origin.
The method of dividing up the octave in said fashion is by no means consistent throughout the world, and the resultant theory of our musical heritage (assuming we are of western origin of course) does not deal with music from India, Africa, China or the Australian Aboriginals, etc.
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This is a part of our industrial and scientific background as westerners. We try very hard to make everything 'work' mathematically, it is part of our heritage. Which also goes to why some things sound 'out of tune' to our ears, Aboriginal Music and Indian Music that you spoke of particularly. This is because Folk instruments were not to a scientific standard but by an ear. Western Instruments have been subject to things like Bach and his Equal Temperment and Pythagoras and his octavial computations for millenia.
As to a 9th Chord Kirk, If it is a Major 9th Chord, isn't there a relative Minor you can play?
The other thing is, I always thought that the scale you used was based upon the music you were listening to and the sound you wanted to create over it.
Now take for instance a standard 12 bar blues. You really going to want to hit a bluesy sound, but the Pentatonic alone isn't going to cut that, you will want the Pentatonic Blues scale for that, an additional few notes.
If it was the same 12 bars, chord for chord, but played with distortion and a heavy crunch, we would term it metal or rock, then well you would like just stick with the Pentatonic.
The chords have not changed. Yet the scale you play has.
The improv still works through your system of Chord Shapes instead of scales, but that doesn't mean either one doesn't work or is better for everyone.
Remember the original part I questioned was the idea that Scales and Modes are meaningless in 'deeper' music.