clarky, local person and everyone else SEE!!!!! this is why i hate the theory part...

so as i now understand it: if the tonic note is # then the subsequent notes will also be sharpened, and the same goes for a flattened tonic note?

but we have to avoid using the same written notes twice (only one F, only one G and so on) by sharpening or flattening adjacent notes in the scale? does this apply with every # or b tonic? it seems so easy to write all the scales incorrectly if the rules keep changing.

i was looking for a logic to this but i guess i'll have to accept it 'as is'

i've read everyones posts a few times and it is clear(er) now. but it threw me completely with the note name changes. thank you for all your help. i am learning slowly and i'm trying to catch up

Mr Nick - A# and Bb are not the same note...only the same pitch...A and A# together in the key of F is not correct... A is the 3rd of F. Bb is the 4th. A# does not represent the 4th, as it represents a 'sharpened major 3rd'.... there can be only a sinlge 3rd and a single 4th in a scale... if for some reason in a piece of music at a given point in time you needed an augmented 4th [in F it would be B] then you could introduce a 'sharppened major 3rd but only as an accidental - which gives A - A# - B..... however, in terms of tonality, the 3rd is a very important note so from a music grammar perspective, introducing the accidental on the 4th is more elegant - A - Bb - B.... or decending you'd use a b5th.... Cb - Bb - A... either way, the note A can never be used to represent a 4th in the key of F... A can only be the 4th of Eb or E....

in the key of 'F anything'.... the 3rd is always 'some kind of A' and the 4th is always 'some kind of B'.....

also, the most common cause for a 'double sharp' is the use of harmonic / melodic minor during a cadence...

Phrygian Dominant: WORD brotha'!! RUSH....nuff said :-)

AVARICE: Is this Mr. Stuart Hamm a member of T2J?!?! lol....

Clarky: I can imagine what you are going through..BTW, I got a JEM90ham asking me to buy it, and I am at a crossroads, lol! Should I go for it or get a regular production JEM 7V or JS etc?!?!....

Peace fellow SATCHaholics :-) /\/\ike

Hello joe how are you today. I have some question for you. I hope you can answer this question. First, I want to ask you : who are your guitar`s teacher? who are your favorite guitar`s player? i have heard when ten years old,youhave teached, is that true ? Now, are you opening guitar`s course?

just that all I can ask to you. Perhaps my english grammar is not good.thank`s for your attention. I hope you want give your gear.keep cool on your BLUES.

Mr Nick---- Thanks for the advice i will try some new cabels.

Phrygiandominant---- i will try it in to the amp with out fx and with my other guitars,

r6rocker---- no it is not valve state, so it wont be a valve, but cheers.

Thanks All

silver 57 - that theme is Beethoven's Moonlight Sonata, 1st movement. I forget the proper name of it, but it's a piano sonata by Beethoven.

kinger- the rules never change. what i said about c# was a special case.

If you think about it, since C major has no sharps or flats, then the scale a semitone higher (c#) and with the same letter name of C somethingorother, has to have all its notes raised by a semitone.

You could apply this to F and F# major, or any other two similar scales, but you'd have to be very careful. F major has a Bb in it, so that would become B natural if you raised it a semitone, not B#.

Basically, any 7 note scale has a note for each letter of the alphabet from A to G.

say you're working out E major. you know it starts on E but what is the second degree (note) of the scale? we know it has to be F something. but F is only a semitone higher than E and we need it to be a tone higher. So the next note is F#. Then, from F# we need a note with the letter G, and a tone higher than F#. So it's G#. The next one needs to be an A of some sort, and it has to be only a semitone higher (remember ttsttts? or maybe wwhwwwh?) So one semitone higher than G# is A.

Clarky- the wagner passage i talked about was from the prelude to tristan and isolde. i can't find it this second, but it's in there somewhere :)

Some one mentioned the letter H a while ago, I've just remembered. The letter H isn't used in normal theoretical use. I believe that in Germany, at some points in time (if not all) they used the letter H instead of B. Some composers liked to use this to put their name into their music. I'm sure Bach has at some point or another.

TicketMaster says:

Sat, 11/02/02 5:00 pm Bone Bash III:Journey - Joe Satriani - y&T - Montrose Chronicle Pavilion At Concord Concord, CA Find Tickets on sale now

Fri, 11/22/02 8:00 pm Joe Satriani Moore Theatre Seattle, WA More Info on sale 09/28/2002 12:00 pm

Tue, 11/26/02 8:30 pm Joe Satriani The Grove of Anaheim Formerly Known AS the Sun Theatre Anaheim, CA More Info on sale 09/30/2002 10:00 am

JAWS1971 - I'd look on ebay...you might get lucky. Or maybe your local music store can order the case for you.