Tandro

Thanks for all the info everyone! I am ashamed to say it though, but every point raised is something I am doing to a limited degree, something I've either done and stopped (for some stupid reason) or meaning to do (that never got anyone anywhere, now did it). Because actual bass 'practice' time was so limited, I tried to see what I could offload to dead time when I was away from my bass. So as Pete alluded to, currently my ear training is basically relegated to my bus ride in the morning to work. I've got an app on my phone that plays various intervals that you try to recognise. While that is good and I'll keep doing it, I realise that is not enough (for me), especially when trying to learn it and not just for maintenance. With the noise and distractions I don't focus enough. Evidence of this is when I do the same thing but in some quiet at home/office, I can discern the intervals with more success and helps me 'learn' and internalize it better. I've read quite a few different things that have mentioned Banacos, and I even used to use that software from miles.be on my old computer, not putting it on my new one! Transcription is always mentioned by everyone and I've got it written down as top priority on my 'music things to do' list (those lists need to be banished). As for keyboard, I actually got one early this year to get back into piano (did it when I was a kid) for the very purpose of harmony and visualizing all the theoretical concepts...and where is it sat, in the box. I need to revamp my approach to this ear training, along with singing stuff. As mentioned by Bilbo, the ultimate goal for me is to link ideas to fingers. Unfortunately Pete, I have gone down the same road and I'm finding things at the cost of 'years of slow discovery'. But better now than later. I was pleasantly surprised to find the Chris Tarry stuff available again! I thought it was all subscription based now. One last thing on the Bruce Arnold One Note series, is it basically all this same stuff? Is it just him playing the cadence and a note or is there more meat to it and worth the investment?

Hi All, Just wanted some thoughts on methods to learn intervals by ear. There are some that say you should just try to slowly learn them devoid of any aids, so I guess keep playing the interval and listening to it until you learn it. There are others who swear by using something like a well know song that starts with a particular known interval, so you hear the interval and you have a 'reference' point to compare it against, for example a perfect 5th is the start of the Star Wars theme. I've been trying to just learn them without using aids cause the reasoning is that methods with reference points, your brain has to stop and think of some other reference point and then realize what interval that is. So it takes more time, but with music you want to learn to instantaneously recognize something without extra time taken, no? But with my slow progress, I'm just wondering if to use some reference points. Incidentally, I can pretty much recognize a 5th because when I first started doing this I used that Star Wars theme song and I hear that now, heh. Does it really make a difference which method I use to learn? Is one better than the other? If using references will I eventually just 'not' think about the reference and just know that particular interval in 'real time'? Thanks for any experiences you may have on this.

Another great purchase from John. I really have to thank him extra this time around though. He had a beautiful Warwick I just 'had' to have but due to circumstances I did not think I'd be able to get it. However, we worked out something (even though he did not have to!) and in the end we both came out winners...and I have the bass that I 'had' to have (and let me tell you, it is awesome). Thank you John!

Got to say much _much_ thanks to Nigel. He had a lovely shiny bass (literally!) that I really wanted but I just did not have the cash. I knew some people were doing deals with paying in installments and I figured, what the heck, its worth a shot and I shyly asked him if he would consider it (and I expected to get shot down in a flash!). To my surprise he was awesome about it and we worked out something. To make things even more complicated, it was a 3 way deal! But it all worked out amazing in the end and just goes to show that with some of the great people on BC everybody comes out a winner. We met up and he is an absolute great guy. I would not hesitate ever to do business with him again. Thanks again Nigel!!!

Same thing here guys. I 'really' don't know if I have the time, but I just don't think I can pass this up. I might have to force myself up early in the morning to follow along and practice what they are doing...but I just gotta.

Just thought I'd mention this to anyone interested who may not know. There is a really awesome sight called coursera.org. that offers online University Courses for free. I was actually signing up for something else when I realised that there is a 5 week Improvisation Course by Gary Burton starting next week and it won't cost a thing: [url="https://www.coursera.org/course/improvisation"]https://www.coursera...e/improvisation[/url] Some mention was made of the site last year on this forum but at the time there may have not been much in the way of music education, but there a few now on various topics. There is also this 2 hour session with Burton on youtube you can check out: http://www.youtube.com/watch?v=t2txO_u2eNg

Now realised that its 2 years to the day since starting this post. I too went to Tom Kenrick shortly after that, and still do! His patience (especially with me, heh) and ability to help one develop has helped me so much. I can't recommend him enough.

I just wanted to add to this thread that I bought some CDs from Bruno and it was really easy to deal with him. I won't hesitate doing business with him again in future. Thanks Bruno!

PIcked up a Marcus Miller CD from Nick. Great disk packed nicely and shipped fast (so fast that I did not realise until the day after it came, heh!). No hesitation to do business with again...thanks!

Hey Martin! Yep, still got that streamer. I did on a couple occasions ponder for a few microseconds to let it go to fund another Warwick (surprise surprise), but I quickly threw that thought out. I know people on this thread have a lot of stuff going in and out, but I just can't bring myself to sell anything (yet)...heh. Until I decide to grow up one day, I think the goal is just to 'slowly' acquire a ton load of Warwicks. For what purpose, I don't know...but I want 'em!

-In: An awesome Warwick Streamer special edition Markbass cab -Out: I've no idea what you're talking about... -I 'wish' was In: A crapload of stuff I could not afford and one special bass, you know...the one that you've waited 2 years for (maybe the one that got away ) Oh well, seeming as its not the end of the world as yet then hopefully that leaves next year

Thanks Scott. It does pretty much answer my question though, in that it does not seem like there is a way to instantly play something I hear in my head as I won't know what that first note is. The ultimate goal for me would be to hear some melody, line, whatever in my head and then just instantly play that on my bass. And if I could do that in real time for some constantly evolving idea I have in my head would be amazing. As regards the perfect pitch, I have a friend who does have it and actually seems irritated by it. As an example, he can always hear if an instrument/note is off pitch and hampers his enjoyment of it! Thanks again though. Looking forward to your other videos.

Thanks for the reply. The reason I had to ask those questions is because I need to 'dumb' this thing right down for me. As you stated, only a very few people appear to possess perfect pitch. But I just always assumed that for someone to hear a bass line, and then just instantly (or almost so) regurgitate it on their bass woud need to have perfect pitch? I mean if not, how would you even know which is the first note to start on instantly? If it is that you need to 'fumble' around for the first note initially so that you have a basis on which to find the other notes in the line based on familiarity and relative pitch, then OK I get that. Maybe thats the 'secret' for the non perfect pitch people. If you are someone who does not have perfect pitch, but yet can hear a line and immediately play it like jakesbass (no idea if he has perfect pitch), then please tell little ole me how the heck you did that. But as All Thumbs stated, there is more to come. Maybe I'm jumping ahead of him, sorry Thanks again though for the insights!

Hi Scott, Interesting stuff. If its 2 ideas I've heard over and over the past couple years its sing what you play, and the use of visualization (neither of which I do mind you, doh!). But I really need to set aside time to work with those things. Just wanted to ask though, and it may just be me being slow, but I didn't really get what you were trying to say between 16:50 and 17:20. You did a couple of edits in those few seconds. Are you saying that you will eventually be able to put a song on, hear the bass line and sing it, and then just 'play it' on the bass with not too much fuss or fiddling around to find the notes? And then you spoke about knowing which key to play in after you've found the notes you sung/played?

Just wanted to say thanks for the site man and the transcriptions. The dots are universal, but thank goodness for google translate

Not that I need to leave feedback for John cause this feedback thread speaks for itself! Easy transaction. Bought John's Aria Sinsonido. It was so light you might mistake the box it came in for being empty, heh. Just right for playing around with when you should be doing...ahem...work at the office Thanks again John!