jakenewmanbass

It really does produce poor results, I know because I've looked.. I've taught literally hundreds of people over twenty five years up to degree standard, but apparently I'm denied access to that view by the views of others... but really you don't need to worry because in a free world you get to ignore my view, and I'm happy for you to do so. The word here is defensive, my view is just a view, handbags can really be put away, I'm just an ordinary bloke with a view, I'm not god, you can ignore my view and carry on, if at any point in the future you're interested in my view I'll happily discuss many topics with you, I simply require to be given the freedom to hold a view.

So 25 years of professional playing and teaching doesn't allow me to have a view on the merits of methods of learning. All that experience can only muster a 'some folks just don't get it' rather than an acknowledgment that I have a view, it differs from yours and it is that TAB generally produces poor results. As I was at pains to point out, I'm more than happy to live in a world where people satisfy themselves, especially with something as rewarding as music. In my world each individual is entitled to pursue any route to their own happiness they decide upon so long as it doesn't hurt others, but at the same time I'm entitled to a view... now music is an arena in which judgement is important because excellence produces the most exquisite beauty imaginable, my particular corner of the music world is interested in that pursuit (it's my choice I'm allowed) If others are unable to create the capacity on a forum (god forbid I proffer a view on a forum) for a view that is not perfectly aligned with theirs to muster such a derisory response as to suggest I 'don't get' something that you do is in my view rather against the spirit of forum. I 'get' plenty and my view remains that TAB produces poor results. You can choose to have my view not affect you adversely by deciding that what works for you is fine, ironically I would agree with you to take that choice, but come on, a suggestion that my understanding of the topic is somehow sub that of my fellow forumites because I have a less than concurrent view....? I expect more of you Dad...

If you're using TAB as a place to get you started then in my view you're making a really important disconnect with the nuance of the process of learning that makes the difference between an estimation and an in depth authentic representation of a line. (It's just my view btw, I have no interest in lording over anyone, you are allowed to disagree) If it becomes your instinct to find and represent a sound by using your ears then a critical connection is made. I frankly am not really concerned with how people learn, I am however interested in things being good... I'm very happy for people to please themselves in their method if they're having a good time then all power to them, but as a player, I can't really think of many of my colleagues who have got great at what they do by using TAB, and in the business there is a broad view that TAB really misses the point for taking an instrument seriously, I think that broad view has little to do with snobbery and everything to do with players (especially whilst teaching) encountering rampant mediocrity amongst TAB users.

Tab can give a limited insight into what notes are used to make a piece of music work. Notation allows you to read at first sitting and express in full whatever nuance was captured by the composer or player. A certain amount of interpretation is needed but it's basically all there (assuming the parts are good) Nobody ever did a gig where the music was played first time through from TAB and if you consider that, for eg, a film score orchestra will play a score for recording at sight and get it in one, two or a few takes there is no room for error when the day costs 30 grand. I can see that it's horses for courses if you aren't working at that level but my inclination would be to say, if you're not going to need to read to play then learn the parts by ear, because the aural tradition of learning is every bit as valid and musical as reading, reading is simply commercially more expedient. If you use TAB then in my estimation there is a risk of a half arsed mediocre result because you're only dealing with a small proportion of the info... Reading and ear playing is vastly more comprehensive.

Charlie Haden was a true giant of the instrument. The man invented economy with purpose.

As it stands I'm free on this date... should that remain true, would anyone want me to blather on about anything?

[quote name='lowdown' timestamp='1404555523' post='2493660'] But are you sure? It may be just another dream....... [/quote] Ha! I meant a therapy session to deal with all these terrifying dreams!!

[quote name='lowdown' timestamp='1404417619' post='2492532'] A Facebook reply... "At least you're still getting called for sessions"........lol...... [/quote] I've actually got a session tomorrow!!

Yep, I've dreamt I have to sight read classical piano!! ARGGGHHHHH!

Glad you're getting some good advice here Pete, these guys know more about the mechanics of set up than I do. I was meant to be up this week but life has taken a turn to the insanely hectic with some last minute rehearsals and album sessions coming in on top of an already busy week. I'm trying to be up there in the next fortnight to see my mates in Stone so will message as soon as I can schedule that in. I've got some new nuggets for ease of use of left hand!

Suppertime is great!

In my limited experience of IEMs when you get good ones you're in heaven, when you get cheap ones you're in hell...

[quote name='PaulKing' timestamp='1403013261' post='2478839'] I find holding the bass firmly using the cranium as a pivot makes playing it much more stable. [/quote] Paul wins!! PS thanks Kev

pah it's almost impossible to describe... you stand legs slightly apart, the bass doesn't really need to be turned in, but imagine placing it so that if you let go it would fall forward and pivot towards your body, if you can get in that position then you can prevent the forward/pivoting motion of the bass by placing your left knee in the way of where the lower bout would move in the motion described (which is backwards and outwards from your leg) I play Arco standing all the time with the bass in this position. The thing is that really it's a moveable position, standing stock still is not good, so it's quite a fluid thing, but once you understand the principal of supporting the bass in this way it isn't long before you can move in a variety of ways (eg to reach thumb position) and still have a free LH Honestly it needs a conversation because it would take me hours to describe the exact position, the fluidity, the range of positions for moving to play in the various ways that we do, 1/2 ps, 5th pos thumb pos etc etc pizz, arco pizz whilst holding the bow, the list goes on. I hope this is helpful, I'm frustrated by the medium!!

[quote name='Zenitram' timestamp='1402600714' post='2475271'] G Watson An acquaintance rather than a 'friend' friend, from previous shows him and my GF have been in. [/quote] A very lovely chap

[quote name='Zenitram' timestamp='1402600007' post='2475257'] And another friend was in Fings! [/quote] Pray tell, who? Loveliest cast I've ever worked with we had an absolute blast. I opened the show at the front of the stage with a walking bass line on DB, then onstage for the rest of the show, great fun, we are hoping it will have a future life, it had massive critical acclaim, a big buzz and completely sold out, not to mention the long list of celebs who came to see it, and I got an appearance on This Morning with Jessie Wallace and Mark Arden...

Missed your earlier question, the guitar chair is a mixture of pit playing and onstage playing with singing and dancing thrown in for good measure..

[quote name='Zenitram' timestamp='1402599852' post='2475254'] A friend of mine was Ryan's cover on Jersey Boys. [/quote] Aha, small world... Ryan's a dude.

And yep I've been in pits where other stuff is on track and we play to a click, often vocals perc and effects.

[quote name='Zenitram' timestamp='1402599577' post='2475245'] In fact I'm not actually typing these words, but just pretending to, while a professional typist crouched below my desk does it for real. [/quote] I'm not even me, I'm my dep

I've just texted him to get the absolute word to find there is a mix of live and miming to the pit players going on onstage. But there is definitely some live playing onstage too, and singing BVs and doing dance moves... sounds like a nightmare dep to me!! My mate has just been offered the UK tour. He and I have just finished a month long run of a show in Stratford East theatre royal, where funnily enough we had Ryan Molloy in the cast who played Frankie Valli in Jersey boys and is just about to join the show on Broadway.... what a great singer he is! BTW Bass player is Greg Thomas

I'm not entirely sure but I think the MU/TMA agreement only allows a 'musical' to be performed with a live band. Hence the debacle over War Horse at the national which saw the Union taking them to court over firing the band under very spurious claims. [url="http://www.bbc.co.uk/news/entertainment-arts-27034895"]http://www.bbc.co.uk...t-arts-27034895[/url]

I know a chap that deps on this show, on guitar, as far as I'm aware the onstage stuff is all live. I know this because he was shedding the parts in our dressing room a couple of weeks ago and he told me about having to memorise the songs as they had no charts onstage. I'm also quite sure that miming is not generally allowed where a show is advertised as having a live band. Tracks are used with vocals and bits on but the rhythm section will almost certainly all be live.