Bilbo

All of the above is massively important but, at the core of your learning is the need to LISTEN, LISTEN, LISTEN. Stepehn King, the author, always says that, if you want to be a writer, you need to read; a lot. When I say listen, I don' trust mean putting some sounds on whilst you peel potatoes. I mean REALLY listen. Transcribing is a great way of focussing in on detail and that is why most teachers advocate it but writing the notes on the page can be a distraction if you forget to listen. If I want to transcribe a solo, for instance, I can quite easily import it into Transcribe software, slow it down and write out the notes. The fact is, however, that there is NO music in the written notes themselves and it is important to PLAY the solo you have transcribed, not necessarily at the speed at which it was originally played but in a way that lets you explore the phrasing etc. There are so many details that you need to explore in addition to the harmony, melody and rhythm. Use of space, dynamics, playing ahead of and behind the beat, beginning a solo, ending a solo, building a solo, thematic development, where to start a note and where to end it etc etc. All of this takes time to develop as you learn new concepts and start to incorporate them into your playing. You will learn more from listening to soloists who do not play your instrument as this will force you to think about the notes and the music as opposed to the bass. An exercise to start you off: Find a solo you love (the shorter the better and preferrably with very few 'fast/clever bits' that will trip you up - part of a solo is perfectly acceptable. You will benefit from every bar you learn), listen to it several times preferrably to the point where you can sing it, then either write it down or learn it by rote so you can play it. Then repeat the exercice 1,000 times Regarding the 'fast/clever bits'; when you are starting to learn, it is always easy to get distracted by the intense bits of solos where the sixteenth notes flash by like s*** off a stick. The fact is that 'fast/clever bits' are only ever slow bits speeded up. If you focuss on learning stuff slowly and well, the 'fast bits' will come. It is the musical version of 'look after the pennies and the pounds will look after themselves'.

[quote name='Mykesbass' timestamp='1422873265' post='2677669'] Ouch! Is that the event you run? If so, could you ban him? (least he deserves)! [/quote] Yes - the other musicians were thrilled...

I had an older guy (60+) come up to me at a Jazz gig I do regularly, just before I was about to play with Alan Barnes, and say ' your bass was too loud last week, mate. Can you turn it down? After all, the bass doesn't really do anything, does it'? 'No, it doesn't' I said.

[quote name='charic' timestamp='1422866732' post='2677586'] Any Stephen King fans about who are also now thinking about "Blaine the mono"? [/quote] Yup.

Will bear that in mind next months. Many thanks for the supportive comments!!

I love it. Most meaningful thread for me. Makes me work at composition and develop my writing chops.

Just cos my Mum, Wife and Plumber voted for me I won't let it go to my head

I love that Sei.

Start by transcribing bits of lines; two bars here, four bars there. Build to solos, 12 bars, 16 bars, 32 bars and so on and then, eventually, try complete performances.

The SeventhString Transcribe software is brilliant and very affordable (I paid about £40 but that was years ago). It has got me out of a million transcribing holes with fast/complex parts. Working with a tool like Transcribe does improve your ear and you find you need to slow things down less and less as you transcribe lines more and more. I guess it is a question of clarifying what it is that you are looking for and what problems you are trying to solve for yourself. Transcribing the notes is one thing but creating a readable score with appropriate accents, grace notes etc or for another instrument other than the bass is another and that only comes with practice both in terms of writing out parts AND reading them/getting others to read them.

I think there is a lot ot be said for the sheer physical pain of playing and how this will impact upon the decisions older musicians make regarding their career paths. Having read most of his books, I am always interested to hear what he says about drumming, technique etc and comparing his approach to the work of other drummers who play into later life such as Buddy Rich or Art Blakey. On of the Peart books references the pain he gets in his hands, arms and legs and I recall mention of blisters etc. He obviously plays hard which will have an impact upon his body, particularly as he gets older and the healing process is slower (imagine STARTING a gig with a blister). I do gigs on double bass about once a week and am still quite sore afterwards, hands and fingers. Thankfully, it calsm down overnight mostly and I don't need to do any playing until the next gig a week or even two weeks later. If I had to do several gigs a week, I would be in trouble. If Peart is playing hard night after night, week after week, it's probably gonna hurt. I actually think the obvious reponse would be for them to play differently, to find a way of expressing themselves that doesn't require them to be faux-teenagers 'rocking out'. You don't need to play that hard to play that music, you just need to play smarter. And as for his level of playing excellence. He is arguably (one of) the worlds greatest rock drummer(s). That is, however, being damned with faint praise. The one thing that his books do tell us time and time again is that Peart doesn't practice/play at all for months and sometimes years at a time. That is going to impact upon his stamina and muscle tone etc. Interesting stuff.

[media]https://www.youtube.com/watch?v=49bNg1ZC8rM[/media] [media]https://www.youtube.com/watch?v=Fow0xvE6Uo4[/media]

I think it woudl change eery hour or so!! I think my perfect set would be all originals by me. Nearly got there a couple of times but still never done it.

All you really need is a good 'How To Read Music' book that covers all the nuances including different clefs etc. Do you transcribe using software e.g. Sibelius, Finale etc? Or pen and paper?

Thanks, Dad

[quote name='alibabu' timestamp='1422304856' post='2670997'] The votes from the Norwegian jury went to the track that I felt was the strongest composition in the traditional meaning of the word. So, well done, mr. Baggins! [/quote] Many thanks. Mine is a minoroty interest area but it is nice to be appreciated!!

Two sets of great Jazz with Kate Williams and Gareth Lockrane. Great tunes, great charts.

Hey, Dad. You and me again, bro!!!

31st Jan is a Saturday, Paul.

Last night, I was called at a hour's notice to play The Fleece in Stoke By Nayland (Suffolk) to dep for a stranded Mick Hutton. Singer/trumpeter Georgina Jackson led the band and a fine job she did too!! [URL=http://s283.photobucket.com/user/bilbo230763/media/Jackson%20Fleece_zpswvrr88wm-1.jpg.html][IMG]http://i283.photobucket.com/albums/kk287/bilbo230763/Jackson%20Fleece_zpswvrr88wm-1.jpg[/IMG][/URL]

No problems here and I wear two rings on that finger.

[quote name='ColinB' timestamp='1421684469' post='2663934'] ....talented frogs are worse.... [media]http://www.youtube.com/watch?v=5gNuj8UkyC4[/media] [/quote] Apparently, Kermit isn't really playing the banjo. It's Carol Kaye.

They can be seen here holding the Status etc to my right. http://basschat.co.uk/topic/21583-1986-wal-custom-fretless/page__fromsearch__1

I have five of these I don't use that you are welcome to. Hung a Wal and a Status for years without s problem. PM me an address and I will send a couple over.

My observations are not about teaching videos or playing videos, just bass gear demos. All seesm utterly pointless. Too many variables for any of them to mean anything.