Bilbo

[quote name='Wil' post='581105' date='Aug 26 2009, 10:43 AM']I'm sure the only way to develop this understanding is learning dratted theory.[/quote] Mmmmm; odd that! Its a tried and tested method whcih works for more than it doesn't but, more to the point, ITS NOT THAT HARD. It is often dull and tedious, but its not hard.

[quote name='Jase' post='581132' date='Aug 26 2009, 11:03 AM']Noooo, I'm on about the guy who is obviously Jaco mad and is it strange for Julius to see someone almost being your father as a bass player.[/quote] Oh. You should have said

Hardly - the world is full of second generation musicians and it is not unusual to see the kids out gunning the parents - saxophonist Joshua Redman (son of Dewey Redman who was the nephew of Don Redman), saxophonist Joe Lovano (son of Tony 'Big T' Lovano), drummer/percussionists Joe and Jeff Porcaro, Charlie Haden (a child from a musical family stage act) and son Josh, Ellis and Wynton/Branford/Delfayo/Jason (the last, the least known, is a fantasticdrummer in the mold of Jeff Watts), Jimmy and Matt Garrison, Sammy and Steve Kahn, There are also loads of siblings who all cut it: Michael and Randy Brecker, Mike and Pat Metheny, Greg and Matt Bisonette, Hank/Elvin/Thad Jones, Richard and Karen Carpenter I think its probably something to do with growing up in a musical environment (i.e exposure) and in a culture where being musician is seen as credible and worthy of investment (encouragement, support, learning) (unlike most families where it is seen as a 'cop out'). Its an interesting point, though. Nurture, nature, both or neither.

New one for me but some of you may like to look him up. His name is Ney Conceicao and he is the bass player on Joao Bosco’s Live DVD (2006) ‘Obrigado Gente!’. Great bass solo on the opening track. Here is a transcription I have done for Ney's solo on Incompatibilidade De Genios, the Youtube clip below - it starts at around 2.35 and is played on a six-string bass through some sort of octave divider tuned up an octave rather than down, sounding like a pseudo steel drum. Great stuff. [url="http://www.neyconceicao.com/musicas.html"]http://www.neyconceicao.com/musicas.html[/url]

It was Carol Kaye...

Benny Carter, Chris Potter, Paul Chambers, Doug Watkins, Ron Carter, Bessie Smith, Bill Evans, Jo Jones, Billy Taylor, Sarah Vaughan, Barry Harris, Joe Turner, James Carter, Lenny White, Fred Anderson, Percy Heath, Jeff Andrews, Benny Bailey, Arthur Taylor, Clifford Brown, Tony Bennett, Joe Beck, Gary Burton, Eddie Daniels, Bill Crow, Bill Dobbins, Michael Gibbs, Jim Hall, Tony WIlliams..... as opposed to Steve Vai, Flea, Prince, Lady Ga Ga, Madonna, Ms. Dynamite, The Edge, Bono, Simon Le Bon, Jon Bon Jovi, Yousson Dour, Neneh Cherry, Melissa Auf der Maur (Smashing Pumpkins), Geezer Butler, David Ellefson, Lemmy Kilminster, Doctor Robert, I think you are all projecting.......

Wasn't me. I was playing at the wedding in the Priory Barn in Hadleigh.

We do it as a samba. In F.

Just for future reference, Clarky. There is a relationship between the guage of the string on an any guitar, particularly an acoustic guitar, and the sound. The lighter the string, the weaker the sound but it is easier to play, the heavier the string, the better the sound but it is harder to play. It is a compromise between string tension and sound. Your daughter will definately feel the benefit of a lighter guage but, in the longer term, as she gets better, it may be worth going up a guage every now and then until you get the optimum sound/action ratio. It could, of course, be the action on the guitar (the height of the strings from the fingerboard) is too high. If this is the case, the neck can be adjusted but this needs to be done by an experienced luthier so don't try it if you don't know what you are doing. If you only just bought the guitar and the shop is nearby, they may do it for free.

Played the Vienne Jazz Festival once. Now THAT was oine hell of a gig! Played one near Swansea once. Massive event, loads of bands. Organiser ran off without paying anyone, including the headliners. Brecon Jazz 9 years running - 6 times one year! Lent my gear to Miroslav Vitous one year! Biggest piece of advice? Sort out the parking before you leave home

HE'S CREATED A MONSTER !!!!

I think tribute bands are the future of rock 'n' roll. It is obvious that, as PC gaming etc becomes more popular amongst the kids, us oldies are going to be the only ones interested in rock etc so, gradually, over a period of the next twenty years, it will become like the old music hall stuff and exist only as a nostalgia trip. We will all get dressed up oince a week and go to themed venues like the Granary in Bristol or the Marquee in London and watch tribute bands. We won't need to waste our money on buying new stuff, except teh tribute bands cds and dvds, because we will have had it for years. It'll be great.

Self deprecation is a great way of justifying not having to do anything remotely demanding. Like learning to read music.

You're a lot of things, bbc, but you are certainly not thick.

I read well enough for most scenarios but wish I could read better (not because I need to, just because I wish I could). I think there are two types of reading; basic reading and sight reading. The first is about learning what the dots mean so you can learn things etc whilst the second is about learning to read the dots in real time so you can play stuff sight unseen right off the bat (like orchestral players). I can do the latter, providing it is not too difficult a part (which most, frankly, aren't). Whatever skill level you have, I would recommend it for the reasons given in the debate you were directed to. It is a tool that I value for playing and for showing others what to play. Readers waste less time learning complex parts when you have limited rehearsal time. And it is not as hard to do as some make out.

[quote name='teej' post='575672' date='Aug 20 2009, 03:34 PM']I think this lack of spontaneity and flexibility is what bugs me the most.[/quote] Absolutely. Its a straight jacket!

One of my small group Latin oufits has a percussionist who uses, amongst other things, a Cajon. Its a surprisingly versatile instrument and I can imagine it would be great for busking (I also like that clay pot thing with a hole in (well, two holes actually. One at the top and one in the side. Huge sound)).

[quote name='tayste_2000' post='575574' date='Aug 20 2009, 02:30 PM']Well yeah to be honest, we'd have one type of artist, someone on stage with a guitar, maybe not even that if they feel the guitar isn't really integral, it can just go on and on. Justifies it a hell of a lot better than some guys playing in a pub just refusing to change anything what so ever.[/quote] Noone came anywhere near advocating that other than those seeking to undermine with sarcasm the arguments being presented.

[quote name='tayste_2000' post='575559' date='Aug 20 2009, 02:18 PM']If we took away everything that wasn't integral to the music where would we end up? Singer songwriters?[/quote] God forbid! [quote]As stated a lot/most pro bands do it, Muse, Nine Inch Nails, Foo Fighters etc[/quote] That makes it ok, then.

[quote name='ironside1966' post='575510' date='Aug 20 2009, 01:34 PM']I live in Yorkshire and have seen bands try their own clever arrangements when the audience expects a cover band, all you got from the audience was a constant shouting play something we know.[/quote] That assumes that those that don't shout anything agree with those that do. Most people just don't shout in public but nevertheless consume quietly. [quote]As for personal development backing is used a lot in the pro would so it is good to at least understand in and another experience you have and something you can bring to your next band should it be required.[/quote] With respect, it ain't rocket science. If the drummer can play with a click, the rest is easy - and, yes, I have done it and it was. [quote]A band wants to play contemporary songs ala Beyonce, Sugababes, Rihanna ......, Done well there is work out there people want to listen to that music[/quote] Yes there are, but they aren't old enough to go into pubs [quote]Get out of the dark ages[/quote] There is an argument that some are walking wide eyed into a new one. [quote]It’s a big would out there with room for diversity, you may not like the band or what they are doing but respect the right for them to do it.[/quote] No problem, as long as people can respect the fact that some of us have opinions that run counter to those of others and choose to express them, reasonably politely, on bass forums. [quote]Good luck with band Tradfusion make your decision on what’s right for the band and not anyone else if I can help PM me[/quote] Likewise

If you can tell the difference between a dog barking and bird singing you are not tone deaf. It is actually a very rare condition. Learning pitches is not that important. What you need to learn is relative pitch i.e. the differences between notes. The best way to do this is by doing scales and chord arpeggio exercises. There are method books out there about this kind of thing but, in my experience, they are only asking you to do what you should be doing anyway which is playing with your ears not just your hands.

A good way of approaching that issue is to try playing solos off another instrument. Jazz-wise, bass players coudl try stuff by baritone saxophonists or trombone players as the range is simialr and the techniques results in very different sets of cliches which results in the use of different default patterns. Anything that makes you break out of the straightjackets we build around ourselves. Thiis is one transcription I did a while back.... [url="http://basschat.co.uk/index.php?showtopic=48470&hl=gerry+mulligan"]http://basschat.co.uk/index.php?showtopic=...=gerry+mulligan[/url]

[quote name='leschirons' post='574936' date='Aug 19 2009, 11:48 PM']Music is music, so, whatever it takes to make a great sound and be more entertaining.[/quote] Yes and no. The argument that is raging here is that these backing tracks don't actually 'make a great sound' but merely cover up for a weak one - the difference is more then semantic. And the discussions also shows that, for some, the use of backing tracks makes the event less and not more entertaining. There are a myriad of examples of solo intrumentalists and singers doing beautiful things with one monophonic sound, things that represent real wow! moments for many listeners. That is rarely achieved by layering more and more and more sounds onto a piece. More is not commensurate with better. 'Filling up' the sound of an ensemble with backing tracks is arguably dehumanising. Not necessarily a problem in itself but, for many in the audience, including some who have posted here, it puts a downer on the act and immediately demotes it to second rate. Many audience members value honesty in the music they listen to and respond to artistic integrity. Many of those people see the use of a backing track as compromising that integrity (there are still some that wince at the use of a synthesiser ). Many people who happen upon a solo singer with backing tapes just laugh derisorily and leave by the nearest exit. The use of backing tapes in a bnad setting can have a similar effect. Use what you have creatively and make every note count.

I guess one of the problems those who need these 'aids and adaptations' is that they are often playing cover versions of songs that were never performed live in the first place but 'assembled' in a lab. So they probably are impossible to reproduce live without some digital assistance. I think its called learned helplessness.

[quote name='skankdelvar' post='574233' date='Aug 19 2009, 02:35 PM']'Integrity' = Tripe.[/quote] DOES NOT COMPUTE. DOES NOT COMPUTE.