matejj53

Hi, I am reapiring bass guitars in Leicester neer the Train Station for very reasonable prices. Changing Strings, Pickups, Bridge Bass Guitar Setup

I am just ordering my wood: 3 hard maple for neck American Ash for tone block American Walnut sides I dont know about top but most probably Buckeye Burl Black ebony class 1 I have already Fodera/Pope preamp and Nordstrand pickups. It will be neck trough bass.

I sold Boss OC2 to Tom. Prompt payment and responding to emails.. I highly recommend Tom.

[quote name='Bilbo' timestamp='1376994417' post='2181872'] Moondance does go somewhere. To hell in a hand-cart This is a massive question, ML94. Walking lines are one of the ose things that take a minute to learn and a lifetime to master. I have been working on walking lines for 30 years and still struggle somedays. Really struggle. I think the simple answer is 'many things'. Firstly, impetus. You want your walking lines to add impetus to the music, to fulfil the roll of making the music swing (in all senses of the word). You need rhythmic strength but you also need to consider whether you want to add interest rhythmically. One of the things I learned from listening to 100s of hours of Paul Chambers was that, when he walks, his lines are made up almost entirely of quarter notes with very little in the way of fills and kicks along the way. Someone like Rufus Reid is much morelikely to stick in triplets, fills, double stops etc whereas Scott LaFaro etc will tear up the rhythm and play anything BUT the quarter note (not really but you get the point). In short, making the music move is an important part of walking but the way you do it is determined by [i]your[/i] musical choices and by the needs of the music you are playing. Harmonic movement - You want your lines to spell out the chords som the listener and soloist alike can follow the form. This is, however, balanced against the need to create interest - a consistent spelling out of arpeggios is 'correct' in theoretical terms but gets boring very quickly. So, it is a case of maintaining a sense of the harmonic structure without slavishly dictating it - that is the 'art' of it, the bit that takes a lifetime to master. As does the element of tension and release. You can use you lines to create massive tension (the most common way of doing this is playing a fourth below the root of a chord, say, on the last 8 bars of a 32-bar chorus of 'rhythm changes'). YOu can follow the soloist rhythmically, or the drummer or play against them. There are lots of ways of doing it and most of the methods are simple but, as with the harmony thing, it is the musical application of these concepts that takes a lifetime to master and which defines [i]you[/i] as a player. You also want to create a little artwork of your own so that your lines have an internal logic and an arc that reflects your intentions. This is particularly important when playing modally. 150 bars of Dm is both the easiest thing to play and the hardest. Keep it interesting, keep it real. It's a life's work. [/quote] I very much agree, I am also just learning it and listening to guys like Scott LaFro, Rufus Reid, Ray Brown... really helps plus you can transcribe(you don't need to write on sheet) and realise that they do repeat some parts too. My teacher is explaining walking lines as don't play boxed lines (like rock and roll - unless is needed) And great lines usually goes out(of the key) and comes back. He also say allot it is not where you are but where you are going- meaning think of what you gonna play in next bar how you want to outline the chord there and how to connect what you play now. but also you have to listen to others in rhythm section and also soloists when you play...

Hi Is it still available?

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