Doddy

[quote name='Bilbo' post='1139739' date='Feb 24 2011, 11:27 AM']Careful, JK! You'll be as unpopular here as me if you carry on in that vein. [/quote] Nah.You redeem yourself with cool posts about Jazz and Theory. Just a thought..... There are a lot of people saying that they already play for free,and obviously there are a lot if bands that do the same. Could this be a major reason why venues don't(won't) pay that much out,and why music is often undervalued? Or why original bands think that they have to play on a bill with three other bands,all of whom are selling tickets but receiving little to no money,while the promoter is pocketing all of the money?

[quote name='Bankai' post='1139521' date='Feb 24 2011, 05:17 AM']When it comes to Ahead sticks, the easy way of me explaining them is that they make it harder to play if you're a good drummer. If you lack technique they'd probably help, bit like waterwings.[/quote] I'm not having that. I know guys with awesome technique who have have used Ahead sticks from time to time,and have no problems. If you lack technique,you'll suck whatever sticks you use-using Ahead sticks won't help. Anyway,how can a stick help poor players and hinder good ones?

But surely you don't need to retune? You are only dropping it a semitone to E,so you are still within the range of the instrument.

[quote name='Skol303' post='1138666' date='Feb 23 2011, 03:06 PM']I'm just wondering whether those of us who are questioning Joy Division's influence really know much about the band or the genres of music they clearly DID influence? No disrespect meant by that... I, for example, don't know the first thing about jazz so I wouldn't feel comfortable waxing lyrical about whether a particular jazz bassist was influential or not. If you can't hum the bassline to Blue Monday off the top of your head, for instance, then I'd argue you're probably not qualified to comment on the influence of New Order/JD! Again, no offence intended ;-)[/quote] I'm not denying the influence he may have had on people-I've mentioned that already. But to me his playing and both Joy Division and New Order,have done nothing for me personally as a musician. And why does not being able to hum the bass part Blue Monday mean I'm not qualified to comment? I'm sure that the vast majority of New Order fans couldn't hum it either. I couldn't hum you every bassline to my favourite bands songs,but it doesn't mean that I'm not qualified to comment on them.

[quote name='daz' post='1138502' date='Feb 23 2011, 01:16 PM']Oh wait hold on....... it has [i]'Bass arrangement for guitar '[/i]on the song [b]Peaches[/b]! Phew! that makes it all worth it. Like all bass players I have not the foggiest idea how the bass line to Peaches was notated. Its a total mystery. But now thanks to this songbook I can finally play it. I'll let you know how i get on.[/quote] Sarcasm,right?

[quote name='Bilbo' post='1138196' date='Feb 23 2011, 09:30 AM']I would also argue (although I am prepared to be challenged on this) that 'bass spcific' theory books are not the way to go as the theory is universal and its application will be much more use to you if it is not entirely bass focussed.[/quote] I agree. A lot (but not all)of the bass specific theory book can rely to much on tab and fingerboard diagrams,so you are,once again,more likely to just learn a fingering pattern than the actual theory.

[quote name='Bankai' post='1138010' date='Feb 23 2011, 01:03 AM']Once again this proves the theory. Girls can't drum well. Now if you excuse me, I'll be sipping from my glass of awesomeness.[/quote] Oh

[quote name='Bankai' post='1138015' date='Feb 23 2011, 01:07 AM']There are many other measures for drummers, perhaps one is the sticks they use, or NO sticks as it is in this case. Personally, I'd immediately forget any drummer who turns up with the AHEAD carbon sticks for example.[/quote] Really? Why's that? Who cares if they use Ahead sticks if they can play? You can't measure a player by their sticks. As an example,one of the loudest rock players I know uses Vater 7A Manhattens.

[quote name='petercullenbassist' post='1138014' date='Feb 23 2011, 01:07 AM']thats 4th, not 5ths. i tune my 6 sting bass B E A D G C, i had an 8 string bass tuned F# to F and never ever used the F# string in over 2 years. faaaar to deep i think.[/quote] It's 5ths if you are descending from the high C

The best book,I think,available for theory is 'The Jazz Theory Book' by Mark Levine. It's not bass specific,but it is packed full of information and shows how it can all be applied musically (mostly in treble clef). For more bass specific books, I really like 'Chord Studies for Electric Bass' by Rich Appleman and 'Serious Electric Bass' by Joel DiBartolo. Obviously it's difficult to recommend stuff without knowing what you know theory-wise,but these books are great if you want more advanced stuff. I'm also assuming that you can read and know the fingerboard,as you'll need to in order to really take advantage of these books.

[quote name='Daor667' post='1137948' date='Feb 22 2011, 11:48 PM']wow Thanks for the prompt replies guys on your low to high recommendation F# B E A D G would you say dropping the F# to an E would be ok so i match the 8 string guitar work?[/quote] I don't know why you would need to actually go down to an E an octave lower than a regular E string. You can match the guitar on a standard tuned five string(or four) if you want,you don't need to double the guitar lines an octave or two lower. I always keep my instruments in standard tuning and have never had any problems.

[quote name='Jerry_B' post='1137944' date='Feb 22 2011, 11:44 PM']I think it's pretty well established that he can be a bit of a git (I got that impression when I saw New Order play in the late '80s). That doesn't make him unique in the music world. Whether that has any bearing on his playing, etc - well, I doubt it.[/quote] I doesn't have any bearing on his playing,but sometimes a player that you don't particularly like comes over well,and you get more respect for them (as a person,not as a player)than you had previously,and sometimes vice versa. Unfortunately,after listening to his playing and reading that particular interview,I don't find any redeeming qualities. I'm not denying that people might like his playing (mainly because they like the band) but to me,he is pretty inconsequential as a bass player.

I've had an RC20-xl for ages now,and love it. I often set up a loop of anything from a simple ii-V vamp,to a full chorus taken from the real book. I'll play the melody and then blow over the changes-sometimes using ideas I've been practicing and other times,just playing. I also like to play a melody into the looper and experiment with various chord voicings underneath.

Has anyone read the interview with Hook in the book 'In Cold Sweat'? He doesn't come over particularly well in it,I think.

You may not want to read,but it will make it so much easier to understand the relationship between the notes if you at least have a basic understanding of it. To learn about scales and chords there are a ton of books available for all instruments that cover theory and are not bass specific-another reason to read a bit....most of the best books on this subject are not bass guitar based,so you couldn't go by patterns. I think that the best book on the market to learn all this stuff is 'The Jazz Theory Book'. It can be pretty heavy,but it's just filled with great information,that you can study for years. Bass specific-'Serious Electric Bass' is a great book. Again,it's full of great information and is pretty heavy at times.Plus,you'll need basic reading chops to really take advantage.

One of my young students really digs Joy Division and wanted to learn a couple of Hooks lines. I've got to be honest,none of them did anything for me-neither the basslines or the songs. Is the bassline to Blue Monday that recognisable? I've heard the song loads and can't bring the line to mind at all,even though I could sing the melody.

[quote name='EssentialTension' post='1137262' date='Feb 22 2011, 04:20 PM']Using middle finger for the C, first finger for the E, and then slide from G# to A using little finger.[/quote] This. You don't want it to sound like a grace note though.Where you slide from is pretty irrelevant,but sliding from a semitone below is usually more than adequate. If a bigger slide is required it will usually be marked.

Oh Yeah,Jimmy Haslip was one of the first call guys-he's on loads of stuff that people wouldn't expect or realise.

I'll stick by what I said previously,she may be great in her lessons and impress her teacher. However,with her saying that she knows she is good, I'd guess that she probably has delusions of adequacy. Her teacher may have said she was doing well and she took this to mean that she is ace-it happens a lot. She's also probably has had her mates and parents blow smoke up her arse for a long time,leading her to believe that she is brilliant. I wouldn't have given any advise without any prompting either,but maybe it will cause her to take a step back and look at her playing.However,she's probably more likely to jump to the conclusion that you are an idiot......until it happens again,which with that attitude,it will.

First,learn the notes on the fingerboard-to me this is essential,no matter if you are in standard tuning or some crazy dropped tuning.Then I'd suggest learning a C major scale in various positions. I say C major because it has no sharps of flats. When you are really comfortable with this,move on to G major (one sharp) and do the same. Move around the circle of fifths so you are adding one extra sharp or flat each time.

Yeah,you're right-that what happens when I use my phone. G mixolydian does indeed work over C major. The relevant G chord would be a G7, not major 7

Playing in drop tuning shouldn't make it harder to improvise unless you are working purely by patterns. If you know the notes a on the 'board and their relationship(not by a fingering pattern),then you should still be able to play the same stuff if you want. A Cmajor scale always has the same notes in it regardless of the tuning. You may have to finger it differently,but the notes remain the same.

First of all,I think that using tab is one of the big problems because you can't see things like the key signature or how the notes relate to each other-you are only seeing a fret number. To know what scales or chords are being played,the first place to look is at the key signature. If you know this and also understand basic diatonic harmony you can know what is being used with out looking at individual notes. You can also look at it chordally-if you know your chord theory and arpeggios you can extend them into there relevant scales (eg G mixolydian works with a G major 7 chord) Also,remember that analysing and study should be done done in the practise room and not on the bandstand. When you get on stage you don't want to be thinking about all this-just play. But if you've studied it will come out naturally anyway.

I know I've said stuff against tab many times before,but the last post supports my argument. I'm pretty unfamiliar with the tune(heard it once),and from looking at that tab I still have absolutely no idea how it goes.

[quote name='Jigster' post='1135609' date='Feb 21 2011, 03:23 PM']Something that I've been giving a lot of thought to: general consensus being that Joe Public can't tell one bass apart from another (gross generalisation, but SOME truth per chance, and read often on here!!)[/quote] Only some truth? Remember, there are people who don't know the difference between bass and guitar,let alone a '70's Jazz and a new one. Let's be honest,purely by listening alone I don't know anyone (player or otherwise)who could identify what bass is being played,let alone how old it is-you can take an educated guess,but that's about it,but there are far too many variables to be certain.