Doddy

[quote name='Zombywoof' post='613245' date='Sep 30 2009, 08:31 PM']I know it's a long-shot but, can you think of any examples of songs with the above chord progressions as a useful sort of play-a-long-a-thing-thing?[/quote] There are hundreds of tunes with these changes-but a good start would be something like Billies Bounce or Now is the Time by Charlie Parker. I would start to practice Jazz by initially playing the arpeggios in Quarter notes over the changes. When you get comfortable with this,start adding notes from the relevant scale so that you will be able to move smoothly from one chord to the next. Then you will start to develop good walking lines. Learning to play melodies is essential,but as you will mostly be walking,it is more important to create a good walking bass line early on.

If the other bands don't have to use your amps,then they shouldn't have to use the drums. Tell the other bands to bring their own gear,and do the same with your drummer. If the other bands have got anything about them,they should bring their own gear with them anyway. Besides,it doesn't take long to change the gear over if you've got your wits about you. Your drummer is being fair enough not wanting the other band using his gear,but he should still take his kit to play your set-not expect another band to provide one. I would never let another band use my stuff-with very few exceptions. I've told guys to go home and fetch their own gear in the past.

If you do a gig,you should take your own gear-it's not rocket science! If there are other bands on the bill,then make sure that they also have their own gear.You shouldn't have to supply your gear for the other bands if you don't want to. Balls to this gear sharing lark. Your Guitarist didn't take an amp to a gig??? No Excuse.

[quote name='SteveK' post='612654' date='Sep 29 2009, 11:57 PM']This thread reads like "spot the deliberate mistake" Doddy, I'm sure you're in the process of correcting this as I type [/quote] Me and my crap typing......... Thanks...I meant VI not IV Now edited

If you like the BTB's try them out-that's really the only way to decide. I've got a BTB 6 string and its a really nice bass.

On a four string,I really don't see any advantage of a 35" scale-to be honest.

I like a 35" scale on a 5 string because I find that it tightens up the B string and gives more definition to the lower range.

I'm not aware of an English Music board. There is the Associated Board (ABRSM) but they don't do Bass Guitar exams. The syllabus for Rockshool and RGT are both different,so you would require different books. The Registry of Guitar Tutors (RGT) is mostly based on the Theoretical and Technical aspects. Rockschool does this but also incorporates play-along tracks. The syllabus for both boards are available on their websites.

I wouldn't want to follow Pete home-No gig is worth passing through Longton for. I would also love to gig with Ween.

mrcrow-you missed out the second note of the scale The major pentatonic is made up of the major scale degree's I,II,III,V,VI so in D you would have D,E,Fsharp,A,B EntropicLqd -your second example is the D minor pentatonic- I,bIII,IV,V,bVII or D,F,G,A,C. When you add the 6th fret like you say,you get the Blues scale. Your first example is basically the same,but you are not playing the 3rd which is the defining note in the tonality. Edited due to crap typing

The main Grade Boards are Trinity College(Guildhall) or Thames Valley University. The Rockschool exams are part of Trinity,while the RGT exams are with Thames Valley. Both are good,and count as UCAS points towards University. Different teachers prefer different boards-I've taught both-but both ultimately have the same outcome. Make sure you find a teacher who knows what they are talking about-otherwise it could do more harm than good.

I use mostly two fingers but sometimes I use 3 fingers or thumb and two fingers. The most effective way is to use the natural motion of the hand-which for me is ring,middle,index. The best way to coordinate is to just practice string crossing-try playing scales in different intervals like 3rd's or 6th's.

As you've got a couple of weeks before the gig you should have enough time to learn the set. Don't expect to rehearse- I've never done a rehearsal for a dep gig. I will occasionally use charts if it's at very short notice,but not if I've got a couple of weeks to learn the set. Most bands play similar songs,so there are usually only one or two that I don't know already. If you know the stock tunes it makes life so much easier. Find out how much is on the gig before you get there,that way there will be no surprises if it's not much.Don't be afraid to ask for more if you are expected to rehearse. Ask the MD what you should be wearing at least a few days before the gig. This gives you time to get your shirt washed. If it's a reading gig,take your own Stand and Light. Find out the address of the venue and plan your route-Sat Nav's don't always get you to the right place. Find out the arrival time and get there early. Give yourself plenty of time to get lost and allow for traffic hold up's.

On a wedding gig or similar it's usually contracted that we get free soft drinks and food-sometimes it's buffet or hog roast,other times full sit down meal. If it's a club or pub I would hope to get at least one drink out of them,but I won't demand it. Places like Chicago Rock's usually give you a few drinks tokens and 50% off food(sometimes free,but rarely). I think if you are there for a long period you should really be fed and watered. As long as bands don't start making demands most gigs will be happy to give you something. But...never expect anything,that way anything you do get will be a bonus.

I think Jeff Berlin's comments stem from the fact that Jaco was such a strong voice on fretless,that it is difficult to not sound like him,thus it spawned many imitators. Alain Caron mentions it too in this months BGM. Michael Manring admits that he spent years trying to sound like Jaco.

I think its great that you run a music school,but how come you don't have a dedicated bass teacher?

I've got Bartolini's in both my Tobias and my Roscoe and really like them. I find that they have a really smooth,clean,full sound-and sound great for recording.

The rumours are that 'Mr.X' is Dutch Bassist Joeri Hommerson. Andrew Levy and Randy Hope Taylor have been mentioned but those rumours have been denied. Whoever played on the album version of 'Space Cowboy' did a better job than Zender did on the single. IMO

I think that there are still players who are still pushing things in a new and cool direction. Gary Willis is doing some interesting stuff lately. Tim Lefebvre is doing some cool things. Matt Garrison's technique has opened up a lot of new things. Todd Johnson's pushing things with his whole way of chordal playing. It's inevitable that players will be influenced by what went before,but it's in what direction they want to take it. As far as fretless goes,I do think that the majority of players do sound like Jaco,with a few exceptions. Notably Pino,Alain Caron and Steve Bailey.

I'm pretty sure that it was a Sandberg Plasma

I've got a Fender Marcus Miller Bass signed by Marcus. I've also got a Bela Fleck and the Flecktones Transcription book signed by the band. What's cool about that is that the Band photo in the book is only of the trio,so Jeff Coffin (sax) drew a picture of himself.

I had a bunch of Planet Waves cables and they all broke. I've been using Spectraflex cables for a few years and have never had a problem. I've got a load of them but still use the same ones I bought originally. They are great cables.

It's not really a style thing. The problem with sliding into the line is that it can lose the impact of the first note,and it could annoy the drummer if you are doing it over his fills. Try to get out of the habit and only use it if you find it necessary,that way when you do slide into it it will sound better.

I'd totally advise going for lessons. If you didn't learn much before you were with the wrong teacher. Look for another one. Speed is best achieved by practising slowly and,most importantly,correctly. It is better to learn things slowly and correct than fast and wrong.Eventually your speed will begin to improve. Obviously I haven't seen your technique,thats where a good teacher will help.They will point out things that you won't notice that could greatly help you progress on a technical level.

I use the Ernie Ball and it's great. It's robust and has a good sweep. Along with my Korg DT-10,it's the only pedal I use on every gig. I used the Bespeco for a while but found it pretty nasty and with a very limited sweep. I also found that I seemed to loose some of the high end with it.