Doddy

[quote name='Bobo_Grimmer' timestamp='1331468595' post='1573158'] i've started looking a 2 octavet major scales as a starting point and i've found that on a 4 string it's very different from the 5. That's in standard tuning as i found, so far, that with a drop D tuning the scales are really quite hard to pull off. (the 4 i'm moving up the neck more and it's kind of a 3 note per string shape. where on the 5 string i only really need to move once for the 2 octaves, when in standard tuning) [/quote] How well do you know the fingerboard? I only ask because a two octave scale is no different on a four string than it is on a five string(or six string).I'm guessing that you are approaching the scales more as patterns rather than the actual notes,which for me is where the problem starts. If you know what notes are in what scales and where the notes are on the fingerboard you should be able to play them over the whole instrument on 1,2,3,4 or 5 strings. If you're playing in drop D a lot,the adjustment shouldn't be too difficult.

The problem with that technique is it that it isn't particularly efficient if you need to play anything particularly complex at speed as you have to shift positions a lot more. The Hollies have done some great songs,but they don't require great technique to play-which is perfectly fine...but if you want,or need,to play music that requires you to play faster or over a greater range of the fingerboard,you'll find it much more beneficial to use finger per fret.It also allows you to play more in position which is useful,especially if you are reading.

Yeah it was a really cool clinic...some great playing as expected. That Mike Lull T Bird was a bit nice too.

[quote name='Townes1992' timestamp='1331398706' post='1572414'] , but as of the last several months i've been going at it pretty hard everyday and sometimes the improvement feels limited. Evidently not enough practice i guess! [/quote] If you are not seeing any improvement,it's worth looking at what you are practising rather than how long. Even if you are only playing an hour a day regularly, you should be seeing an improvement in your playing. What do you practice? [quote name='flyfisher' timestamp='1331402157' post='1572485'] My biggest current frustration is a drummer who doesn't use the kick drum, so I have nothing to lock to and end up providing the basic tempo for the song, which means that if I want to play a little off the beat for emphasis or even stop for a few bars then the drummer just follows or gets lost! [/quote] You have nothing to lock into? Don't just rely on the bass drum,listen to other parts of the kit...the hi hat or ride cymbal is a good choice,as is the snare. I don't buy the whole 'lock with the bass drum' thing. Instead lock in with the whole kit.

[quote name='Townes1992' timestamp='1331390053' post='1572239'] Thanks for the advice thus far, yeah i think measuring yourself against people you know or artists you hear is a big problem of it, its difficult to escape i guess, what with some less considerate people judging styles and sounds and gear etc [/quote] I don't think that's a particularly bad thing. I often hear someone play something that I can't and want to be able to do it,so it gives me the inspiration to sit down and practice until,usually,I can. Done right,judging yourself against someone else can really help to improve your playing.

I don't get the feeling that I'm a terrible musician,but I do get the feeling that I'm not playing as well as I want to be. Maybe I've tried to play a line and scuffed it up,so I'll feel that I'll have to spend a bit of time on my technique...or I might try something and hit a duff note,so I know that in my next practice session I need to look at harmony. It usually depends on how much and what I've been playing.If I've had a couple of days without practice,for whatever reason, I generally won't be as happy with my playing as I am when I have been practising. I'm really hard on myself anyway and I always want to be playing better.That's why,despite being busy,I try to take a couple of lessons a year to get new ideas to practice and improve.

I've just found this thread and wanted to put in my 2 pence worth. I agree with Laimis about practising out of time.I've never practiced 'sight reading'. What I've always done,and taught others,is to play through a chart and when you come to a part that you struggle with,stop and break it down rather than just plough through it. For example,if you see a semi-quaver,quaver,semi-quaver pattern and you don't know how to play it there is no point in just glossing over it and carrying on,because the next time you see that rhythm,you'll invariably make the same mistake again.But,if you stop and take the time to work it out and count it,the next time that rhythm appears you will know how it goes and will be able to read it through. The only time you have to read in time is on the bandstand,the whole point of practice is so you can, (and will)make mistakes and correct them. The whole point of 'sight reading' is that you have practised enough that you begin to recognise patterns and the notes and you can play them instantly at sight. Allow yourself to make and correct mistakes in the practice room. I read well and have done a lot of reading gigs,and I have always used this method.

If everyone is doing their own thing over the final chord,it is often best for the bass to hold the root rather than joining in with the widdling-maybe adding the fifth and octave, or dropping to a lower octave (this can be very effective if you're playing a 5 string). If you must play runs at the end of a song,it depends on what the chord is,as to what you,theoretically,can play. There are lots of options,both scale and arpeggio based,but it's tough to say "play a Dorian mode" if you're playing over a major 7 chord. If you know about chord tones and scales you can play whatever fits....if you don't know them,maybe it's time to study.

Another Stokie. Hello.

I use the Johnny Shredfreak power supply and daisy chain pretty much all of my board from it. I've never had any problems with it.

Epifani...Epi-fah-nee,not epiphany. Not a pronunciation,but it always annoys me when I see/hear 'David Eden amps'. No! It's Eden. 'David' is the model of cabinet they make.

[quote name='oGREENYo' timestamp='1331191257' post='1568998'] What is the general opinion of the emma discumbobulator? I was looking at changing my micro qtron for one, but am having second thoughts now as no-one has mentioned it here. [/quote] The DiscumBOBulator is a brilliant pedal...way better than the micro Qtron (I've got both). I've got a few envelope filters and tried loads more,but the Emma is my favourite and gets the most use.

I'd assume it was in D major rather than G,starting on the IV chord-the chords are diatonic to D major,and as you say it resolves to D. A lot of people assume that the key of a song is the first chord,but it's not-more often it's actually the final chord,where it resolves. As far as the tune in question,I'd write it in D because it's easier to write(and read) the key signature rather than writing accidentals(in this case, C# on every A chord.)

It might be part of the problem if you find yourself actually holding the bass more than should be necessary. Like I said earlier,if you have any pics of you playing,it might be easier to say.

You'll start with an overdrive and/or distortion (I like the Pigtronix Polysaturator and the Emma Electronic ReezaFRATzitz),and before you know it you'll be looking at Envelope Filters,Octavers,Chorus,Delay, Flanger,etc

Any Weather Report album from 'Black Market' up to 'Weather Report' features Jaco heavily...'Heavy Weather' being the most highly regarded (rightfully so). One of my favourite tunes with Jaco is 'Mood Swings' by Mike Stern off the album 'Upside Downside'...it's awesome. '4AM' by Herbie Hancock from the album 'Mr Hands' is great too. Apart from his self titled debut album,check out his Big Band ....'The Birthday Concert' is a great album.

[quote name='BRANCINI' timestamp='1330886674' post='1564397'] Semi Pro is when you get paid, but dont earn enough to make a living. Pro is when you do, or at least, when its pretty well all the money that you have coming in. Whether its a living wage or not. [/quote] I'd say Professional is when it's your profession....if you have a day job I'd say you're semi pro (although I really don't like that term). Edit...As far as rehearsing/practicing-for me,I see practice as learning something new that you can't already do and rehearing as playing through familiar material (usually songs) either solo or with a band.

[quote name='edster' timestamp='1330880038' post='1564257'] This is how I've been taught. It's not easy at first and can seem daunting when like me you have no knowledge of theory, but stick with it and it will pay off. The metronome is your friend for this. [/quote] The thing with exercises like these,is that you don't need a metronome. You can count while tapping your foot not in strict tempo,but by varying the time so that you are comfortable with the count and breaking down the rhythms. When you start to recognise certain rhythms you can play them in time with a metronome,but initially it may be beneficial to not use one so you can get used to counting and playing-you'll still be in time,but it'll be flexible. For what it's worth,I pretty much never use a metronome...ever.

[quote name='TRBboy' timestamp='1330867208' post='1563962'] I guess that because he's not actually "earning" hos dole money, you could say that he's a pro. [/quote] I had a mate who was in this situation a few months ago....he wasn't a pro-he was unemployed. There's a big difference. [quote name='discreet' timestamp='1330868651' post='1564008'] Absolutely agree with this. Anyone familiar with the '10,000 Hours' rule? [url="http://en.wikipedia.org/wiki/Outliers_(book)"]http://en.wikipedia.org/wiki/Outliers_(book)[/url] [/quote] I always find this interesting because I believe that it's not just a case of 'how long',but 'what' you practice. If you play the same songs and licks every day for hours(like many people do),your progression will be a lot slower than someone who learns new material for an hour a day. [quote name='BRANCINI' timestamp='1330873498' post='1564139'] Just worked it out, roughly 38 years, average of say 5 hours a week = 9880. According to the 10k rule, only 24 weeks to go and I'll be good as McCartney was in 1962 !!!! [/quote] 5 hours a week is nothing....I know a lot of people where that wouldn't equal one days worth of practice. Also,McCartney was nothing special in '62......it wasn't until a few years later that he started doing interesting things on the bass.

[quote name='kerley' timestamp='1330782608' post='1562936'] The Shadows of Motown book is all notation though. [/quote] Exactly...Do you really think I'm going to recommend any tablature?

No matter how many times I try,I just can't get into Pink Floyd-I just find it really boring. The only album of theirs that I can tolerate is 'Wish You Were Here'.

There is a full transcription of the Marvin Gaye/Tammy Terrell version,and a partial transcription of The Supremes version in the book 'Standing in the Shadows of Motown'.

[quote name='SteveK' timestamp='1330691447' post='1561639'] IME clicks and the like seriously restrict your ability to actually play music. [/quote] It only restricts your ability if you let it. I've done quite a bit of work with a click,ranging from just the Drummer hearing it to the whole band having it and it never hindered anyone's ability to play music. The whole 'click restricts your feel' argument is just like the 'you can't groove while reading' debate.....bullshit usually banded about by players who can't do it. (I'm not saying you can't, ....more of an 'in general' statement)

A dominant 7 chord,like the C7 is a major triad with a flattened 7-in this case C,E,G,Bb (1,3,5,b7)

[quote name='Earbrass' timestamp='1330612911' post='1560372'] Lord Of Light (Hawkwind - Space Ritual) might be suitable. Good bass riff but pretty simple. [/quote] I'm sure that the majority of people that will turn up (which I'm guessing will be mostly teenagers)will instantly recognise it and be inspired. I always find that a lot of people are impressed by ".....Teen Spirit". A simple 12 bar blues pattern (1,3,5,3) always goes down well too. Other than that,if you know lots of tunes it is easy to find something that they like and could play.