Doddy

Initially,it's worth looking at the chords and really getting comfortable with them. I'd start off by learning the changes using just chord tones-it may sound a little disjointed at first,but that's not a problem. When you get comfortable try adding scale notes that will bridge the chords together and make the line flow more. You could look at it from a key centre if you wanted(especially when soloing),but I think it's best to have a solid grounding in the changes.

[quote name='andydye' timestamp='1317036996' post='1385678'] Dorian - b3 b7 (Doddy - a scale wouldn't have natural 6 and #6 while missing out 7 would it?)[/quote] In this context all the modal scales will have the degrees 1 to 7,so none of the scales would have a 6 while missing out the 7. Also in this context,the 6th will either be natural or flattened and not sharpened.

[quote name='FuNkShUi' timestamp='1317033957' post='1385606'] Andy, i dont know how to work this in the "proper way", but the Dorian is a Minor with a flattened 2nd. [/quote] No it isn't...Dorian is a minor scale with a raised 6th. The scale degrees would be 1,2,b3,4,5,6,b7. Phrygian is a minor scale with a flattened 2nd- 1,b2,b3,4,5,b6,b7

Fender bought Sunn in 1985,which was after CBS had sold Fender.

[quote name='Alun' timestamp='1316869559' post='1383859'] PS another good example of quintuplets is in the main riff to Mike Keneally's Uglytown (the first two beats of the second bar in the intro are quintuplets) [/quote] Keneally does a lot of that kind of stuff. The track 'Egg Zooming' from 'Sluggo!' is a really crazy example,but there is some really out there stuff on all of his albums.

[quote name='Thurbs' timestamp='1316890059' post='1384183'] As an aside, some songs we were going up 5 or 6. I can transpose on the fly when it is a few, but 5 or 6 is a bit different and I couldn't do it in real time on a fast swing number. As to the comments regarding moving fret positions, I don't learn songs with fret positions and shapes, instead use chords and notes improvising over them. Just shifting up or down the fret board wouldn't work and is even less likely to work on a DB given the much harder intonation the further you get towards 11th position and beyond. I haven't mastered thumb position yet! The joys of Jazzzzzzzzzzzzzzz! [/quote] That's why you should ideally practise playing standards (as we're talking about jazz) in all keys. I remember reading about a clinic with John Clayton a few years ago where he asked someone to call out a key for him to play in...someone did,and Clayton then went on to play 'Body and Soul' in a that key,which was apparently nowhere near the 'standard' key for that tune. It's really handy to be able to look at tunes as being I-iv-ii-V,or whatever-it makes transposing on the fly so much easier.

I think if I had a band like yours Pete,I'd have to have a full pad so that if there was a problem like that it could be depped pretty easily.Otherwise you need a pool of players who would ideally know the set,just in case-especially as you are not playing 'standards' in a pub.

[quote name='Len_derby' timestamp='1316870614' post='1383887'] Yes, I know. Like yourself I like a guitarist who isn't fazed. As a slight aside, I have no prejudice against the use of a capo (I do a bit of guitar myself). I think a capo, especially if it's past the third fret, alters the timbre of the instrument such that it can add a lot of extra interest to a song sonically. Particularly if there's another guitar played open-necked in the same band. [/quote] I don't mind a capo so much if it's used like that.What I don't like is when someone puts a capo on the first fret(for example) because they can't play (or be bothered to learn?) in F

[quote name='dlloyd' timestamp='1316869371' post='1383856'] If you ask me to play in concert E major on a Bb clarinet, I'm playing in F# major or Gb major. 6 sharps or 6 flats. Assuming I'm okay with that, it's never going to sound as good as it would do if I was playing in C due to the physical limitations of the instrument and the way the tuning is optimised to the home keys (it's not tuned to equal temperament. [/quote] I understand that..I'm talking more about being comfortable playing in other keys on the bass or guitar-without retuning or using a capo (or pressing the transpose button on a keyboard). It's not hard to play in F or Eb or whatever,but a lot of guitar and bass players will want to transpose these tunes to E. Why? Laziness?

Are Bb players lazy? Are many guitar and bass players lazy for often playing in E and A(usually minor),or whatever they tune their open strings too? It's no big deal to play in different keys-especially as a bass/guitar player.Sometimes the horns have to play in uncomfortable keys and sometime the guys in concert have to,it's just the way it is. If it is a big deal,it means you need to spend some time learning new keys.

Marcus proving once again that he is 'the man'. Awesome. I love Marcus' fretless playing..he's one of the few players who has a unique voice on both fretted and fretless bass.

My first proper amp was a Commando. It was a 15",although I think they made a 12" too,and they were 100 watts.

Has anyone noticed that he has a profile on the Bass Day UK page? I've never really bothered with him as a player but he seems like an entertaining chap.

On the a lot of covers gigs I can comfortably get away with using no effects at all,whereas on others I'm asked to use them...even then it's normally only a bit of overdrive,a bit of envelope filter and some OC2 (and very occasionally a little chorus).I've cut down on my use of effects in these bands since I've started taking my synth out more.

Difficult to say....I don't know how you play now? What's advanced to me may be dead basic for you,or vice versa.

[quote name='GreeneKing' timestamp='1316714959' post='1381917']He played with Weather Report, on percussion! He can play great guitar and has the voice of an angel. I too was almost in tears at Manchester a couple of years ago and we weren't the only ones. Peter[/quote] He didn't play with Weather Report on any instrument. He did play bass with Joe Zawinul though. He was really good at Bass Day the other year.

[quote name='bassman7755' timestamp='1316690509' post='1381430'] Whats the proper term for this - I've always (possibly incorrectly) called it a "polyrhythm" ?.[/quote] It's not really a polyrhythm. A polyrhythm would be something like 5 notes in the space of 4 or whatever, what this is is just odd note groupings of straight semiquavers where you are just shifting the accent.

I use whichever I feel like using at the time although I do tend to favour one of my Fenders,as they are always out on a stand. The more expensive instruments tend to live in cases. Gig wise,I always take my main Jazz Bass with me as well as another bass,which lately is usually one of my five strings.

[quote name='bassman7755' timestamp='1316605656' post='1380225'] I find that particularly with CoF "dry" exercises on bass that I tend to get seduced by the fact that it lends itself so well to simple pattern shifting by virtue of the 4ths tuning - your not really learning anything by playing a scale/arpeggio and then shifting it down a string (or up a string a 2 frets). doddy will by along to slap my wrists any minuite now .[/quote] No wrist slapping here....it is almost too easy to play a generic pattern and shift it up and down the instrument because of the symmetry of the bass...and you won't learn much from this. You can,however,get a lot out of it if you apply it differently-write out the scale either with the key signature,or with accidentals if you prefer,and then play it all over your bass.Rather than get stuck in a pattern try playing them over 1,2,3 and 4 strings (more if you have them) and over as many octaves as you can and even inverting them (especially the arpeggios),you'll soon find you get out of blindly playing fingerings and you'll gain a lot of information.

[quote name='mcnach' timestamp='1316595994' post='1380022'] I was put off the Ultra Jazz a bit after finding many comments stating the sound with both pickups on is very mid-scooped, more than with other pickups. That's not something I want. I mean, a Jazz with both pickups on will be quite mid-scooped, so I don't want to go for something that will enhance that even more. It would sound nice alone, but might get lost easily in a band context... What do you think about that? Is that "enhanced mid-scoop" an exaggeration? The Model J didn't attract that kind of comments. Looks-wise, I prefer the Ultra Jazz with its traditional looking pole-pieces... but that's just a minor point. [/quote] I don't find them to be really any more mid scooped than any other Jazz,although in fairness I usually use the bridge pickup soloed or with a hint of front. I fitted a series/parallel switch too,and when in series they sound really fat and warm. Either way,I've never had a problem with it getting lost in a band context.

[quote name='lobematt' timestamp='1316604324' post='1380189']Don't suppose you've got any examples of this sort of stuff?[/quote] The first one I can think of,off the top of my head,is in his solo on 'Continuum' Edited for lame spelling

[quote name='lobematt' timestamp='1316602562' post='1380148']I was doing some reading about Jaco that said it quintuplet runs were one of his little trademarks, I could never really get my head around them though! Wouldn't mind being pointed in the right direction too [/quote] What Jaco did a lot was play semi quavers in a five note grouping rather than play actual quintuplets......so rather than play quintuplets which would be 1(2345),2(2345),3(2345),4(2345),he'd play a five note grouping like 1e+a2, e+a3e, +a4e+,a1e+a etc.

[quote name='Chris2112' timestamp='1316563115' post='1379860'] Take the J. In fact, take any Fender unless it's a high end job. If there is big money and a producer who is quite particular about the sound he gets, take a Smith, a Fodera and Alembic and tell him to take his pick! [/quote] Even then they'd probably pick the Fender

[quote name='witterth' timestamp='1316552390' post='1379703'] It was supposed to be a Jaco "homage" peice though D. I take your point, but I think that "too much like Jaco in both his tone and phrasing". is what Dicke was aiming for, surely. (well on this tune anyway) [/quote] Yeah,I get that because Jaco played on the the album 'Bright Size Life'(which is a great album),but I still think that in general,Bona sometimes plays too much like Jaco. It's a shame because he's a great player and he's got his own brilliant thing going on,but when he straps on the fretless I think he tends to lose a lot of his uniqueness.

It's got a kind of tribal tom thing going on,so it's probably that more than anything harmonically.