Doddy

[quote name='silddx' post='1244200' date='May 25 2011, 01:18 PM']Err, it seems utterly pointless to me. Would someone kindly explain what I'm missing here please.[/quote] Its basically just showing the various permutations of any 4 note pattern. In the same way that you might practice an arpeggio starting on the 3rd or 5th or whatever.

[quote name='JellyKnees' post='1243241' date='May 24 2011, 06:38 PM']Yes, that is certainly a fact, however as to whether certain chord progressions or particular combinations of notes sound good together is merely conjecture. As was mentioned earlier in this thread, look at the harmonic combinations using in eastern music, which sound unfamiliar and 'unmusical'(whatever that means) to the average western ear.[/quote] Which is why a few posts back I said that when you writing your own music you can do whatever you want.

[quote name='LawrenceH' post='1243207' date='May 24 2011, 06:05 PM']But I think you've confused 'music theory' with 'memory'! You don't need any formal background to remember what works and what doesn't.[/quote] No I haven't confused theory with memory,and no you don't need formal training,I never said you did.In fact the vast majority of stuff that I learned was by playing something on a gig then wanting to know either why it worked(or didn't) so that I could do it again (or not). [quote name='LawrenceH' post='1243207' date='May 24 2011, 06:05 PM']Your comment about 'letting it hinder you' seems a bit strange. I don't see why you're so insistent that people don't and shouldn't conceptualise something in different ways, when education research and neuroscience have shown patently that that's not the case.[/quote] You mentioned that it may hinder some people to learn theory and I said only if you let it. Why is that strange? If someone is used to using their ear and then learns theory they don't shut off their ears,they will use their new found information to enhance what they were already doing. Learning theory alone won't hinder you,in the same way that someone who knows a lot of theory won't become hindered by learning ear training. [quote name='LawrenceH' post='1243210' date='May 24 2011, 06:08 PM']Fact: a 'fact' is not a 'theory'. They are two completely different things. I think this is why you're misunderstanding the issue (sorry if that sounds condescending!)[/quote] Once again I'm not misunderstanding anything. My point is that a lot of people refer to theory as 'rules',when it really isn't. The theory behind the music is pretty static with regards to what notes make up what chords and scales or whatever,if you change a note,you get something else. You can break the 'rules' as much as you want,but you can't break the fact that a C chord is made up of the notes C,E,G.

[quote name='JellyKnees' post='1243161' date='May 24 2011, 05:10 PM']The way I look at it is, music theory is a set of rules that someone devised because they thought it should work/sound that way. Like all rules, they can be useful but can also be inappropriate in some circumstances. Trust your ears - if its sounds good to you, go with it.[/quote] I think the use of the word 'rules' causes a lot of problems. Theory isn't about rules...it's about facts. A major chord is made up of scale tones 1,3,5. You can't change or break that,in the same way that 1+1=2. When it comes to writing your own music you can do what you want but the fact is that the theory behind chords and harmony and all that stuff is still the same. As a sideman who may get hired to read,decipher chord charts,or just busk the more knowledge you have about things like chord construction and the like,the better.

[quote name='fatboyslimfast' post='1243035' date='May 24 2011, 03:21 PM']:ThumbsUp Bilbo That works for me. I put that I can read tab and wish I could read more. I am attempting to read more music, but at the same time as learning where the notes are on the fretboard. Should I be pausing one and concentrating on the other, or is doing both the best way?[/quote] Do them both together so you learn to associate the stave with the fingerboard.

[quote name='LawrenceH' post='1243009' date='May 24 2011, 02:55 PM']So why is there always this debate? Because some people equate formal music theory with ear training. Incorrectly, I'd say. Ear training is completely essential for understanding what you play and being able to compose/improvise in any style. Theory can help with ear training, a lot, but its definitely not absolutely necessary - there are plenty of 'non-musicians' who enjoy music, after all, and what's more can easily spot a particular genre and spot when something goes wrong/out of step with that genre. If any level of formal music theory was necessary for aural understanding then that wouldn't be possible. I'd go so far as to say that even when using musical theory to learn we're still led by the ears - music theory allows us to put convenient labels on what our ears [i]already know[/i] sounds right or wrong. Whether that's useful to you is probably down to how well you respond to different types of learning. Probably most people will find it useful, but there are a few who it'll definitely hinder more than it'll help.[/quote] I think the thing is,as a listener you don't need to know anything other than if you like it,but as a musician I think that there are basics that you should know. Sure you could play a major 3rd over a minor,wince and correct it,or you could take away the guess work and play the right note straight away.Of course you still use your ears,but having the knowledge makes things easier. The only way that it will ever 'hinder more than it will help' is if you let it hinder you.

You've got to love Abe Laboriel.

What I'd do is go.. Polytune>Overdrive>Sansamp, and not bother with the Noise Suppressor You're only using a short pedal chain,so there shouldn't be that much noise to suppress-to me you're running through an extra pedal that you don't really need to.

I have a pickup cover on both of my 4 string Jazzes,and really like them.

I use a DOD Ice Box.....it's nothing special,but it sounds cool.

I love Fenders because they work,and to me,they feel comfortable and are easy to play and they sound good. That's why I've got 3 Jazz basses,2 Precisions and a Bullet. Plus,if they get dinged it's no big deal. I find it amusing that the OP is getting at Fenders,yet uses a Behringer Ultrabass head

I haven't voted purely because I tend to look at the pedals or miscellaneous sales sections more than the basses,and I've not sold or traded anything.

I've got logic studio which is great,but I don't use it that often.GarageBand is cool too. My most used program though,is Sibelius 5.

[quote name='dc2009' post='1242739' date='May 24 2011, 11:22 AM']So I was thinking last night: for those of you that sight read a score, when you read, how do you convert that into bass playing? What I mean to say is, do you read a note on the score and think, that's an A and then go for the most convenient A position on your fretboard, or do you read a note and think, that corresponds to a certain position of my fingers on the neck/fretboard (i.e. you read a note which happens to be a D and your hand instinctively is at 5th fret on the A string, without actually considering that the note is a D)?[/quote] When I'm reading,I'm not thinking A,B,C# or whatever.If I see a D (middle line) written,I know I can play it in 3 different positions (on a 4 string) depending on which is easiest at the time.I'm not thinking 'that's a D,so I can play that here'-I'm just seeing the note and playing it. That's why you really have to know the fingerboard aswell.

[quote name='silddx' post='1242347' date='May 23 2011, 10:04 PM']Try a minor 2nd against the tonic, then try shifting either note an octave, that should serve to illustrate the very basic principle.[/quote] It's also makes a fairly common flat 9 chord

[quote name='BigRedX' post='1241471' date='May 23 2011, 12:36 PM']Actually no. Firstly it's entirely subjective. Secondly it will depend on whole load of other factors including how long the B the lasts in relation to the C7 chord and how many octaves the B is from the C and Bb in the chord, what the timbres of the instruments playing the C, Bb and B notes are. Theory will only get you so far. Your ears have to do the rest.[/quote] If we are talking about chord tones-which I am-it is a 'wrong' note. I'm not talking about using it as a chromatic passing tone. In that case,the timbre and octave don't matter-it would be a 'wrong' note,and that is not subjective. My point is that playing 'the groove' and in time alone won't do you any good if you don't know what notes work. What's 'Djent'?

[quote name='Pete Academy' post='1241164' date='May 23 2011, 08:28 AM']Reading and theory knowledge are undoubtedly useful skills, but I still maintain being able to play in time and being able to groove are more important.[/quote] But,if you play a B over a C7 chord,it doesn't matter how in time you are-it'll sound bad.

[quote name='thepurpleblob' post='1240889' date='May 22 2011, 09:47 PM']Being able to read just mean that you know what somebody intended for that piece of music. There's no law that says you have to play it like that.[/quote] You do if it's a unison passage.

[quote name='MacDaddy' post='1240469' date='May 22 2011, 04:31 PM']Yep it's happened to me. The first thing is to make sure the strap length is comfortable. Then you just get on with it [/quote] The strap length,for me,makes a bigger difference than playing a random bass.

I use 5 strings most of the time,but I just want to make a couple of points on your opening post. First of all,it may be beneficial but going to a 5 string,alone,won't improve your playing. Also,if you do go the 5 string route,be careful. You say there is a lot of room musically with you being in essentially a 3 piece-it's in these situations where I am more likely to use a 4 or pretty much never use the low B. In trio situations,the temptation is to play things on the lower string to 'add weight', or whatever...but often when players do that you end up with a huge sonic gap of a couple of octaves,where You have the bass down low,the guitar up high,and not much going on in the middle-it ends up sounding emptier.

Doubt it will make much of difference. The best way of improving your dexterity on the bass us by playing bass.

[quote name='silddx' post='1238799' date='May 20 2011, 10:43 PM'] Now, I hope this geezer knows what he's taking about or I may look like a right twat [/quote] Isn't that basically what I said back on the first page?

Honestly,I don't think it would make much difference.It may take a minute to get used to the feel of a different instrument,but after that I don't see a problem.

I'd always recommend a proper upright to start on than an electric upright. The ease of playing on a lot of electric uprights can lead you into a false sense of security as the upright is a lot more 'physical' -especially when you move up into thumb position.