Doddy

[quote name='jbn4001' post='1237503' date='May 19 2011, 10:18 PM']I can get one in a Ford Ka with the seats down. Neck sits between driver and passenger seats mind, but it works fine for me.[/quote] This. Easy.

[quote name='pete.young' post='1237557' date='May 19 2011, 10:54 PM']Back Door. Ron Aspery, Tony Hicks, and the living legend that is Colin Hodgkinson. Doddy, tell me that the bass isn't a chordal instrument, in the right hands.[/quote] It totally is and I do a lot of chordal playing myself,but in the majority of sax/bass/drums trios it isn't used in this way,particularly on upright. It certainly works if the bass is doing a hybrid chord/walking thing, like Todd Johnson or someone does,but generally I would rather hear a piano comping while the bass walks. Of course,you could always get rid of the bass player and have a great organist who can comp the chords whilst playing left hand bass.

[quote name='silddx' post='1237469' date='May 19 2011, 09:52 PM']In the kitchen? [/quote] Is that where you keep your Phrygian?

[quote name='waynepunkdude' post='1235378' date='May 18 2011, 10:56 AM'] SUMMER[/quote] One of my favourite bands......ever!! I'm listening to the Spin Doctors after seeing them perform the whole 'Pocketful of Kryptonite' album on Tuesday.

Are we still talking about dorian modes??

[quote name='witterth' post='1237329' date='May 19 2011, 07:52 PM']What makes you think my (informed opinion) means I havent "got my sh*t together?" Daddio? dig? Sheeeeyit man! [/quote] I didn't say you hadn't. I made a general comment. There are a lot of 'pub bands' that do the odd wedding gig and,frankly,are not right for it. They treat it the same as a pub gig, and it's not-it's a completely different situation. The other stuff I mentioned weren't really cons,except the waiting around for hours after you play.

[quote name='silddx' post='1237338' date='May 19 2011, 07:58 PM'] Well, it's music innit. The stuff Doddy and Bilbo are telling you is the label, the music's inside the bottle. Use the label to tell you what's in the bottle. Then close your eyes and taste the music.[/quote] Like it. Being able to make sense of the label means you won't blindly taste it and be shocked that you picked up the wrong bottle.

[quote name='slobluesine' post='1237238' date='May 19 2011, 06:41 PM']nope! this is what i'm asking, i'm used to std major/minor scales and i want to know more [/quote] Ok,so there are a couple of ways of looking at the Dorian mode. First of all you can look at it as a scale starting on the second degree of a major scale. If we take C major as an example,the notes in the C major scale are C,D,E,F,G,A,B,C. Now if we play that same scale starting on the second note we get D Dorian- D,E,F,G,A,B,C,D. The other way of looking at it is,again using the same notes (D,E,F,G,A,B,C,D) we can see that it is essentially a D minor scale with a raised sixth note-a D minor scale would be ,D,E,F,G,A,Bb,C,D. So you could look at the Dorian mode as being a minor scale with a raised 6th. (I,II,bIII,IV,V,VI,bVII)

The postman bought me 3 new albums yesterday,all loosely under the jazz banner. Bela Fleck and the Flecktones 'Rocket Science'. Typical Flecktones,so in my opinion-great. Gerald Veasley 'Velvet'. It's very 'smooth jazz' in places. It's good,but not his best. Marcus Miller 'Tutu Revisited'. A 2 CD/DVD live package of Marcus and his band doing all the tunes from Miles' 'Tutu',plus a few more. Features Christian Scott on Trumpet. Excellent.

I've never really been a massive fan of the sax/bass/drums trio. I'd much rather have some form of chordal instrument there.

[quote name='witterth' post='1237096' date='May 19 2011, 04:54 PM']Pro: good money con: not much fun involved play the same set in a pub and hey presto fun again. weird world isnt it?[/quote] I have much more fun playing at a function than playing in a pub-Having said that I've only done 3 or 4 pub gigs in the last two and a half years. The thing with function work is you need to have your sh*t together. I'm not talking about playing,although that is important-I'm talking about all the other stuff like arriving long before you play and leaving well after you finish, dealing with people,attitude,image...all that kind of stuff.

I've got to ask......Do you understand what the Dorian mode is and how it's constructed? In case you don't it's basically a minor scale with a raised sixth. A bassline like 'So What' is really going to be highlighting the Dorian mode with its use of the minor third and flat seventh.

I never use hardcases. I'd much rather use a really good gig bag like iGig ( or mono),than a hard case. Hard cases are a pain in the arse.I've had my bass in the back of vans and trailers with other gear,on planes-once in the hold,as well as in and out of my car all the time,and I've never had one problem. Plus,you can carry it on your shoulder.

There is a lot of talk about playing to people who wouldn't normally see you. On the few of these competitions that I've done (as a hired sideman-there's no way I'm paying),I've noticed that often the fans of the first band leave straight after,and the fans of the last band turn up late in the night. It's been rare that people have watched all the bands-they only go to see their friends and family.

The best players I know that studied at Uni went to either Leeds or Salford. I know they aren't on your list,but I thought it was worth saying.

It's on these kind of gigs where I find 3 things to be really important. Firstly,knowing[i] a lot[/i] of tunes,and secondly/thirdly-having a good ear and having a solid grounding in theory. Sure,you can get by with your ear alone but if you can preemp the changes and understand various common progressions(I'm not just talking about just root notes,I mean the full chords or at the least major/minor) then it will be much easier than watching the guitarists hand or that split second in the first verse where you are listening for the chord before you play it.

Go for it,it won't hurt anything. In fact,you may find a sound that you like. Out of all the pedals I've got-which is a lot-I only have 3 or 4 that are bass specific.

[quote name='Robert Manning' post='1234033' date='May 17 2011, 10:22 AM']What inspired to make this post: i was practising a solo for my grade 8 piece. i was thinking of the players like ganek,wooten, etc. and there modern crafted basses. do the advances in technology alow you to play for longer with ease, i ask myself.[/quote] But then,Janek uses a Precision for a lot of gigs. Having a fancy modern bass won't make you a better player-it may inspire you but it won't,by itself,improve your playing. Look at someone like Jeff Berlin.OK,some people don't like his music but you can't argue about his technical facility on the instrument. He uses a pretty basic and relatively inexpensive Dean bass with passive electronics-he wouldn't be any better,technically,on a Fodera.

[quote name='dan670844' post='1234040' date='May 17 2011, 10:29 AM']Find the tab whatever for the songs at first then try to work it by ear and just play along,[/quote] Don't find the tab. The OP says she want to learn 'properly',in which case if you are going to learn songs,listen to them and get your ear together. If you are going to read,ignore the tablature and learn to read music instead,while you are still in the early stages of learning.

[quote name='fatboyslimfast' post='1234018' date='May 17 2011, 10:09 AM']Just wondering though, has anyone tried the Radians self-mould earplugs? They seem to go for around £10-£15 and whilst they don't have filters (so probably block every frequency a similar amount) look a bit more comfy than the foam cylinders and the like.[/quote] For £10-15 you may as well just get the ER-20s. Like nearly everyone else,I've has a pair of these for a few years and they are great. In fact,a friend of mine has a pair of custom moulded plugs to use both at work and at gigs,and he recently bought a pair of ER-20s for gigs because he preferred the sound.

[quote name='wal4string' post='1233833' date='May 17 2011, 12:02 AM']I could not disagree more. A finger per fret on the first 4 frets when learnt gives you great strength and dexterity, all too often students of mine have suprised themselves after just a few lessons how they are able to play a finger a fret which makes playing in the higher register so much easier. The 1,2,4 method is a throwback from double bass. But we are talking bass guitar here, and not double bass. Plus regards a metronome, they can be slowed down you know? and the bass is part of the rhythm section so an arpeggio played out of time is never good.[/quote] As regards the fretting hand-while playing finger per fret does give dexterity,it is not a comfortable position for a lot of players. I'm fully aware that the 1,2,4 fingering is a double bass thing,as I play it myself,however it is still a perfectly viable technique in the lower positions on the electric bass and is used by a lot of people.Like I said earlier,you should move to finger per fret higher up the 'board,but there is no point straining your hand in the lower positions,especially if it causes discomfort. As far as the metronomes are concerned,I believe it is better to play and understand whatever material you are studying without using a metronome. You say that 'playing an arpeggio out of time is never good',no it's not-in a gig situation.The same way that playing the notes wrong but in time is never good. In the practise room it doesn't matter if you are in time or not,at least initially-what is important is playing the notes correctly and understanding them. Again,like I said earlier,if you want to use a metronome later on,you can,but initially I wouldn't. Edit.....I'm not being purposely argumentative here,just saying how I have always approached things both personally and with my students.

[quote name='JayPH' post='1233822' date='May 16 2011, 11:36 PM']Through no fault of anyones a real shift in the way people learn has happened. This is entirely down to the Internet. Information is instant. When I was learning bass and guitar many moons ago there weren't a lot of resources available if you had no money. You basically just learned by listening to records and from your mates. Now, of course there are a vast array of Websites and youTube videos and the like showing you how to do stuff. Information is more accessible and instant. Young people are used to having information dealt to them in small fast chunks and like to see quick results.[/quote] That's a good point,but the thing with learning via the internet is that beginners generally don't know the difference between the good and bad information. For every good website like StudyBass,there is an Expert Village.For every good Youtube lesson,there are a hundred really bad ones. Internet lessons may be easily accessible,but when used alone it can promote the wrong message. Why train your ear when you can just copy a guy on Youtube? Why learn to read when there are thousands of free tabs? Why learn scales when you can just copy this fingering pattern? Don't get me wrong,I think the internet is a majorly important resource and there is a wealth of great material to study,but I also think that there is a lot of bad stuff out there that could potentially cause more harm than good to a developing player.

Yep-I got a call on Wednesday and did the gig on Friday. No set list,no charts,no talk through, nothing-it was a total busk.The night ended up being a mix of jazz standards and pop tunes that I vaguely knew but never played. It turned out to be a really good night.

[quote name='silddx' post='1233390' date='May 16 2011, 06:32 PM']Everyone is different, because it's art hopefully, and good art is (or probably should be) independent of its source. Teachers should ideally recognise and teach to the student's needs, and not a curriculum. I realise it can't work like that because teachers need to make money and have success measured by how the student performs in a range of tests. But you can't test art. The problem is exacerbated by people who only really appreciate technique and have never learned to hear and therefore often buy into the 'art' of technical prowess. Sorry, a bit OT.[/quote] No,you can't test art,but you can test on musical information. It's the separation between the academic side of music and the 'artistic' side. You don't need lessons or anything to produce art-that's a personal thing. But,if you go for lessons or to a college or whatever and you are not taught things like chords or reading and other musical absolutes,then you are being done a disservice.

[quote name='solo4652' post='1233142' date='May 16 2011, 03:18 PM']I'm new to transcribing originals, and I'm wondering if I'm missing something. Is there an easy, foolproof way of coming up with a chord structure?[/quote] Transcribing originals is the same as transcribing any other tune. You say you don't read-might this be an insentive to learn? That way you could jot down the charts for everyone and then you won't have the problem of 3 people with 3 different ideas. Likewise,how is your knowledge of chord theory(and the guitarists,for that matter)? You can still get basic charts written out for everyone if you understand how chords work. It sounds like no one can agree on what is happening,so one of you should take charge and write the charts for everyone..It will make things so much easier.