ambient

[quote name='GonzoBass' timestamp='1382982903' post='2258791'] I could suggest that after you've learned the changes, go back and learn the head. Yes, it's in treble clef but fortunately neither of these songs are a very difficult read. People are often surprised to hear the bass playing the melody. Plus in an audition situation, it shows that you can read both clefs, actually took the time to absorb ALL the information on the page and learn the ENTIRE tune, not just fake/improv your way through the changes, leaving the rest up to "the other guy". You may not want to play the melody as written the whole way through for your solo, because you're suppose to be expressing your own ideas at the time but it's nice to quote significant phrases and it will give you melodic/harmonic ideas to build on. (Hint: Throw your own licks in where there are whole notes during the melody) I once read a quote from Ron Carter that said something like, "If someone walks into the club in the middle of your solo, they should still be able to identify what song you're playing." Just my 2 pesos... Some additional help here to get you started- [url="http://www.activebass.com/l23859--Autumn-Leaves"]http://www.activebas...--Autumn-Leaves[/url] [url="http://www.activebass.com/l18646--Blue-Bossa"]http://www.activebas...646--Blue-Bossa[/url] [/quote] I'd use the head/melody as the basis of the solo, then develop the theme.

That's the problem with buying stuff off eBay without seeing it in the flesh. You seem to have done ok though, and like you say, you knew from the price it wasn't genuine, but a lot of people think they're getting a bargain when they're actually being ripped off. The real Marcus Miller V is a USA built bass, and top quality, I've got one and even used I paid over 10 times what you've paid.

[quote name='ML94' timestamp='1380737543' post='2229841'] Would you guys say its cheating if I do use a 'blanket' scale but on chords such as the F7, D7 and Amin7b5 outline them so there some difference in the solo. For me, once I use the main key scale, I kind of get bored of that sound =/ [/quote] What someone does in a solo is very subjective, you may like it but the guy who played might not. Play something that you like, Jaco used to compose his solo's, so just take your time and come up with something that you think covers all aspects ie outlining the harmony but interesting at the same time. Don't get too complicated with it, remember it is an audition, I get really nervous in that kind of situation, so for me it'd be harmonically interesting but playable too.

Nooooooooo waaaaaaaaaay would I pay. At the very least I'd expect expenses, and then only if they were close friends.

Practice the bits you're having problems with using a metronome, start slowly making sure you're hitting the right notes, and get the timing right, then gradually increase the tempo. Use a metronome and listen carefully to how you're playing it. Like your choose of football team by the way .

I have a chart for this if you want it ? You may find it a good idea to learn a section at a time, and get that so you're able to play along with the track, then move to the next section. Learn the intro, then the verse etc.

Here's how to do it. [url="http://documentation.apple.com/en/logicpro/usermanual/index.html#chapter=9%26section=16%26tasks=true"]http://documentation.apple.com/en/logicpro/usermanual/index.html#chapter=9%26section=16%26tasks=true[/url]

Think you can get Rotosound for a bit over £10, and Status Hotwires are pretty good. Personally I think you get what you pay for, and cheap strings don't sometimes tend to last very long. It may be cheaper to spend another £5 for something that's gonna last a month or so more.

I used to get a similar thing on my old one. You can 'freeze' a track if you're kinda happy with it for the time. That converts it to audio, and saves a ton of CPU usage. You can always unfreeze it at a later date if you need to do something with it.

Love Eno, soundscapes are what I love to create, PM sent !

[quote name='Cosmo Valdemar' timestamp='1382382347' post='2251569'] Incredible, incredible concert. I was nearly in tears during Raven. And a remarkable sound too. I also bumped into Steve Hackett, dressed in what appeared to be a bearskin, and Tony Levin. Sadly I couldn't think of anything to say so I shuffled away embarrassed. [/quote] Wish I could've gone .

[quote name='mtroun' timestamp='1382372185' post='2251374'] Not talent.. applied knowledge! [/quote] I think it's both actually dude.

[quote name='Twigman' timestamp='1382365311' post='2251216'] We do a lot like that but rarely stick to roots.....our guitarist often 'tries' to communicate with theory...last night he was trying to work out which key a new middle8 is in...I said that it doesn't really have a key and he conceded defeat...so what key would a passage that went D,up to A, up to Bb,down to D#, upto A, down to C#, up to G, down to D through F and E be in???? whoops I've just given away our latest middle8.. [/quote] The last bit is kinda A mixolydian, except for the F natural, but if that was a single note in a guitar or bass line it would be a passing note to the E. D-A is 1-V Bb-Eb is I-IV, the Eb to the A mixolydian bit would sound nice and bluesy if it was in a guitar or bass line, flat 5 to A.

[quote name='Twigman' timestamp='1382365311' post='2251216'] We do a lot like that but rarely stick to roots.....our guitarist often 'tries' to communicate with theory...last night he was trying to work out which key a new middle8 is in...I said that it doesn't really have a key and he conceded defeat...so what key would a passage that went D,up to A, up to Bb,down to D#, upto A, down to C#, up to G, down to D through F and E be in???? whoops I've just given away our latest middle8.. [/quote] Music doesn't have to be in one key. Music can change key centres through a piece, jazz often does.

This is why I've put collection only on the 3 adverts where I've sold basses.

I think most couriers are the same if you read the small print, their enhanced insurance is a waste of money.

[quote name='Stan_da_man' timestamp='1382355254' post='2250980'] Who uses theory to create music? Music should be a spur of the moment, I just thought of a great idea in my head thing. Theory lacks soul and music really needs that to make it special. [/quote] Composers I guess dude. Look at an orchestral score, or SATB vocal score, the harmony is horizontal instead of vertical (they don't use chords as such) giving them a chord chart or trying to explain to them what notes you wanted them to sing or play if you yourself didn't know would be rather difficult, and very time consuming. As others have said, theory or harmony is there anyway whether you think you're using it or not, or even whether you want to or not. It exists in every piece of music, every song has a harmonic structure to it. Just 'cos the writer wasn't aware that he was using a perfect V-I cadence at the end of the song, it may just sound like amen to him, but it's a perfect cadence to someone else. No-one needs to know harmony. It all depends on how what you want from the music you play. I've been playing professionally for a number of years, and want to progress, I'm currently studying for a degree in music. I like arranging and composing and would like to go on after college and do a lot of that. If someone asked me now to do a string part for their song, strings are used a lot in music nowadays, I'd be able to, and if they could afford real strings I'd be able to to scores in sibelius for the musicians. You can't give a chord chart to a string section, it'd be too expensive. You couldn't do that without a knowledge of harmony.

They're all just tools at the end of the day. Being able to read standard notation. Being able to confidently play something appropriate when given a chord chart. Having the physical skill (technique) to play what is required. Having good listening skills to know by hearing what's going on harmonically. Having these doesn't make you a more creative player, but it does make you a more in demand and employable player. Here's a quote from Anthony Wellington's facebook page. He's a musician that I really admire, notice the word musician . It's a bit long, but says a lot. [i][color=#333333]Today, on my TalkBass 'ask a pro' page, a guy asked me if I thought that there were any players out there that were MORE superior than others. I assumed that he meant 'more elite than the elite,...or jazz players. He also asked if I knew any bass or drum 'savants'.[/color] [color=#333333]Here's my long ass response![/color] [color=#333333]"Actually, there are very few players that I hear that I feel are superior than most. Only 2 or 3 come to mind. [/color] [color=#333333]I've been a teacher for a very long time so I don't evaluate someone's playing on whether I like what they do or not. I base it on what I refer to as their 'toolbox'. [/color] [color=#333333]For me,...musicians are craftsmen! And when you think of what we do in those terms things become more clear. You not only hire a craftsman for the ideas that they have but also for having the 'tools' to bring those ideas to fruition.[/color] [color=#333333]Think of Da Vinci,...[/color] [color=#333333]He not only had to have the idea of the Mona Lisa but he also had to have the 'tools' to bring her to life. If he had the idea without the 'tools' we wouldn't have the Mona Lisa and if he had the 'tools' without the idea we wouldn't have the Mona Lisa.[/color] [color=#333333]For me,...[/color] [color=#333333]Victor Wooten has the biggest toolbox of any bass player I've ever heard or 'evaluated'! And I've checked MOST of them out. And Victor's has one of the BIGGEST imaginations out there too!. I'm not saying that he's my favorite bass player,...even though he is one of them. But I like my OWN playing more than I like his. But I like my own playing more than I like anyone's bass playing because I have yet to hear anyone play the bass in a way that expresses what I feel. NEVER! Only I can do that for me. [/color] [color=#333333]But Victor is not trapped by the instrument that he plays like a lot of musicians are. His ideas are bigger than the bass guitar.[/color] [color=#333333]Most of the bass players I've heard over my career are good at 1 thing. Some are good at a couple of things. But to me that's like a basketball player being good at 'driving to his right'. He can be better at that than anyone on the planet but once an opposing coach realizes that 'driving to his right' is his 'go to' move, he can be rendered 'non-effective'. The defenses can 'play him to his right'. He's exposed![/color] [color=#333333]I don't want to go into any more detail than that because it'll be obvious, in some cases, who I am talking about. But listening, knowledge, dexterity, 'rhythmically complexity' are huge parts of the equation. And I find that Jazz musicians in general lack in rhythmic complexity. And Jazz musicians have been horrible writers for the last 30 years. That's why current Jazz musician's compositions haven't been added to the 'Real Book'. For the most part when you hear a Jazz band you're hearing a 'cover band' playing songs written before 1970. If you don't believe me,...just think of who YOU think is the current preeminent Jazz musician of our day and name 5 of their songs. Is it Wynton? Name 5 Wynton Marsalis Songs![/color] [color=#333333]I know of a couple of bass players and drummers who I consider savants,...but I won't name them because they may not like that label. I believe that there is a very thin line between 'genius' and 'savant'."[/color][/i]