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Total Watts

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About TKenrick

  • Birthday 28/07/1986

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    Egham, Surrey

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  1. It's hard to separate players who are not to my taste from those who hold a higher standing than their playing deserves, but... The only ones who spring to mind are Steve Bailey and Cody Wright. Not sure how the former got to be chair of the bass dept at Berklee, while the latter seems to be the poor man's Bobby Vega.
  2. I read this a couple of times and might be misinterpreting it, but... Since D dorian, C ionian and G mixolydian are all the same scale, how is this playing different modes over Dm7? Agreed, thinking about playing C major over Dm7 will probably result in targeting different notes compared to thinking about D dorian, but you'd still be choosing from the same 'pool' of pitches regardless of which of those perspectives you choose, so the resulting sound is still D dorian in every case.
  3. New transcription, this time featuring Dee Murray doing a superb job with Elton: Elton John - 'Rocket Man' bass transcription PDF
  4. Thanks @philparker, very happy to hear that you're finding this stuff useful 😀
  5. For me it's always alternate picking whenever I'm playing a line that ascends across adjacent strings and raking whenever I descend. I know this wasn't part of your question, but the phrase 'speed-building exercises' always worries me. If there's a piece of music that you can't get up to speed then just practise the music, don't waste time practising exercises that divorce technique from musical content or focus on mindless technique for technique's sake.
  6. Such a great bassline, and an absolute guilty pleasure of a song. Thank you!
  7. It seems I've been slacking off on the chart front... NoTreble were kind enough to feature an updated version of my chart for ABBA - Dancing Queen (this is by far the most popular chart on the website and is now much more accurate than the first one I wrote for a gig a decade ago!). Cliff Williams' parts are always a masterclass in simplicity, and AC/DC- You Shook Me All Night Long is no exception; the first inversion in verse 2 always makes me smile. Here's a snippet from one of Marcus Miller's early sessions with Bernard Wright - I heard Thundercat mention that this was one of his favourite basslines and realised that I'd never heard it:
  8. I started out on one finger per fret and later got introduced to the 1-2-4 system, for me it's now a case of always having both concepts in my head when I'm playing and 'dipping in' to each one depending on what I'm playing (a sort of left hand 'doublethink', if you will). I don't think you can survive with just one approach, both have their advantages and limitations. My default setting is now 1-2-4, even in higher positions, as my hand feels more relaxed and secure than rigidly adhering to one finger per fret. The problem stems from trying to decide if the bass guitar is a big guitar or a small double bass. It's both, depending on what you're playing and which part of the neck you happen to be in. Regardless of which system you use, the important thing is that you're able to hold your notes to their maximum duration without holding any excess tension in your fretting hand; the left hand thumb is a vital part of this that often gets overlooked. I would say no - I play lots of upright, but I am by no means a double bass player. I think it's important to still view them as separate instruments to some extent, especially given considering how much more physically demanding the upright is compared to the electric bass.
  9. There's a big gulf between someone who can tell you what you're doing wrong and someone who is able to give you practical steps towards solving the problem(s), preferably in a way that's relevant to the music that you listen to and play. As others have already said, a lesson with someone who has lots of playing experience but also takes the time to listen to you and understand where you want to go is worth umpteen online courses or instructional books. I try to check in with a mentor whenever I can (typically one lesson every year), I think it's important to have a second pair of ears to critique your playing no matter how long you've been at it.
  10. Having tried floating thumb and not got on with it (Willis is the only one who seems to make a good sound with it, and he's a mutant...) I'm a firm believer in the 'moveable anchor' option described by @louisthebass above, where the thumb doesn't move past the A string - on a 5-string I do a similar thing, but the thumb doesn't move past the E-string and the ring finger helps out by muting the A string a la Jaco. Not wanting to open up an off-topic can of worms, but from watching the Gordon Goodwin video above I'd actually say don't worry about your right hand too much, it looks/sounds fine... one thing to look into is the left hand and avoiding using one finger per fret in the lower register of the bass if at all possible - in the busier walking sections of the video it seems like trying a slightly different, more double bass-orientated approach might make the left hand feel more relaxed and secure. I'd been playing for years before one of my teachers at music college put me onto the Simandl double bass method book on electric bass (also known as the '1-2-4' system for the left hand) and it made a huge difference in terms of being able to get around the fretboard in a relaxed way.
  11. I did a transcription of this a while back using the original recording and having listened to that isolated track I severely doubt it's JPJ - either that or my ears really aren't all that good 😂 apart from the actual note choices, the tone/attack seems to be quite far from what's on the record.
  12. To include the ledger lines from open E to middle C in one hit: Every Good Band Deserves Fans And Cocaine* *can be easily substituted for Chocolate depending on the age/sensitivity of the student
  13. I'd second @louisthebass suggestion of Joe Hubbard's beginners' course - I haven't taken it personally, but I studied with him for a year or so and learned way more than I did in my entire music degree. He taught Pino, Paul Turner, Dave Swift (I think...) and hundreds of others and his materials and concepts are top-notch. Sure, it's not free, but in my experience you definitely get what you pay for. I think you also value what you've paid for more than anything you get for free - I have hard drives full of video lessons and books that I've 'acquired' over the years, but I always come back to books that I've actually bought or notes from lessons that I've taken. The Friedland book is also a great shout. From the little I've seen of Yousician, I'd avoid it like the plague; it's aimed squarely at children and the lessons videos I've seen have some very questionable advice on bass technique.
  14. It's definitely funny the first 400 times you hear it though, right?? 'Bet you wish you'd taken up the flute!' is another staple that makes my blood boil (have you ever heard a flute? Hands down the worst sounding instrument available)
  15. It definitely helped me get my act together having arrived at music college with zero reading ability! One day I'll get past page 1 of the odd-time book...
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