JuliusGroove

Anybody know of any good study pieces/exercises for improving my right hand dexterity? Been watching some of those old Jaco videos and I've always known he was incredible but all I could watch was his right hand (and his left!) especially when he's doing those quick harmonics in Delores/Portrait of Tracy/Third Stone from the Sun on the Forecast:Tomorrow DVD

Thumbs up for thumbs down....

It just depends on what sort of sound you want really.. The through-thumbing stuff like Larry Graham gets you a nice THONK sound and like you say can help you move on to the double-thumbing technique used by Marcus Miller and Wooten.. The style guys like flea use is the style I started out with and I think is a bit more accessible but by no means better or worse.. I think it can sound a bit thinner at times but you get more of a 'bouncing' action. Learn both and you'll be unstoppable!

Yeah Waddy was great too. Had some wicked stories about Stevie Nicks...

Well that's it.. It's going on the list!

Sure, but be wary as some may add other instruments to their 'cv' as such to seem more employable but may not be at the same level across the board.. Theory is transferable but application of ideas and roles of the instrument in a band context are not.. (to a degree) I'd say as a rule study with someone in their main discipline unless they can prove as well in other instruments! But that's just me..

Depends on who's teaching you! I'm about to start lessons with Franc O'Shea and that's £30 an hour which I think is fair. Anthony Wellington's Skype lessons are $80 an hour Depends how much you think you will learn from this person and their professional level I suppose..

Awesome! One day I'll venture into Bebop...

[quote name='Hector' timestamp='1395078270' post='2398398'] One way to do that is via chromaticism, adding in extra notes to make sure the note you want to emphasise lands on a strong beat. [/quote] OOOOH I see... So is that kinda linked to why Bebop scales have the additional chromatic note so that you can still land on the strong beat?

Okay, so the D# was just a chromatic note to lead towards the E? (No more stupid questions I SWEAR!)

Controversial maybe but I absolutely despise Hartke! Ashdown has always been hit n miss for me also.. Though my friend has an Ashdown head with a Hartke cab and its really warm and punchy! I'll stick to my Mark...

He told us he needed a hobby as he doesn't drink or do drugs. His hobby is collecting pictures of people flipping off the camera, his collection allegedly stands at over 8000

+1 for the MXR! I've been using it for about two years now and love it.. Combine with a Fuzz for serious synth sounds!

Can anybody recommend a decent sized pedalboard (22" x 13.5" was my previous one and was good enough) Ideally with a power supply built into it? I've seen a few people with these and they look highly convenient.. Cheers!

This was definitely the highlight of the class..

[quote name='Hector' timestamp='1394900581' post='2396503'] When you're playing a line and you want to set up a note as a target, playing a line with a semitone below it will guide the listener towards it e.g. you could have a D# in a line which you're resolving to E over a C major chord! [/quote] Not sure I understand this bit. Where did the D# come from in relation to the secondary dominants? I understand it's chromatically leading to the E.. Is it in relation to the B7 as the D# is the altered note for it to become a dominant? Or have I completely missed it..

Oh and I'm the midget..

Leland Sklar came into our University (BIMM Brighton) a few weeks ago, such a dude! He was great and was up for answering all questions, and had a wicked groove Anybody else had the pleasure of meeting him? [attachment=157899:sklar.jpg]

I got the Mark Levine book a few days ago. Very interesting!

[quote name='bakerster135' timestamp='1394014458' post='2386838'] I reckon he uses the Aguilar Octamizer quite a lot. He's on the Aguilar site here! [url="http://www.aguilaramp.com/artist_derrickhodge.htm"]http://www.aguilaram...errickhodge.htm[/url] [/quote] Ah somebody who plays locally uses this same pedal and it sounds wicked.. Not too expensive either!

Hi Guys, Been listening to a lot of Robert Glasper Experiment recently (highly recommend to anybody who hasn't heard) Anyways, he has a really deep nice sounding bass tone, anybody know if there's an effect behind that? Maybe a sub-octave or something similar? Terrible with pedals n stuff.. Cheers!

Yeah man please do!

Yeah I know it's going to take a while for it to show in my playing, I just want some material to plow through so that in a few months I might have some idea! haha Transcribing is something I've just got into, even just licks and stuff i've been playing for years I've started writing them all in notation. My ear isn't great so I need to start hitting actual songs and transcribing them.. Not enough hours in the day.. Cheers guys! Jack

Hi all, Just wondering if anybody has any experience with some good books relating to application of theory. Currently taking the leap into studying Jazz and I need some direction as I feel like im just going round in circles at the moment. Just wondering if anybody has any idea on some books regarding Jazz walking lines or general application of theory.. Cheers! Jack

Great stuff guys The sudoku thing is similar to something I have been doing, but reading through standards and rhythms is a great idea. Does anybody know of any books relating to theory and how to apply it? Jazz specific if possible? Thanks!