xilddx

[quote name='solo4652' post='1237811' date='May 20 2011, 09:58 AM']Really? I'd never considered that. In fact, quite the reverse - I tend to concentrate fully on a song with nothing else going on to distract me. Maybe I'm trying too hard. Never could multi-task.[/quote] Ahhh, but it's not about multi tasking, it's about letting my subconscious do the work. Then when I come to learn the song, and do the hard work, the 'form' of the music and its key features are already in my memory. It seems to make learning the details of the arrangement easier because it allows me to concentrate on the details rather than having to get the song in my head at the same time.

[quote name='slobluesine' post='1237849' date='May 20 2011, 10:26 AM']off piste or what so where do i find this boot camp stuff Major?[/quote] Here you go, they are superb! And so is the Major! [url="http://basschat.co.uk/index.php?showtopic=74284"]http://basschat.co.uk/index.php?showtopic=74284[/url]

[quote name='phil.i.stein' post='1237499' date='May 19 2011, 10:15 PM']keep a lydian on it.[/quote] MOre like ionianism at the moment

[quote name='Doddy' post='1237481' date='May 19 2011, 10:02 PM']Is that where you keep your Phrygian? [/quote] No, she's away at the moment

[quote name='slobluesine' post='1237462' date='May 19 2011, 09:45 PM']aahhh, narcisisstic hedonism, Hp sauce, Dorianism, where have i been all these years...[/quote] In the kitchen?

[quote name='slobluesine' post='1237424' date='May 19 2011, 09:13 PM']keep up Doddy, that was starters sorry but i don't get the loft stuff can someone pm me in?[/quote] Read a synopsis of The Picture of Dorian Gray by Oscar Wilde. [url="http://en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray"]http://en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray[/url]

[quote name='Wil' post='1237427' date='May 19 2011, 09:14 PM']But which mode would you serve with steak and chips?[/quote] Something sharp with some acidity to cut through fat (naturally you will be taking about a good well hung organic rib eye here) and oil. Lydian with its devil-invoking sharp four springs to mind. Along with a tomato and red onion salad with a little Maldon sea salt and a splash of raspberry vinegar

[quote name='wateroftyne' post='1233263' date='May 16 2011, 04:44 PM']Everyone's approach is different - mine would be just to listen to the song repeatedly, and let it sink in. A line will present itself eventually...[/quote] If I need to let songs sink in, I ALWAYS do something else at the same time. Drive, play a stupid game on my Blackberry with the music in the headphones, cook dinner, whatever. In a day or two, I'm humming parts of the songs without prompting or I get earworms and stuff. If it's complex, I will record the bass to the track and force myself to get it right and understand the arrangement.

[quote name='Doddy' post='1237356' date='May 19 2011, 08:19 PM']Are we still talking about dorian modes?? [/quote] Dorian is minor with a twist of lemon and a sprinkle of crushed coriander seeds

[quote name='Doddy' post='1237348' date='May 19 2011, 08:06 PM']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] Sort of, the idea is to become so familiar with the sauces that the labels become irrelevant. Making sense of a label with the recipe on it means you can replicate the sauce to instructions. However, when you become completely at ease with the ingredients, their properties, and how they interact with the other ingredients means that eventually you can create your own slobluesine sauce that delights you and also works beautifully with chips and black pudding. That bottle doesn't need a label because it truly reflects your personality. It is slobluesine sauce and you would know it anywhere, and be able to make it at any time, and hopefully lots of other people prefer it to HP.

[quote name='slobluesine' post='1237276' date='May 19 2011, 07:15 PM'] you need help Silddx but i totally get what your saying, wunnerful[/quote] 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 name='slobluesine' post='1237248' date='May 19 2011, 06:52 PM']exactly, i dont hear the notes like i do Blues lines and i've been playing for 45 years[/quote] I bet you can tell the difference between tomato sauce and brown sauce, like major and minor sauces (). The modes are a bit like the learning difference between HP tomato sauce, Heinz tomato sauce, Tracklements tomato sauce, HP brown sauce, Tracklements brown sauce, etc. You just have to keep tasting blind until your palatte gets educated to the differences. A few you'll not like, I love lydian but dislike mixolydian for instance. I have a tricky guitar gig coming up playing Indian raag based music. I've been asked to become very fluid with Phrygian mode in D, ascending without the third, descending with the third for the main theme, then call and response with the sitar in 13 /4 and 10/4 with lots of lines going over the bar and odd bar splits. I am doing exactly what I said in the post above and it's getting locked in my head quite nicely. I know I'll make mistakes mind

I think the most important thing is to be able to hear the flavour of the mode. So you can recognise it when you hear it, and recognise notes that don't belong in the mode when something like So What is playing. If you can sing the scale and visualise the intervals on the neck then I reckon you're halfway there. The modes have different flavours, think of the first thing or emotion that comes to mind when you hear Dorian. How does the mode make you feel? Is it happy, sad, exotic, reminds you of eating a falafel in Egypt in the morning with that dog barking, or dumping that mad bird in Clacton when you were 17. The key interval differences from the major scale will have most emotional effect. How do those notes make you feel? If you are able sing the scale in your head, see if you can progress to hearing and singing interval skips, ascending and descending in thirds, fourths, etc. The more you do this the more you will progress from recognising the emotional differences between major and natural minor and get into the nitty gritty of the modes. Practice the mode on your bass, just up and down repetitively over one octave, then two octaves then interval skips. Whenever you're hanging about with naff all to do, sing it in your head and visualise your fingers on the bass. It will soon come that you can hear a piece of bass and probably be able to recognise the scale it's based on.

[quote name='spinynorman' post='1237014' date='May 19 2011, 03:51 PM']Although, just to confuse us, the "blue" bar is actually coloured blue. For the rest, I thought I was colour blind (my wife swears I am, but I tell her women and men have different perceptions of colour). Black is missing. Serious omission.[/quote] Black is not a colour, it is the absence of colour. I can't believe some of the inane responses on that thread

[quote name='markinthegreen' post='1236848' date='May 19 2011, 12:36 PM']Thank for your help people, I did have a setup done by the tech guy from Holiday music in Southend On Sea, he came highly recommended and his knowledge of the instrument was quite impressive. And when I got it back it felt like a dream to play (Set up wise). One thing i forgot to mention is the tone knob, There does not seem to be that much scope to it, rolled up full or down doesn't change the sound a great deal? this is bothering me a hugely when recording. Is this a common trait to a early 70's bass? I understand if it sounds great live then leave it at that, however when you spend the kind of money it cost you kind of want it to be good at everything right? Cheers, your thoughts are a great help. Mark[/quote] You may not like this suggestion, but buy and fit a John East J-Retro 01 preamp. They are solderless except for the grounds and you could probably get away with actually twisting the ground wire ends together and taping them. They are very very simple to fit, even for a novice. And it's easy to put your bass back to standard. Here's a thread I started with before and after clips of my Jap Fender 62 RI Jazz without, then with the J-Retro. There's much more info on there about the sound and the passive mode [url="http://basschat.co.uk/index.php?showtopic=123987&hl"]http://basschat.co.uk/index.php?showtopic=123987&hl[/url] John East's Website. It's the J-Retro 01 you want, NOT the J-Retro deluxe. [url="http://www.east-uk.com/"]http://www.east-uk.com/[/url] I ordered one with black knobs so it looked normal from a distance. You get a Basschat discount from John too. Call him for any advice, he's the friendliest most helpful gentleman you'll ever meet.

Stuart is an absolute diamond and a gentleman. Yesterday I had to back out of a deal for his Status, and he was a total gentleman about it. I won't go into details, but he did something that was the mark of a man of honour and integrity. Stuart, I am really very sorry I let you down, and delighted that you got a quick sale shortly thereafter. I raise a glass to you bud! Salut.

[quote name='chris_b' post='1234510' date='May 17 2011, 04:23 PM']That's the Gallery.[/quote] Indeed it is, downstairs near the back. Sharay is a wonderful player, an absolute natural.

[quote name='burgundymouse' post='1233780' date='May 16 2011, 10:51 PM']As a new music student myself, having only taken up bass in November I feel inclined to comment. Good students need motivation.Without it you don't get through the downs of learning. Hence is taken me until I'm 33 to try to learn an instrument properly with good fundamentals taken from lessons. Its great when your teacher says you're coming on and they're pleased with your progress because that means you don't feel disheartened about shelling out hard earned cash on lessons, and even better when you can see how much you've learned. Its then relatively easy to be all cocky and confident, getting a few tabs off the internet and practising until you have someone else's work down to a t. That doesn't make you a good musician - it makes you good at learning by rote. It only took a couple of sessions at the local jam night for me to beg my teacher to punish me for not learning my scales and their application properly. I went into my lessons initially thinking I wanted to learn how to play Rage Against the Machine or Nirvana or Hendrix or whatever, however you realise there is much more satisfaction from knowing that with a bit of application you too can produce something shiny and new. OK - maybe not quite yet but as long as I get these scales nailed I think I'm in with a shot! As you can probably tell, I''m in one of the lows of learning where some people would just say" its too hard "Nand give up and that's when a good teacher doesn't just dish out critcism - they give you a new goal to help you get over the low. I think that's different though to telling every student they are the next Jaco . Hope that makes sense?[/quote] Possibly a sexual issue of some description?

I listened to the interview again. He's really criticising the monetary system surrounding education for sending him students who are full of sh*t. One wonders why he doesn't boot those students out if he detests that system so much. Maybe he's resentful he has to be a part of it.

[quote name='Bilbo' post='1233417' date='May 16 2011, 06:50 PM']Your model is fine, silddx, but, if someone goes to BM for a lesson, I would think they would have a more conventional perspective?[/quote] I agree to a point. But to go to someone as exalted as BM maybe one would want more of a philosophical lesson and expand on the artistic expression development side of one's musical nature. Context is king. Inspiration and desire should decide the content of the toolbox at any given point. If you can execute the music you hear in your head, and what you hear in your head gives you satisfaction and enjoyment to yourself and others, then you are a good musician. The trick to expressing yourself is to educate your musical self and acquire taste, then learning how to play it becomes easier because you have a clear motive. Most people attending music college seem to be taught they must be able to play everything, that's where the laziness sets in.

[quote name='Doddy' post='1233306' date='May 16 2011, 05:25 PM']And that is one of the problems,that I've seen. A lot of people don't want the tools to express themselves,they want the fancy music shop lick that will impress their friends and bandmates. It's easy and it's instant.Learning the tools and the language takes time and study,but you can have a Flea(or whoever) lick nailed in a couple if hours.[/quote] But that's just the way they are expressing themselves at that point. They will grow up or remain the same, that's the difference. I learned a few chords and techniques and had an absolute gas learning to play Hemispheres on guitar when I was 16. That process still informs my musicality now. A massive process of learning by ear some of the fundamentals of technique, dynamics, feel, key changes, time signature changes .. Trying to understand why the chord with Geddy's bass under it sounds different to the chord on its own, etc. ad nauseum. I have tried to get into more theory over the past six months, I do know a bit already but it's quite rudimentary, and I learned to read a bit too. It's useful, but to be perfectly frank, I think I know what sort of musician I am and it's not one that wants to woodshed day and night anymore. I want to bust some big ass bass, dance and entertain, and compose songs and contribute to other people's songs. I don't really need a high level of theory and reading because I've spent thirty years listening, playing and writing, and for me it's pretty much all I need to play pop, rock and electronica. I'm not a classical or a Jazz head, I only play music to make my soul shine (and hopefully others') and don't need to earn a living teaching, or playing music I have no interest in. I learn by grazing, pick up what I need when I need it. 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. Just to get it back OT, I think emotional maturity to learn anything is dependent on perceived need and desire. That can be fostered but to what end? High pass rates? Remember that most people change as they develop and emotional maturity is not really measurable for any useful purpose. I'm constantly beating myself up about whether what I do is worthy, derivative, good, etc. When I was 16 playing Hemispheres, I was happy.

[quote name='algmusic' post='1233268' date='May 16 2011, 04:53 PM']I'm with you until the your last statement.. I don't think all of his students will be really good students. I've seen it time and time again where money gets certain musicians in certain areas where other gifted players can't.. let's be blunt he's fees won't be cheap[/quote] Mmm, you've got me wondering now if he will take on anyone who can pay him and therefore most of his students are sh*t There may be a video interview out there from one of his students saying the trouble with music teachers is they have no integrity

What music teachers try do is give students the tools to express themselves musically and artistically and encourage the students to attempt to master those tools. In varying degrees and at various levels, some can master the tools but not express themselves, some can't master the tools but are able to express themselves, some can do both, some can't do either. Some of all of those people love what they create, some don't love what they create. I remember Steve Vai saying his Berkeley room mate was enormously talented but hated everything he did, and that attitude is the difference between success and failure as a creative musician, summat like that. f*** knows what Branford is saying. To me, he sounds pissed off and focusing on the negative, which is probably insulting to his really good students. If you study with Branford, you are likely to be quite dedicated. Probably just having a very bad day at the time that interview was conducted and I would take it with a pinch of NaCl.