skywalker

Thanks for that - I will give this a try see how it sounds.

Hi All Can anyone help please with the chords over the "Flute Solo" in this, the chart I got from Chordie is a complete work of fiction, and my ears are not that good. Much appreciated Cheers Steve

[quote name='rslaing' post='549290' date='Jul 23 2009, 07:04 PM']II - V - I in the key of C major = Dm7 - G7 - C II - V - I in the key of D major = Em7 - A7 - D etc etc. A lot of songs have VARYING KEY CENTRES (they actually change key several times during the song). Some don't. A lot of pop tunes don't get beyond two chords - so you won't hear a II V I. There are some generalisations in the following, because to be more specific would take a lot of pages. Other types of modern music (blues, country, rock and roll (Status Quo) etc) don't have (straight forward) II V I's. There chord changes are based on I IV V (in no specific order, althought the tendency is still, but not always, for a dominant V chord (G7 for example) to go to the I (C Major in this case). Blues songs don't adhere to these principles because the 3 main chords are all seventh chords E.G. C7 - f7 - C7 -etc and eventually a G7 to return to the C7. To fully understand the II V I please read " The Weekly Lesson" in the theory section - it tells you all about this stuff. There are no short cuts. And principally every other chord apart from the I II and V are alternative and interchangeable chords to the II V and I. We will be getting into functions in the next week or two. A little taster. In the key of C major, you can play a IV chord instead of the II chord and vice versa. ( F6 is "the same" as Dm7 with a different root. You can play the VII (Bm7b5) chord as an alternative to the V7 (G7). You can play the III chord (Em7) or the VI (Am7) chord instead of the I (Cmaj/Cmaj7). Functional harmony is also important if you want to understand the answers to your questions, but don't worry, it's fairly easy to understand, and all will be revealed in the "Weekly Lessons" as they progress. I am in the middle of preparing the next "Weekly Lesson" although it is a week late (bed-ridden with man flu recently). In this one, there will be a "play along" and lots of II V I's and analysis of key centres. As well as the opportunity to create some bass lines from the info supplied in the last 3 lessons. If this is a clear as mud. pm me with some specific questions and I will do my best to help. Rob[/quote] Hi Rob That's fine. My thought was that ii-V-I was similar to a 12 bar in that it would follow a specific pattern. I will await the continued lessons. Cheers Steve

[quote name='dlloyd' post='549171' date='Jul 23 2009, 05:12 PM']The ii-V-I relates to the key centre you're in... and that may change through the course of the tune, without an explicit key change. Autumn Leaves is in G minor, but you treat the first bit as if it is Bb major... which is the relative major key of G minor, so it's easy...[/quote] Thanks - that begins to make some sense. So am I right(ish) in saying that the ii-V-I is actually a phrase within a bigger progression, rather than a progression in it's own right (like a 12 bar blues for instance). Steve

[quote name='dlloyd' post='548833' date='Jul 23 2009, 12:49 PM']Take the first line of Autumn Leaves Cm7 F7 Bbmaj7 Ebmaj7 Am7b5 D7#9 Gm7 (or whatever variation you're using) There's two ii-V-I's there... the Cm7 F7 Bbmaj7 and the Am7b5 D7#9 Gm7 The ii-V-I is usually just part of a bigger progression.[/quote] So the ii-V-I is not the ii-V-I of the key, (In the example above the key would be Bbmaj , and the I would be Bbmaj7- or would it be Gmin, and the I would be Gm7??). Sorry if I am being a numpty, but I haven't found a book or lesson that explains it. Steve

Hi All Can anybody explain how these progressions work??. I understand the theory behind the chords, but do the chords repeat through the verse/chorus, or are there likely to be other chords in there to trip me up?? Also can someone give me some examples that I can use for practice. Thanks!! Steve

[quote name='Pop tart' post='539839' date='Jul 13 2009, 10:42 PM']Thanks for the reply. I'm going to university in september so was hoping on finding a band to join then, I was just a bit worried I'm not good enough, which is why I wanted to find stuff to play over the summer to get better. That's a good idea with blink, but do you know where I can learn a bit about improvising, like a good website or anything that shows you some ideas? because I really am bad at it Or is it just a case of keep trying and eventually something will sound good?[/quote] Look in the Theory and Technique section - there is some good stuff in there.

[quote name='rslaing' post='535020' date='Jul 7 2009, 06:54 PM']Unless you are playing in a structured environment where the notes are predetermined to concur with the rest of the musicians, and as long as your choice of notes "fit" and define the song harmonically, it doesn't really matter. If you are talking about rock/pop/blues/jazz, as the bass player you have to define the harmonic aspect of the song, as well as apply your rhythmic choices along with the drummer. As a guide, apart from playing the root notes (mainly) on the downbeats (beat 1) at the beginning of a bar, and the root or other chordal notes on say, beat 3 or the upbeats of any of the notes when playing quavers/eigth notes, (theres something for you to investigate!!) have a listen to your preferred music for a guide. Play along with it, finding the chord changes first, you'll find more often than not, whenver there is a chord change, the bass is playing the root. Listen to the player on the CD, and see how he mixes up the scalar notes to make up his bass lines. If you want to advance your playing, I don't personally think you should apply any rules that will limit your potential. What I mean by this is be as flexible as possible, both mentally and physically. Learn all of the scales in the lessons and play them over a chord sheet of a song you know so you can hear your progress. Buy a few Aebersold cd's that have the backing and music (they are only around £15 each or so) and work through them. If you want one to start you off, pm me. You should physically be capable of playing an octave over 3 and 4 strings, and a tenth interval over 4 strings. For example, play an A note on the 5th fret of your E string (with your 2nd finger) and play the A an octave higher on the 7th fret of the D string (with your pinky). If you want to cultivate some stretching exercises, try using your ring finger instead of your pinky. Also play this with your 3rd (middle) finger and pinky if possible. Then play the Bb on the E string (6th fret) with your 4th finger, and the Bb on the G string (3rd fret) with your 1st finger. I don't have particularly large hands, and can reach this ok. The physical side of your playing is very important, so I strongly recommend a book at this link called [url="http://www.amazon.co.uk/gp/reader/0793502489/ref=sib_dp_pt#reader-link"]"Bass Fitness - An Exercising Handbook" [/url]by Josquin des Pres. It's cheap as chips, and is great for hand and finger development. Cheers Rob[/quote] Thanks Rob All fully understood - and I will see where I can get the book. Cheers

Hi Rob Can I ask please about inversions, when I am playing over say a Cmaj7 or C7 chord, I will tend to play the 5 and b7 or 7 below the tonic and the three (and octave 5) above the tonic (second inversion). Mainly this is to stop me making stretches and being all over the fretboard, the notes are close together. The question is is there a right or wrong time to use an inversion or is it a matter of taste or covenience. Thanks Steve

Can anyone help with this in the same vein please:- With S1 selected both pickups are working fine, and the volume for both is controlled by the volume knob which has the S1 switch. When S1 is off the bridge pickup doesn't work. They are the original Fender Pups. Cheers Steve

Full marks to Pablo - scratchplate requested Sunday and all sorted by Monday.

Look here - this is new from yesterday I think [url="http://basschat.co.uk/index.php?showtopic=52587"]http://basschat.co.uk/index.php?showtopic=52587[/url]

Lets see if I am technically competent enough to post some pics.....

Sorry for the slightly shortened post above, I looked up from my PC and out the window to see that some scumbag had smashed my drivers side window in my car, and on a further look discovered that my satnav had gone. To add to my happy Fathers day, the software for my Nintendo DS that my son bought for Fathers Day I have already got, and my card reader is not working, so at the moment I can't post any pics here. Never mind - s*** always happens in threes. The highlights for me yesterday were playing a Bass duet with Monz to the amplified drum machine, (not always in perfect harmony, but good fun), Nick's family welcoming us to family dinner (14 I think around the huge kitchen table), and when I left at 9:45, Monz and Prosebass in big armchairs by the log fire, each with a Single Malt in hand, and Monz saying this was the best bash he'd ever been to. (he was glowing nicely at the time, after a couple of beers, some wine, and then into the scotch). Not forgetting the stars of the show, a litter of 5 week old Labrador pups, all named after famous bass players. Fantastic day, thanks to Nick for the venue, and his family who welcomed us and made us feel at home. A special mention in this to Phil, a relative of Nick's, a pro bass player who blew us all away with his playing. Steve

Another memorable day at Nick's. A few people couldn't make it, so the numbers were a little bit lower than last time, but I don't think that affected anyone's enjoyment of the day. Many thanks to Nick for once again providing us with a stunning venue. Lots of equipment to view/try notably Bassace's double bass, Prosebass's collection of "travel size" basses, and the highlight for me at least was Sixstringbassist's stunningly visual six string Sei, which has to be one of the nicest looking basses I have ever seen. Nice to meet old and new friends. More later with some photos, and I think Prosebass took more than me, so Paul if can put a few here I would appreciate it. Steve

For those coming from further afield, you need to be at Junction 5 of the M5, the A38 around Droitwich to Suddington, A4133 through Ombersley to Holt Heath, A443 to Great Witley, and B4202 to Clows Top. If memory serves me correctly it is quite well signed all the way. If you have satnav, don't be fooled when it says you have reached your destination, keep going along the lane.

NEWS UPDATE Nick will post some directions on here in the next day or so. I guess we are aiming to be getting going for about 1-2pm, but anytime is good, Nick is there all the time and I aim to be there for about 12. The weather forecast is good so far, so it promises to be a great day. Steve

The forecast (so far) is good, lets hope it stays that way.

There is a chord chart here:- [url="http://www.chordie.com/chord.pere/www.guitaretab.com/t/tina-turner/54942.html"]http://www.chordie.com/chord.pere/www.guit...rner/54942.html[/url] Hope it helps Steve

Just a reminder, we are still looking for some musos to jam here next week.

[quote name='Musicman20' post='507885' date='Jun 8 2009, 12:11 AM']One day I'd like to come to one of these bashes. Is 28 too young?! I dont mean that offensively [/quote] You're welcome to come over, there may even be a room available if you want to stay over (see higher up the thread, a couple of people are staying). Beautiful location, nice people, and we are praying for some nice weather.