Burns-bass

Completely agree. I assume you were offended by what I had written. If that’s the case hope you can accept an apology. It was all meant in a friendly way. This is the good part of the forum after all…

I have no idea why you’re so upset? We all agree you can do whatever you want when it comes to bass. But if someone asks for advice their opinion may different from yours. Anyway, it’s Sunday and I’m hungry.

Not at all. I use these when I play in a bluegrass band. The percussive nature and slap is all part of the job. Having the right technique means I can play 2 gigs and day over a consistent period with no pain, problems or issues. You can do whatever you want, but when you’re making recommendations to people who haven’t played before it’s always better to start with what’s considered the orthodoxy.

This is a completely different use of the third finger. Plus this guy is acknowledged as one of the world’s greatest classical players and learned the traditional way before developing his own unique approach. People here are trying to help. If you want to play double bass consistently well for a long time it’s a good idea to learn the right technique. If you’re using low tension strings that twang like a washing line, you’re fine to use whatever technique you wish. It’s all music at the end of the day. But playing bass the wrong way can really hurt.

Totally agree with all this. Jazz musicians (and any improviser really) exists at the intersection of inspirational genius and absolute failure. I love playing improvised music, but the audience at a jazz gig buys into it and understand the challenges. A blues band audience probably wants the songs played the way they were on the record. Without wanting to be elitist, jazz musicians are typically operating at a higher level of musical understanding, too. Almost every problem can be solved by chatting. I auditioned for a gigging band recently and the band leader said they don’t rehearse often (err, ever) but expect me to learn the songs, play properly and not to be flakey. I can introduce some personality into parts but ultimately stick to the songs as recorded. Do that and I’ll get paid and rebooked.

Best thing to do is (wait for it) talk to them. (Ideally without alcohol involved.)

Excellent advice.

I think you need to consider how you’re selling. A hobbyist assembling basses in your home is different to someone who is effectively operating as a business. The former has no real obligations to the buyer, the latter does - including giving the buyer the chance to return an item should they choose to. The problem with buying cheap parts and assembling them is you don’t have any QC. It’s positive that you’re dealing with it. Hope the bass gets sorted and starts making music.

It’s a Motown style track, so C minor wouldn’t really fit the “vibe”. People don’t think in terms of scales when compositing. You can try playing C minor fills over this but it’s not going to sound good! Anyway, we’ve got all the right notes for the OP to play it. Which is much more important!

It seems you’ve already have friends who play DB. Always worth getting some lessons to start you off. It’s a completely different (and hugely rewarding) instrument to play. Dont cause yourself any damage. Love to hear how you get on.

GPT coming to help here… —- 🎶 “Lose It” – Ben l’Oncle Soul Key: C minor → modulates up to C♯ minor Time: 4/4 Feel: Soul / Funk groove Bass scale suggestion: C minor pentatonic → C♯ minor pentatonic (post-bridge) 🎸 Intro (8 bars) | Cm | Cm | Cm | Cm | | Fm | Fm | Ab | G | 🎤 Verse 1 (8 bars) | Cm | Cm | Fm | Ab G | | Cm | Cm | Fm | Ab G | 🎶 Chorus (8 bars) | Cm | Cm | Fm | Ab G | | Cm | Cm | Fm | Ab G | 🎤 Verse 2 (8 bars – same as Verse 1) | Cm | Cm | Fm | Ab G | | Cm | Cm | Fm | Ab G | 🎶 Chorus (repeat – same as before) | Cm | Cm | Fm | Ab G | | Cm | Cm | Fm | Ab G | 🌉 Bridge (8 bars – Modulation starts here) Modulates up 1 semitone to C♯ minor | C♯m | C♯m | F♯m | A B | | C♯m | C♯m | F♯m | A B | 🎶 Final Chorus (in new key: C♯ minor) | C♯m | C♯m | F♯m | A B | | C♯m | C♯m | F♯m | A B | 🎵 Outro Repeat chorus progression in C♯ minor and fade out. 🎸 Bass Groove Tips: Use pentatonic scales for fills: C minor pentatonic (before bridge): C, Eb, F, G, Bb C♯ minor pentatonic (after modulation): C♯, E, F♯, G♯, B Emphasise the root–5th–octave movement for funk feel. Fill ideas over Ab–G walkdowns: consider chromatic or scale-wise lines to connect smoothly.

Seems really fair for a solid bass. Now the fun starts!

As long as you play the right notes the scale doesn’t matter!

This is good advice, but an easier way to approach this is as an F minor pentatonic if you’re learning it. This is a uptempo bluesy soul track and that scale would fit much better for the fills (obviously need to modulate too).

I think the best sale I've ever had was meeting @Happy Jack for a pub lunch (which he paid for!) and nearly getting thrown out by the non-bass loving landlord. Music is all about relationships.