Steve Woodcock

I will be playing 3 sets there this year.

No problem Graham! That era of stuff is a favourite subject of mine ☺️ Yep, that would have been me with Linear at the Dingwalls show - they hadn't played any shows before I joined. Glad you like Manvantara, I agree it's a step up from the first record (and not because I wasn't on that one, haha!) I only recorded a couple of tracks with Xerath before they called it a day, one got uploaded to Youtube as a farewell (on which I played Stick) but the other has still to see the light of day (shame as that was a fretless track!). I am however now playing for The|HAARP|Machine...

Sean Malone is a fantastic player, he's had a huge influence on me and is the reason I took up both fretless and Chapman Stick. I was fortunate enough to have a lesson with many years ago actually, whilst he was here in London recording with Bill Bruford for the second Gordian Knot album (I have also had the honour of playing Chapman Stick for Cynic a number of times back in 2008). If you like Cynic, Death, Spiral Architect etc. you might like my old band Linear Sphere, I play fretless (and Stick) on the album throughout: If you are a fan of Steve DiGiorgio be sure to check out his own band Sadus, their '92 album A Vision Of Misery was Steve's first fretless* outing as Human was all recorded on his black fretted Rickenbacker. Whilst I am in geek mode, the bass on the Spiral Architect album is all fretted too, Lars played a Steinberger Q4 back then! *Edit: actually Autopsy's Fiend For Blood EP came out a couple of weeks prior to A Vision Of Misery so that was his first fretless release!

Context and taste will dictate when it's appropriate to add sevenths and extensions. First of all, be aware that sevenths are a chord tone and therefore determine the quality of the chord, extensions (also know as tensions or upper structures) are more like flavouring or spice - they add richness to the chord but do not affect its function. Below is a chart to help you determine the correct sevenths and extensions to use within diatonic major harmony, you will see the these notes are dictated by the scale each particular chord is derived from. Not all extensions are used for each chord type as some sound dissonant and are therefore considered 'avoid' notes - a general rule of thumb here is that an extension should be a whole tone above a chord tone (there are of course exceptions to this, such as on an altered dominant chord, but this a whole topic in itself). Be careful in your analysis of the line here @ambient, by naming everything as an extension you are missing the true function of these notes - the first G in bar 17 is a diatonic approach note from above to the F (which is the 5th of the chord), the next G and A are simply passing tones from the F to the root note of Bb on beat 1 of the following bar.

Sorry @mumra, no time to post. These have now all gone.

Various rack spacers (1u and 1/2u) and a rack tray (2+1/2u I think?), see pic for details. Collection only from London W4.

Hi @tracktionmonkey I am based in W4, so probably about a 40min tube ride for you, if you don't find anyone more local.

Learning ear training in this way will only enable you to recognise the sound of an interval, to get the complete picture you really need to internalise what the notes sound like in relation to a key centre. Download the Functional Ear Trainer app from http://www.miles.be/, it was recommended to me by my old teacher Joe Hubbard and I recommend it to all my students; I also like Bruce Arnold's books which Trey Gunn recommended. Both methods are based on a Charlie Banacos exercise I believe.

I'm a fan of Bert Ligon's books, I prefer his Jazz Theory Resources over the Mark Levine book.

The quote is from the 1983 translation of his book, based on the 1922 revision of his orginal publication. He was also a highly respected theorist and teacher. I could have chosen any of the many books on my shelf, they all agree three is the magic number.

Desregard the Wikipedia info, a chord consists of three or more notes: "It is required of a chord that it consist of three different tones" - Schoenberg, Arnold. Theory of Harmony. University of California Press, 1983

Thanks for posting, @Happy Jack, I joined these guys yesterday.

Just given my last lesson of 2017, so a timely bump in preparation for the new year. I still have some limited availability for new students so if you have made a resolution to develop your musicianship and improve your playing, feel free to drop me a message.

Yep, but let's not confuse the OP at this early stage!

@ChrisDev, as 'step' refers to a movement by an interval of a second I think your response would be clearer if you replaced that word with 'chord tone' instead. Otherwise, all good!

A, D and E are chords I, IV and V in the key of A major. They are all major triads. Chord I is built from the root, third and fifth notes of an A major scale: A B C# D E F# G# Chord IV is built from the root, third and fifth notes of a D Lydian scale (the fourth mode of the A major scale): D E F# G# A B C# Chord V is built from the root, third and fifth notes of an E Mixolydian scale (the fifth mode of the A major scale): E F# G# A B C# D

Expanding upon dlloyd's post above, here are some very useful voicings for diatonic seventh chords. I've presented them here in the key of C major but they are movable shapes so you can transpose to any key.

Hi @FarFromTheTrees, I offer Skype lessons too, and theory is a speciality of mine. Feel free to PM me and we can have a chat if you like. Best, Steve

[quote name='DJpullchord' timestamp='1505823117' post='3374548'] Rest strokes or free strokes? I'm new to bass so please bear with me. Grrrrrrrrr. [/quote] Either are fine, personally I use rest strokes as the slight 'thud' of your finger hitting the string below adds a little more weight to the note. Edited for inclusion of video Gary Willis explaining the same thing: [url="http://youtu.be/oRrmxH1wVlE?t=12m23s"]http://youtu.be/oRrmxH1wVlE?t=12m23s[/url]

[quote name='Cestrian' timestamp='1505840706' post='3374701'] Looking for someone that can motivate and inspire a 14 year old. [/quote] Hi Cestrian, I am west London based (W4) and teach a wide range of ages. I will send you a message. Best, Steve

The problem with the Thunderbird is that, due to the body shape, the top strap button is around the 17th fret which (as mybass points out above) pushes the neck farther away from you - reaching those lower frets will be quite a stretch. If you'd like to message me a pic or video of yourself playing I can critique your technique and identify what may be causing your problem.

Hi Dave, I am down in London but can offer you Skype lessons if you'd consider that an option? Feel free to message me if you'd like to discuss. Best, Steve