Major-Minor

I can't see how you can even begin to understand modern modal usage without a firm grasp on the history of modes. Wikipedia has an excellent article on musical modes - well worth reading, and of course for those who want to look even deeper into this fascinating subject, leftybassman's truly excellent articles on Greek Modes on this forum are a must. I don't know if this will help (or just make things even more confused !) but I've prepared a little example of how a mode can be used in a practical situation. This is based on a mode I rather like - the Phrygian Major 3rd - not one of the common modes but I mentioned this one in a previous post. Its just the Phrygian mode with a major 3rd rather that the usual minor 3rd. It has an Arabic quality that I rather like (which comes from the interval of a minor 3rd between the Ab and the B natural). I've chosen to root this on a G drone. C harmonic minor - CDEbFGAbBC but starting on the G becomes: GAbBCDEbFG Using these notes I've created a little melody. In bar 1 the G drone appears, the melody starting in bar 2. In bar 6 I've added piano playing an arpeggiated G7 to show how this chord fits with this scale. In bar 14, I have demonstrated the diminished 7 that is within this modal scale. I hope this helps to clear up some miss-perceptions. I'm sure you will all let me know what you think ! [attachment=37072:Modal_Example_1.pdf][attachment=37070:Modal_Example_1.mp3] The Major

[quote name='Dundee' post='664991' date='Nov 25 2009, 12:59 PM']Heres an exercise that I use a lot either when warming up, teaching or trying to learn new modes. If we take the major modes... Starting on, say, G. G - Ionian A - Dorian B - Phyrigian C - Lydian D - Mixolydian E - aeolian F* - Locrian The exercise involves playing each interval of the scale on by one in each mode. Play the root of each mode on the E string (going up one string punk rock style), followed by whatever interval your on. So if we start with 3rd's we get a tab that looks something like this.... A----B---C---D---E---F*---G---A E--G---A---B---C---D---E---F*-- So what we've done is play the root of each major mode in G followed by its 3rd. See that Ionian, Lydian and mixolydian have major 3's while Dorian, phyrigian, Aeloian and Locrian have minor 3's Then we progress to 4th's. so... A----C---D---E---F*---G---A---B E--G---A---B---C---D---E---F*--- This time we notice that all the modes have perfect 4ths, except lydian which has a sharp 4. Notice that throughout this exercise we never play a note outside of the G major scale. 5ths, A----D---E---F*---G---A---B---C E--G---A---B---C---D---E---F*--- This time we see that Locrian has a flattened 5th, while all others are perfect. 6ths D----E---F*---G---A---B---C---D A----------------------------------- E--G---A---B---C---D---E---F*--- This time we see that Ionian, Dorian, Lydian and Mixolydian have major 6th's while Phyrigian, Aeolian and Lociran have minor 6ths. 7ths D----F*---G---A---B---C---D---E- A----------------------------------- E--G---A---B---C---D---E---F*--- Ionian and Lydian have major 7th's, while the rest have flattened 7ths. 9ths (For me 9ths are better to learn than seconds. Partly for the techinque building, partly because 2nds would be hard to hear but mainly because 9ths are more commonly played than 2nds) G----A---B---C---D---E---F*---G D---------------------------------- A---------------------------------- E--G---A---B---C---D---E---F*-- with 9ths/2nds we see that Locrian and phyrigian are the exceptions with flattened 9th's/2nds I'd extened the exercise to 10ths (3rds), 11ths(4ths) and 13ths (6's) as well. This exercise allows you to see how the modes are constructed 1 interval at a time. As you are playing the intervals at the same time then you are able to 1. hear the differences 2. Get those intervals under your fingers 3. realise that the major modes all use the same notes as each other but by shifting the root you get a totally different set of sounds as the importance of each note changes. Hope this is of some help in getting modes under your fingers.[/quote] Very strange. I've read this several times and I fail to see how this helps anyone understand MODERN modal usage. Neither does it address HISTORICAL modal theory. It appears to be a series of exercises in interval playing. Very useful as such but nothing to do with the theory and usage of modes. Dundee, I hate to sound critical, as you have clearly spent some time writing this, but I feel this will only cause more confusion for those new to the modal concept. Try this, dear reader: Play a C harmonic minor scale - CDEbFGAbBC Now play the same scale but starting and ending on the G - GAbBCDEbFG We now have a modal scale - still C harmonic minor but rooted on G (historically the G would quite likely have been a drone). Look at alternating notes of the scale - we get GBDF - notes that make up a G7 chord (if we add the Ab on top, we get G7b9) So while the G7 chord is being played, you can choose to use this set of notes to improvise over or compose with. The distinctive character of the intervals will give that exotic modal flavour which is so spicy. In particular, the notes Ab and Eb will jump out to enrich your improv. But please be clear: This is only one set of notes you can chose to play over a G7 chord. There are several others (depending on context). And by the way: Notice that in this scale (C harmonic minor), there is, contained within, a diminished seventh chord (or dim 7) AbBDF This can be very effective for inclusion in your soloing when arpeggiated - and its easy to finger on BG. Again, these four notes fall within a G7b9 chord. The Major

Latest update: I decided to try again with the Evahs ! But I've just put the G on for now, keeping the Spiro Weichs for D A and E. The G is noticeably heavier and thicker in feel than the other strings, but sounds great, really warm and jazzy, great sustain and character. I don't think it sticks out sonically as being different from the other strings, despite it feeling very different under the fingers. I'll do a few gigs with the strings like this, and will let you know how I get on. The Major

[quote name='XB26354' post='664508' date='Nov 24 2009, 11:12 PM']Whilst I'd agree with you in theory, in reality I never had the luxury of time to learn things one way then the other. I could read, but after my early wake up call (see above re the jazz gig) I had to transcribe and learn in quick succession (for some reason I didn't know about fake books or real books so took songs straight from the record with much stabbing of a cheap keyboard!). I don't believe that just transcribing something is the point when you are learning to do it. Transcribing entire sections of an orchestra is an advanced skill that comes much later. As an instrumentalist and someone [i]learning[/i] how to transcribe I feel there is more benefit to getting the notes under your fingers as you go (and the chords!).[/quote] My point here is really this: Every musician, but particularly the improvising musician, needs to have good aural skills, to be able to identify the notes going on around you, so you can react accordingly and work together with the other musicians as a team. Transcribing notes on to manuscript is is good starting point to develop those skills. When I was at music college (dare i say some 40 years ago ? !), we had Aural classes where the tutor would play a few bars on the piano and, having told us the starting note, we would have to accurately write down the notes as played (we had no instruments in our hands). So a good aural perception for intervals and rhythm was developed. He would also play chords for identification. This is, and always has been, standard training for musicians. While you are in the early stages of your musical development, it is certainly advantageous to have your instrument handy to check the notes you are writing down, and as I said before, copying bass parts from CD and learning to play them from memory is all part of that development process. The very act of transcribing (whether to manuscript or memory) is all about true listening. We all have limitations in our aural perception. My skills are OK (ish) but I know i have some areas that need improvement. I know musicians who can hear 3 part counterpoint, memorize it, and write it down accurately. I struggle with that level of competence. But I believe my skills have got better as I get older. I always envied musos with perfect pitch (the ability to know what a note is without reference to an instrument), but I'm now finding I can quite often (but unfortunately not always) guess the key of a piece correctly. This has come from years and years of playing vast amounts of music. So transcribing / copying / memorizing etc is all part of the musical learning and aural development process. Keep at it ! The Major

While we are on the subject of transcribing, I thought i should mention this: The most impressive transcribing I have come across is the work of British musician Philip Laine. The BBC orch I play with makes about 10 CD's a year. The biggest sellers are a series we have done (and continue adding to) of recreations of the soundtrack music from British films of the 40's and 50's. The quality of recording technology in those days was rather poor, and film buffs like to hear how that music might sound when recorded in stereo on high end digital machines. The problem is that the scores and parts for that old film music has mostly been destroyed - when the BBC took over Pinewood Studios someone apparently thought it was a pile of old rubbish and burnt it ! So Philip Laine was given the job of sitting down with the original soundtracks and literally transcribing every note the orchestra played. Obviously he had to use his considerable musical knowledge to work out what everybody was playing, even when the recording quality was hampering his perception. He had to make educated guesses in some cases but the final result was always convincing. The Major

[quote name='XB26354' post='663731' date='Nov 24 2009, 01:52 PM']One other obvious point is to get the full benefit of transcribing you need to [b]learn to play off by heart [/b]what you have transcribed.[/quote] While I agree entirely that the ability to commit music to memory is essential for all musicians, really that is something different from transcribing. The clue is in the word - tranSCRIBEing - ie to write down what you hear. And that is an art in itself. And Bilbo - believe me it IS a great achievement to successfully transcribe a piece of music, regardless of how complex or simple it is, or whether you can't physically play it yourself. If you are trying to copy a virtuoso player's solos, then at least you know what you have to work on, even if you might not finally achieve that level of playing. After all, having something to aim for is what drives every player to work on their technique and their musical understanding. If you want to commit to memory what another player has already put down on record, then I would suggest putting away your manuscript and pencil, and copy it directly into your brain and into your fingers. It helps to "see" the written notes in your head, but its great training for your muscle memory and musical memory if you take it straight from the audio into your head. Then you can copy their every inflection plus all the things that are so difficult to write down. The Major

[quote name='jude_b' post='660575' date='Nov 20 2009, 09:53 PM']"The root is King,The 5th is Queen, and the 3rd is the Jack" I like that too - sounds like Bob Dylan. I've never really got my head around modes, despite covering them in theory, they always seemed a bit unnecessary given a knowledge of major, minor and blues scales. I've just misspent some money on a bass magazine on a journey home from London and the theory part in the back on modes makes general relativity look like a breeze - really horrible. The names are enough to put you off alone. From memory, did modes predate the development of major/minor scales - I seem to remember them being used in Medieval plainsong or something? Can we consign them to history? They always seem to be used in guitar magazines and (I think) tend to confuse the issue. I can't remember Ray Brown directly using modes in his book on bass method. I'm self taught on bass, so maybe this is a gap in my knowledge - can anyone who's been trained with modes explain whether/how they are helpful? (Sorry for going a little off topic)[/quote] OK I'll try to help: Thinking about the way modes are used in music education today (and I'm referring to the pop/rock/jazz/blues genres): It's important to understand that a (modern) mode is not a fingering pattern as has been mentioned in another post. A particular fingering pattern could be said to be in a particular mode but not the other way round. Confused ? Let me try to explain ( and I'm keeping this at a basic practical level): When you play a scale - lets say C major CDEFGABC - you create a particular musical character, a "mode". On its own, that scale gives a very clear harmonic inference to the modern ear. Put a C triad under it, and it is even more clear. Now alter just one note - change the F to an F#. The character changes when you now play the scale. Again put the C triad under it, and the harmonic instability is clear. You have created a new mode (the titles of the modes don't really matter - they are purely academic). Now play any of those notes - CDEF#GABC - in any order - create a melodic line just with these notes (in various octaves). You will hear the "mode" inferred by that F#. If you don't play F# or F natural in your melody, you will not get that particular character you had a moment ago. Now, the modern way of using modes is to take these "characters" and add them to one's arsenal of musical ideas. Let's say you were improvising over a G7 chord. The notes of the C scale fit perfectly and if we start our theoretical scale on G we get GABCDEFG (still a C major scale). This is the Mixolidian mode (not that the title matters!). Because G7 is the dominant chord in C major, the C major scale works well over this chord. However, if you want to make it sound a bit more exotic, lets change one of the notes: Lets change the E natural into an Eb. Play the scale GABCDEbFG over a G7 chord. A whole new character emerges. Now improvise, create a melodic line using these notes - still over a G7 chord (get your guitarist mate to strum). You'll hear how different the "character" is now. But the danger is that you will think you can only use just these notes to create that character. Yes you can make a point of including that Eb to create that exotic feel for some of the time during your improv or composition - but don't get hung up on it ! It's like adding seasoning to you food - if you overdo it it will be unpalatable. Over one chord, you can play in several different modes in quick succession. You can then create some great sounding lines. But only an Academic transcribing your work would actually assign modal thinking to your lines. It's much better to have the musical freedom to incorporate notes as you feel them rather than in a stilted academic fashion. So modes (in the modern thinking) are there to add spice to our musical lives. But don't be a slave to them ! Does this all make sense ? I can write more if you wish ! The Major

I've done a huge amount of transcribing in my time. For 17 years i ran a 6 -12 piece function band, all reading, and as we played loads of current pop stuff of the time plus old Motown / Soul / 60's etc etc, I had to transcribe from the records / tapes / CD's and re-arrange for my players (did over 400 titles). I've also done many full orchestrations for the 90 piece BBC orch I play in, again transcribing chart hits from CD and re-arranging. The best piece of advice I can give is to start with the bass part. Once you've got that down on paper, everything else makes more sense. Then jot down the chord sequence as you hear it, even if only roughly. Again that can help when you get stuck into the nitty-gritty of what is going on. When working on drum parts, just note the basic groove to begin with, write "fill" as required.Most drummers only want a broad outline of the song, showing where to do fills or dynamic changes, where the stops are (if any). If you are trying to write down improvised solos, start by getting down the notes that hit the main beats. Then you can fill in the other notes from there. One thing that always amazed me when transcribing some of the old numbers from the days when everything was real playing (ie before computers) was how many wrong notes and bad timing you could spot. It's a great way to train your ears, so get transcribing ! The Major

[quote name='bilbo230763' post='659066' date='Nov 19 2009, 11:43 AM']I'll give you £350 for it [/quote] Sorry Bilbo - I've already got a buyer ready waiting to buy it the moment I retire (and that won't be for some time yet, I hope !). The Major

It's also worth bearing in mind that a quality DB is nearly always a good investment. A few years down the line and you should be able to get more than you paid for it, assuming it's still in good condition. You can't say that for electric instruments which nearly always depreciate at an alarming rate. My orchestral bass cost me £300 in 1973. It's now worth in excess of £25K. Now that's a good investment ! The Major

[quote name='fatback' post='652338' date='Nov 12 2009, 10:02 AM']The players I love are the ones who play little but add small touches that are just perfect and nearly always depend on good knowledge. fatback[/quote] Fatback, you are absolutely right - good knowledge of music is vital if one wishes to add those special little touches to an otherwise simple bass line. But my point was about how you go about acquiring that knowledge - or should I say the order in which that knowledge is taken in. I'm looking at this from an educator's point of view. It's so easy to confuse the student if the knowledge is fed in the wrong way or in the wrong order. For a bass player, it is essential to understand not only how the "key" structure works but also basic chord building and how to use those chordal tones in an effective way when creating a bass part before trying to fill in the gaps with non chordal notes. But in order to understand chord building, a solid foundation in the basic scales - major and minor (natural / harmonic / melodic) is a good starting point. These are the most commonly used modes anyway. To be honest, there is no "right way" to teach somebody about harmony / theory / improvising / arranging / . A lot depends on the aptitude of the student and whether the teacher can give an overview without missing out too much detail. You can read endless books about this subject - but it's only when you can see the overall picture that the penny drops and it all makes sense. The Major

[quote name='fatback' post='651416' date='Nov 11 2009, 10:53 AM']As for modes, I'd disagree (hesitantly) with the views above. It's important to learn the scales that can go with each chord, and a good way to do that is to learn the modes that go with each chord.[/quote] This is precisely why I think modes should be looked at later in the educational process, once a true understanding of chords is in place. If a young player believes he/ she has several modal options when seeing a chord in a sequence, then that player will be confused when certain notes simply sound "wrong" because they have yet to understand the harmonic direction. Everything in music is allied to context and good taste. Take a simple A minor triad for example. There are many modal scale options to play against this chord: A B C D E F G A Bb C D E F G A B C D E F# G A B C D E F# G# A Bb C D Eb F G A Bb C D Eb F G# Each one of these has a usefulness in a given context. But if you don't understand that context from a harmonic perspective, you will come unstuck very quickly. For a player who barely knows the chordal notes of simple 3 and 4 note chords, these options are a step too far too soon. And, as usual, I heartily agree with both Jakesbass and Bilbo' comments. It's amazing what you can do just using the tonic note, maybe in various octaves, underpinning the action, keeping that fundamental floored. The root is King,The 5th is Queen, and the 3rd is the Jack !! (I just made that up - sounds a bit pretentious actually !) The Major

[quote name='Amazoman' post='651124' date='Nov 10 2009, 10:40 PM']Do you advocate I scrap this idea and go back to commiting to memory the notes which are found in each chord?[/quote] Yes I would suggest that a thorough understanding of the chordal notes is an essential starting point. As I said before, modal thinking is a useful tool for widening your compositional / improvisational ideas, but only when you fully understand the basics of chord building. Its also important to understand how you can build a bass line that takes into account the "change" from one chord to another. (In the jazz genre we refer to a chord sequence as "the changes"). Taking your A major example: Let's say you are looking to "change" from C#m7 to F#m7: (chords built on the 3rd and 6th notes of the A scale) You can simply use the root notes C# moving to F#. Or, looking at the notes from within the chord of C#m7, you could approach the F# root from the note E which is the minor 3rd of the C#m7 chord. Or you could use the G#. The note B (the 7th in the C#m7 chord) would be less convincing in a regular style of music. There is a great amount of knowledge to take in when you want to be involved in music. I've been pro musician for 40 years and I'm still learning something every day. You need to build a solid foundation to progress from. A clear understanding of chord building should be your first goal. The Major

This is one of those instances where the teaching (and misunderstanding) of modes is just so ridiculous. Yes we need to understand modes, and they can be applied very effectively when composing or improvising, but for the type of bass parts I guess you are trying to create, modal thinking just muddies the water. In your example, all the chords are related to the A major scale. All the constituent notes of these chords are in the A major scale. Make sure you know the notes of each chord as a starting point. So for instance C#m7 is C# E G# and B. Using the root and 5th on the strong beats of the bar, you can mix in the other 2 notes to taste. Obviously use notes in different octaves for variety. If you want to use passing notes (on weaker beats or sub-divisions), just use other notes from the A major scale if you want it to sound "right". Or you can use other notes from out of the key if you are looking for "tension" within your part. It's all down to taste and genre. You need to learn firstly how the chordal notes will work in your part, and how to make them fit, before widening your scope to encompass extraneous tones. When you start to play more complex harmonic sequences, with frequent modulations and dissonances, then you might want to start reading up about modal thinking. But I would suggest with respect that you are not yet at that point. The Major

I've said it before on this forum (and I'll keep saying it) - GET A TEACHER if you want to be a good sight-reader. You may think you are playing it correctly, but if you haven't yet developed good reading skills, how can you be sure ? I've had new pupils come to me saying "Oh yes I can read music". Then you put something easy in front of them and straight away they show just how poor their understanding of the written note is. You will end up with all sorts of bad habits/ misunderstandings that may take years to put right. If you do sight reading regularly with your teacher listening and correcting your mistakes, you will make quick progress. The Major

[quote name='Rayman' post='624450' date='Oct 12 2009, 08:36 PM']Thanks a lot for that Major, I'll be in touch.[/quote] Rayman I've just been booked to do a sort of Double Bass Masterclass / Demonstration thingy at BassDay Uk at the RNCM on nov 22. I've got my trio and girl singer coming along to help me do a performance session, with some chat, and the possibility for attendees to "have-a-go" on my bass with a few pointers from myself. This will all take place in the Lord Rhodes Room from 12 midday till about 2.30 (got another gig to dash off to). So do come along if you can. I'm planning to let non DB players have 5 mins each to try the instrument out. The Major

We spent yesterday morning rehearsing with our guest vocalist for this gig Anna McGeoch. I've got to tell you guys, she is superb ! Anna recently graduated from LIPA (Liverpool Institute of Performing Arts) and is mostly doing gigs in pubs with a rock band and sometimes with the dreaded backing-tracks. This is her first foray into the world of jazz, yet she is taking to it like a duck to water. Flawless intonation, controlled power,beautiful phrasing, natural swing-feel, etc etc. She is one of the best singers I have ever had the pleasure to work with (and I've played with many in my time). Anna is also a budding songwriter. The reason i mention this is that I'd like to help Anna on her career path. Her parents are both bass players (BBC colleagues of mine). She deserves to be working with the best function bands / covers bands / big bands / etc etc and I'd encourage any of you who are looking for a female vocalist for your own bands to check this girl out. If you can't get to this gig, she is going to be singing with my trio at BassDay UK on the 22nd Nov at the RNCM in Manchester. I'm doing a Double Bass masterclass/demonstration sort of thing and I asked the guys to help me out. Please pop in to the Lord Rhodes Room - we will be there from midday till 2.30, then buzzing off to do another gig. The Major

[quote name='Les' post='644624' date='Nov 3 2009, 07:33 PM']Thanks Major, yep notation means my brain hurting and sticking my tongue out and my finger on the paper, but I can manage it slowly, but I'm not sure I'm playing it right. TAB's great but failing that your long winded way round works, or even the name of the note and the string would do, don't need the fret. ie F# E string or even just the notes from bottom to top, I'll figure the fingering from there. However you want to do it is fine at the end of the day, I'll work round it and I appreciate you taking the time whichever way you do it. Thanks Les[/quote] OK Les, here it is in my old long-winded method: The D Major Triad with the major 3rd at the bottom is simply this: F# (3rd finger 14th fret on the E string ) D (1st fing 12th fret D string) A (4th fing 14th fret G string) To play the next chord (E over G#) just slide this shape up 2 frets Then slide the shape up 1 more fret to get F over A, then back down 2 frets to get Eb over G, and finally back down 1 fret to where you started. This chord works particularly well I think when moving in parallel like this. And because I've spread the voicing of the chord it isn't too muddy. Similarly, to get the Minor version, just use 2nd finger one fret lower than where you had the 3rd finger thus: F (2nd fing 13th fret E string) D (1st fing 12th fret D string) A (4th fing 14th fret G string) The triplet exercise is one that i find really good for dexterity, and it can sound pretty good when played at speed ! B (3rd fing 19th fret E string) G (1st fing 17th fret D string) D (4th fing 19th fret G string) Bb (1st fing 18th fret E string) Ab (2nd fing 18th fret D string) Eb (4th fing 20th fret G string) Now move the 3rd finger to A 17th fret E string and play the same pattern. Then move down again twice more (or just keep going down in the same way till the stretch becomes too much for you). Does this all make sense ? The Major

[quote name='thepurpleblob' post='644230' date='Nov 3 2009, 10:51 AM']I played the first chord in that sequence - Dm7 - a few times and all I could think of was Girl from Ipanema. I'm ill [/quote] You must be ill ! Ipanima starts on Fmaj9 - similar to Dm7 but subtly yet significantly different. The Major

Les I've always loved the sound of a major triad with the major 3rd as the root (1st inversion). Try these: [attachment=35621:Ist_inve...n_triads.pdf] Let me know if you have a problem with the written note. Now I've learnt how to do pdf's, my previous method seems rather long-winded to me, but I do understand if notation causes difficulty. Perhaps somebody would like to tab this for me ? The Major

Here's a little exercise I made up to strengthen the 3rd finger: [attachment=35560:diminish...exercise.pdf] Hope this helps. The Major

Monday 9th November at Cheadle Hulme Con Club, Mellor Road SK8 5AT Art Themen - legendary tenor sax man Anna Mcgeoch - vocalist (recent LIPA graduate) Matthew Compton - piano Pete Willmott - bass Paul Turner - drums

[quote name='Les' post='638466' date='Oct 27 2009, 08:50 PM']As I don't use chords in my band I read rather than contributed to this thread but I'm a bit gutted no one took you up on your offer as I really enjoyed messing about with your chords, so, please, if you've any more Major I'd love to see them. Thanks Les[/quote] Hi Les I suppose there are few opportunities in most band situations to use these bass-chords, but they are great to practice and they help build dexterity and strength, and lets face it, they are good for showing off ! Try this turn-around sequence in C major: [attachment=35380:bass_chords_1.pdf] C major C (2nd fing 15th fret A string) E (1st fing 14th fret D string) C (4th fing 17th fret G string) C#dim C# (3rd fing 16th fret A string) E (1st fing 14th fret D string) Bb (2nd fing 15th fret G string) Dm7 D (3rd fing 17th fret A string) F (1st fing 15th fret D string) C (4th fing 17th fret G string) D#dim D# (3rd fing 18th fret A string) F# (1st fing 16th fret D string) C (2nd fing 17th fret G string) Em7 E (3rd fing 19th fret A string) G (1st fing 17th fret D string) D (4th fing 19th fret G string ) Eb 7 Eb (2nd fing 18th fret A string) G (1st fing 17th D string ) Db (3rd fing 18th fret G string) Dm7 D (3rd fing 17th fret A string) F (1st fing 15th fret D string) C (4th fing 17th fret G string) Db7 Db (2nd fing 16th fret A string ) F (1st fing 15th fret D string ) Cb (3rd fing 16th fret G string ) Once you've mastered the left hand fingering, try playing this as triplet quavers using, on the right hand, thumb index and middle fingers in classical guitar style. More soon ......... The Major

Hi Gareth There are some amazing deals on ebay. I bought 2 chinese brazilwood bows for £40 each inc p+p. They are on the heavy side so not ideal for delicate spicatto work, but for most playing they work well. I just keep them as spares, as I have a couple of Paesold bows, one which cost £1000, but my favourite one was only £150 (admittedly some 10 years ago or so - probably a bit more costly now). I use this one almost all the time. The Major

My "jazz" bass is fitted with an Underwood pickup (now nearly 30 years old and still working well) and I have 2 Gallien-Kreuger MB150 combo-amps, one for DB and the second for when I'm doubling on BG. This way i can have each amp set the way i like it for the different instruments. The GK's are perfect for me - easy to carry around, they sound good - and on the few occasions when i need extra depth and power, i hook up a 15" speaker cab. The Major