Marvin

[quote name='endorka' post='762424' date='Mar 2 2010, 11:58 PM']The following links should help - they have fingerings for various scales using the Simandl method. [url="http://doublebassblog.org/downloads/1_octave_scales_with_fingerings.pdf"]http://doublebassblog.org/downloads/1_octa..._fingerings.pdf[/url] [url="http://doublebassblog.org/downloads/2_octave_scales_with_fingerings.pdf"]http://doublebassblog.org/downloads/2_octa..._fingerings.pdf[/url] The "-" sign means a shift, which you can do, or in many cases replace with a pivot on the thumb for the bass guitar. Jennifer[/quote] That's very kind, thank you. Rich

It's hopeless. Even admitting you have a problem, which is supposed to be the first step to recovery, doesn't help. I tried to go all day without not so long ago, I just couldn't. I used to be a 1.5 post a day man, I'm up to nearly 3 now. It just can't go on. I am supposed to be practising to get into a band you know, saying that though my typing's coming along a treat Anyone need a P.A?

Welcome. Theory and technique forum may be a good place to look to tide you over until you find a teacher. It's better than a book as you can ask questions. Obviously

welcome

[quote name='Beedster' post='762796' date='Mar 3 2010, 11:55 AM']Agreed. Let's not forget that the whole 'fretless slide & vibrato/glissando' thing was partly a means of bassist holding their own in bands increasingly dominated by the left/bass hand of overly dominant keyboard players. Slap and fretless are as identified with 80's pop as, and because of, over-produced keyboards. There's a reason why the basses of the era were either very scooped for slap or very middy for fretless. Jaco believed that it was easier to play fretless than fretted. He practiced on a C-width fretted Precision neck but gigged and recorded on a defretted A-width Jazz. OK, he had big hands so some of the points re the limitations of fretless above are negated, but even so he had a point. Once you've played fretless a while frets genuinely get in the way. Frets also colour the tone to a huge degree, something that took me a long time to realise. This colouration isn't as easy to get rid of as you'd think, that is, it's not easy to change as the colour of a fretless note. As a bassist I have been constantly troubled by the fact that at auditions, rehearsals and gigs, people constantly rave about my fretless playing, not because it's good, but because it's different and, I think, because they think it's worthy of praise in itself. By that I mean "wow, that guy's playing fretless, he must be really good". I'm not. As long as you don't have very small hands or very poor hearing, it's as easy to learn fretless as it is fretted. The main problem, as has been mentioned on BC many times, is that people believe that fretless is a solo, mwah, vibrato, and slide sound. I blew a couple of guys away once by playing Rhythm Stick on my fretless Jazz. They simply would not believe that it's easier to play on a fretless! If I play it fretted I'm in Fret Buzz City, fretless, sounds fine. My only real concern with fretless playing is in recording. I was at the receiving end of a humbling lesson last year when what I thought was great playing turned out to be consistently out of tune on playback. As we were recording live this was a real problem. I have a generally good ear but it appears I was shifting pitch with the vocalist, and consequently we we became a rather off-key positive feedback loop. Also in live situations with poor monitoring or lighting (or both), fretless can be a nightmare, even for very good players. If you don't believe me, listen to some of Jaco's horribly out of tune recordings (OK, not just the monitors and the lighting I know). My view on fretless playing if asked, and I get asked a lot at gigs, is quite simply that the only difference is a few strips of metal. In the same way that you know a fretted bass is out of tune, you know a fretless is out of tune. The great thing about the fretless is that you can do something about it in real time. If you're the guy who can never tell his bass is out of tune, don't buy a fretless, If not, get one and treat playting it just the same as your fretted and I'm sure you'll find it a very satisfying experience. The compromise between treating it a s anormal bass and being a 'fretless player' is this: negotiate one moment per gig when it's obvious you're playing fretless, and you will get chicks talking to you all night and fellow musicians buying you beers! C[/quote] A great post, takes those myths.

I'm going to cry into to my cup of tea. Some good stuff there, right up my street. Unfortunately I'm a little too far off and probably not good enough, damn my fingers. All the best, sounds like your mate will have a cracking set.

[quote name='Happy Jack' post='762913' date='Mar 3 2010, 01:24 PM']You've ... gulp ... [b][u]banned [/u][/b][i]Mustang Sally[/i]? Omigod. It's the end of civilisation as we know it.[/quote] Where is a covers band without it's chestnuts? We'd all better stock up and be prepared for the ultimate doom Must admit though I can't play any of them, including MS. Good to see someone playing some ZZTop. Best of and all that.

Welcome

I don't get it at all. I never associate Adam Clayton with Warwick regardless of how the bass looks. I always thought the point of a sig bass was that the player was somehow associated to that brand or particular instrument. Perhaps I'm wrong. And apologies for my appalling grammar, damned educational failings.

[quote name='thisnameistaken' post='762434' date='Mar 3 2010, 12:10 AM']There's no science involved, it's God's will. On the third day he created the bridge (the rest of the week was spent on floating trems) and he saw that it was slightly wonky.[/quote]

[quote name='Musicman69' post='762440' date='Mar 3 2010, 12:21 AM']Anyway, the original post was asking about ANY information on right-hand technique.. Not how to hold his bass or fret his strings!! Ah well.[/quote] Do apologise. Maybe should have noted that in my post or not posted at all. I'll get me coat.

Welcome welcome welcome aboard this jolly shop, ship

It's because he has the one ring that rules them all.

You could try here [url="http://www.911tabs.com/"]911 tabs[/url] It searches through TAB sites for you. Also does guitar, piano, drums, vocals.

[quote name='Faithless' post='744867' date='Feb 14 2010, 03:13 PM']Hey, chaps, don't make OP dizzy with all those 3finger techniques.. It's not the case. Wattabout 1fpf technique, I strongly recommend it. First of all, bass guitar is not a double bass anymore, in terms of scale, 34 against 40 is a bit of a difference isn't it? I'm not much of expert, but, as I've noticed, in most cases problem lies not in the small hands or whatever, but it lies in [i]positioning of instrument against the player.[/i] I mean, it's natural, that you will meet pain, when you're trying to reach that low F, using 1fpf technique, when your instrument is 'set' 90 degrees against you, I mean, this, a la Mark King style: Just switch your instrument more like a 45 degrees, stop acting a rockNroll star and adjust that strap to keep bass in normal height, somethin like this: Aaaand, you're halfway to the correct technique! Just to add, 1fpf is very economical technique, it's lets your hand to be relaxed, and you can do all your chords/arpeggios/scales with no problem. If guitarists use it, why can't we do it?[/quote] From reading this thread [url="http://basschat.co.uk/index.php?showtopic=77300&st=0"]http://basschat.co.uk/index.php?showtopic=77300&st=0[/url] I think some of your assumptions are incorrect.

[quote name='endorka' post='744620' date='Feb 14 2010, 10:47 AM']Simandl: [indent]Franz Simandl (August 1, 1840 - December 15, 1912) was a double-bassist and pedagogue who is remembered most for his New Method for the Double Bass, 30 Studies, and more advanced collection of studies, Gradus ad Parnassum. All three of these works are still in use today and are available in a number of competing critical editions. His approach uses the first, second, and fourth fingers of the left hand (actually, the third and fourth operating together as one digit) for stopping the strings on the lower register of the instrument and divides the fingerboard into various positions.[/indent] From [url="http://basschat.co.uk/index.php?act=Post&CODE=02&f=31&t=77300&qpid=744609"]Wikipedia[/url] :-) Jennifer[/quote] Sorry to be a pain in the preverbal, but are you able to direct me to any exercises using Simandl technique? I think it would really benefit me. I'm assuming at the moment that you shift to play scales in the lower registers.

[quote name='Huwberry' post='760660' date='Mar 1 2010, 12:54 PM']I think it's more like 250. I've been able to change mine and I haven't had 300 posts yet.[/quote] Yes it is you are completely correct.

[quote name='silddx' post='761410' date='Mar 2 2010, 12:44 AM']It's the[b] self-flagellation[/b] that's driving me forward.[/quote] This, burlesque. Hmmmm. Are these new lifestyle choices?

I may be a little too mature to think about being a 'serious' player, ehum at 37. but I understand fully what you're driving at. I think, but again I may be wrong, that learning to read music would not only be a benefit in itself, but also help with other parts of playing and learning to play. For example, you don't get the pulse or rhythm of a piece from tab, it's a combination of just telling you what notes/ numbers to play and then cobbling something together yourself. Well that's how I feel anyway. Thanks.

[quote name='Major-Minor' post='761083' date='Mar 1 2010, 07:33 PM']Hi Marvin - I did mention this in the first Session: I haven't approached these sessions in a graded manner ie sometimes I've put in stuff for the more advanced readers mixed in with easy reading. This is mainly due to laziness on my part. I just wanted to do stuff as it came into my brain rather than setting a "syllabus". So you might have to dig about for material that you are comfortable with. My purpose in doing these sessions is to try to get more bass players reading properly, and at the same time, helping everyone with theoretical understanding. Do please let me know what you have problems with and I'll prepare sessions accordingly. The Major[/quote] I don't think I would describe someone who compiles 16 sessions accompanied with PDF and Mp3 files as lazy, and to make them freely available to such a motley bunch as basschaters. I've started reading through the first lesson and noted your explanation that the sessions are in not particular order. There certainly seems to be plenty there for all to get something out of the sessions, so it may mean coming back to a session. For me it will definitely be useful to use lessons that don't use tab as well, I find this makes me lazy and inhibits my learning, I may be wrong but I think using a stave will help me learn the notes on the fretboard. If it's helpful to you I'll certainly let you know if I encounter any problems. Many thanks.

Hate the GLEE cover, truly nauseating. Not a big fan of Journey but I certainly do not hate the original, it's ok.

Hohner B2A. Sold it too cheap and should have kept it so I kept playing

[quote name='Josh' post='760216' date='Feb 28 2010, 10:17 PM']Sorry to be pedantic...But Bridgwater hasn't got an E [/quote] Josh is right to be pedantic, my cousin lives in Bridgwater and gets very upset when it's spelt wrong Josh you have no avatar anymore?

I was going to purchase another tuition book, but I think Major's material would be more beneficial. Also there's no tab I noticed in this one so I can't be lazy and not start using the stave Great resource, very generous to make it available to us. Must remember though to start at the beginning ( being a beginner) and work through.

Well they rhyme with sh*****. :brow: That's not very helpful is it? Sorry I'll get my coat.