Mikey D

[quote name='Lulu' post='53009' date='Aug 30 2007, 09:53 PM']Squier VMJB with Audere J3Z [/quote] How much difference was there when you dropped in the Audere? ALso there is something about these basses. I really like them, but they look like they need a good kicking to get 'that look'!

Mine is Black as well. Ibanez GWB35. No photos of my one yet, but it looks exactly like all the others.

[quote name='steve' post='52306' date='Aug 29 2007, 01:49 PM']I have another question if you don't mind, you mention the first cell [color="#0000FF"]"Major or Dominant (1 2 3 5) (5 6 7 9) (9 10 #11 13)"[/color], but as I understand it, is an 11 not just an octave of a 4th? so will the #11 effectively be a #4? is that jazz??? Library, hmmmm, I vaguely remember hearing about one of those before some wiseguy invented the internet, I'll have to see if my local one wasn't demolished to make way for yet another fashion boutique![/quote] You are indeed right. If you are ever unsure of what an upper extension is above the octave, just subtract 7. So in this case it is the #4, but the tendancy is to call it the #11. Jazzers tend to use the #11/#4 instead of the 11/4 as it has a brighter nicer sound on the tonic major. Also the 4th can also be called an avoid note on the tonic major, but really you just need to know how to resolve it properly. So when you try playing over a jazz piece instead of playing the major scale on the I, try playing the lydian scale on the tonic. It should sound nicer to the ear. (I can go into the whole Lydian Chromatic concept as laid out by George Russell, but that takes everything you have learned about western harmony and puts it on its head) If you are ever unsure of any theory things, don't worry about Pm'ing me. If I have time I'll send an answer. (I'm a student, I'll have time! ) I'm going to do another video showing this concept a bit slower on another tune i think. As I should have the sound problem sorted for recording.

[quote name='jakesbass' post='52160' date='Aug 29 2007, 09:24 AM']As Jennifer said, Time and feel are the principle ingredients to a good walking bass line as the harmony can be as complex or as straight forward as you like (I was bass tutor at Salford Uni for eight years so I've tried to teach alot of people to swing) Its quite difficult to swing effectively on electric as the generation and decay of pizz notes on upright lend themselves to a forward motion feel (which is everything in swing) due to the fact that in order for the note to speak in the right place, the pluck needs to be ahead of the beat a fraction, this is harder on electric as the response is so much quicker. It can be done, but I don't know many bass players who really pull it off well. As for the harmony, It's a lifes wok and is a never ending challenge (wich is why I love it) Get a real book and learn to make simple lines that convey the sound of the changes well (there is swing to be found in the notes as well) be really simple at first but be sure that the song is being served well. Roots, fifths, thirds and sevenths are a good staring point as they have the strongest flavour of the chord in them, as your ear accustoms to the movement and you learn the chord sequence (which is crucial) you will begin to hear passing notes that link and longer lines that work through the changes. Of course the very best way to learn lines and note choice is to listen to the millions of great recordings that contain walking bass, I love Ray Brown, Sam Jones, Scott La Faro, Dave Holland, Paul Chambers, Ron Carter..... the list goes on and on. These guys are all masters of the genre and have encyclopaedic harmonic structues mapped out in their heads which is what you need to be ANY good at this. Jake[/quote] Jake!! I think you taught me! I was only there for a semester as I didn't really get on with the course as a whole. I am now (after a big hiatus) studying at Birmingham Conservatoire on their jazz course. If I recall we played Periscope and sight read some bach pieces. Just wanna let you know I enjoyed the few lessons i had with you.

[quote name='urb' post='52146' date='Aug 29 2007, 09:04 AM']Mikey - a great book for ear traiing is Gary Willis' Complete Guide for Ear Trainging - or something like that - it has a CD and is brilliantly put together - really good stuff and very helpful. The one thing I have found most helpful in the short term with ear stuff is recognising the sounds of certain chord types - i.e. major, minor (obviously), diminished, augmented, aumented 5th etc - I've found myself quite comfortably continuing to solo by ear - even when I lost my way on the chord chart on a jam session - and I still got 'nice solo' said to me afterwards - though I was completely busking it! Good stuff anyways - jazz is good! Mike[/quote] I'll have to check that one out, I have his bass, so why not his book! As part of my course I have had to learn to recognise chord types, which I can now do most of the time and scales which i find a little hard still on the more exotic ones. The main thing I have been doing is trying to transcribe chord changes by ear and singing along to everything I play. But when I get a bit of money I will have a look at that book. Cheers

[quote name='steve' post='52059' date='Aug 29 2007, 12:03 AM']wow, that's some really impressive playing. can either of you explain the idea behind cell playing, or point me in the direction of a website, I'm intrigued thanks[/quote] To be honest, it is not that impressive when you know how to do it! Just take things slowly and you will a vast improvement in no time at all. I only spent a few hours getting this cell thing under my fingers before recording it, I knew the theory of it quite weel though, just never tried to implement it. It basically comes down to limiting yourself when improvising. In this case, to four notes, and the particular four notes I have used in the video are the most basic ones to start with and sound most in unity wwith the chord you are playing over them. If you have a library I recommend Jerry Bergonzi's Vol1 Melodic Structures Book, to be honest you don't need to buy it as it is about 100 pages, but if you get the idea of the concept down, you can work the rest out yourself. The way I look it is there are three basic cells you can play over a chord using the following notes (the numbers are the degree of the scale) with each one using more upper extensions. Of course there are other cells, but limiting yourself at first will help you get a greater understanding of this technique. Here are the three cells you should start with: Major or Dominant (1 2 3 5) (5 6 7 9) (9 10 #11 13) If you notice each of these are exactly the same 'shape' on the bass, just starting on the root, 5th or 9th. Be careful with the 5 6 7 9 shape on the dominant though as it will create a major 7 instead of dominant 7. You can either alter it, miss it out, or just play it and see if you like the sound. Minor7 (1 b3 4 5) (5 b7 8 9) (9 11 12 13) If you notice each of these are exactly the same 'shape' on the bass, just starting on the root, 5th or 9th. So as I said in the other post each cell has 24 permutations, and including inversions, 96! permutations. So, now you know 3 shapes for each of the basic chord types, thats 288(!!) different things you can already play on a particular chord, just buy starting of with this one shape. I personally find it really interesting. So to be honest, even if you only learn the minor shape and major shape, you can plag your play through a set of changes quite easily without even thinking what notes you are playing, but ideally you want to understand every note you play and why it is being played.

[quote name='urb' post='51919' date='Aug 28 2007, 08:03 PM']Hey man - good explanation and exaple video - it'd be cool to see you take a solo and just hear some of your ideas as well. I like to try and practice stuf like this but in the heat of the moment I'm damned if I can remember the exact way I did it at home - I actually try and think as little as possible when I solo in jazz and just aim for harmonic target points or just sing-and-play which is the best way to synch up what's in your head and getting it out onto the fretboard. I made a vid a while ago now wheere I managed to actually get as relaxed on Giant Steps as I ever have been when practicing - by this I mean I just played with my instincts and ear rather than thinking about technique or anything else - I'd love to incorporate some of these 'cell' ideas into my playing but they somtimes appear/occur naturally - anyway here's the shizzle: [url="http://www.youtube.com/watch?v=-SWoY-s6aqY"]http://www.youtube.com/watch?v=-SWoY-s6aqY[/url] Keep the jazz coming dude - loving the Willis bass and the four-finger technique - it's all good. Cheers Mike[/quote] Cheers, yeah I have seen your video before, I like it. To be honest, I have only just started looking at 4 fingers and especially Giant Steps (notice my head going between looking at the fretboard and the book!?), but one of my mates asked me about cells as I have been learning Coltrane's solo and noticed the use of them quite a lot. I am also studying from the Bergonzi books (as well as a million others!!). I feel there are two ways of playing over something like this (or anything for that matter), intellectually (learning many cells, scales and arpeggios over the form as well as other things) and merely by ear alone and to be honest my ear is my weakest asset at the moment, but I'm working on it. However with the two combined the ideas are almost limitless, this one cell is just the start of the journey. For example only play 1235 on a chord (1345 on minor) in all possible orders gives you 24 permutations. Then you can play inversions of these notes so you actually have 96(!!) permutations for each chord type from this basic cell. Thats not even thinking about rhythm and/or missing out notes. Thats a lot of different ways to play Giant Steps already. Then you can move onto different cells of different scale tones 9-10-#11-13 for example. From this methodical way of playing and using your ears you can create great sounding flowing lines that go through the changes. Then of course you can start adding enclosures, approach tones, skips, phrasing, rhythmic patterns etc to create absolutely anything, of course the ultimate aim as always is to think of nothing and let all the things you have learnt come out as your improvisation, as you'll probably agree. On a personal note I practice this because I want this 'sound' in my changes playing. It's is not for everyone, but if I don't practice it, it won't show as much (or at all) in my improv. As you said, you probably play some cells already, everyone does, because the shape falls easily under the hand and your ears tell you it sounds right. And in this case they fit the four finger style better than a lot of other shapes, if you like it just do a few minutes every day, with a different permutation, preferably one that your hands don't like playing and before you know it, it will be in your solos. If you want it that is! Not sure how confident I am about playing over the changes yet, but I'll give it a go soon enough and will put a video up here for critique.

Just a quick video of cell playing ala Jerry Bergonzi's teaching method using this new fangled 4 finger technique! Thought I would give it a go now that I have put a couple of months into learning to use four fingers and being a bit more comfortable on my Ibanez Fretless. Note to self: Memorise changes next time so you don't have to read them! Any questions or flames appreciated...although I now the sound isn't best quality, that is something I need to find a better way to do on my mac. [url="http://www.youtube.com/watch?v=CtaIKnT8O4M"]I is just put it up on on Utubes na!!![/url]

[url="http://www.thomann.de/gb/fender_sq_vintage_modified_jazz_fl.htm"]£209 near enough?[/url]

[quote name='the hand of john curley' post='47933' date='Aug 20 2007, 08:35 PM']Hi, Just got myself a 6 String Ibanez ( the one Gafbass was selling recently) and although I have been playing 4 strings for 20 years, I need someone to teach me how to get the most out of my new aquisition. I can't read music and am self taught so I'm sure i have loads of bad habits, however I would really appreciate someone taking me through the new spectrum this instrument opens. Please get back to me if you'd be intrested in sharing your wisdom....for a price obviously! Cheers Matt[/quote] If you are willing to travel up to Birmingham for the day, I am sure we can sort something out and get you unleashing some of the 6 strings potential. I can even put a routine together to help you get rid of any bad habits-unless they are part of your sound! Call me on 07914814348 or PM. Speak to you soon.

Now available for teaching. Happy to teach complete beginners or the more advanced player. I offer teaching as I actually ENJOY it, I dont just do this for the money (Although it does pay the bills), so I do look for students who are dedicated and willing to practice (even a little) in their own time. So whether you want a one-off lesson to maintain your passion for the instrument or want to commit to a once every fortnight schedule, give me a call. Lessons are based in Central Milton Keynes. May be able to make arrangement of travel to your home depending on location. I offer completely tailored lessons to suit your needs as a musician and after your 1st lesson I will send you a personalised .pdf practice regime to suit your goals to ensure you can fufill them quicker than you thought would previously feel possible. This regime is evaluated at the end of every lesson to ensure you stay on track or if your goals as a player change. PM me or call 07914814348 for more information and rates. I look forward to meeting you.

Great gear, reading ability, attitude and player. All styles. Let me know what work you have got going. Also now available for teaching bass and music theory. Happy to teach complete beginners. Lessons based in Ballsall Heath are of Birmingham or Central Birmingham at the UCE Conservatoire. May be able to make arrangement of travel to your home depending on location. I offer completely tailored lessons to suit your needs as a musician and will help you become the best you can be in the quickest amount of time. PM me or call 07914814348

Nice Socks!

I've owned 5 basses and 3 amps in the past 12 years. GAS only comes on with requirements with me. Amp dies? buy a new one. Need an amp with two inputs, sell then buy. Happy with my phil jones rig. 4 string to start on, GAS to be patitucci get TRB6 (I was about 16/17). People don't always like you turning up with 6er so get a 4. Want to add fretless to my sound, sell 4. Don't use low B, so now want five with high C. I'm a player first and foremost, thus requirements always come first and really at the end of the day if it is playable I don't give a rats ass what it is, as I like to think i sound like me on no matter what I play. However saying that, I do like to ogle sexy bits of bass gear and I do waste a bit of practice time doing so.

[quote name='P-T-P' post='50077' date='Aug 24 2007, 12:38 PM']Thanks, sorry to be a pain, so the back of the neck is a smoothly sweeping, quite shallow curve from the treble to bass side, something like this ) ? The TRB1006 I had was a definite three side affair that I hated. Reminded me of the neck on a Status SmartBass 4 string I tried.[/quote] I'm selling one of the original TRB6's in the for sale section at the moment, this has the very flat (in my opinion) neck, much like the thrunecks I have tried previously. This is one of the main reason the jap trbs are so sought after a nice wide flat neck wtih wide spacing.