tinyd

I haven't had a chance to play this at a gig yet, but this one is always fun:

Doesn't have to be root notes at all - just some of the many available notes that are below the 7th fret would have been nice

Most of the players are great, but the vids he's chosen are the bass equivalent of

He wrote Relight My Fire as well. The original is a lot funkier than the Take That cover....

I completely agree. There's nothing wrong with a (small) bit of showmanship at the appropriate time, but in general though the best virtuosos show their abilities by working _with_ (rather than playing all over) their bandmates.

On a related note, there was a good piece in the Guardian the other day about "unofficial" band members (people who play with the band, sometimes for decades, but aren't "in" the band). https://www.theguardian.com/music/2024/mar/20/touring-musicians-who-play-with-bands-but-arent-official-members-manic-street-preachers-simple-minds I have to be honest that it sounds like a pretty good setup on the whole - getting paid to play but none (or very little, anyway) of the politics, drama, publicity etc.

My theory is that putting in the "wrong" notes in this line is easier than leaving them out - it's sometimes easier for our brains to play a string of notes rather than think about gaps.

What I find is that if I sit down at the bass/piano/guitar after learning (or remembering) some music theory it makes my noodling more directed and interesting. So I see that theory can often be a shortcut to creativity rather than an impediment. But this doesn't mean you can't be just as creative without knowing any theory of course.

I agree with the sentiment that playing it "your way" is usually the way to go. But it's still an education when, as @KingPrawn says, you thought you _were_ playing them just like the original (but weren't)! I remember doing exactly this with Cissy Strut (not just a bass line - it's played on guitar as well). In this case, the original has less notes that my version which helps....

I meant it in the sense of "don't beat yourself up about your perceived failures on the night". I agree that striving to be better is a good thing!

I realise that this may not be particularly helpful, but just more of an observation that trying to compete with people who are playing extremely loudly when they're not at Woodstock / Isle of Wight is extremely hard and not usually a lot of fun. So it's another reason not to be too hard on yourself in my opinion.

I think some bass solos are pretty nice but I mostly agree - I like bass solos that still hold onto the tune's groove somehow. For me, the best jazz bass players do the same thing as good bass players in any genre - they underpin the harmony while also driving the music forward. Depending on the tune, tempo etc, this can be fairly simple sounding, or very virtuosic (e.g. Ron Carter walking at fast tempos with Miles Davis - it's "just" a walking bass line....)

Yep - it's counterintuitive, but sometimes raising the string height can make the bass easier to play as you don't need to play as hard to get the sound you're looking for.

On double bass you usually measure string height at the end of the fingerboard so I'd guess it's the same here. For comparison, on DB "typical" string heights are around 5mm for the G up to 8 or 10 on the E, but these are hugely variable between players.

Thanks for that - any particular reason why do you don't use it any more? I'm guessing that with a decent pickup/amp setup an IR isn't really worth it for live situations.....