Gareth Hughes

Danny - you rock! (or ‘you jazz’ but that doesn’t have the same ring) Thank you for your time in posting here, it is very much appreciated. I especially appreciate your thoughts on the #7. For me, my (aural) stumbling blocks were firmly cemented in my early heavy metal beginnings - so a minor scale is Aeolian and there is nothing else! But I’m chipping away at that concrete and your explanation of, to paraphrase, a ‘constantly variable minor’ has just cleared away a huge block. Thanks again.

So….tried playing over some static minor backing tracks, and the 4th and 5th full bass lines examples and…. It still feels weird/wrong to hear a sharp 7 over a minor chord. But I’m getting there - it’s a flavour that needs digesting a bit more. One bonus of playing the exercises in 12 keys is that the notes seem to fall into place in my fretting hand with more ease than if I was reading these lines with no prep.

Fair play for diving in on a new instrument. I’ve played through two of the full charts, great to hear the exercises work in a real context. I think before I move on I’ll try to come up with my own lines to see if I’ve digested any of this. Time to scour iReal for tunes with static chords.

Yep, it’s those little things that make me throw my hands up in confusion because the only thing I’m sure of is ‘I don’t understand this!’.

One problem is I think that exercise 6 on p17 is incorrect, or else I’m really confused!! The key signatures is Bb major - so presumably a G minor exercise. That’s fine for bar 1, but in bar there’s a B natural with no explanation as to why. Same with the 2nd line - a bar with G minor, then a bar with G major. Maybe that’s the exercise - but I found it confusing without that being spelt out. Feels to me like a proof-reading oversight!

Thankfully memorised. Took a bit to comfortably change keys. Analysing each note in a bar really helped so that, in the new key, I wasn’t relying on the same shape to make it work. Different fingerings to a point - playing them in different octaves for now, but I still plan to go through them again starting on a different finger, two strings only, one string only. The different examples of ‘Bye Bye Blackbird’, etc are making much more sense now - I’m hearing the chord against the chord tones, and hearing how the exercise becomes a choice in what to play. So next up are the five sample bass lines starting on page 21. The plan is to play slowly and hear how the line and the examples work against the chord. My goal is to internalise this to the point of seeing/hearing a chord and not defaulting to R-3-5-7 in a panic! What are you working on Rob?

I’ve just finally gotten through patterns 1 and 2 in all keys, through to exercise 6. Now begins playing real changes with them.

Yep, have iReal, will figure out a loop soon. For my ears it define helps having the chords playing to hear the new ideas in context.

So it begins! I started last night, back to page 1. I tried to figure out what my roadblocks were with this before and I think it’s my age old bass player problem - I hear just one note at a time and not the complete chord. For example, in the example showing the reharmonisation into 1 or V7 - the 1 chord stays the same so I’m fine, but the 2 chord now being a V7 - I’m not hearing a D7 chord, I’m hearing an A root with C as b3 and F# as a 6. I think, for me, I need to practice these patterns against a I-V7 loop to hear how it works. And then I had to go pick my eldest up from a gig he was playing. A small start, but a start nonetheless. Thanks for getting this going.

Self interest here too - accountability is a good thing.

YES! Thanks for setting this up. I need to get the finger out on this, so I’m more than up for joining.

I have the same two books as you, and the Low Down 1 book. And I really haven't given them enough time - but some of the early exercises from Low Down were great. Over the lockdowns I did sit in on a few Zoom calls that Danny hosted, learning a solo by ear and a few other things. Great educator and communicator for sure.

I am properly envious of that, what a magical pairing. I could have seen Morphine at Reading ‘94 but I was wedged down the front to see CooShootCop and Rollins Band. And I didn’t know who they were at the time, alas.