jakenewmanbass

I just don't fly with a bass anymore. I will get the promoter to hire or take an eub. I have flown to 4 continents with a DB in a Stevenson case, it's hell, and you become a massive target for bribes. I've shelled out hundreds to Indian, African and middle east customs officials, no prejudice there, it's just the way they run things in those countries. India are trying to do something about it. [url="http://www.bbc.co.uk/news/world-south-asia-13616123"]http://www.bbc.co.uk...h-asia-13616123[/url]

I had a lot of fun, I thought everybody did great in the workshops, as always would have liked a chance to talk to a few more people but the time always seems to fly. see you next time if not before fellas

Cheers Nik I hope a few people see this at this late hour, my workshop depends on the problems that folk have in making headway in their playing. We all hit walls in our development and I'd like to tackle some of the things that Basschatters encounter in real time in the hope that seeing problem solving will offer a 'solution'

[quote name='bassman7755' timestamp='1316525995' post='1379175'] So why not notate them all as 11th chords in that case then - why only do this for the IV (or list the IV as plain maj7 to be consistent with the others ...) ?. pah ... I must be being thick or somthing [/quote] Not thick, just not acquainted with the language perhaps. The point is this. when considering the nature of a chord from it's position in a major harmony context, it's a good idea to have all the info relating to that chord present... the reason: you can immediately identify where the chord has come from by the distance between the notes in the scale. This information is not 'you must emphasise the F# in a C major' but more, 'if you understand the context of the F# in C you will have a better idea of where you are and what you can play' If you want a really blatant example of the use of this harmony check out the melody to Inca Roads by Frank Zappa. It's a marvelous use of the note in question, creates a really interesting and haunting melody... and btw I have had the great honour of playing with Ike Willis... one of Frank's singers As for why it doesn't need to be notated as an 11th, I'm at pains to point out (for the 4th time now) that the arpeggio is NOT an 11th that is just the chord symbol for that position here... with Ike singing: http://www.youtube.com/watch?v=LTiCF__8zXU&feature=related

[quote name='bassman7755' timestamp='1316517553' post='1378992'] This is not an argument about being "correct" (well I hope its not actually an argument ) - harmonised 7th chords are not rocket science to either of us and lets get the natural F out the way - I never mentioned or implied that. [/quote] nothing wrong with an argument as long as it's conducted along civil lines [quote name='bassman7755' timestamp='1316517553' post='1378992'] Whats actually transpired is that you said (words to the effect of ) "there no special treatment of the IV- its a 4 note CEGB apreggio" despite that fact that the notes played and the chord designation are clearly a 5 note (CEGBF#) arpeggio. [/quote] this is why I asked that you look at the exercise again. it is NOT a five note arpeggio in the exercise, it's simply the correct spelling of the chord found on the fourth degree of a major scale, which by it's very definition and make up, is a maj7#11 chord... now it wasn't me that decided that, it was the laws of harmony, I am simply giving people an exercise that allows them to access all that info in one fell swoop. I'm more than happy to discuss the possibles when it comes to understanding fretboard harmony, but I would much rather have a conversation about what one can do with the appropriate tools rather than a lengthy drawn out discussion about whether a note belongs in a certain location as defined by whether or not it sounds strange to you. The F# is a legitimate fourth chord harmony note and if you get really good on your bass folks you may well find a context in which it's appropriate... Finally your CEGBF# assumption is not one that would really work as a chord voicing (which is where this info would end up) a more appropriate spelling would be C G D E F# B this would be a good example on the piano and give s a strong sense of the tonality of the chord, if you were to voice that on a keyboard you'd find that an F# would be a lovely addition to your bass line if carefully placed edit, the chord I spelled out there is actually a Cmaj9#11, yummy... and it's one of the places that your newly discovered F# in a Cmaj context would sound fab... give it a try... go on, will ya!

[quote name='Bassowner35' timestamp='1316511136' post='1378883'] My computer doesn't seem able to recognise the file type. What program do I need to read it? [/quote] It's a pdf but for some reason the file extension is a bit odd if you change it to .pdf it should work

[quote name='bassman7755' timestamp='1316508843' post='1378843'] Really ? - From a bass line construction perspective its probably going to start sounding odd if I'm emphisising the leading note during the IV chord at least in any stuff I am ever likely to play (maybe its a "jazz" thing and assumes an impending cycle of fourths movement...). Still seems arbitrary to me and (more importantly) confusing to beginners since its the only 5-note arpeggio in a sequence of otherwise pure 4 note ones. [/quote] look at the exercise again and this time read the notes instead of the chord symbol, it's not a 5 note arpeggio, the Arpeggio is C E G B, and neither is it confusing to beginners... it just is what it is. I am not speaking only of constructing bass lines but about having a wider harmonic knowledge and being able to hear the 4 chord in it's accurate context. There are plenty of examples of the use of the 4 chord in the Lydian form, lots of standard song sequences would employ it, it can be found in all forms of music and is. For the sake of clarity lets put it this way. If you played a Cmaj7 in part of a sequence that came from the key of G then the F natural would be harder to justify as in technical terms it would be a wrong note.... there are of course plenty of people who could contextualise it successfully. You seem bent on proving something about which you are technically completely incorrect [quote name='bassman7755' timestamp='1316508843' post='1378843'] its probably going to start sounding odd if I'm emphisising the leading note during the IV chord [b]at least in any stuff I am ever likely to play[/b] [/quote] I think this is revealing about where you are coming from, there are various styles of music that not all of us listen to all the time, because that is true it does nothing to undermine the accuracy of it's theory. And who suggested you should emphasise the F#... get with the program mate you're the bass player.... play the root man, ffs

[quote name='silverfoxnik' timestamp='1316509553' post='1378863'] Sorry SlackAlice can't make it but glad to hear you're still available Jake! Yes please to the Alembic : ) Did you get my PM? [/quote] I did get your PM Nik... and replied... I hope

Looks like I'm coming... I'll bring my 77 Fender an old German DB and a polytone combo (actually a gtr amp) with a Fishman plat pro. If anyone would like me to bring the Alembic again let me know.

Because it is the 4th chord relating to the key of G... G contains an F# and therefore produces a major 7 #11 chord when started in arpeggio form on the 4th degree. incidentally this would be the same spelling for any key for the chord found on the fourth degree of the scale. It's also worth pointing out that the arpeggio in fact contains C E G B and not as you say an F# it's only when you play the scale portion of the exercise that the F# is encountered, it is however very much part of the sound of the 4th degree chord (also known as the Lydian mode) and it would be used extensively in chord voicings derived from that position.

Hi Kev, yep should be a pdf but looks a bit odd doesn't it...! hopefully this is it... [attachment=89739:Arpeggio and diatonic exce.pdf] hmmm! that doesn't seem to work either, that was a fresh upload.... MODS! HELP!

I advocate learning this [url="http://basschat.co.uk/topic/76477-major-harmony-arpeggio-and-scale-exercise/"]http://basschat.co.uk/topic/76477-major-harmony-arpeggio-and-scale-exercise/[/url] exercise in twelve keys, in both directions backwards upside down etc etc I posted it some time ago... if the link doesn't get you the exercise let me know and I'll send it to you. I give it to all my students and tell them to spend their whole lives working on it

A wee bumpy for the autumn season. I have a few slots. I have a new teaching space/studio complete with logic and a real live drum kit. I seem to be having success with the idea of 2 hr lessons monthly so for those that are happy to have a workload to take away it saves on the travelling, I have a few students that come from 50/60 miles once a month and it seems to work well for them. Fancy some inspiration and a bit of direction? give me a call. Jake

I think our very own Daf Lewis is up your way... don't know if he gives lessons but I'm sure he'd be worth a shout.

[quote name='daflewis' post='1370019' date='Sep 12 2011, 12:22 AM']Once again thank you to everyone - up to about 30 responses so far and lots of great ideas and info - [b]and please don't be afraid to make negative comments[/b] - they can often be the most important ones! [/quote] I honestly couldn't think of any... I was trying for constructive criticism but found there wasn't any I could offer...

lovely piece.. very good transcription

just bass strings and amps here .... sad sad git

First thing I'd say is be frank with them about where you are at, if they are happy for you to find your way over time then you are in an excellent environment to be pulled along really quickly... there is nothing like 'doing it' to get better at... doing it! The conditions sound a little tough tbh, so I would be asking for a bit of notice of the material to maybe sketch things in the right key and have a look at some of the trickier reading/changes, you will sound so much better if you are a bit prepared and have an idea of how the stuff goes. If you enjoy the process then you will find challenge for life in the music... Jazz can be great when played well, and will provide never ending possibilities for improvement as a player, also learning to be adept with changes will stand you in the greatest stead for being creative and composing basslines in any genre as creating walking lines is the bedrock of getting good at expressing yourself harmonically.... lines lines lines...

Done... although I'm already a fan of Innovation... I think they are getting it right.

[quote name='thisnameistaken' post='1316578' date='Jul 26 2011, 08:02 AM']Hey Jake. I recently strung my bass with Silver Slaps and while I really like the tension for slapping I'm finding them a little bit loose for pizz. I thought about getting the Super Silvers but nobody here had any opinion of them so I stuck with the Slaps, how much different would you say the tension is?[/quote] Hi Kev, they are probably about 70% along the way of the difference between silvers and Spirocores, definitely looser than most steels I've played, they feel a bit unyielding at first compared to silvers but as I said after a bit of playing in I'm thinking I prefer them, I would be concerned about the extra tension for the E and A (which I don't have) but I'm sure I'd get used to that too in time... any more questions feel free to ask.

[quote name='urb' post='1316736' date='Jul 26 2011, 10:36 AM']Well then you're into the indeterminable world of taste... it's art man, if Joe Public public stand in front of a Francis Bacon painting and they 'like' it, or are horrified by it - then surely the art has done its job - it exists to hold up a mirror to society - therefore music does this to varying degrees - some in a really mundane everyday way, but some in the most transcendent form possible - but how and what form these last two examples take is comepletely open to interpretation... you see it's art innit?[/quote] This is interesting Mike, I always marvel at some artist's ability to convey a message which seems to speak to a history that chimes with my core, in most cases it's singer songwriters that reach me in this way, eg Joni Mitchell, Carole King, Rickie Lee Jones, James Taylor, Paul Simon, Sting, even Elton John (although his performance doesn't groove me as much) Having said that I am also reached by the likes of Bach, Beethoven and the great song writers of the American song book and many things between. My stock saying when asked by people "what are you into" is always "good music" beyond that there are those special ones that just seem to be able to convey something that is speaking about the stuff from which we are made down through our evolution.

[quote name='silddx' post='1316622' date='Jul 26 2011, 09:06 AM']Serious question.[/quote] Any notion of technique and/or best practice or for that matter any thought that is not just music, in an ideal world, would be dispensed with in[i] favour[/i] of making music. It is the point at which you forget theory, scales, chord tones arpeggios etc etc that you can hopefully let ideas flow, but it is worth noting that those ideas can flow [i][b]because[/b][/i] you have put in the practice and can therefore complete tasks without thinking.

[quote name='Ross' post='1316648' date='Jul 26 2011, 09:25 AM']When you're a horn player. No seriously, I've yet to meet a horn player that can improvise or really play a lot without a bit of music in front of them. Mad...[/quote] just for balance... I know loads

Hi Daf firstly this is great!! I have used silver slaps on my 1880 and my Stentor (van bass... lives in a van, goes everywhere with little care) for about 3 years. the van bass is currently strung with E and A Silver slaps and D G super silvers. At first the extra bit of tension on the supers was a bit difficult to handle but a summer season of 100+ sets and it is proving to be a nice mix. My only concern with silver slaps is that if you really dig in (which I occasionally do) they can choke a bit. I also think they are ok under a bow, but I'm not a serious arco player and can imagine them being a bit scratchy for some. Overall I think Innovation are great strings and look forward to seeing how they will refine their range... They are very much on the right lines as far as I'm concerned, I'd go so far as to say that they have made my very ordinary stentor sound like an instrument and my rather lovely 1880 blockless wonder sound fab. Jake