Bilbo

The options are infinite and limited at the same time. Chord tones are a reliable default but, depending on the sequence, straight roots can work e.g a descending chord sequence can sound great with just root notes or chromatics or semi tones above or below the target note etc (F B Bb D Eb A Ab etc. Like all such things, if you us it once, the chances are that using it again will sound predictable and stilted. This is stuff that takes a lifetime to master and your appraoch will be different to mine and to Jakes. That's the art of it. Keep experimenting and keep listening to the greats.

Duets featured several vocal/bass set ups, some with guitars etc other without. i loved Cheryl Bentyne's Angel Eyes.

Just remembered Rob Wasseman's Duets CD. http://www.youtube.com/watch?v=CDsLmVPVisc&feature=related

[quote name='Mr Bassman' timestamp='1319801551' post='1418728']Zoe Gilby & Andy Champion [url="http://youtu.be/KiPVKUTZxy8"]Here[/url] Sorry. don't know how to embed and haven't got time to figure right now, maybe someone could do it for me.[/quote] http://www.youtube.com/watch?v=KiPVKUTZxy8&feature=youtu.be

[quote name='Bilbo' timestamp='1317310805' post='1389357'] And there is a Kurt Elling video on Youtube where he duets with a bass (its absolutely stunning but I can't recall the title of the track or the player).[/quote] Found it. Its called The Waking. Stunning http://www.youtube.com/watch?v=zEhIEbheMqo

It's witht the publisher now (edited/redrated etc). Website says July 2012 but its their call now. I have done all I can.

I did it all in one day, realised what the process involved and moved onto the more interesting stuff at the back

I think Ron Carter tuned it as a cello as the cello was his first instrument (when he was at school with Paul Chambers, the two had little to do with each other as RC was interested in classical cello and didn't take up the bass until later, when he realised he could not work as a cellist because of the racist employment practices of most US orchestras at that time. His piccolo bass was not a cello. PS he told me this himself when I interviewed him about PC

The major/happy, minor/sad 'tool' is for children. As with most teaching, in order to explain concepts, teachers of young people give a simplified/digestable version of the concept in order to get it across. If you explain a major scale as happy to a 9 year old and then throw in a truckload of caveats as to why this is not always the case, you confuse rather than educate. Its like when you explain to a 5 year old that their kid brother is growing 'inside Mummy's tummy'. It helps the kid digest the concept in a way that makes sense. In music, throwing all the exceptions in when trying to explain the concept of differences in sound between major, minor, Dominant, Augmented etc is too much information at one time. I have to say, the happy/sad thing never made a shred of sense to me anyway

And there's the rub. When you have learned all of the theory, you can ignore it and just play. But to think you can just ignore it and play without learning it is the difference between intelligent performance and just plain luck. Mick Karn was a greaet exampl of someone whose knowledge was limited but his playing unique. Trouble is, once he had stopped discovering innovative ideas, he had nowehere to go.

Faithless is right. Chromatics tend to work because you are on the way somewhere and lingering too long on one note that is not a chord/scale tone will mosty sound wrong. Beautifully wrong if that is what you want but mostly just wrong.

I DID IT!!!! I did a trio gig last night (sax/bass/drums) on double bass and got through the whole gig on the big fella, 3 x 45 minute sets. The Wal waited patiently for the blisters to appear but they didn't arrive! Feels good to break that barrier!

Its easy to do after you hear it, its getting to the point where you get it right BEFORE you hit the notes that is hard!!

'One's All' is actually more accessible than Holland's earlier solo DB cd 'Emerald Tears' which is freer. The Dave Holland/Barre Phillips duo cd is a tough nut to crack but I like hearing these things just to see whare this instrument can go on its own. Fascinating stuff.

The problem is that we have often found ourselves having enough theory and technique for the music we play and see no [i] practical[/i] reason to push ourselves. Options to break the impasse may include deciding on some new covers for your band which push you, technically or harmonically. A recording project? Some composing? An advanced theory book to read that will spark your interest? A reading gig? Some playalongs that take you in new directions? Some jazz charts you don't know? Just have a poke around until you find something to get your teeth into.

Of course. Just thinking out loud.

Just to clarify a point. I don't play professionally, I am what is called a semi-professional. I get paid to play but its not my main source of income (thank God...one gig in October!). As for why bother with electric... its a journey, isn't it. That's where I started because, like most of us, music was something I had to discover for myself and I had no guidance from an early age regarding listening, playing etc. So I found my own way through and got to double bass in the late 90s, messed up and returned to it in December 2009 (thanks to Jakesbass), aged 46. Thankfully, most of the musical knowledge I gleaned from the electric is entirely transferable to the double bass (a major scale is a major scale etc). I have a long way to go but the fun of learning has returned and I can practice for hours again. Anywa, thanks for the positive comments.

I get no pain at all from that. Once you get a solid technique and consistent practice regime, the pain thing is history. Now the only pian I get is earache

Another imperfect basschatter improvisation! Intonation is a bit to cock but I do love solo double bass playing (its the lack of compromise that I love). It's a Dave Holland arrangement off his One's All Cd but the solo is mine and the intonation is in the hands of the Gods. Here's the link.... http://soundcloud.com/robert-palmer-1/mr-pc-solo-bass

I am always fearful that all of this is just asn illusion caused by the different perspective created by the absence. Would it be better just to find ways to prevent/address stagnation that don't involve 'time out'? Learning a new genre, some new songs, transcribing something really hard or really easy, trying some classical etudes instead of jazz solos (or the other way around' etc. Just thoughts. Still, it is always good to remember its not all about music.

oOu have the gig everyone else secretly wants, Pete. Or was that cetera?

NOTE: it sounds better with the volume down low as the recording is a bit hot.

Nowt wrong with that, sunshine! It ain't Coltrane and that synth makes me want to puke but the bass part is doing the job perfectly well. Spend some more time listening to the greats and learn some 'proper' jazz tunes and before you'll know it, everyone will hate you too!

Good ply vs bad hybrid. Ya gets what you gets. Drop a Marshall cab on either and ther will be tears! A good preamp (Fishman PRo Platinum) will stop feedback problems.