Bilbo

I think the comment about sight reading is a defensible one. I think there is a difference between being able to read music and being able to make sense of it as, for instance, an aid to study or for transcribing, composing etc and being able to read fly sh*t on toilet paper in the studio or in a pit orchestra. My own reading ebbs and flows depending on the frequency with which I use it. On shows, I find I can read 80% of the material without any difficulty, 15% after a couple of run throughs and about 5% eludes me every time. Experience tells me, however, that that 5% is usually the least noticeable and easily discarded without any real detriment to the integrity of the performance. Being unable to read James Joyce' Ulysses out loud to an audience doesn't mean you can't read enough to use a cooking recipe, a train timetable or the instructions for a dvd player. Reading has more than one use and reading a chart cold in a live/recorded performance is only one of them.

I think that Jake has made a good point. The motivation to play and the professional requirements of contemporary players have changed dramatically over the last 40 years, on all instruments but the bass particularly. The Stones were never great technicians and, like many of the bands of that era, got away with murder musically because there were so few bands around. I mean, have you actually LISTENED to George Harrison's guitar playing? Whilst there are always weak musicians around, the average bedroom bass player nowadays could technically knock Wyman into a cocked hat. If you want to be good enough to play in a good band, you would probably, but not inevitably, have to develop skills at a higher level than Wyman - even the punk era bassists (who were all 'anti-muso') were more advanced. Even McCartney and Sting are not great technicians but use their basses to play their own songs (how many BASS ONLY sessions have these two done for other acts? I don't know of any at all but, if it is, it is a tiny number compared to, say, Pino, Flea, Miller etc etc). If you want to win a place in a band on the basis of your bass playing prowess, doing a Wyman probably won't get you the gig. It certainly won't get you much in the way of session work. And so, if a teacher can't take you beyond that level, they are probably not worth the investment!!

This is a massive subject that rarely gets talked about here. My own take on it (and I speak as someone who has written things (not songs) but for whom the process does not come easily) is that, like playing the bass, you get better at it if you practice. Some of the options I have explored have included: Using the skeleton of an existing song as a framework (e.g. writing a new melody over the chords of a jazz 'standard'); Writing a melody and then adding chords; Developing a chord sequence and then adding a melody; Trying to reproduce an existing piece of film music by writing a similar piece of music, mirroring techniques that have been used by the original composer (try one of these interlude pieces that are about a minute long); Using Band in a Box to reframe some things I have already written (play a rock song as a bossa or a jazz standard as a string quartet etc); Writing a melody using the shape of a skyline to determine the direction of travel of that melody (a Gil Goldstein exercise); Writing a string quartet from scratch (its now 1.40 long); Recording improvisations to see if anytnig presents itself as a potential hook. The options are limitless but, as I said, don't expect the first song you write to be 'Imagine' (unless you are Steve Swallow who wrote Falling Grace first)

I don't even know what mine is but it also lights up green when in tune so I guess thats a common feature! Great little gadget thought. You can leave it on your bridge permanently so don't even have to remember to pack it for gigs. It also works quicker that my rack mounted tuner.

Its really not that simple, Josh. A major chord can sound sad and a minor one happy, depending on context (i.e the chords before it and the chords after it) and that's before you bring in the other variables such as rhythm, melody and dynamics. You need to learn about the relationship between chords and scales so you can join them all up. I am not going to produce a list here because it will be of limited use but Major Minor's boot camp stuff is worth a look as is Mark Levine's Jazz Theory book. Find a musician who understands theory and get them to explain soem of the basic stuff. and take it from there (isn't Out To Play Jazz over your way?)

I'm filling up.....

Both of you take a year out to learn to write/read the dots and then write the charts out properly. It may sound like a long way around but when he leaves the band, they won't have this trouble.

Am deleting as I see them. Can someone delete the member? I don't know how (fashionwomen)

Looks good. I have the modern jazz voicings book and another he cowrote on big band arranging but this is a new one on me. I also recommend the William Russo books and there is an interesting one from Gil Goldstein.

Technique is a means to an end. You need enough to do what your ears, the composer or the dots tell you is required. Anything else is superfluous. If you can hear it or are required to play it and can't execute the phrases, you need to work on your technique. Simples.

Nova, a 70s fusion orientated band that had Percy Jones on bass. Their LP Vimana remains a favourite. Marc Johnson's Bass Desires. Wayne Johnson's Trio Max Webster/Kium Mitchell's Band Blues Traveler

'A Quick Sketch' from Herbie Hancock's 'Quartet' recording. [url="http://www.amazon.co.uk/Quartet-Wynton-Marsalis-Herbie-Hancock/dp/B00004SFRH/ref=sr_1_4?ie=UTF8&qid=1286795570&sr=1-4"]Herbie Hancock Quartet[/url] Also, try some jazz ballads. Basic root movement but it will start to give you a sense of what is going on with the harmonies.

I actually believe that the thing that attracts us to playing and excites us is the same whatever part we play in the process and finding a new way of 'getting involved' is always a pleasure, whether that is singing backing voc, starting a home studio or playing a new instrument.

Not my ususal list of new purchases but more personal affirmation. I did a rehearsal yesterday with the rhythm section of a Colchester based jazz quintet and it was a blast. Great sound off the double bass, more playing of the instrument that fighting with it () and ALL original material, just the way I like it. Sounds exciting if a little raw around the edges. Still learning to get the best out of the material. Some hard charts as well but worth the effort. And I have also booked a recording session for my own band. Jazz is just the [i]best[/i].

I have never met a musician who didn't have more technique than s/he knew how to use.

Yep, that's what I do and you can use it to check your intonation to if you are of a mind!!

Get hold of Mark Levine's 'Jazz Theory' book and find a teacher (for theory, not bass - so it doesn't have to be a bass teacher).

I have found it!!! GIVE THE PEOPLE WHAT THEY WANT!!!!! [url="http://www.bbc.co.uk/news/entertainment-arts-11491237"]http://www.bbc.co.uk/news/entertainment-arts-11491237[/url]

I find that wooden finished basses date less than painted ones.

Been loading up my ipod and rediscovered a cd from Puerto Rican saxophonist David Sanchez called Obsesion. [url="http://www.amazon.co.uk/Obsesion-David-Sanchez/dp/B000024C1R/ref=sr_1_1?ie=UTF8&qid=1286292332&sr=1-1"]Obsesion-David-Sanchez[/url] Great latin jazz. John Benitez on bass. This is the real deal!!

[quote name='farmer61' post='978221' date='Oct 5 2010, 12:31 PM']My advice is play jazz and learn to read music [/quote] Get thee behind me, Libertine!!!

[quote name='lonestar' post='978253' date='Oct 5 2010, 12:56 PM']. For me Steve Hackett leaving was the final nail in Genesis' coffin and [s]then there were 3[/s] then they became the Phil Collins band.[/quote] Ruggish!! Snowbound, Many Too Many Follow You Follow Me are all classic Genesis. Duke was also a very strong album: Guide Vocal has long been a favourite and Evidence of Autumn (b-side to Misunderstanding/same era) is top drawer stuff. Duchess is stonking, Dukes Travels - all great stuff. Even Mama had some good stuff on it but, by then, it was a case of change or die. If they hadn't started dealing with shorter song forms, they would have disappeared even sooner. You can't blame Collins for that.

[quote name='markstuk' post='978123' date='Oct 5 2010, 11:26 AM']Mick Karn used to play a WAL fretless I believe.. So are there any Japan tribute acts? And you get to wear make-up as well which should alleaviate the Rolf lookalike issue .... [/quote] There isn't that much make up in the world! Although I am part Indian.....

[quote name='leschirons' post='978129' date='Oct 5 2010, 11:28 AM']You could just start playing anything and then ask the audience.... "Do you know what is yet?"[/quote] Brilliant