Bilbo

[quote name='BigBeefChief' post='389563' date='Jan 23 2009, 02:04 PM']Perhaps I also admire the slightly punk attitudes of those who don't go down a formal route of musical education. Lets face it, winging it is always cooler![/quote] What I liked about Punk (with hindsight; I hated all that aggression) was the ethos of questioning everything and challenging everything, sacred cows included. In my experience, many of those that took to it were intelligent and politically aware (unlike the yoof of today who wouldn't know a fascist if it goose-stepped up a saluted); the questioning of educational values (e.g the Oxbridge monopoly) was well overdue and their flagrant hostility to the class system was refreshing - basically, if you went to Oxford, you would get the breaks, even if you were stupid! Viewing the phenomenon 32 years later, I think it is important to remember that, when you clear out all of the chaff, it is possible to ditch the wheat as well. Learning about things is not the problem here and I don't think it ever was. Its what you do when you have the knowledge that learning delivers that counts. I actually think jazz can the most 'punk' of all musics; it can be irreverant and angry just as much as real punk was - it is just a bit more subtle about it. And it can be enormous fun but in a satisfying not a purile way.

[quote name='BigBeefChief' post='389491' date='Jan 23 2009, 12:21 PM']As an aside, my lack of motivation to read may be linked to the fact that the majority of the musicians who I admire most aren't the worlds most profficient readers.[/quote] Is this because you are looking for affirmation (not a criticism; I know I am!!)? You like them because they share the same core values as you; do it for fun, don't take it too seriously, don't be 'professional', if its too much like work.... etc. Do you like these people because of your lack of motivation, not the other way around? Just a thought (if I have one, it has to come out )

There is a continuing theme here; those that have got theory or reading skills know that they have gained from it; those that have seen the potential of reading and theory are frustrated at their limitations and are working at dealing with them because they know what can be achieved with these tools; those that haven't got it wish they had and those that can't get it want help. So why is it is rare for young players to be shown these tools and alerted to their potential? I think there is room here for some sort of advocacy strategy. Or an anti-tab campaign! Dots are good, numbers on lines are bad!!

It more complicated than that because the response doesn't include time spent composing! But, in the spirit of the debate, I do around 2 gigs a week and the rest of the free time is spent in music related activity that is not playing.. Its a whole lot less than the 38 hrs pw day job tho' (48 if you include travel time - at least I can listen to music then!!). I can't say I was better when I was young. I could have had more technique but I didn't have the knowledge or taste to use it.

[quote name='Merton' post='389426' date='Jan 23 2009, 11:20 AM']it's a weakness and I am embarrassed[/quote] That's as it should be

I often use small passages of written notes on chord charts to indicate a groove - lots of charts say 'medium funk' or 'swing feel' without actually defining the details so, sometimes, I will add a two or four bar sequence to indicate the feel of the groove. It means that next time I do that gig, I can play the grooves as required without having to be reminded. Its not all about reading flys*** on toilet paper. Also, you can often see rhythmic stabs on chord charts that add much need colour and detail. It makes all the difference.

[quote name='Protium' post='388994' date='Jan 22 2009, 08:31 PM']It is a jazz sin, and for perpetrating it you will end up in jazz hell.[/quote] Or a room full of banjo players........

In an effort to earn the 2009 'most popular forum member' Oscar.... Most people don't need reading or theory because most music that is played in most venues by most people is actually very basic/simple/repetetive/undemanding (I know; I have played it throughout my career). People can get by because there is nothing to test them. They can use their ears because there is not that much in the way of real harmonic movement that will test these skills to any real exent. The audience reaction rewards this mediocrity; the more sophisticated the music, the more the punters struggle. Not their fault but its a fact. The benefits of reading are obvious; it comes in two types, reading and sight reading. Whilst I can do both, my sight reading is undermined by a lack of real opportunities to do so (it is a muscle that is wasting). But being able to read and write charts allows you to cover all sorts of bases that you might struggle with otherwise. You can communicate ideas reallly easily and interpret those of others with less need for repetitious run throughs and without the logistics problems of endless rehearsals. You can learn more quickly. You can play in more situations without having to 'learn' sets. Its a skill that can open doors if you want it to. Theory is invaluable if you want to move beyond trained monkey status. Doing it is one thing. Knowing what you are doing is another. My theoretical knowledge, despite being better than most, is not what it should be and I am trying hard to address this but, without it, I couldn't play half the gigs I do. I love the sounds of music and want to know what makes things work. Its not just about bass. I want to challange the pianists, saxophone players and guitarists I play with. I want to arrange big bands charts and string quartets; not because they are lucrative but because they are there. Without theory, I would be doing jigsaws without the lid. With theory, I have more potential to create. But that's just me. I am always suspicious of people that advocate ignorance. It jut doesn't compute.

That rule is not a rule, its what we in jazz call an 'option'. When deciding what lines to play you have what you call 'choices'. Playing the same note twice is one of the 'options' you can 'choose'. You would obviously need to ensure that the 'same note twice' technique is used with taste and discretion as you would not want to gain a reputation as a 'same note twice' playing fool, but sensitively used,it can be an effective way of filling space between one note and another. Chill.

Does anyone know how an adult (like, me) can go about sitting a GCSE in Music? I know you can do all sorts of things in evening classes and stuff but Music is never in the lists. I want to do the exams more than the course itself but would do it if I had to. Anyone know anything?

Mick Goodrick on guitar, Bob Moses on drums and Dave Liebman on soprano and tenor sax. Mmmmmm, nice

Nice one, OG. I don't smoke or drink. I could give up food for two years...

[quote name='thepurpleblob' post='386285' date='Jan 20 2009, 03:47 PM']A small OT moment... A lot of people have mentioned practising "standards". That's a term that has always made me rather uneasy. One man's standards are another man's deeply obscure tunes! I once went to an audition "cold" - "oh you'll know the songs - they're standards". Guess how many I had heard before? That's right - none. They we're horrified. Bad night [/quote] They are also regionally defined, the standard changes change from person to person and generation to generation and some people can transpose to any key more easily than others. Its a minefield. I have mixed feelings about standards. The good thing is that they allow you to perform a gig without any rehearsal but the bad thing is that they allow you to perform a gig without any rehearsal I sometimes think they are little more than a quick win for lazy musicians.

I can't see what you are doing is any different, Nathan. You have just called it something else. You say potato, I say potato....

I note that a lot of the posts here are about the purchase, selling, trading etc of gear - basses, amps, effects etc. Perfectly acceptable; I have got gear off here myself and very successfully. I particularly agree that buying effects is a legitmate form of experimentation and that there is no other readily accessible way of changing your sound so radically as the purchasing of a new effect. But my question is; how much of the GAS we experience is motivated by frustration at the shortcomings of our gear and how much from the frustrations that arise from our unhappiness with our playing and teh sound we can get with our own ability to use the eqs on the amps we have. I knew a guy once who loved guitars; he bought and sold them and tweaked actions and changed pick-ups and experimented with strings. His guitar playing was dreadful because he spent so much time playing with the technology that he never had time to practice the music. Like most of us, I covet many of the basses I see here and elsewhere and mutter under my breath about how unfair it is that I can't afford any of them. But then I ask myself; is it the gear I want or more time getting better with the gear I have got? If I could practice more, would I get to where I want to be because I could play as well as I can and, more to the point, would spending £10K on a new bass lead me on a fool's errand because my playing wouldn't actually improve because of it and, having spent the money, I would still feel the same frustration. I must practice more, I must practice more......

[url="http://www.eden-electronics.com/accessories/parts.asp"]http://www.eden-electronics.com/accessories/parts.asp[/url] First Line Distribution Ltd. 16 Teignbridge Business Centre, Cavalier Road Heathfield Industrial Estate, Newton Abbot Devon TQ12 6TZ Contact: Phone: +44 (0)1626 830336 Website: www.firstlinemusic.co.uk I need some too but only use the amp once every two months so its not a bog priority!

I used to buy Bass Player religiously when it first came out but, if you spend anytime reading these magazines, the interviews and reviews quickly all blend into one. So I stopped reading them. The only real downside is that you don't get to hear about new players until they become more mainstream but the is marginal becasue, as you get older, the influence of the new 'young lions' on your playing decreases because the music you play normally comes from a different place. Gearwise, I tend to buy by reputation not as a consequence of advertising or reviews and I get that 'word of mouth' from talking to people and listening to what other players have to say. The workshop forums tend to be polarised between the very basic 'major scale in thirds' type colums and the unplayable 'Michael Manring open tunings, double tapping on a fretless' column. So I became an autodidcat. Advertising is the main loss - you don't get to see what's out there - but I can't afford to buy it so does it matter? I think I would rather read a Jazzwise/Jazztimes/Downbeat type magazine as its the music that matters not the bass (oooer! Controversy!!)!

Haven't you got enough, already?

You learn ot do one. Then learn to do the other. Then learn to do both at the same time. In a nutshell, you need to work as hard at playing and singing at the same time as you did at doing them seperately. I get the impression that people think that, if you can do both, you can do both at the same time. Its not THAT hard to do but you do have to work at it (bit like the left and right hand on a piano).

S'all music, mate. Use them all and take it to a new level..

I once interviewed a bloke in the cells who had just been sentenced to 6 months prison. He hadn't told his wife he was in Court. So I had to ring her and tell her! Laugh a minute! Could be all sorts, mate. Doesn't anyone live near enough to him to visit and check him out? Maybe he's at home and a large wardrobe has fallen on him and he can't get it off so he can't get to the phone. He is slowly starving to death whilst you and your kin dither about. Or he could have nicked your bass and joined a Country and Western band and be on tour?

I don't need anyone to tell me. I just played like a dick. Last week; same venue, same drummer, different pianist - played great. This week, I played like a dick! (except for one solo on 'Moanin' which was ok)

Jazz trio gig. Played like a dick.

I am not convinved that relative or perfect pitch would help when Coltrane is throwing the Giant Steps changes at you at 200 bpm; the notes have passed before you can process them, as have the key centre and chord type! It would be like trying to recite Barack Obama's inauguration speech one second after hearing him give it (topical, or what?) Can anyone with perfect pitch give a view?