sarah thomas

[quote name='bluejay' timestamp='1344885492' post='1770690'] I've just checked on Amazon and it's out of stock there, no image, no estimate date when it'll be back. Are you sitting on two rare editions, Chris? [/quote] You can buy it from the man himself: http://www.tylerbasses.co.uk/page4.html

I'm a steward at Brecon Jazz this year (as last). Are any other basschatters going to be there? Also, there's a free bass masterclass from Peter Herbert on the Saturday morning at 10 o'clock in Christ College. Email [email protected] to see if there are any places left. I expect there are because it hasn't been widely advertised. Likewise the drum masterclass on Sunday afternoon at 1.30. I've just got on that one as well, as it's about how the rhythm section works together. Anyway, I'll be stewarding at The Cathedral for World Wide Wales, Food, Trio Libero and the Neil Cowley Trio so come and say hello if you're in the vicinity.

+1 to talking it over with your main band. It's often (if not always) the things that are most difficult to say which really need saying. The truth will set you free. I've found this to be true again and again and again, so that now I am a total gobsh*te. People will see that you are doing your best to deal with the problems you have and, if they are worth their salt, they will respect you for that.

Blimey. A different beast when amped, these strings kick out a thumpy and even woody-sounding punch. Wonderful for bluegrass and blues. Maybe I like a difficult life but the rockabillys are almost too easy to play. I've been practicing Rufus Reid's 'claw' left hand and these strings make it far too easy not to bother. If I wasn't so set on playing jazz then I would love these. As it is, the Honeys win the day. Are Super Silvers and Ultra Blacks going to be added to the trial? (Please?)

After a detour to Rayman, I now have the rockabillys and put them on my ply Boosey & Hawkes this afternoon. First impressions are that they are easy on the left hand, producing a pleasing dark sound although with less oomph and resonance than the Honeys. My limited bowing skills sound scrawpy on these strings. They are quieter than the Honeys. I'll try them amped tomorrow.

If you decide to sell the Honeys, you know where I am ...

That's a tough call. I used to ride motorbikes but lost my bottle after an encounter with a patch of diesel. I wasn't badly injured but the knowedge that it could have been a lot worse wrecked my enjoyment. My husband's still into them, although now he's a drummer there's less tinkering in the garage time. We used to blast round on two strokes together and now we make a racket on bass n drums instead. Have you signed up for Daf Lewis' Innovations strings trial? It's a great chance to try before you buy. Although, although ... I'm itching to buy a set of Honeys but really should try the rockabillys first ...

Hospital? Hope you and yours are okay. D'Addario Preludes are orchestral strings which retail for around £70-£90 a set. The 'M' in the name means the set you're getting are medium tension. Better than weedwhackers! And you could always sell them to part finance your string of choice.

It sounds like you're well placed to make the switch. If you're debt free (apart from the mortgage) and can save up three months worth of income before you quit the day job then you are fantastically placed. You could try drawing up a business plan for a reality check. Also, you might regret never giving it a go. I tried years ago, only with writing rather than music and while I eventually retrained and started teaching, I'm really glad I tried - met some fantastic people and learned a lot about myself. A supportive partner is essential and as your's knows exactly where you're coming from, maybe it's your turn now! Good luck.

[quote name='charic' timestamp='1342015832' post='1728112'] I think you're mixing up intervals and scales The chart is for intervals, not scales (although you can derive scales from the chart aswell). [/quote] Ah, that'll be it. Cheers.

Bilbo recommended this: http://www.amazon.co.uk/Conquering-Carpal-Syndrome-Repetitive-Injuries/dp/1572240393/ref=sr_1_10?ie=UTF8&qid=1342020205&sr=8-10 I've found it useful. I was down for surgery for carpal tunnel syndrome, then went to a reflexologist and mentioned the problem - to be sort of holistic, not expecting anything special. After my reflexology session the swelling in my wrist had noticeably receded. Following that (several years ago now) I have been careful not to strain my wrist and have avoided surgery. I bought the above book when I took up the double bass. I found pain killers to be counter productive. I was on quite strong ones (but forget the name) and was having great trouble turning off a cold water tap at a friend's house. I kept exerting more pressure, until a savage pain shot through my wrist and remained for days. The painkillers had masked the warning signs and resulted in more injury. This was before the reflexology treatment, by the way.

Crikey Fumps, you've leapt right over my head! Brilliant. Your chart makes sense to me, coming at it from a different angle. Taking the key of C, C major is the scale of the first mode, also called the Ionian mode. Still in the key of C, D minor is the scale of the second mode, known as the Dorian mode. It is exactly the same as playing the C major scale, only you start and finish on D. (There are different minors, this one is known as the Dorian minor.) I'm not certain of the names of the other modes, except for the 5th mode, which is called the Mixolydian mode and in the key of C, starts on G, uses the notes of the C major scale, and ends on G. So in F major, the first chord uses the F major scale (F Ionian) starting on F and ending on F. The second chord (Dorian mode) uses the F major scale, starting on G and ending on G. The third chord uses the F major scale starting on A and ending on A. The fourth chord starts on Bb and ends on Bb flat. And so on. I hope that makes sense. I'm struggling now! It seems weird that starting and ending a scale on a different note can make it sound so different, but it does. Try it!

I expect they'll make a special effort to make you feel welcome, now that they nearly lost you. And given that you enjoy playing with them and it's still a bit of a challenge, what's to lose? You have the moral high ground, so show them you have a big heart too!

'to listen to' sounds good to me. I teach English for Speakers of Other Languages (ESOL, used to be called TEFL) so I can be pretty picky when I want to be! It just sounds a bit clumsy with the repitition of 'to' which is why we get such pompous statements as 'for your listening pleasure'. I prefer 'to listen to.' Straightforward and very clear.

[quote name='tauzero' timestamp='1341935812' post='1726511'] if yer typical 12-bar goes I IV I V IV I V, it doesn't matter what key it's in, If it's in A, it goes A D A E D A E, if it's in C, it goes C F C G F C G, if it's in Eb, it's jazz and you can forget about it. [/quote] If it's jazz, it'll have 16 bars!

In your given chord progression of A-D-G-E-F, if we assume that the tune is in the key of A, then A will be the (I) chord. Count along the alphabet - A, B, C, D and you will see that D must be the (IV) chord. [If A is (I), then B is (II), C is (III) and D is (IV)] So: A (I) D (IV) G (VII) E (V) F (VI) It's not the order that chords come in that matters here. It is their relationship to each other. Bear in mind that I am counting on my fingers as I work this out, with the occasional dash over to the piano. If your chord progression was in the key of E, then E would be the (I) chord. Again, counting along the alphabet but this time starting on E, E=I, F=II,G=III, A=IV, B=V, C=VI, and D=VII. Now your progression would look like this: A (IV) D (VII) G (III) E (I) F (II) Whatever key the tune is in, that is the home (or (I)) chord. If it makes you feel any better, I've been slowly getting my head round this for the last two years, and as mentioned earlier, I'm still counting on my fingers. How about taking a simple tune you know, writing out the chord progression and we'll have a look at it. I may need a lie down first!

Late congratulations from me, too. Just let them all know that they have to listen to you. If you go wrong, you'll still sound okay but they'll sound rubbish. So they must listen to you and follow you. The bass is the boss! (No pressure, then ...)

That is great and fantastically encouraging to[i]o! [/i]Thanks for posting.

Here's my theory: Chords in a song use the roman numeral system, so for a 12 bar blues in D, the D chord would be I, E would be II, F would be III, G would be IV and so on. I I I I (Can't make the Is line up over the Ds - sorry) D D D D IV IV I I G G D D V IV I V A G D A It's a one four five (I, IV, V) Arabic numerals (1, 2, 3 etc) are used for notes within the scale. So, for the first two bars of the D chord (I), you might play a walking line of 1, 3, 5, 6, b7, 6, 5, 3 on the scale, which in the scale of D translates to D, F sharp, A, B, C, B, A, F sharp. Then you repeat the line for another two bars. It's a bit brain frying. In bars five and six, you move onto the IV chord, in this case, G. Now you can play the same walking line, only this time you are using the scale of G. So 1 = G, 3 = B, 5 = D, 6= E, b7 = F, 6 = E and 3 brings us back to B. It helps if you have a keyboard - a little cheapy thing will suffice. It's much much easier to see how the chords and scale notes relate to each other on a keyboard. And don't give up! I nearly gave up when I was told that thirds are half of it. Pram wheels and caribou are easier to understand. The thing is, take what I and others say and try it out. Don't believe it. Question it. See for yourself.

[quote name='fumps' timestamp='1341838272' post='1724829'] Aww thats easy ...... Just make sure the string is taught, the wind is in the right direction (Left to right from the opposite pram wheel) and don't jump before the washer falls off, other wise you'll have to set it up all over again......ho & never wear your cloth cap, you'll scare the frogs away. [/quote] Cheers for that. I may have to change the purple feather to a pink one and stop the caribou nibbling the croquet hoops.

After three months of playing double bass, I was shoving the beast in the car when a man ran up to me and said 'I'm looking for a cello player.' I said 'Well, this is a double bass' and he said 'I'm looking for a double bass player'. I said 'Well, you don't want me cos I've only been playing three months.' I went round for a go though and found myself in a band. Two weeks later I was paid £30 for playing one song. (Amazing Grace) However, they like to wibble around over two or three chords and can't count. It was good for my ear and my confidence though. After a couple of months I got together with some jazz lovers and now we have a quartet which is currently braving jazz open mic sessions while putting together a set. I've been playing for eight months. I'm grateful to the wibblers and we still get on okay - just travelling on different paths.

[quote name='Bilbo' timestamp='1340629338' post='1707235'] No such thing as a wrong note, just a poor choice.[/quote] Your mate Julian is even more positive - he say 'No such things as mistakes, just interesting choices.'