foal30

yeah, good point above Melodic minor is as above for classical, as I wrote for Jazz.(no change descending)

I think what you have stated covers Major Chord Function/Relationship you say melodic minor. So thats flat3rd all other notes natural. So; Mode Chord I Melodic Minor m(maj7) or m6 II Dorian b2 susb9 III Lydian Augment maj7 (#5) IV Lydian Dominant 13(#11) V Mixolydian b6 9(#5) VI Locrian #2 mi9(b5) VII Altered 7alt that VII might be called Super Locrian in American language. If we now go back to Major I = maj7 or maj6 II = m7 III = m7 IV = maj7 V = 7 VI = m7 VII = diminished. there is a lot to minor harmony or chord function there is no easy way but it is good for the brain and after a while it really helps your playing (improvising) and def helps you hear what others are playing more confidently. If any of this is of any use I can type up some Minor Harmony "rules" if you lioe.

yeah the bass clef version is a good start. although the trick is just playing off the chord progession. The days of wine and Roses Four So What Freddie Freeloader Fly me to the Moon Night and Day There is no greater Love A night in Tunisia Blues for Alice all will do you no harm John Goldsby Jazz Bass Book is a scorcher. A heap of quality. Joel Di Bartolo "Serious Electric Bass" for theory primer. Todd Coleman does a book on solo analysis. Super cool "All the things you are in this".

I've just started analyzing chords/ chordal function as opposed to all songs being "off the riff". Pretty much it's a rhythm thing for me, the bounce or groove is first, then notes, then tone/sound. I see dreaming is mentioned...um, it is possible to hit that creative part of your mind when your are wide awake with Bass in hand. It takes practice but can be done. "Lost in Music" indeed. expanding on the rhythmic thrust is whether the lyrics if any go with the groove. Sometimes I will tailor either item to fit the other. Emotion may also dictate the pace of the feel. Like getting the tempo way back can dictate final note choice, pretty much how blue or chromatic I'll get.

I've thought for quite a while that the common descriptors for Rosewood and Maple should be around the other way.

maybe Anthony Jackson's part on "For the Love of Money" by the OJays. I'll use the word articulation, I mean to say his line is just clear and meant.

I have the first model and it's good news with the Jazz. bit of modern bite I suppose. I've had less use for it on my Precision, but thats got flats on. but it's super easy to use, good battery life and I'd be surprised if you can't spice up any Fender with one.

the Days of Wine and Roses I'm going to have a lash at Shipbuilding, Elvis Costello, Baker's Trumpet solo is the business.

yeah I think perfect pitch would be a nightmare, more of a curse than a blessing anyway. Relative pitch is important. yeah I do all three methods you said depending on the day/requirement always use a tuner in the studio or gig. I can tune my bass by ear, it may be out of tune for sure, but it is in tune to itself, if you know what I mean. It sounds in tune to me across the range. and absolutely peoples in-tuneness is as variable as different electronic tuners. hence my comment on using the SAME TUNER.

not on stage... yeah sort of looks like my second line, you think? If you all use the same tuner the variations (if any) of the individual tuners is eliminated. how can it not be imperative to be able to tune your instrument? really, it should be self-evident that we have the faculty to know our instrument is tunable to a performance level by ourselves. people forget sh*t, tuners, spare strings and 9v's must be at the top of the list! It, to me, is a tenant of respect to the audience, employers, bandmates, whoever that you actually can hear the tuning "vaguenesses" of your instrument. Ear Training in the age of TAB is a dying art and this will be bad news. The most basic place to start is the ritual / function of tuning your instrument. maybe.

you got to be able to tune your instrument by ear. but if your on a session or gig it is nearly always a top idea to tune all guitars through the same tuner.

Lessons one on one for 5 years I still have a strict practice regime and are taking Jazz papers at the University. There is so much to learn, paying for lessons can be a focus or a discipline. also, sometimes you don't know why you are learning this sh*t. Then 6 months later when you add it to Lesson 16 and 23, it's like I'm glad I got shown that. also teaching others is real good for you. It helps solidify concepts or question beliefs/superstitions.

there is a L2 at the Gallery CK solve all your problems in one swoop dude. and cheap at 1500 it'll get you ready for a wide neck XL2-5

Miles Davis - "Kind of Blue" lots of reasons to own this album, the bass playing is just one of them. Grace Jones - "Slave to the Rhythm" I like the production and the "modern" bass tone. Donny Hathaway - "Live" soul goodness. James Brown "Star Time" box set funk bass primer, it's all good. Prince "Sign of the Times" probably the greatest album ever. probably. cop Ballad of Dorothy Parker, Larry Graham influence with cool chords.

how about Tim Drummond's line on James Brown's "I can't stand myself when you touch me". might be four notes but by Gum it's a sparse line.

like the look of the leftie graphite and not just 'cos its from NZ my "best" is probably Steinberger L2 it's just high quality and easy to use versatile reliable conversation starter and quite importantly I like the sound of it played neck pick up with thumb,softly. It's mellow and warm.

and I want a crack at a 2008 P 5'er looking lovely they are.

here is probably a cheap laugh but I think it's even worse to judge a Jazz by the year than a Precision. this is because I think the neck joins are of a more variable quality. you got to play before you buy I think and what I like could be rubbish for you I have a '71 with a crap neck join but it's a funky bass, you know. So the sound might be better than the actual make of the instrument. but a purist might think I cannot justify buying this poorly constructed bass.

I very much like the D'Addario Chromes on my fretless Jazz. good sustain but couldn't use the word bright to describe the sound. If I want a little twang I back off the neck pick up a little and just hit harder and closer to the bridge. it's a vaguely acceptable sound.

I rate the Kings of Leon especially as it seems as they have been listening to the Pixies "Charmer" could have come off "Doolittle" and you know that is a top Rock album.

I really like Jerry Jemmott but my favorite work of his is from the 1969 BB King album "Completely Well". so my punt is John Entwhistle Willie Weeks (check "Young Americans") Stanley Clarke ("School Days" is still the sh*t) Chuck Rainey for both Aretha and Steely Dan and Anthony Jackson 'cos he always sounds great...be it Steely Dan, Chaka Khan, Al de Meola, Paul Simon etc. there is a lot more I'd like to add but if 5 is the number...

can't cop the link sorry, but if that is the trio concert with Pert and Gadd then any Musician can learn and grow from this. "Take the AJ Train" indeed. I like Electric Rendezvous with Al de Meola the Chaka Khan Atlantic discs of course for the love of money, that line is still the business really. most of all I like his attitude. He demands the best. No halfarse stuff. Even if the end result I don't "get" or even "like" he really is the guy who pushes our instrument in a number of ways.

be better if I hadn't of got up at 5AM to see the Arse get out muscled then ripped on an offside goal. but wingeing isn't my strong suit eh?! Louis does a spanking "Come Together" on a live Jackson cut. might be from the box set/best of. actually the back catalog is well worth a listen...Rock with You, I want you back, ABC, even Billie Jean, there is some good bass lessons in those cuts.

there is some good stuff on Quincey's work with George Benson I like "Stomp" by the Brothers Johnson

not fretless recordings but I often use "Soulpower" set from James Brown to improvise or solidify ideas over. Harmonically it's pretty straight but the groove goes forever. "Cold Sweat" for a starter, maybe "I can't stand myself", "I got a feeling"....