ambient

[quote name='Dad3353' timestamp='1475624443' post='3147528'] +1 for the above, put more succinctly than I would have done. The stuff about chord tones is the one, especially in the more 'jazz' styles. What to do..? Get some tracks that you like, in the style you're working on, and listen to them, then transcribe them. The way the bass is adding to the overall music should become evident, over time. Practise scales etc if you want, but I wouldn't advise trying to apply scales to music in such a mathematical way; that's not what it's about. Listening, feeling the root and the melody, helping it all along both rhythmically and harmonically... Leave shapes alone, too. Your ears, in time, will guide your fingers, not the shapes. Just my tuppence-worth; hope it helps. [/quote] Excellent advice. Especially regarding shapes. I said on another thread the other day, I think it may have been asking about playing a 5 string bass. Anyway, too many players rely on shapes, play notes, not shapes.

Personally, at least to start with I'd do as you suggest regarding starting on the root note of each chord. Then add other chord tones to make the line more interesting. It's simple, and you won't go far wrong using chord tones. For example, if you had this chord progression to play over - Dm7/G7/C. Then your note choices would be from D F A C/G B D F/C E G B.

Kalium ?

Book in advance and you'll be surprised how cheap train travel can be. I went to Edinburgh last year for £35 return.

Why would you need any part of the kit mic'd in a pub ?

[quote name='leschirons' timestamp='1475496718' post='3146341'] It's just that anyone I know who plays a 5 most of the time doesn't have a problem switching back & forth between the two. I know most of us may have had a problem for the first few sessions with an extra string but I really can't see that it would require lots of dedicated practice time to overcome. Bit like riding a bike isn't it? [/quote] I did a gig recently on a borrowed 4 string bass, after 15 years of playing 6 string basses. It's not so much muscle memory, as knowing the notes on the fretboard, and more importantly, playing notes rather than bass lines and patterns. I encourage my students to learn to play notes, rather than patterns.

Where are you playing ?

I can see their point. If it gets damaged in transit, then who pays ? Plus my idea of great condition is often different to other people's.

I know a few left handed people who play right-handed.

No. You never know when they last washed their hands.

Mono Vertigo.

[quote name='JoeEvans' timestamp='1475397412' post='3145540'] My theory is that too much technical ability doesn't make for a good bass player. People who can play lots of notes very quickly on a bass tend to do so at every opportunity, which isn't especially effective or enjoyable. You can play this bassline with one finger on each hand but it sticks in your head forever. [media]https://www.youtube.com/watch?v=JaRXtLX4sMk[/media] [/quote] Anthony Jackson, Matt Garrison, Michael Manring, Janek Gwizdala, Lawrence Cottle, instantly spring to mind as being players with amazing technical ability, who use it only when needed. Personally, I'd rather have the ability and use it when required, than not have it. I've personally always strived to be the best player and musician that I can be. Consequently I studied with some great players and teachers.I'd practice for hours and hours, maybe 30 or 40 hours a week. Then went to uni and did a music degree. In life I'd rather set my goals high, I may not ever reach them, but I'd achieve more than if I just settled on being average. That's just me though.

I don't understand what learning material you'd want to be honest. I'd recommend just practicing 2 octave scales across the bass, ascending and descending, saying the notes to yourself as you play. Maybe harmonise the scales, so play the arpeggios ascending and descending. Use the notes on the B string. Really get to know your way around the bass. I play the low E, F, F#, G and G# starting at the 5th fret on the B string. I only use them on the E string if I'm down that way. So maybe just think about positions. Just play the bass as much as possible. Don't just use the B string as a thumb rest, that's just totally dumb, in my opinion .

[quote name='lowdown' timestamp='1475333875' post='3145141'] Just had a listen - On that intro bar, the pick up with Bass, Guitar and Drums starts on the 'and' or 'up' of three. So a count of 1.2.3 should work. If everyone was to come in on four, they will be a 8th/half a beat out. Even without listening to the above track, the Drum chart you posted is pretty much the same as the one I posted - Starts on the 'and of three', unless we taking at cross purposes? If so, ignore my drivel. [/quote] Same as my chart then, with the anacrusis of three 8th notes.

Just go along. I'm sure they'll all be thinking the same thing. How's your sight reading ?

I had to play this at uni. Here's the chart I was given. There's an anacrusis with three 8th notes to start with.[attachment=229054:Photo on 01-10-2016 at 13.42.jpg][attachment=229055:Photo on 01-10-2016 at 13.42 #2.jpg]

Not something I'd like at all tbh, but it got a good review on the radio the other day.

Andrew Gouche http://www.andrewgouche.com

How hard are you pressing the string ?

I studied violin at school for 3 years, having lessons every week. Then switched to guitar because it was a far cooler instrument to play. I used to try and smuggle my violin in and out of school without anyone seeing it . I had classical guitar lessons for a time, then switched to bass. I taught myself for a while, I already knew the notes on the fretboard from playing guitar, but taught myself bass clef. I wrongly assumed that when I started playing with bands, I'd be given charts to read. It never occurred to me that you could play any other way. After a while I started having private lessons at a place in Acton called Basstech, then studied privately with one of the tutors there.

Misuse of apostrophes annoys me.

Two octave major and minor, all over the neck, ascending and descending. Harmonise them too, again ascending and descending, go up on the one, then down on the next etc. So start and ascend on a major arpeggio, descend on the minor. All good practice, try and get away from playing patterns.