ambient

Just remember these 2 notes - F and G. F for the flats, G for the sharps. Go up in 4ths from each starting note for the flats, F has 1 flat, Bb has 3, Eb has 3 etc. For the sharps go up in 5th, G has 1, D has 2, A has 3, E has 4 etc.

[quote name='BigRedX' timestamp='1396883388' post='2418348'] But knowing what notes sound best with which chord depends a lot on subjective taste and the style of music you are playing. I really can't stand 3rds - they always sound "out of tune to me) and usually replace them with 9ths or 4ths depending on what has come before and what comes next. However these days I rarely think in terms of chords and what notes work over them, but instead listen to the "tune" of the what the rest of the instruments and vocals are doing and fit the bass around and over that. [/quote] Exactly. I just had to compose a solo over a jazz tune. I did look at the chart too much, I just wrote wanted sounded 'right' from one bar to the next. I then had to analyse what I'd written.

If you're playing over a major chord or riff, you know how the 6th sounds played after the root, you also know that you could maybe play off the 6th, and play its 3rd, (the relative minor). Knowing what you can play, and how they sound enhances what you play, and means you don't necessarily have to play a whole load of notes searching for the one.

[quote name='discreet' timestamp='1396880148' post='2418284'] In my originals band we largely write new material by recording jams - so my basslines tend to start off way too busy, then it's a case of reducing them down to their essence. So if I knew all my scales backwards and forwards I'd be tempted to whizz around the fretboard more than I do already, which is not good - [i]in the context of what I'm doing in this particular band[/i]. I recognise the value of music theory of course and covered it at school, but that was a long time ago... If people want to practise their scales then I say let 'em do it - I don't mind at all. [/quote] Why would you be tempted to whizz around the fretboard ? You'd surely stiff play contextual, but maybe know that by using this note instead of that one (or 2), you'd get a more interesting sound ? Music theory/harmony etc is kind of like cooking. Things maybe are a bit bland with just the basic ingredients, but add a pinch of salt, maybe some pepper and a clove or 2 of garlic and things get a bit interesting. Knowing what you can maybe use here or there, just takes the guess work out of it. It certainly does not stifle your creativity, if anything it enhances it.

[quote name='RhysP' timestamp='1396866838' post='2418053'] I know f*** all about theory but, as far as I know, these are wrong. they certainly don't feel right counting them off the way you've written them. You don't count a waltz as "1 and 2 and 3 and", you count it [size=5]1[/size]23 [size=5]1[/size]23 [size=5]1[/size]23 etc. The same goes for the others you've put unnecessary "ands" in. I'm sure somebody will tell me otherwise. [/quote] Waltz 3/4 you would count 1, 2, 3, there are 3 beats per bar, what you're counting is a compound 12/8 where the subdivision of each beat is felt as a 3. The guy is counting the off beat, useful I guess if it's a slow tempo.

I think I'm gonna have to be checking out more of her stuff . One of my first bass tutors gave me a copy of Hejira ages which I've still got and think is amazing. We watched a live film last year in a lecture, but apart from the 'Both sides now' album, that's my only exposure to her.

I love the orchestral album she made a few years ago - [url="https://www.youtube.com/watch?v=tKQSlH-LLTQ"]https://www.youtube.com/watch?v=tKQSlH-LLTQ[/url] Great orchestration by Vince Mendoza.

[quote name='BigRedX' timestamp='1396799105' post='2417433'] I didn't realise that my Overwater was a 36" scale until the first time I changed the strings and wondered why the standard long scale set I'd bought didn't fit properly and the silks on the machine head end of the string protruded past the nut and into the fingerboard area. If those strings hadn't had silks it might have taken me even longer to find out! [/quote] I've never played a 36" scale bass, there are a couple of really nice fretless 6's for sale that are a 36". I don't notice 34" to 35", wonder if I'd notice 35" to 36" ?

[quote name='Len_derby' timestamp='1396794640' post='2417389'] You're right. Because of the economics involved in maintaining one, and the relative decline in popularity of classical music a lot of people haven't had the chance to experience the sheer power of a live orchestra. Neither of my daughters, who are 20 and both musicians, have seen a full orchestra live. I've been trying to remedy that. Easter is a good time as there are quite a few seasonal Oratorios and Masses put on in most towns and cities. Feel the heft. [/quote] If they're students or under 26 then they can get to see the London Philharmonic for just a few pounds. I've been a couple of times and only paid about a fiver each time . [url="http://www.lpo.org.uk/whats-on/student-and-under-26-tickets.html"]http://www.lpo.org.uk/whats-on/student-and-under-26-tickets.html[/url]

And what brilliant orchestration. Probably my favourite track from Peter Gabriel's 'Up' album, and this is an amazing version and demonstrates the power that is present in a classical orchestra. Reminds me why I love music and being a musician so much. [url="http://www.youtube.com/watch?v=nPT0T2FWbq8"]http://www.youtube.com/watch?v=nPT0T2FWbq8 [/url]

I understand that the live music market is where money is made nowadays, hence why record companies recoup advances from live performance as well as record sales (360 deals). Also you're unlikely to get any kind of record company attention unless there's a 'buzz' around you. Ok that can come from internet and band camp etc, but more likely a following from live gigs.

[quote name='ken_white' timestamp='1396724140' post='2416829'] I know some scales.. What does everyone learn instead of scales? Are a lot of people in cover bands spending lots of time working to tab? [/quote] I suspect people spend hours searching the internet for incorrect TAB. Then spend ages correcting the incorrect TAB whilst listening repeatedly to the track on youtube or something. Instead of spending a bit of time learning basics like the notes on the fretboard and a little bit of basic theory which would actually make the whole thing so much easier. That's rock and roll I guess, and it's really a well known fact that musical knowledge stifles creativity .

[quote name='BassBus' timestamp='1396720371' post='2416784'] When a player only wants to play in a covers band which means learning someone else's lines parrot fashion, why spend hours learning endless modes and diminished scales when he/she will never use them. If that player then chooses to move into a genre such as jazz then those skills will be useful but not before.So why waist time. [/quote] Might be useful if said function band get a new singer and have to transpose the songs in their repertoire to a new key, or do songs that need key changes. It's not always just a case of moving the lick that you've learned like a parrot down a fret, or up a fret. But might you also say that learning most other things in life are a waste of time, why learn anything unless you're specifically definitely going to use it ? My question was actually rhetorical, how [i]does anyone [/i]know what they're [i]not[/i] going to need to know at some point ?

[quote name='BassBus' timestamp='1396558982' post='2415187'] Even Jeff Berlin doesn't recommend learning things you will never need. [/quote] How does he know what he'll never need ?

Some nice stuff here about MXR pedals. [url="https://www.youtube.com/watch?v=kJe08UZP__g"]https://www.youtube.com/watch?v=kJe08UZP__g[/url] Steve uses the bass chorus pedal.

[quote name='alembic1989' timestamp='1396649307' post='2416197'] I see some gorgeous basses some that like the schack carbon basses ( dreamt of owning one like Kai Ekhardts one for years!) , overwater 5 ers and 6 ers, Dingwalls....all with 35" + scale lengths....I mean FFS !! I know all about the reasons...but some over waters seem to go for really reasonable prices secondhand...then I read 35/36" scale length AAAAARRRGGGHHH!! [/quote] Both of the really beautiful (even if I do say so myself ), 6 string basses I'm selling are 34" scale. My Modulus is a 35", but that's never for sale, in fact I want a fretless 6 to join it. I don't notice it's a 35", but also don't notice any difference between its B and the B on the other 2.

[quote name='lou24d53' timestamp='1396696956' post='2416502'] Picked up an MXR Analogue Chorus off eBay for just over £50. Result! [/quote] Probably the one I was bidding on .

Maybe buy some strings that last longer, might work out cheaper ? The Ernie Ball Slinky's I tried didn't last long, but strings usually last me for ages.

I don't get what the problem is with learning the notes, why you'd want an easy way when there's not really a hard way. Learn the notes on each string from the 1st fret to the 4th, including the open strings that's just 20 notes on a 4 string bass, and they're pretty much just the alphabet from E onwards (ok so you've a few #'s, but it's really not exactly particle physics). The note at the 5th fret is the same as the open next higher string, the notes from the 5th fret onwards are the same as the next higher strings from the 1st fret, and this keeps repeating onwards and upwards. So from the 10th fret you're talking the 2nd highest string etc. E string - F, F#,G, G# A string - A#, B, C, C# D string - D#, E, F, F# G string - G#, A, A#, B If you look at the above you'll see that descending across the neck (moving down from the G string), the notes move in the cycle of 5ths e.g. start on A, the next note is its 5th E, the next is its 5th B etc. If you look ascending it's the cycle of 4ths e.g. start on F and the neighbouring note on the next string is A# (same note as Bb) etc.

The TI's are stupidly expensive, also the B string is huge. Status flats are OK. I like the D'Addario half round ones. Quite expensive but they do sound really nice, have good longevity and have a nice tension, not as floppy as the Status, but just nice.