JuliusGroove

Thanks buddy ^.^

Ah just been getting massively into Snarky Puppy and been listening to we like it here. I'm not great at transcribing but would love to take a crack at some of the stuff in Lingus!

Ah I am familiar with Jazz Advice! Some great articles on there..

All went smoothly... Thanks for your help folks!

The movement feels and sounds right its just feels like every note I'm playing under it is slightly out! Avant-Garde Harmonisation if they pull me up on it.. ha

I've been given a chord chart for At Last by Etta James and either the chords are horribly wrong, the recording is pretty out of tune or my tuner is broken... I've attached the chord chart I've been given.. GIG IS TOMORROW. HELP!

If anyone's interested I found some great John Patitucci Videos.. Will post later

Anybody know where I can get my hands on a fretless neck for a Stingray? Alternatively is there anyway I could maybe get mine defretted professionally and have some maple veneers put in?

Anybody know of any good study pieces/exercises for improving my right hand dexterity? Been watching some of those old Jaco videos and I've always known he was incredible but all I could watch was his right hand (and his left!) especially when he's doing those quick harmonics in Delores/Portrait of Tracy/Third Stone from the Sun on the Forecast:Tomorrow DVD

Thumbs up for thumbs down....

It just depends on what sort of sound you want really.. The through-thumbing stuff like Larry Graham gets you a nice THONK sound and like you say can help you move on to the double-thumbing technique used by Marcus Miller and Wooten.. The style guys like flea use is the style I started out with and I think is a bit more accessible but by no means better or worse.. I think it can sound a bit thinner at times but you get more of a 'bouncing' action. Learn both and you'll be unstoppable!

Yeah Waddy was great too. Had some wicked stories about Stevie Nicks...

Well that's it.. It's going on the list!

Sure, but be wary as some may add other instruments to their 'cv' as such to seem more employable but may not be at the same level across the board.. Theory is transferable but application of ideas and roles of the instrument in a band context are not.. (to a degree) I'd say as a rule study with someone in their main discipline unless they can prove as well in other instruments! But that's just me..

Depends on who's teaching you! I'm about to start lessons with Franc O'Shea and that's £30 an hour which I think is fair. Anthony Wellington's Skype lessons are $80 an hour Depends how much you think you will learn from this person and their professional level I suppose..

Awesome! One day I'll venture into Bebop...

[quote name='Hector' timestamp='1395078270' post='2398398'] One way to do that is via chromaticism, adding in extra notes to make sure the note you want to emphasise lands on a strong beat. [/quote] OOOOH I see... So is that kinda linked to why Bebop scales have the additional chromatic note so that you can still land on the strong beat?

Okay, so the D# was just a chromatic note to lead towards the E? (No more stupid questions I SWEAR!)

Controversial maybe but I absolutely despise Hartke! Ashdown has always been hit n miss for me also.. Though my friend has an Ashdown head with a Hartke cab and its really warm and punchy! I'll stick to my Mark...

He told us he needed a hobby as he doesn't drink or do drugs. His hobby is collecting pictures of people flipping off the camera, his collection allegedly stands at over 8000

+1 for the MXR! I've been using it for about two years now and love it.. Combine with a Fuzz for serious synth sounds!

Can anybody recommend a decent sized pedalboard (22" x 13.5" was my previous one and was good enough) Ideally with a power supply built into it? I've seen a few people with these and they look highly convenient.. Cheers!

This was definitely the highlight of the class..

[quote name='Hector' timestamp='1394900581' post='2396503'] When you're playing a line and you want to set up a note as a target, playing a line with a semitone below it will guide the listener towards it e.g. you could have a D# in a line which you're resolving to E over a C major chord! [/quote] Not sure I understand this bit. Where did the D# come from in relation to the secondary dominants? I understand it's chromatically leading to the E.. Is it in relation to the B7 as the D# is the altered note for it to become a dominant? Or have I completely missed it..

Oh and I'm the midget..