Nail Soup

Neigh!

Yes, that helps... thanks! I do have doubts about wether we can meet the guidance in that rehearsal room. Meeting is on 17th, let’s see what happens....,,,,

The guys in my band are talking about having a rehearsal in a local studio. I’m really not sure about it , so we have decided to have a open air distanced band meeting instead. in the meeting rehearsal will be the biggest topic..... so what do you guys think? We are not remotely professional, we make a net loss from the band.

Doesn't sound any different, but some keys allow root note bassists to point at the audience and make other hand gestures with the fretting hand!

Squier tele.... got it earlier this year and paid a little extra to get the colour I liked.

I remember reading an interview with Gary Moore in a guitar mag, and Rockschool came up. He said some uncomplementary things about Deidre. Maybe that explains it.

My way of looking at it is this.... if I bump into someone who I bought a pint in 1981 they owe me two pints now. Not that I'm keeping count or anything .........

Another new song - heard it first time today on 6 Music Hot Beer by O.B.F & Nazamba

I've been following the thread.......... and this sounds like a communications problem, not a talent issue. You could simply straight out ask him how he wants the songwriting to work?

I used to go to a (sadly defuct) local folk session. The host sometimes would tell a singer that they were "singing into their boots" and request them to move the capo up two frets. Most often did sound better after that. BTW - the host was a cheeky-chappy kind of guy who could say that kind of stuff without causing offence.

Wow - new song from Toots and the Maytals.... and it's great!

Reading between the lines, it sounds like the singer wants to get the ideas in slightly more embryonic form... and work from there. Might be that 40 snippets of bass playing is what he is after. Division of labour in song-writing is not always straightforward, so you might need to experiment a bit to find the balance. Or maybe agree with him that you'll be the 'lead writer' on some songs, and he is free to be 'lead writer' on others.

But before the even tempered scale, wasn't the mathematical realtionship between say the root and a fifth the same in every key (3:2 or something)?

I heard a presenter explaining (in a chat show, not his own show!) that he simultaneously presents a family of programs..... for example I love Eighties, Sixties Mania and Nineties Fever. The station plays a selection of music, programmed to start and end simultaneously. In between he makes some chat, not referring to the music.

Example: C major - Completely pure. Its character is: innocence, simplicity, naïvety, children's talk. C minor - Declaration of love and at the same time the lament of unhappy love. All languishing, longing, sighing of the love-sick soul lies in this key. Db major - A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.--Consequently only unusual characters and feelings can be brought out in this key. D major - The key of triumph, of Hallejuahs, of war-cries, of victory-rejoicing. Thus, the inviting symphonies, the marches, holiday songs and heaven-rejoicing choruses are set in this key. D minor - Melancholy womanliness, the spleen and humours brood. D# minor - Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depresssion, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key. Eb major - The key of love, of devotion, of intimate conversation with God. E major - Noisy shouts of joy, laughing pleasure and not yet complete, full delight lies in E Major. F major - Complaisance & calm. F minor - Deep depression, funereal lament, groans of misery and longing for the grave. F# major - Triumph over difficulty, free sigh of relief utered when hurdles are surmounted; echo of a soul which has fiercely struggled and finally conquered lies in all uses of this key. F# minor - A gloomy key: it tugs at passion as a dog biting a dress. Resentment and discontent are its language. G major - Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key. G minor - Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike. Ab major - Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius. Ab minor - Grumbler, heart squeezed until it suffocates; wailing lament, difficult struggle; in a word, the color of this key is everything struggling with difficulty. A major - This key includes declarations of innocent love, satisfaction with one's state of affairs; hope of seeing one's beloved again when parting; youthful cheerfulness and trust in God. A minor - Pious womanliness and tenderness of character. Bb major - Cheerful love, clear conscience, hope aspiration for a better world. Bb minor - A quaint creature, often dressed in the garment of night. It is somewhat surly and very seldom takes on a pleasant countenance. Mocking God and the world; discontented with itself and with everything; preparation for suicide sounds in this key. B major - Strongly coloured, announcing wild passions, composed from the most glaring coulors. Anger, rage, jealousy, fury, despair and every burden of the heart lies in its sphere. B minor - This is as it were the key of patience, of calm awaiting ones's fate and of submission to divine dispensation. (https://www.pitchperfecttuning.com/post/2019/07/17/characteristics-of-musical-keys)

I have heard stuff like "such and such a key is meloncholic" and so on. Is there really a difference between the keys? Well Major and Minor I understand. And that some keys suit the tuning of the instrument. For example: a folk instrumental on a six string in C. Then in D using the same fingering patterns, but a capo at the second fret. Surely won't make much difference to the character. So where did the idea come from? Any truth in it?

I think they go to the toilet in long records. Otherwise they talk to the guests about the stories they could not tell on air.

With my band that would provide beer and kebabs for the band - and our entire fanbase!

I checked another site - Bank of England. The implication is that beer prices have halved in real terms????

I remember the 50p (ish) pint...... like you my first bunch of pints cost that. And I remember (don't know how) that around the same time in Coronation Street Stan Ogden discussing a £100 earner with Eddie Yates and referring to it as 200 beer vouchers! But back to your p(o)int........... yeah that makes sense, I'll have to check that later!

According to an inflation calculator I found on google (www.inflationtool.com) that is about £170 in 2020 money. Didn't bands sometimes buy themselves into a support slot tour in those days?

Not really sure - would Brushy One String come anywhere close?

When I first started playing Public Image was the favourite bass line which was passed on between players in the ‘punk’ world. the other most common one was Warhead by U.K. Subs. Nobody really knew the song much, but it didn’t stop the bass line being taught onwards!

I’ve seen a few studies that put forward the idea that parenting methods don’t make that much difference..... strict parents, easygoing parents, closely involved parents, leave them alone parents..... all those ways usually work pretty well even though they are based on opposing theories.

Not well known songs, but nice and bass driven....... Mind Your Own Business by Delta 5 Totally Wired by The Fall both good fun to play! both pretty old too come to think of it 😐