leftybassman392

Going out now but one very quick point to add about graphics: tab and/or notation might be a thought too. Opinions differ around here as to which is best, but in this situation both could prove useful.

I watched video 9. Mostly it's to do with fine tuning your presentation. As to point 4 I was thinking more of graphics to show finger placements, hand position and related matters. You could use photos or ViV but yes, something to give your students a closer look at what your hands are doing.

Nice video. I wonder if I might make a few observations though. I'm a retired player and tutor, so please don't be upset if I sound overly critical at times. My comments are given bearing in mind the intended audience. Also I've only watched this one video so if issues are addressed elsewhere then my apologies. 1. The voice is nice & clear but the bass is still too quiet. Useable, but could do with more still. 2. Have you considered sitting on a high stool for these sessions? You move around quite a lot as you talk, and TBH I found it a bit distracting. Keeping a little distance between you and your students is a good thing, and that applies to video work as well as 1-1 sessions. Also, keeping still is much easier to do when you're seated. 3. I don't know how closely these sessions are scripted, but you seem to fumble a bit for your words occasionally. You can get away with it a bit in the teaching studio, but on a video it can come across as you not being too sure what you're saying. If you don't do it already you might want to consider having a lesson text on a music stand close to the camera (but invisible to the viewer), and following it as closely as possible - which means rehearsing it a few times before you turn the camera on. I know they're beginner sessions but that doesn't mean you can be sloppy with presentation - quite the reverse in fact. A more accomplished player will be able to filter out that kind of thing a bit better. As a side benefit, it will encourage you to think about what it is you're trying to say, helping to make your lessons a bit more focused. 4. I think it would be a good idea to develop your onscreen graphics somewhat. The presentation comes across as a bit dry despite your obvious enthusiasm for what you're doing. Everybody likes pictures to look at. Just a few thoughts. Hope it helps. Good luck with the project.

AFAIK the amplifier circuitry will be fine electronically but may sound a bit odd due to the voicing characteristics. Any problems you might get would likely be due to the speaker cones not coping with very large excursions at very low frequencies. That said, it is perfectly possible to design systems that work equally well with both - PJB have been doing it for years.

Hey Steve. Good to see you back again. Sorry to hear about your tribulations; hopefully things are starting to look up again. I'm down to one bass now so can't help you in your search, but I hope you find something soon.

Wasn't there a thread up here a while ago about a drummer who insisted on having his own personal P.A.? (Whatever happened about that BTW?). Anybody else seeing a common, er, thread here?

👌

Well since you brought it up... Not a scale I've knowingly used, but for completeness, root, b2, 3, 4, 5, b6, b7, octave. It has a number of names, although 'Double Phrygian' is not one I can find. Or make sense of now that I think of it. There is a convention (not universal, but common) of naming scales in terms of their nearest standard modal counterpart, according to which it would be called a Phrygian major third. Oddly though, as far as I can tell nobody uses this name. Phrygian Dominant seems to be the standard nomenclature (which also - sort of - sounds a little bit - but not all that much - like the Double Phrygian you've heard). No need to thank me.

Well it's been said many times on this thread already, but just so that I've said it too... No. Just, no. Much as I abhor physical violence, I'd be sorely tempted to go with Skank's solution in this particular case. He's most likely doing it because he thinks it's a really good idea, so discussion is unlikely to prove fruitful.

Not wishing to confuse people any more than necessary, but it is worth bearing in mind that this set of modes is the one that goes with the major scale as a parent. The modes of the melodic minor (ascending) are whole new ballgame.

No need to harp on about it.

Not quite in the sense that statement suggests. As used by the Ancient Greeks, modes were altogether different from what members of this forum will be used to. I won't bore people with tedious detail (if you're interested you can check out the original articles that I wrote in the Theory & Technique forum), but as with so many musical terms we have taken from the Greeks, the word effectively has different meanings. Modern modes are descendants of the Ecclesiastical Modes, which as the name suggests were first formulated in the Christian church. Edit to Add: Clarification. In fairness, the Greeks did lay the foundations for what became the Ecclesiastical modes, but they didn't think about them in the way we do is the point. It wasn't until the medieval period that the modes as we know them today were formalised. Further edit: The ancient Greeks actually had no word for 'mode'. The word we use comes from the Latin word 'modus'.

Not so sure a Sitar counts as humble either. It's been around for hundreds of years, is a staple of Indian (specifically Hindu) music and is much a symbol of Indian classical music as violins are of western classical music.

Well if whistling's going to count then so does yodelling.

Actually I think we're a dying species. Perhaps not the right place for that discussion though...

Everybody hurts No drums at all for over half the song's length. ETA: Wild Thing To the best of my knowledge, the only ocarina solo in the history of popular music. (Happy to be wrong though...)

Indeed; very clean, crisp playing. Those long fingers will certainly help with that I would think.

Has anybody said that's how it should be done? Apologies if I've missed it but I don't recall that claim being made in the thread. As for your second paragraph, no disrespect intended but that's just rubbish and always has been. The list of great players who have produced teaching videos is very long. Not to mention that for large numbers of professional players in all styles of music, teaching is their bread and butter income. Playing is one skill set; teaching is another, equally demanding, skill set. Being good at both is IMHO the mark of a properly rounded musician.

Beginners don't need inspirational pedagogy: they need a few simple rules to get them started and on which they can build. Everybody has to start somewhere: very easy to forget when you've been doing it for a decade or three.

Crikey! Judgemental much? It's a beginner's tutorial ffs! My only beef would be her use of the word 'intermediate' (which it clearly isn't). If you can already do the things on the video then it must be because you're a good enough player not to need the advice. No offence intended, but how experienced players could fail to spot that is not something I understand. /rant.

Ahh, the joys of being a peri. I remember it with great affection. ETA: Shouldn't you be getting ready for your next student rather than hanging around here?

Got it. Thanks for taking a look. I'm sure there''s a really snappy one-liner around here somewhere...

Very slim. I don't have any numbers to hand but it's very slick. It was actually used as a template for the neck on my Rob Williams custom Tele (featured in the guitar porn section I believe). The tele has a slightly bigger fretboard radius, but apart from that it's very similar. Not sure about the pickups but I'll have a dig around. Update: looks like you're right about the pickups. Good spot.