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Best Approach to Fretless

#141
I received the TB bass Friday. My practice was not impressive. I practiced Saturday with a tuner attached and my playing improved quickly and dramatically. Sunday, I played my first gig with no hiccups. Yes, I did look at the fretboard more than normal, but not really excessively. I was complimented on the tone of the TF. Given a two day lead up, the result was way better than I expected. Thanks for all the advice. It helped.
 
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#143
Mushroo said:
Not pretentious; I just have a useful skill that you apparently don't have, and want be encouraging to the OP that they can succeed and learn this skill too. I'm an average musician at best (I wasn't gifted with a great "ear") so if I can learn to do it, then with the right teacher, I'm sure the OP can learn to do it, too. I am a big believer if you set goals, find great teachers, and work hard, anyone CAN achieve their goals. My intention is to be "aspirational" but if you want to call that "pretentious" then fine. From my perspective, I don't understand your motivation behind telling an enthusiastic beginner "it's impossible so don't even try." All they have to do is go on YouTube and watch successful pro players to see, no, it is not "impossible," with enough practice they can be on the path to success too. PM me if you need a suggestion for a great fretless teacher. :)
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I don't think you read this thread very carefully. At least not my comments as they fit into the context of the discussion.
 
#144
Chasarms said:
That was my point. In many cases, the lines are of no benefit.
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But an unlined fretless bass also has markers. Only they are on the side. I never depend on the lines but they just make it easier to play in tune for me and also I have a better overview of the 'fret'board. I play lined and unlined bass, upright and unlined fretless guitar (which is more difficult than fretless bass). But the lines make it slightly easier.
 
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#145
Chasarms said:
I don't think you read this thread very carefully. At least not my comments as they fit into the context of the discussion.
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I have found that sight-reading while playing lined fretless is a lot like driving. I can keep my eyes on the car in front of me, and the yellow lines, and the rear view mirror, and the side mirrors, maybe even send a text message (sorry, officer) and I can do this reliably time after time, with my life on the line. Likewise I can sight-read the sheet music, sneak a peak at my lined fretless, watch the conductor, make eye contact with the drummer, and give good stage presence, all at the same time.

You make some good points, but I've seen too many counter-examples to agree. A famous example is Sting. Watching his performances, I get the feeling Sting has actually practiced "sneaking a peak" at his left hand, in front of the mirror, as a specific and useful skill. He does a little "head-bob" that kind of tricks the audience into thinking he's rocking out to the beat, but actually he's looking at his left hand. These are the little touches that make Sting such a great performer. But he wasn't born able to do this; at some point he consciously decided, "this is a skill that is worth having." Go watch some Sting concert video and you won't be able to un-see it.
 
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#146
Mushroo said:
I have found that sight-reading while playing lined fretless is a lot like driving. I can keep my eyes on the car in front of me, and the yellow lines, and the rear view mirror, and the side mirrors, maybe even send a text message (sorry, officer) and I can do this reliably time after time, with my life on the line. Likewise I can sight-read the sheet music, sneak a peak at my lined fretless, watch the conductor, make eye contact with the drummer, and give good stage presence, all at the same time.

You make some good points, but I've seen too many counter-examples to agree. A famous example is Sting. Watching his performances, I get the feeling Sting has actually practiced "sneaking a peak" at his left hand, in front of the mirror, as a specific and useful skill. He does a little "head-bob" that kind of tricks the audience into thinking he's rocking out to the beat, but actually he's looking at his left hand. These are the little touches that make Sting such a great performer. But he wasn't born able to do this; at some point he consciously decided, "this is a skill that is worth having." Go watch some Sting concert video and you won't be able to un-see it.
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I couldn't agree with you more. Everyone sneaks a peak.

My reply was in response to the poster who mentioned Jaco and Manring who do tend to stare at their hands almost all the time. I simply stated that there are a number of musical circumstances that you cannot do that. Obviously, you are well aware of those as you, like myself, participate in musical endeavors that demand your eyes be elsewhere also.

My apologies for the contentious remarks yesterday.
 
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#147
Chasarms said:
My reply was in response to the poster who mentioned Jaco and Manring who do tend to stare at their hands almost all the time. I simply stated that there are a number of musical circumstances that you cannot do that. Obviously, you are well aware of those as you, like myself, participate in musical endeavors that demand your eyes be elsewhere also.
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Sure. If you look elsewhere it doesn't matter if you have lines or not. :)
 
#153
red7flag said:
I pulled the trigger on a "Lake Placid" TFB. Should be here in a few days. I will put the great advice to work. Bottom line, to sound good I will need a LOT of woodshedding. Thanks again.
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8-9 months in, how’s it hanging, OP? (Bass is still in your sig...maybe forgot to delete? ;))

Asking because I am now where you were, just picked up a Lakeland fretless a little over a week ago, really loving it!

Lots of great advice in here, do you now have any pearls of wisdom of your own to add? :cool:
 
#160
Lagado said:
I like this one because Willis gets mean down the bottom end of the scale:



Could he play that blindfolded? I don't think so. Not unless you inhabit La la Land.
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And this brings to mind another point often made, that I never understand...at all. Something like: 'You don't have to look at the fingerboard of a fretless, you just use your ears to stay in tune'.

Well, how the heck are you going to do that, if you're often playing a bunch of eighth, or sixteenth notes? How is there any time to 'ear your way' into intonation, when you're only on the note for a split second.

If someone can explain how this can be done, I'd love to hear it.
 
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