Get off my LAWN! "Grumpy Old Farts"

[Passinwind]

The band instruments(clarinets and the saxes)are in treble

Quick, call Lassie!

 

[Al Kraft]

Seeing scale patterns on a bass is a great deal easier for me than seeing them on a piano. Don't even want to think about scale patterns on a valve instrument

I came to bass later in my music education process and I will agree that you can almost learn to play bass using fingering patterns (for scales) and never need to know much more than what the starting note is. At least on a four string it is especially cool that once you've got the root note it's literally as easy to find a specific note by name as it is to instinctively move to the 3rd, 4th, 5th, relative minor, etc. for chord changes.

Leads on a guitar are almost as simple, but chords (except bar chords) do seem to make less intuitive sense when you're starting out.

 

[GonePlaid]

I've no idea what the state of children's formal music education is today. What I recall is the near-fear and loathing of a piece with four sharps or something.

There's a great deal of formal music education I'd sooner dispense with, too.

Playing an instrument tuned to B flat sucks unless you really are keen on both sight reading and transposition.

Try Eb(alto or bari sax)or F (French Horn).

 

[beans-on-toast]

French horn involves sticking your hand into the bowl.

 

[Al Kraft]

French horn involves sticking your hand into the bowl.

Other than quite literally wearing a sousaphone it's perhaps one of the odder instruments in terms of musician interface...and IIRC one of the more difficult brass instruments to master.

 

[GwenOnBass]

Talk to the contrabassonist about his craft and have a friend for life. Nobody ever asks about what exciting vistas in life are possible for a first chair contrabassoonist.

 

[Al Kraft]

Talk to the contrabassonist about his craft and have a friend for life. Nobody ever asks about what exciting vistas in life are possible for a first chair contrabassoonist.

I think all double reed instruments are challenging to master, starting with the double reed itself!

 

[Deleted member 268085]

There's holiday celebrations and there's holiday celebrations

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Once the legs are gone, I can see that 'bird' being heavily bogarted.

 

[GwenOnBass]

Raised in every expectation of a proper classical foundation, I studied instead at the University of Southern North Dakota at Hoople. Haven't had a paying gig since

 

[beans-on-toast]

Ya, I my day thongs had a whole different definition.
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WARNING: The sign outside the store says that you have to be wearing a mask to enter. Apparently you have to wear cloths as well.

 

[Passinwind]

Raised in every expectation of a proper classical foundation, I studied instead at the University of Southern North Dakota at Hoople.

I've heard it was a Motley crew at Hoople?

 

[Polish Thunder]

My background is different than most on this thread. While I am old (58 in February) and definitely grumpy, I am at the 2.5 year mark since picking up a bass. I played blues harmonica off and on for a while in the past but mostly by ear or tab. I never played any instruments growing up. I was in sports from middle school through college. I do regret not investing in the time to learn an instrument but I can't go back in time.

When I started out on bass, I took Mark's Talking Bass Starter Program which got me going on the basics. I then worked almost exclusively with tab to learn songs. I also spent a lot of time studying basic music theory including standard notation on the side.

About 6 months ago, I started on sight reading because a lot of folks said you had to. Then I started to take lessons online with a blues bass player that has 40 years of professional playing experience along with 20 years of teaching bass. He also has three excellent blues bass books published. I am learning applicable music theory and ear training. No tabs. I have learned over 50 blues and R&B songs by ear so far through his lesson assignments.

For my musical interests (Blues, Motown, R&B, and 70s Rock), I do not think there is much available in terms of standard notation with the exception of what online instructors are now creating using modern software. I think a lot of that music was played with chord charts and by ear.

So I could take a year-long 3 hours-a-day Joe Hubbard course and show up at an audition and say "Look! I can play a dominant ♭9/♯5 chord (C7(♯5♭9)) over all 12 keys!". The band leader might say, "That's cool, but can you play Stevie Wonders version of Superstition in Eb?".....

Since I am not interested in pursuing Classical or Jazz on bass, I do not see the requirement for sight reading. Music Theory? Definitely. Sight Reading? Eh, not so much...

 

[GonePlaid]

I think all double reed instruments are challenging to master, starting with the double reed itself!

Although there is one composer who used double reeds without oboe, bassoon, or English horn.

 

[beans-on-toast]

My background is different than most on this thread. While I am old (58 in February) and definitely grumpy, I am at the 2.5 year mark since picking up a bass. I played blues harmonica off and on for a while in the past but mostly by ear or tab. I never played any instruments growing up. I was in sports from middle school through college. I do regret not investing in the time to learn an instrument but I can't go back in time.

When I started out on bass, I took Mark's Talking Bass Starter Program which got me going on the basics. I then worked almost exclusively with tab to learn songs. I also spent a lot of time studying basic music theory including standard notation on the side.

About 6 months ago, I started on sight reading because a lot of folks said you had to. Then I started to take lessons online with a blues bass player that has 40 years of professional playing experience along with 20 years of teaching bass. He also has three excellent blues bass books published. I am learning applicable music theory and ear training. No tabs. I have learned over 50 blues and R&B songs by ear so far through his lesson assignments.

For my musical interests (Blues, Motown, R&B, and 70s Rock), I do not think there is much available in terms of standard notation with the exception of what online instructors are now creating using modern software. I think a lot of that music was played with chord charts and by ear.

So I could take a year-long 3 hours-a-day Joe Hubbard course and show up at an audition and say "Look! I can play a dominant ♭9/♯5 chord (C7(♯5♭9)) over all 12 keys!". The band leader might say, "That's cool, but can you play Stevie Wonders version of Superstition in Eb?".....

Since I am not interested in pursuing Classical or Jazz on bass, I do not see the requirement for sight reading. Music Theory? Definitely. Sight Reading? Eh, not so much...

You stated how but what specifically motivated you to take up the bass?

 

[GonePlaid]

I've heard it was a Motley crew at Hoople?

As long as one steers clear of the "Okeh Chorale".

 

[Jeff Scott]

My inbox fills this morning with amazing deals for all manner of temptations.

Link Removed

I always go for spacebucks when the exchange rate is good!

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Relatives of yours (on top of the stereo)?

Both guitarists read. IDK if either does tabs-it's never been mentioned.

Give it a go next time y'all get together (ask if they read or, maybe even, drink, tab).

Yes! Add to that the fact that texted messages, whatever format, do not include inflection which may indicate the sincerity-or lack thereof-of any given statement.

uhhuh

Raised in every expectation of a proper classical foundation, I studied instead at the University of Southern North Dakota at Hoople. Haven't had a paying gig since

Fancy that! I studied at the University of Northern South Dakota at Whoopie. (I think there is a tunnel connecting to two schools)

My background is different than most on this thread. While I am old (58 in February) ...

Young whippersnapper!

 

[beans-on-toast]

James Jamerson died in 1983 at the age of 47. He was in his 20’s when he recorded so many of those great Motown songs. He had a high school music education to get him started. He was motivated by Jazz players.

From his wiki

A native of Edisto Island, South Carolina, he was born to James Jamerson Sr. and Elizabeth Bacon. He was raised in part by his grandmother who played piano, and his aunt who sang in church choir. As a youngster he was a competent piano player and performed in public. He briefly played the trombone. As a teenager he was a reserved person, and passionate about music. He listened to gospel, blues, and jazz music on the radio.

Motown

Jamerson moved with his mother to Detroit in 1954. He attended Northwestern High School; there he started on the upright bass. He began playing in Detroit area blues and jazz clubs and was influenced by jazz bassists Ray Brown, Paul Chambers and Percy Heath. He was offered a scholarship to study music at Wayne State University, and he declined. After graduating from high school, he continued performing in Detroit clubs. He joined blues singer Washboard Willie's band and later toured with Jackie Wilson. His increasingly solid reputation started providing him opportunities for sessions at various local recording studios. Starting in 1959, he found steady work at Berry Gordy's [Invalid or Expired Link Removed] studio, home of the Motown record label.[7][8][9] He played bass on the Smokey Robinson single "Way Over There" (1959), John Lee Hooker album Burnin' (1962) and The Reflections' "(Just Like) Romeo and Juliet" (1964).[10][7](p12) There he became a member of a core of studio musicians who informally called themselves The Funk Brothers. This close-knit group of musicians performed on the vast majority of Motown recordings during most of the 1960s. Jamerson's earliest sessions were performed on double bass but, in the early 1960s, he switched to playing an electric Fender Precision Bass for the most part.[7]

 

[Polish Thunder]

You stated how but what specifically motivated you to take up the bass?

I have always loved music and it was in college in the mid '80s that I took a Music Appreciation elective course on American Music (think Gershwin). I wrote a paper on the influence of blues in rock and roll and really got into the blues. I saw James Cotton, the late great harmonica player in person a few years later and spent time talking to him. From there I became a student of blues and blues harmonica. Fast forward to a little less than 3 years ago, and I started to feel that blues harmonica was very limited in terms of songs and even genres in general. So I wanted to be more involved and play all the music I like, from Albert and B.B. King to the Allman Bros., CCR, and ZZ Top. I just felt like the bass would do that for me. I had a friend at work that played bass for over 20 years in weekend bands and he help pick out my first bass, a Fender Squier VM 70s Jazz (left handed, of course). Up until I opened the box from Sweetwater, I never truly played a bass before. Sure, I picked one up in a music store and flipped it over and tried to play Smoke On The Water but that was it. Since picking it up, I practice 7-10 hours a week. This is not noodling, but working on technique, scales, new songs, and ear training. I keep a log of how long I played, what I practiced, and even what bass I practiced on. I can honestly say after over two years, I still get excited every time I pick up a bass. It feels natural to me. It feels part of me while I am playing. I improved way faster on bass than I ever did on harmonica. I wish I would have picked it up sooner.

Then I find this TB forum and realize there are others that are also passionate about the bass, so I am not alone in my craziness.

P.S. Sorry about the ramble on. My wife says I am the only one that can make a short story long.....

 

[GonePlaid]

I have always loved music and it was in college in the mid '80s that I took a Music Appreciation elective course on American Music (think Gershwin). I wrote a paper on the influence of blues in rock and roll and really got into the blues. I saw James Cotton, the late great harmonica player in person a few years later and spent time talking to him. From there I became a student of blues and blues harmonica. Fast forward to a little less than 3 years ago, and I started to feel that blues harmonica was very limited in terms of songs and even genres in general. So I wanted to be more involved and play all the music I like, from Albert and B.B. King to the Allman Bros., CCR, and ZZ Top. I just felt like the bass would do that for me. I had a friend at work that played bass for over 20 years in weekend bands and he help pick out my first bass, a Fender Squier VM 70s Jazz (left handed, of course). Up until I opened the box from Sweetwater, I never truly played a bass before. Sure, I picked one up in a music store and flipped it over and tried to play Smoke On The Water but that was it. Since picking it up, I practice 7-10 hours a week. This is not noodling, but working on technique, scales, new songs, and ear training. I keep a log of how long I played, what I practiced, and even what bass I practiced on. I can honestly say after over two years, I still get excited every time I pick up a bass. It feels natural to me. It feels part of me while I am playing. I improved way faster on bass than I ever did on harmonica. I wish I would have picked it up sooner.

Then I find this TB forum and realize there are others that are also passionate about the bass, so I am not alone in my craziness.

P.S. Sorry about the ramble on. My wife says I am the only one that can make a short story long.....

No, you're not. I often say, "So, to make a short story longer.............."

 

[Al Kraft]

Since I am not interested in pursuing Classical or Jazz on bass, I do not see the requirement for sight reading. Music Theory? Definitely. Sight Reading? Eh, not so much...

I think the only place sight reading skills are useful (often mandatory) is for studio musicians or pit orchestra work where they want you to play exactly what was written. Sight reading was part of my formal music education in the 60's and 70's, but it's not been something I ever really had to rely on to save the day except once or twice since. Both times were musicals/pit orchestra jobs with original music that required precisely what was written and we had limited rehearsal time.