Is anyone tired of all the notes?

Discussion in 'Miscellaneous [BG]' started by basses55, Jul 28, 2003.

  1. basses55

    basses55 Gold Supporting Member

    Jul 24, 2003
    Endorsing Artist: Alleva Coppolo
    Let me say this off the bat...I like bass virtuosity...if it's
    ...paced and spaced over the course of a body of work ...adds musical flavor to the _soul_ of a song....used as a punctuation mark to briefly add excitment....
    I've been listening quite closely for years to the ever increasing emphasis on fretboard gymnastics and the attempt in taming the physics of wood necks - frets -and string tension...including listening to myself up until several years ago. I have a whole shelf of bass cds that either I played only once...or dident even play them through fully once. I've listened to players who seem to use their basses as "Weapons of Mass Destruction" trying to mow down the "enemy"(competition) in front of them ....
    ...its like Marcus once said in an interview I read in a music mag talking about other bass players: "....where's the music?"
    I'm not saying there isent any out there from bassists...but the trend...the changing priority...and I guess "music" is all quite a subjective thing in the end.
    Just thought I'd open this up an see what people think....:)
  2. Selecter


    Jun 30, 2003
    I know EXACTLY what you are sayin. Bass players # 1 goal these days is to slap and pop their way into bass heaven. Never mind that the band is playin " We've Only Just Begun " by the Carpenters at some wedding but dammit that boyz gonna slap that song too!

    it's all about bass and bassists trying just too damn hard to be the lead instrument along with the git box. Used very sparingly in the right context, slappin poopin is ok. The problem is thats all I ever see anyone do anymore, especially in music stores. I havent seen a good funky fingerstyle bassist who actually played grooves trying out a bass in a store in 2 years. It's all clankety poppity notes notes lots a notes slappity boo hoo whoo clank pop mzip upndown the fretboard. They would slap playing bluegrass if the band would allow it.

    ok, I feel a BIT better..... :meh:

    sorry ya hit a big sore spot for me, if you cant tell.....:rolleyes:
  3. basses55

    basses55 Gold Supporting Member

    Jul 24, 2003
    Endorsing Artist: Alleva Coppolo
    Selector- you make me LAUGH know its not just slap monsters..its finger style guys, mutin guys, and my personal bass hell: Tapping Poltergeists...
    all those styles are great- I play them......its in the head. Too many players are not thinking about...making music(in my opinion)...I just saw Victor Wooten slap his way through blugrass and take burnin finger solos while a banjo was Beverly Hillbilling away..( Bela is great I think)...but he's one of the only guys I ever heard that can be hitting my "soul" button while doin it (most of the time).
    Where is the soul? What happened to trying to move your emotional connections via the instrument? Is bass a musical instrument that connects your heart with sound..or is it a new method to conduct conventional warfare?

    I understand your exasperation Selector. I've felt it:)
  4. basses55

    basses55 Gold Supporting Member

    Jul 24, 2003
    Endorsing Artist: Alleva Coppolo first time ever posting here and I realized that this thread should have probebly been posted in another section...but I guess its here for the time apologies.
  5. RicPlaya


    Apr 22, 2003
    Whitmoretucky MI
    I think overall the quality of the players now are not what it use to be. It seems to be a lost art, for example i can listen to some heavy stuff form the 70's,lets take Black Sabbath as an example, they were heavy for the time and even now. Geeezer still manages to be heavy and yet still create melodys and harmonys in the music. Shoot he's almost hypnotic. Lets take most of the current music out there. Why does almost every bass line match the guitars now? Modern rock is so freakin easy to play it makes me sick. I think what we seen in the 60's and 70's is trained bassists that learned jazz, blues, etc. and applyed that to rock. What we got now is kids learning power cords on the guitar and three note bass lines. I am not saying there is no good music right now or good musicians, but the quality has dropped dramatically. You know it's bad when you are looking for a bass teacher and the first thing they ask you is what song you want to learn. I can learn any song I want! I want to learn about the bass! There is a reason why in modern rock there are no longer any solo's, that's a freakin shame!
  6. Munjibunga

    Munjibunga Total Hyper-Elite Member Gold Supporting Member

    May 6, 2000
    San Diego (when not at Groom Lake)
    Independent Contractor to Bass San Diego
    One, five, one, five, one, five, one, five,
    One, five, one, five, one, five, one, five,
    Four, one, four, one, four, one, four, one,
    One, five, one, five, one, five, one, five,
    Five, five, five, five, four, four, four, four,
    One, five, one, five, one, five, one, five.

    That's it, 'nuf said.
  7. 5stringDNA


    Oct 10, 2002
    Englewood, CO
    Hilarious but true! You can get through most gigs and have lots of people compliment you and ask you to play with them again by just using some tasty one-five rythms. While its not always a blast to do, its very often effective.

    Now, if your a virtuoso player, or something of that sort, then you'll much more interesting lines that work with the song even better in many cases. However, I'm not flea, woten, or jamerson, and my first instinct is one-five or penatonic if I'm not very comfortable with the song.:D
  8. check out Adam Nitti, his music and bassplaying is great, for marcus miller-i think he concetrates too much on the music, which i don't like(his music).
  9. Munjibunga, that is so true! I played with a different band from my own this weekend and basically did that. Did some bossa nova stuff and worked with arpeggios (but I'm not good enough to make walking bass lines yet, hah). And it sounded pretty good.

    I think that slapping, technical fingerstyle, tapping, whatever, are all good elements to bring to a song. Geddy Lee, John Myung, and Marcus Miller, for example, all get pretty technical. The point is, they make it sound good. All of them play with such energy that suits their music and creates a feeling that sometimes can't be achieved by playing the same thing over and over. But they don't "compete" for the spotlight or anything.

    The most important part is to make the song sound good, and doing something flashy might just work out. But yes, a lot of people take it too far. Play your part, and keep the groove going.

    The worst is drummers that just have to throw in snare fills every 5 seconds. Especially bad drummers. I've played in a few shows with other students at my music school, and a lot of drummers I've watched just can't play. They take a bearable song and just ruin it when they mess up their fills and stop for a few seconds before continuing. Don't overdo it, you just end up looking like and idiot.

    I'm done. :D
  10. Jerry J

    Jerry J Supporting Member

    Mar 27, 2000
    P-town, OR
    I've found that the guys that overplay tend to get most of the gigs. I refuse to overplay...heck I can't anyway I usually get the comments like" you've got great feel, tone and timing" but I really don't get any notariety because I'm not very flashy. That's fine with me. I really believe that less is more, anyway.

    The last and only time that I saw Victor was with Mike Stern and he laid back and grooved like there was no tomorrow. He blended perfectly and just played for the support of the music. He was awesome. But I do think that Vic is kind of a strange pairing with Bela. But Bela does play pretty off the wall stuff.
  11. john turner

    john turner You don't want to do that. Trust me. Staff Member Administrator

    Mar 14, 2000
    atlanta ga
    no sweat, i'll take care of it.

    play what fits. instead of trying to fit what i wanted to play into someone elses music, i had an integral part in the compostion, and so did the bass part, and the songs reflect that.
  12. HeavyDuty

    HeavyDuty Supporting Curmudgeon Staff Member Gold Supporting Member

    Jun 26, 2000
    Suburban Chicago, IL
    Color me a hack, but it works for me, too!
  13. Fuzzbass

    Fuzzbass P5 with overdrive Supporting Member

    A bassist friend "gave" me his country band when he moved on, and I must say that I really enjoy root-fiving with them. I'm not a chops player, but in my Motown/funk/R&B band I sometimes get busy with finger funk, and I have to be very careful not to overplay in the C&W tunes.

    I dig listening to some chops-heavy music, but I quickly get bored if it's all about the chops.
  14. Thor

    Thor Moderator Staff Member Gold Supporting Member

    Guilty with an explanation ...

    I learned music in grade school on violin.
    Then I'm in the groove, in the pocket, the change is coming up and the fingers just slide right down through the riff like hot butter dripping on corn on the cob. I lick my fingers and I'm on the
    one without thinking about it.
    Stealth bass strike.

  15. P. Aaron

    P. Aaron Supporting Member

    The goal for rehearsal tonite is to:

    Be Solid. Focus on timing, and leave spaces between the notes.
  16. I whole-heartedly agree.
    Is that what I'm suffering from? Hypnosis? ;) When what rock has become finally chokes itself to death, maybe three or four of us can wind-up the clock again.
  17. sometimes simple really is best, for example in some sections of my bands songs playing anything more than one note/bar would be too much and make that section loose it's effect
  18. LoJoe


    Sep 5, 2002
    Concord, NC USA.
    I've only been playing a year and based on the advice of my teacher (A professional jazz player with a degree in music performance)the basics is where I've focused my study completely. I have yet to learn the first thing about how to pop, slap, or tap. I learned scales, modes, chord construction, interval recognition, and how to apply it all over the melody and chord progressions. Very simple lines sometimes. Sometimes so simple that it's nothing more than a scale mode played over a progression or even more simply, a scale note-passing note-target note transition, sometimes I rely on the famous 1-5-1-5, or sometimes a simple arpeggio. In spite of the simplicity of my playing sometimes, I'm told I provide a very solid groove, have mastered the art of being "in the pocket" and a put forth a strong low end foundation to build the songs on. The band leader of one of the three part time bands I'm currently in says that I'm the first bass player they've had that seems to realize I am in a supporting role, and not the main character. Sometimes KISS is the best advice I've ever received.