As I read through this from beginning to end I can't help but think some type of interactive blogging page or board where members can post sample bass lines to sample tunes in some type of decent manuscript software like finale or band-in-a -box where everybody gets to throw in their 2 cents. A lot of interaction and learning. Something like "The Shed" with sub links with the names of tunes with posts by members underneath. They can post, edit, hear etc.
It all tends to get very verbal and open ended with words. Cassanova was really talking about constructing good on the fly lines over jazz standards--he can't do that to his satisfaction. But it took a while to ascertain that--because his perception was that he lacked theory and ergo this was not providing him with the insight into some type of method/madness to doing this better over any jazz standard. If I were to guess it's that tunes that move around a lot or the opposite: 4 bars of open C major (Instruction: "walk!") Easier said than done.
Granted Chris mentioned his primer on walking lines but it's a question of whether Cassanova is going to be drawn into it cyberwise. But what prompts people to post is usually a specific tune or situation where they felt like "Gee I really don't do this so well". When you can attack the exact tune which bothers you, things fall into place more.
The reality is he may be frustrated at his own ability but maybe he's not as far off as he thinks. Sometimes one can run away to the general when in fact they need a very specific thing. Perhaps he already knows that these simplistic type of walking lines will all work over D-7 G7 Cmaj:
Root connecting
D A D(8) A G D G B C
Scalar
D E F F# G A B D C
Arpeggio(ish)
D A F A G B G F E G G(8) B Cetc
And all the half step sub variation stuff that have an alternate connection to a target pitch
But then again maybe not
If someone says they don't know how to fake a walking line well enough on a standard there must be some pieces missing. I don't think he'd be complaining that it's just that he can't play like PC does. So, if that's the case you guys need to flesh out what he would do--then make a specific recommendation. Theory would only be introduced if he asked "And how did you know to do that?"
It's probably the case that you have 3 animals:
Arpeggios
Scales
..oh yeah walking
Walking is neither but close to them and requires a sort of methodology to bring them together-- plus lots of nice little tricks, pull offs, open strings, harmonics. This may or may not involve certain harmonic theory that encompasses it. It may just be about being a good architect at lines.
Brain is sort of searching for quality on the fly by shape of line, variety of interval, arriving at good target notes. And you want the ability to do that instinctively. This no different then any other functional role when you wanted to be creative and functionally supportive without having to think too much.
For example when I was doing a lot of organ left hand bass gigs, some tunes were harder than others. For example I was confronted with I Remember April with all that "G" . After the gig, I started shedding alternative lines and trying to get them into my physical (on the fly) concept so I didn't feel like a joke comping and playing solos over this automoton moronic repeating bass line over G over and over again.
Just a thought (perhaps too many.. as usual)
!
