Great points Ursin, I used to practice 4 hours per day, it took a while to build up to at 2 hour intervals of practice, breaks are important and also staying focused is important, you can accomplish a lot in 4 hours if you have your routine laid out in advance and don't let your mind wonder, I used to use the last 30 minutes to jam as a reward rather than stopping in the middle and noodling, just me. Of course if you have 8 hours to practice - go for it!
I would also highly recommend transcribing and ear training exercises of recognizing scales, intervals and chord progressions and rhythmic recognition such as what is available with solfedge.org and other programs.
I like Pebber's suggestion of just doing picking if your left hand is tired, or switch from picking to right hand finger style if you are tired of picking.
Thanks for sharing all of that Ursin it is helpful, do you have any suggestions for a good warm up routine? I jammed my picking thumb over the winter and was really worried about the joint, it seems to be better now. Any tips for reducing the chances of getting arthritis are much appreciated.
I have always played with all four fingers on both bass and guitar, when I practice my scales and picking as I get up to 32nd notes my pinkey is the first to go - the muscle between my wrist and pinkey gets a major cramp, maybe I'm not warming up enough?
Hey Mark - I know what you mean it was a bit of a stretch to call it the Lady Bird sequence but that is what I hear and the sound is what reminded me of that turn around. A lot of contemporary gospel musicians go into extended substitutions and they have no idea why - just sounds good - amen to that!
I have MMA working within solfege for doing harmonic progressions but the leMMA tool is not working correctly and I'm giving up for now. I tried following the upgrade instructions but I can't get it to work. The version shipping with MMA 1.2 seems buggy. I'm going to look at some of the other tools that Pebber recommended and see if there is anything similar, MMA is basically an open source band in the box.
To your question about using the modes in music, I would like to give an example using John Coltrane's Impressions a song which is made up of two chords played for 16 bars each dm7 and ebm7 using a dorian mode as the tonal center. Consider that the melody confirms to the dorian scale as it is played over each chord. As the chord changes a new tonal center is established. In order to create a solo simply use the d dorian and eb dorian scales accordingly - this is the basic approach.
This song is really written as a "modal" composition, a lot of shred type music is also written this way so that extended phrases can be played in a single mode. If you have an existing song that has a more traditional chord progression please post it and I can help you figure out what modes might apply, once you know the key that the chord progression is in the modes pretty much follow the diatonic chords if you are using a standard tune.
If you listen to the song, especially when McCoy Tyner plays piano you can hear many alternate chords being played over the underlying dm7, on an advanced level modes can be overlayed to create new sounds so the fact that there is a tonal center established allows the soloist to go "out" into alternate modes and keys of their choice and then eventually come "home" to the tonal center.
You may find that you can go back and forth between the d dorian and eb dorian to produce this effect even while the underlying chord is still the dm7. Also note that Coltrane almost immediately echoes the same phrases in both modes to establish another form of continuity.
I offer this example as one form of modal usage, your own can be as simple or complex as you like, Trane spent alot of time exploring this.
Thanks for the props Adam - for everyone who wants to know where all this comes from I say get "Real" or get "The Real Book". After I wrote that answer I was wondering if I just dropped a bomb, thanks PB for pulling in the big guns for backup!
Sweet vid Chris thanks, this is exactly the type of musical ability that I aspire to attain! BTW I believe the discussion around Mike Barr gravitates toward his composition style, no doubt he is fast but his musical context is unique.
Hey, my name is Rob I am one of Pebbers internet students, I've been playing bass for over 30 years, I am currently playing a couple of times a week in as a staff church musician. I play just about any style and play fingerstyle, slap and with a pick. My slap style has a deep tone rather than tapping style. I use a Fender Marcus Miller '74 style Jazz bass, a Ken Smith BSRE5J and a Moonstone Eclipse 4 with Alembic pickups and preamp. I use an Ashdown mag 500 and Aguilar 2x12 cab. Since I am focusing primarily on guitar I am not really shedding much on bass.
I have Fralin blues replacements in two of my low end strats, they are much warmer. I have an hss setup with an unbuckler in the bridge that I like alot I got the blender pot - check out pre-wired harnesses at http://www.guitar-mod.com/ he does very high quality work and stands behind it 100%.
I think my favorites though are the Fender Noiseless pickups in my Clapton signature and with the mid boost circuit I can get pretty much any tone - great for going directly into the amp but can be a bit of an issue with some effects due to the +25 db boost. The Noiseless have that great chime and can spank and also be warm and truely are noiseless.