Friday, 8 July 2016

Since you been gone.


I'm told one should never start a sentence with the word 'so', but frankly, breaking conventions harmlessly is fun sometimes. ;-)

Playing bass does odd things to the way you look at music. So why does nearly every recent-ish worship song make me want to play the main riff for Since You Been Gone, at least from the basic chord structure? I picked up the chords for Matt Redman's Sing And Shout this morning, and although it's not written *quite* like that, it *feels* like it's written just like that. There was a bunch of about 10 songs that I worked through last night, and underlying most of the songs was this feeling that riff was coiled and waiting, ready to spring out at any time.

My fingers are also callousing up nicely from their soft girliness at the beginning of the week. 2 hours thrashinga round on acoustic guitar on Tuesday followed by more than an hour of bass last night (and 20min this morning) and I've already developed callouses on my fingertips. I've 3 basses to choose from, with the fretless 5 string having lovely smooth tapewound strings that are kind to the fingers,but requiring more accuracy in fretting than I'm capable of right now. I've got a Jazz copy that's got a skinny neck and smoother strings, but it's a bitt too smooth and rounded, and can sound a bit thuddy. Harshest to play of all is the precision copy, with a big fat maple neck and really abrasive strings (like running your fingertip over a rats tail file) but it's got a wonderfull growly tone from the musicman style bridge pickup, and sounds just so much better than the others.

So P type it is then.

Delusions of adequacy - I just watched a Janek Gwizdala teaching video on youtube. Hah ha. Hah hah hah. Nope, not even close yet. :-)

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