Ask Damian Erskine - Page 13

Q: When I learn a song by ear, I can generally memorize it really well, probably because of all the work that’s gone into learning it. My ear is not great and concentrating on actually listening is harder to do than it sounds! I sometimes miss little bits here and there. However, when I read from a piece of music...

Q: It seems like you are a pretty busy guy and travel a lot (I follow your social media feeds). I feel like I’m not half as busy but somehow still can’t seem to find the time to work on stuff like I should. Any tips? A: I got asked a similar question at a clinic once, actually about writing...

Q: I spent this past Saturday marching the streets of Austin, TX with about 50,000 like-minded fellow Americans. Felt great… both humbling and inspiring! The next morning, I was playing my regular church gig – a place with a very different worldview and some decidedly harsh perspectives regarding my fellow marchers. I kept my mouth shut but was in danger...

Q: You know, jazz theory can be really, really confusing! I know that you can use a melodic minor a half step above a dominant chord as a substitution before resolving to the I-chord to emphasize tension notes (creating an out-sound). But, apparently, you can also use a whole-half diminished scale a half step up from the same dominant chord....

Q: I gig about 10-16 times a month on double bass and electric and live in a rural part of the UK. Some gigs involve a drive of 50-100 miles for about ?50-75. Do you have a minimum fee for local work, and a max distance you will drive for small bar type gigs? I am trying to find my...

Q: What is the difference between “relative” and “parallel” when talking about jazz theory? I hear “relative minor” a lot, but I recently heard someone at school talk about “parallel minor.” A: Good question! First, I’ll take a look at this column I wrote in 2014 concerning modes (and the relative minor). The term “relative minor” refers to the modes....

For this first installment of the new year, I thought that I would try and help motivate us all. I thought about the new year, new goals, fostering forward momentum and the dreaded new year’s resolutions popped into my head. Instead of encouraging all of us to go to the gym and stop eating pizza for breakfast, I wanted to...

Q: Can you give an example of how I might explore using the things I’ve transcribed in some way? I’ve been transcribing a lot this year (as a music student), but I’m not sure how to apply it or get anything from it. A: I spent years transcribing tunes, solos, melodies and bass lines before I ever really figured out...

Q: Why are some musicians resistant to changing gear and/or playing techniques when the player gets faced with pain, hits a technical wall or is dissatisfied with their own progress? A: Note: I saw this question on a Facebook thread I was tagged in recently and thought it was a good one. I paraphrased it a little bit to keep...

Q: I love your three-fingered right hand technique. Do you have any examples of how to apply it into songs I already know? A: This week I decided to answer the question with a video. Check out the PDF to follow along with Weather Report’s “River People” and Tower of Power’s “Oakland Stroke”.

Q: I’m curious. What are your top 10 bass albums. What albums do you think everybody should hear? A: I hesitated to answer this because of the inherently subjective nature of the question. My top 10 albums are not likely to coincide with yours, but I ultimately decided that for that reason alone, I should answer the question! Maybe I’ll...

Q: I have been feeling a bit defeated lately. I want to be a professional bassist more than anything but whenever I watch YouTube, I feel like I just don’t have what it takes. I see nothing but a sea of players with blazing chops, piano like chordal abilities, solo players who sound like an orchestra (with loopers, etc..) and...