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Some parts just sound better with one of those than the other options.
Intro to "Peace Sells" - I can get it nearly the same with fingers, but pick sounds better, more crisp.
"Sitting on the dock of the bay" sounds awful with a pick. Doesn't have that pillowy dreamy sound that the song needs.
It's all good.
https://speakerimpedance.co.uk/?act=two_parallel&page=calculator
https://www.youtube.com/watch?v=Xch-3Wwl9HE
https://speakerimpedance.co.uk/?act=two_parallel&page=calculator
Then when the guitarist changes chord dont just start again there - put a passing notewhen you move - making it a journey to the new chord.
Do you read bass clef at all? If So I've got some stuff I could scan for you.
https://speakerimpedance.co.uk/?act=two_parallel&page=calculator
Yes I know I'm a hypocrite as I only started taking bass clef seriously a few years ago when I joined the music trust my kids attend, but it has opened up so much more music for me.
Seriously - even Grade 1 level exercises that only take a couple of hours to nail down are so useful.
https://speakerimpedance.co.uk/?act=two_parallel&page=calculator
To get the basics of note type / length and what all the extra little dots next to or above the notes get this: https://www.amazon.co.uk/Bass-Guitarists-Guide-Reading-Music-ebook/dp/B00E5R1HN8/ref=sr_1_1?keywords=beginner+bass+stuart+clayton&qid=1563452419&s=books&sr=1-1
and then Buy this:
https://www.amazon.co.uk/gp/product/1848493584/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
It's short examples - 2 lines mostly - of simple exercises. It starts at genuine beginner levels and goes to grade 5. Don't worry that it is a double bass book just ignore anything that mentions a bow.
If you already know the difference between a minim, crotchet, quaver etc and when you need flats and sharps then you might be ok with only getting the 2nd book.
Then play the exercises. Learn the notes on the bass stave GBDFA on the lines and ACEG in the spaces.
DON'T keep looking at a help map - make up a mnemonic.
Play it as slow as needed but get the note right each time. Even if it takes you 10 mins per note! Play the first 2 examples over and over until you get them right. Then the next 2. Then go back to the first 2 again.
Do no more than 15 minutes reading practice per day. Little and often is far more effective than 2 hours on a weekend.
In a week or 2 you will be playing the early exercises fluently and start being more confident in identifying what the notes are in new exercises.
That's all it will need - 15 mins per day.
In the meantime I'll scan some easy arrangements of tunes for you including some walking things.
https://speakerimpedance.co.uk/?act=two_parallel&page=calculator
I could ramble a it about my view of bass function but it's too tedious typing on a phone.
Nil Satis Nisi Optimum
My view is that each instrument is set a role by the composer. Trying to limit that role, not by the physical restrictions of a particular instrument but by the odious argument of “tradition”, is the path to repetition and a lack of innovation.
https://speakerimpedance.co.uk/?act=two_parallel&page=calculator
Sometimes it's used as a derogatory term for guitarists that pick up a bass and ( while they can technically pick out some notes) just don't sound right.
But as long as it sounds good who cares.
I thought that Phil Lynott played the bass (and looked) like a rhythm guitarist. But it sounded great in the context of Thin Lizzy.
Also, IMO Mike Kerr plays like a guitarist and it sounds great.
Another personal perspective, which is a bit of an over simplification. As a guitarist, I tend to lock into the snare and hi hat. When I dabble on bass I tend to lock into the kick.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
https://www.youtube.com/watch?v=oFKlezPu3xg
saw him in October in Manchester last year - truly stunning ...
rick beato's 'what makes this song great' - usually has a "lets listen to the rhythm section" aspect which shows the reason the song has its feel.
The slipknot physcosocial one is a surprisingly good example of this.