Languages are a whole 'nother set of problems, when it comes to attempting to learn them with a rules-based approach 
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when it comes to attempting to learn them with a rules-based approach
Well, I am an attorney, so everything I do is rules/definition based–rather hard not to approach things/think in that manner when that is how your brain has been trained for 25 years.
Probably also why I have such a hard time with ear training, as I do not get how to analyze intervals by “feeling.” I can hear relationships and dissonance. But to me, a major sixth “feels” the same as a minor third. So I am required to try and learn it by brute force pattern recognition.
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What? 
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First, big thanks and thumbs up to @joergkutter and @micklerd for getting into the weeds and giving examples and explaining the ‘why’ and context of bizarre naming conventions in music.
This is the danger of music theory. It will not help you at all in any pop band, in any pop-related music rehearsal, or in working out any popular songs to talk about strangely equivalent but confusingly-named notes.
No one will get that complicated.
The music theory moments where diminished 2nds are being talked about do not exist in our musical lives. They exist as theoretical possibilities.
Music Theory is great when it is practical.
If you’re the type of person who uses math to do their budget, plan out a woodworking project, or track gas milage, it would be very frustrating to start working on problems of theoretical mathematics. They would be over complicated and would not apply to your life.
Same for lots of music theory.
If it seems too complicated for what you’re playing and the music you’re learning, leave it alone. It won’t be helpful and it won’t be useful.
I’m not sure the ‘why’ for your theory studies, or what method you’re working from, but it is going for the big picture, widest possible foundation/understanding of all concepts (which are usually rooted in classical music theory and composition).
If you’re into the abstract aspects of music theory, this seems like a solid way to begin.
If you’re more interested in how to practically apply music theory to real world bass playing scenarios, this may not be the method to use.
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So can you recommend a practical music theory book/online course for someone who only wants to be able to play in a band/jam and have the ability to module keys if someone calls that out? My overall trouble is if I am presented with something, I need to figure out how it works and why and what rule dictates its application—that is how I learn: either deductive or inductive reasoning.
@Gio
But, as music is a hobby, I do not want to get frustrated with a bunch of esoteric junk I will never use. Basically, I want enough theory to be able to function in a band, construct baselines, and be able to figure things out by ear. Any suggestions on how best to accomplish that?
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Perfect response.
I wish I had the bass player’s practical theory course ready to sell you.
Maybe some folks here have found something that fits this bill?
I never have in my teaching.
Most of them do exactly what you ran into - getting too theory-y too fast.
Anyone out there?
I’ll write one…. Just might need a healthy advance to get it going…
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My #1 recommendation for a practical music theory book is literally called Edly’s Music Theory for Practical People. It is an excellent, approachable (and, most importantly, theoretically correct) reference that focuses on theory that musicians use most in real life.
For your immediate goal of understanding enough theory to be able to play in a jam band, I would focus on the first twelve chapters of Edly’s Music Theory for Practical People
- understanding major and minor scales
- understanding how to construct triad chords from the scale degrees in the major scale using major 3rds and minor 3rds
- understanding the Circle of Fifths and how you can use it to follow and construct chord progressions in any key
There is also Ariane Cap’s Music Theory For The Bass Player, which I consider the gold standard for a practical theory course aimed at bass players. You are literally using the bass fretboard to map the theory, and avoiding the worst sin of learning music theory: learning theory but not being able to apply it to your playing. There is a 20 unit companion course that goes with the book. The book itself is enough, but if you want a more structured, guided experience with the ability to ask a teacher your theory questions as you go, this course is well worth the hefty investment. I’m in Unit 15 of the course. Theoretically, nothing is new to me. I learned theory at an advanced level. from playing other instruments. However, the application to fretboard is just fantastic. My ability to play bass has made giant leaps in the last 15 weeks. If you can afford it, highly recommend the course. At the very least Ari’s book belongs on every bassists’ book shelf.
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Somewhere there’s a thread where Josh reccomended the book All About Music Theory and the site musictheory.net.
I also remember someone saying these were still more theory than anyone needs.
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@Old_WannaBe I only want to learn enough music theory to be able to play with others.
I’ve got Ari Caps book. It’s a bit dry.
I’m currently working my way through Dan Hawkins lessons. There’s theory in there but it’s more a case of the practical application of it rather than learning theory for the sake of it.
It’s mainly pattern based, explaining why the pattern is a certain shape ie the theory behind it.
He has a money back policy if you don’t like it.
I’m also doing his soul / R&B course as well.
Might be worth a look? This should be fun not frustrating. Cheers
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This^^^
Thanks to you and @joergkutter for your cogent and valiant efforts in addressing the contextual music theory equivalent to the question “How high is up?”.
As you guys and @Gio noted, music theory is theoretical and entirely context-based. It is purely logical, but it can get complex if the contextual framework is ever lost.
Not only entire books but entire degree curricula are based on music theory. But playing bass in pop or rock contexts will never need more than understanding the fundamentals of theory to groove.
Live long and play on the one. 
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After three years on this forum and this thread specifically, my vote for the next BassBuzz course is…
Explain It Like I’m Five - Practical Music Theory For Gigging In A Bar Band
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I am working from Caps book. That is where my photi came from
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"Ater three years on this forum and this thread specifically, my vote for the next BassBuzz course is…
Explain It Like I’m Five - Practical Music Theory For Gigging In A Bar Band"
I’ll pay for that
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Here’s an article on five beginner to comprehensive music theory books for the bass player. Ariane’s is the most comprehensive of them all, for good reasons.
Hope this helps.
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I have both her books and have a great appreciation for what she is trying to do. I like to believe the books exist to support the courses. By themselves…
Q. How dry?
A. Dry as an old scab in a salty dessert wind.
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Gio, what I would love if you have the time and willingness, is you and/or @JoshFossgreen dissect a popular song and break it down on why the chord structures work and what unique variations that song has that makes it cool. All this while sprinkling in the required music theory for it to make sense.
I may be wrong but I think that kind of discussion is what many people would jump on and help them learn how the theory is applied.
Bob
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Pretty much like my chances to ever make a shilling from playing music
Thanks for grounding this discussion, @Gio and for putting things into (realistic) perspective!
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I recommend learning your intervals and the Nashville number system. Intervals have never failed me and there is nothing I haven’t been able to learn or transpose with intervals
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Sounds like we need to get a Kickstart going to fund Gio’s advance . . . 
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