Joebass

Thanks, Pete. That's great!

😁 True! I may have to do this but ideally, I'd like to get some new screws.

It's a hex head. I had been using a 1.5mm allen key to adjust but it's a little small. I tried a 1/16 inch key but that was too big.

Hi, Can anyone help me find a suitable replacement for these grub screws? One of the heads is completely rounded and I can't adjust it. They're from a Mayones Jabba bridge. Thanks

The transcription is wrong; Stu is outlining E7, not Fbmaj7. It's a modal tune in Eb Dorian. If you listen to the verse, the electric piano is playing quartal voicings — Ebm7 moving up to Em7, and then back down. Interestingly, Stu's bass line suggests E7, though I would imagine that he just chose notes that sounded good to him. Here's my take on it:

Hi guys, Here's my transcription/play along of Marcus Miller's version of Teen Town (just the solo). [url="http://joebrittonbass.com/blog/2016/9/29/teen-town-marcus-millers-solo"]http://joebrittonbas...us-millers-solo[/url] Cheers, Joe

Music written for the bass is notated 1 octave higher than it sounds; this is to avoid having to use too many ledger lines. Here's "Another one bites the dust" written as it sounds: And here's how it would be written for the bass guitar: Much easier to read! Middle C, as it's written for the bass, can be found at the 5th fret of the G-string. To play a true middle C, as it sounds in concert pitch, you'll want the 17th fret of the G-string. ~Joe

Fair enough. If this is for your own personal study you can label things how you wish. (Allan Holdsworth uses Cx for Cm6) FWIW, the published New Real Books use [url="http://home.cogeco.ca/~douglasgifford/stuffholder/roehmer%20%26%20brandt%20scan.pdf"]“Standard Chord Symbol Notation”[/url] by Carl Brandt and Clinton Roemer as their model. It's well worth a read, Clinton Roemer literally wrote the book on professional music copying. Best of luck finishing your chart and I look forward to checking out your end result. ~Joe

[quote name='Oscar South' timestamp='1469452277' post='3098370'] [color=#282828][font=helvetica, arial, sans-serif]"The nature of the data collection process eliminates the need to consider inversions of each structure as the function of each possible overtone structure is shown over each possible chromatic root. Thus, all possible inversions will already be presented in the data."[/font][/color] [/quote] Does that mean that you have it labeled somewhere as D second inversion? Because [color=#282828][font=helvetica, arial, sans-serif]A6[/font][/color][sup]sus4no5 [/sup]isn't really a functional chord and I see no reason to label it this way. [quote name='Oscar South' timestamp='1469452277' post='3098370'] With regard to '6' chords, while your suggested notation indeed looks a little cleaner, I choose to notate 6 chords like this because I find that the addition of the 6 changes the functionality and aesthetic of the chord in different ways to the 'usual' higher extensions. I find that writing '6' chords like this just gives me a little more relevant information at a glance. Another lesser consideration on this point is that this isn't my normal 'concert' chord reference system as I've modified it in a few ways in order to reduce subjectivity in interpretation. For example, A13 is not clear on whether the 9th and 11th will be present. [/quote] I would urge you to rethink; this is a highly unusual and confusing way of labeling a chord that has an obvious dominant structure. With the presence of the natural 3rd and flat 7, this is an A7 chord which makes the F# tension 13, [i]not[/i] an added 6th (regardless of its octave). [color=#282828][font=helvetica, arial, sans-serif]If you want to strictly communicate the chord tones and tensions present then A7[/font][/color][sup](add1[/sup][sup]3, omit 5) [/sup] would be the way to go. I really like the chart but the current nomenclature seriously reduces its practicality (for me at least). ~Joe

Thanks for sharing your chart, Oscar. A couple of observations: Labeling everything in root position has obscured some simple chords. f.ex. the D triad has been labeled as Gbm[sup]#5[/sup] in first inversion and A6[sup]sus4no5 [/sup]in second inversion. D/F# and D/A would be clearer. Some dominant chords have been mislabeled as 6[sup]th[/sup] chords with an added b7. f.ex. A6[sup]b7no5[/sup] = A7[sup](add[/sup][sup]13, omit 5)[/sup]. Personally, I would just call this A13. ~Joe

[quote name='CH161' timestamp='1465503300' post='3068886'] I think Joebass may be too modest to mention it... But on another thread he has a transcription of a great Jeff Berlin Solo. I've taken the liberty of posting the url link here: [url="http://joebrittonbass.com/blog/"]http://joebrittonbass.com/blog/[/url] Fabulous work Joe! Very good indeed. Also this should help answer the question once and for all - why learn the treble clef! [/quote] Thanks, you're very kind!

[quote name='CH161' timestamp='1465472000' post='3068511'] Just for clarity, in my earlier comments I was thinking only of bass - and primarily electric bass - and players who read bass clef only. [/quote] Yeah, sorry for getting off topic. I agree, learn the treble clef.

[quote name='zbd1960' timestamp='1465468828' post='3068474'] Occasionally I have had to play what is referred to as an 'octave treble' - this is what a tenor singer uses. The treble clef has a little '8' subscript on it. What this means is that the sounding pitch is an octave lower than written. So you read treble clef but pitch it down an octave. [/quote] That's essentially what we do as bassists anyway. The little 8 is optional when writing for bass.

I would say that the confusion arises from being unfamiliar with the notation. Many players associate a given pitch with a particular fingering (especially woodwind). Seeing an 8va indication rather than a change of clef would cause hesitation and force a player to think about what they should play. 8va (ottava sopra) should really only be needed for keyboard/harp/tuned percussion where every octave is physically the same (It is occasionally used for very high violin/piccolo/flute).

FWIW, 8va indications should only be used with the treble clef. If there is a higher pitched clef available, it should be used in favour of an 8va sign. I'd wholly recommend becoming fluent with the treble clef and at least familiar with the tenor clef.

Good point You would have to change the spelling somewhere, though.[list] [*]Em - Cm = Tertiary [*]Cm - Abm = tertiary [*]Abm - Fbm? [/list] I guess you could change from Abm to G#m going into the new section.