Bilbo

Just cos my Mum, Wife and Plumber voted for me I won't let it go to my head

I love that Sei.

Start by transcribing bits of lines; two bars here, four bars there. Build to solos, 12 bars, 16 bars, 32 bars and so on and then, eventually, try complete performances.

The SeventhString Transcribe software is brilliant and very affordable (I paid about £40 but that was years ago). It has got me out of a million transcribing holes with fast/complex parts. Working with a tool like Transcribe does improve your ear and you find you need to slow things down less and less as you transcribe lines more and more. I guess it is a question of clarifying what it is that you are looking for and what problems you are trying to solve for yourself. Transcribing the notes is one thing but creating a readable score with appropriate accents, grace notes etc or for another instrument other than the bass is another and that only comes with practice both in terms of writing out parts AND reading them/getting others to read them.

I think there is a lot ot be said for the sheer physical pain of playing and how this will impact upon the decisions older musicians make regarding their career paths. Having read most of his books, I am always interested to hear what he says about drumming, technique etc and comparing his approach to the work of other drummers who play into later life such as Buddy Rich or Art Blakey. On of the Peart books references the pain he gets in his hands, arms and legs and I recall mention of blisters etc. He obviously plays hard which will have an impact upon his body, particularly as he gets older and the healing process is slower (imagine STARTING a gig with a blister). I do gigs on double bass about once a week and am still quite sore afterwards, hands and fingers. Thankfully, it calsm down overnight mostly and I don't need to do any playing until the next gig a week or even two weeks later. If I had to do several gigs a week, I would be in trouble. If Peart is playing hard night after night, week after week, it's probably gonna hurt. I actually think the obvious reponse would be for them to play differently, to find a way of expressing themselves that doesn't require them to be faux-teenagers 'rocking out'. You don't need to play that hard to play that music, you just need to play smarter. And as for his level of playing excellence. He is arguably (one of) the worlds greatest rock drummer(s). That is, however, being damned with faint praise. The one thing that his books do tell us time and time again is that Peart doesn't practice/play at all for months and sometimes years at a time. That is going to impact upon his stamina and muscle tone etc. Interesting stuff.

[media]https://www.youtube.com/watch?v=49bNg1ZC8rM[/media] [media]https://www.youtube.com/watch?v=Fow0xvE6Uo4[/media]

I think it woudl change eery hour or so!! I think my perfect set would be all originals by me. Nearly got there a couple of times but still never done it.

All you really need is a good 'How To Read Music' book that covers all the nuances including different clefs etc. Do you transcribe using software e.g. Sibelius, Finale etc? Or pen and paper?

Thanks, Dad

[quote name='alibabu' timestamp='1422304856' post='2670997'] The votes from the Norwegian jury went to the track that I felt was the strongest composition in the traditional meaning of the word. So, well done, mr. Baggins! [/quote] Many thanks. Mine is a minoroty interest area but it is nice to be appreciated!!

Two sets of great Jazz with Kate Williams and Gareth Lockrane. Great tunes, great charts.

Hey, Dad. You and me again, bro!!!

31st Jan is a Saturday, Paul.

Last night, I was called at a hour's notice to play The Fleece in Stoke By Nayland (Suffolk) to dep for a stranded Mick Hutton. Singer/trumpeter Georgina Jackson led the band and a fine job she did too!! [URL=http://s283.photobucket.com/user/bilbo230763/media/Jackson%20Fleece_zpswvrr88wm-1.jpg.html][IMG]http://i283.photobucket.com/albums/kk287/bilbo230763/Jackson%20Fleece_zpswvrr88wm-1.jpg[/IMG][/URL]

No problems here and I wear two rings on that finger.

[quote name='ColinB' timestamp='1421684469' post='2663934'] ....talented frogs are worse.... [media]http://www.youtube.com/watch?v=5gNuj8UkyC4[/media] [/quote] Apparently, Kermit isn't really playing the banjo. It's Carol Kaye.

They can be seen here holding the Status etc to my right. http://basschat.co.uk/topic/21583-1986-wal-custom-fretless/page__fromsearch__1

I have five of these I don't use that you are welcome to. Hung a Wal and a Status for years without s problem. PM me an address and I will send a couple over.

My observations are not about teaching videos or playing videos, just bass gear demos. All seesm utterly pointless. Too many variables for any of them to mean anything.

Michale Caine stars in a 1971 film about Herbie Hancock's advice to Miles Davis as to who should replace Paul Chambers as the bass player in the Miles Davis Quintet.

[quote name='pfretrock' timestamp='1421435167' post='2661281'] Former Wichita resident Glen Campbell was the first guy in town to own a cell phone. [/quote] You're lyin', man.

[quote name='ras52' timestamp='1421745967' post='2664431'] Former members of Manfred Mann's Earth Band went on to join Man, Right Said Fred, the Mannic Street Preachers, Earth Wind & Fire and The Band. [/quote] That was bloody hard work!!

Not sure if this one has appeared already but it is not widely know that Brittany Spears is actually the secret lovechild of Bryan Ferry. When Miles Davis toured Europe in the 1960s, he had to change his name to 1.6093 Kilometres Davis. UK Prog Band IQ are all, ironically, quite thick. John and Robbie Coltrane are brothers. Art Pepper was allergic. Charlie Parker, known to Jazz fans by his nickname 'Bird', couldn't fly. Unlike R. Kelly who, I believe, could. Before starting iconic Jazz sextet, The Jazz Messangers, Art Blakey worked as a bus inspector for London Transport where he worked alongside soon to be Black Sabbath bassist Geezer Butler, then known by his real name Stan.

It's all about justifying the outlay, Mike. I love the idea of 'playing' with the kit but paying for is is a lot less attractive when I don't really do that much with it. I will stick with what I have for now and wait for a windfall!!!! Maybe when I sell the first million copies of Mr. P.C.!!

I just watched 4 videos claiming to explain the difference between a P bass and a Jazz. I hear the words and they make sense and then they play the basses and I am buggered if I can tell the difference definitively. A guy says 'this P has more puch' and then 'zzzzzzing' follwed by 'this Jazz has mroe bite' and then 'doink'. I just don't think any of it matters very much!