Bilbo

Music theory is the Haynes Manual of the music world. Without it, you can still fix the car. Eventually.

[quote name='dc2009' post='1242739' date='May 24 2011, 11:22 AM']So I was thinking last night: for those of you that sight read a score, when you read, how do you convert that into bass playing? What I mean to say is, do you read a note on the score and think, that's an A and then go for the most convenient A position on your fretboard, or do you read a note and think, that corresponds to a certain position of my fingers on the neck/fretboard (i.e. you read a note which happens to be a D and your hand instinctively is at 5th fret on the A string, without actually considering that the note is a D)? I think this is akin to learning another language in a language other than your mother tongue, as in to say, do you 'translate' the word twice, or can you bypass the intermediate stage.[/quote] Depends what you are reading and where you are with that part of the process. When you start to learn, you tend to read every note and 'translate' it and then decide which note to play and where. As you get better at reading, you tend to read in larger chunks (like reading words instead of letters). I tend to 'see' whole bars as a rhythmic phrase and then 'read' the note names with this in mind. You do make choices based on a sense of where the chart is taking you. So a D may be the 5th fret of the A string or may be an open string. It gets more and more complicated in extended passages at speed but these are, frankly, rare and most charts are quite simple (even the complex bits tend to be one or two bars long then repeated). As you get more and more fluent at reading, you become less and less conscious of it as a process, just like when you read words. Personally, I find that, due to a lack of practice, I sometimes get thrown by the higher numbers of accidentals (B or Fsharp) and, in those keys, I turn into Captain Klutz until I can lock my brain into the right key. Its usually sorted out by a rehearsal/band call and sorted before public performances but, in the world of New York sessions, I would fail.

Transcribe is certainly one I have used a lot and recommend but only to facilitate the transcription of stuff into something like Sibelius which is th esoftware I woudl suggest is my no.1 . My version is Sibleius 2 (apparently written during the Boer War) but it still delivers what I want from it. I would love to upgrade to Sibelius 6 but I haven't got £600 to blow on software!!! I also use Cubase but would love to get into Pro Tools but, again, can't afford it.

10.30 'til 3.00? It'll take you that long to get across town

[quote name='wateroftyne' post='1241690' date='May 23 2011, 02:56 PM']Wow... why could that be? Are BC'ers really that simplistic and unadventurous?[/quote] I refuse to comment on grounds that I might incriminate myself.

I saw it last Saturday in Ipswich. Didn't buy it. Stopped buying bass magazines a long time a go when I realised that I learned next to nothing of value from reading them

[quote name='silddx' post='1241599' date='May 23 2011, 01:53 PM']I think ALL music is subjective. It's context that matters, and all the other things that BRX mentions with regard to what is technically correct or otherwise. Bending that 'wrong' note into the 'right' note is one of the most effective thing a musician can do. Also, I would assume that most people would know if it was wrong and not play it, after all, the fact that it is 'wrong' derives from the ears, not the theory and western ears are fairly capable of deciding consonance from dissonance. There are a whole lot of 'wrong notes' in western music that are 'right notes' in Arabic and Indian music, and indeed flamenco singers evoke the pain of the gypsies by singing a whole raft of 'wrong notes' over the accompaniment, listen and you will understand. Like how Indian raags clearly evoke moods and times of day through the raag's melody structures and use of quarter tones, something that is incredibly difficult for many westerners to accept are 'right' but which are evocative nonetheless.[/quote] All completely true, sil. However, having spent several years trying (and mostly failing) to get anyone on here to think past mainstream pop and rock and to listen to something else only midly challenging, in my case Jazz, I am fairly confident when I say that 99% of the people on here would probably be better off not playing a B over a C7 chord. Those that are exploring non-Occidental musics and raga melodies on their Fender Jazz can go to the forums on www.theyremakingthisupastheygoalong.com

I often find myself half way through a solo thinking 'hell, whatever else happens, I've got to hit that flattened fifth on the II chord. So, damn the groove'

[quote name='Machines' post='1241403' date='May 23 2011, 12:05 PM']Oh well, i'm in last months copy ! [/quote] I was in the first edition of Keraang

And a photo of our own Dood (Dan Veall) with an article in which he discusses the merits of his 7-string Shuker!

Something old WARNING: Mullet alert.....

Pat Metheny

Come on in and have a fishcake.

Agree with Doddy and, to be blunt, knowing myself, whilst I could justify an EUB as an interim measure the way you are, I know that, if I took that route, I would immediately be GASsing for an upright and feeling a little bit 'nearly but not quite'. I say go straight to the upright avoiding the EUB (you can return to that option later). I would also add that there are thousands and thousands of little kids playing little uprights all over the world without any reference to the electric bass at all. More time on the electric will not prepare you for the double bass in any way that will not be achievable on the double bass in its own right. I say get yourself a double bass and throw out a wardrobe.

I would play the open D and then A, B and C on the 7th, 9th and 10th 'fret' of the bass (A/1st, B /2nd and C/4th finger) and the D and E on the G string (1st and 4th). Then, when it changes to Eb, play the Eb on the A string (6th fret) with the first finger and slide the same finger up two frets to complete the rest of the riff a semi-tone higher than above. That is the way Chambers did it. There a video out there on YouTube if someone can post the link (I can't do it in work). (There are only two videos of Chambers that I have ever found; the Robert Herridge video with Miles and Gil Evans and an obscure GBerman video of PC with Coltrane and Stan Getz and Wynton Kelly and Oscar Peterson on piano. Jimmy Cobb is on drums on both videos. Fortunately, one of the videos is So What and, in the closing moments of the performance, the camera is focussed on Chambers. PS There is no 'correct' fingering, just the way that works best for you.

Never heard Back Door - guess I need to.

Kind Of Blue :lol::lol:

Linus 27 asked for a list of quality piano/bass/drums trios so here we are.... I have to start with [b]Sunday at the Village Vanguard [/b]and [b]Waltz For Debby [/b]by the Bill Evans Trio. Both absolute must haves for this line up. Oscar Peterson Trio - something like [b]The Complete Cole Porter Songbooks [/b]or [b]Nigerian Marketplace[/b] Wynton Kelly Trio - [b]Blues On Purpose[/b] Monty Alexander Trio - [b]Live at the Montreux Jazz Festival [/b](rocks) Marcus Roberts Trio - [b]Time And Circumstance[/b] Lyle Mays - [b]Fictionary[/b] Bud Powell - [b]The Scene Changes[/b] Keith Jarrett Trio - [b]Still Live[/b] (stunning) but almost anything with Jarrett, Gary Peacock and Jack DeJohnette (Changeless is a bit of a dud) Chick Corea - [b]Now He Sings, Now He Sobs[/b], [b]Akoustic Band [/b](any of them will do), [b]Song of Singing[/b] and on electric bass..... Michel Camilo - [b]Sundance[/b] Eugene Maslov - [b]The Fuse Is Lit[/b] Also try Robert Glasper's stuff. That lot'll get you started

[quote name='phil.i.stein' post='1237178' date='May 19 2011, 05:56 PM']so it's not about hiding your bass in the loft to give it vintage appeal whilst you get progressively younger.. [/quote] Took me a moment but I got there

So What is all dorian. Dm and Ebm. But there are passiing notes etc so there are more than just the seven notes of the D Dorian scale. I recommend you take Gonzo's scale and play around with it, find differeny ways of playing it, alternative logics, rising and falling third, fourths fifths, sixths etc etc. Get into in, under it and on top of it. Its only seven notes, how hard can it be?

It is what it is and I am not criticising it per se but just wondered what you would think of it if it was played on a nylon strung acoustic guitar or a piano? It would be pretty lightweight. The focus is, therefore, on the technique being used and not the content per se. But, to be fair to you, its yours and you did it so more power to you. Would rather this than your version of Portrait of Tracy

I just love this sh*t like you wouldn't believe. Just listening to Rollins' Freedom Suite. Pure visceral joy.