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GonzoBass

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Posts posted by GonzoBass

    Tom & Jerry/Cartoon Music...

    in Theory and Technique

    Posted

    [quote name='Bilbo' timestamp='1359711498' post='1959043']
    ...he said it was a lot harder to read than Stravinsky. Really atonal and rhythmically complicated.
    [/quote]
    The closest I've ever got was being in the pit for Bernstein's "On the Town"
    but I do recall commenting at the time that some of it was "like playing cartoon music"...
    B)

    walking basslines and modes over chords, making sense but a question?

    in Theory and Technique

    Posted

    [quote name='iconic' timestamp='1356106033' post='1906973']
    I've been sitting here this afternoon playing a bit of Frank Sinatra, Fly Me to The Moon in A minor (C major) and this has got to be for me, one of the best and clever walking basslines I've come across thus far...[/quote]

    Have you checkd out The Major's Bass Boot Camp - Session 16
    (particularly 16a and 16b)?

    [url="http://basschat.co.uk/topic/78653-the-majors-bass-boot-camp-session-16/"]http://basschat.co.u...amp-session-16/[/url]



    ...with thanks again to The Major.
    B)

    The point of it all.....

    in Theory and Technique

    Posted

    Congrats to you, Mr. Bilbo.
    Nicely done!

    To paraphrase Ed Friedland...
    No tab, no tape, (no rehearsal), no problem.
    ;)

    Thank you for representing the bass brotherhood so well.
    When we are often times underestimated
    or on the short end of so many a joke...
    I love these types of opportunities-
    The ones where you truly know you're alive.
    :lol:

    Using indirect string resonance as chord reinforcement of the note played

    in Theory and Technique

    Posted

    [quote name='Ashwood1985' timestamp='1349865875' post='1831422']
    "the sympathetic resonance of harmonically related strings may be desired for some songs, such as ballads. In these cases, a bassist can fret harmonically related notes. For example, while fretting a sustained "F" (on the third fret of the "D" string), underneath an F major chord being played by a piano player, a bassist might hold down the "C" and low "F" below this note so their harmonics sound sympathetically."

    Does anyone here actually do this?? [/quote]

    I doubt it.

    Take your pick

    in Theory and Technique

    Posted

    [quote name='elom' timestamp='1349731644' post='1829910']
    Thanks, that was the post that I had been looking for! And GonzoBass was the Hawaiian (funny how you remember details like that. from a post 4 years ago!)
    [/quote]
    ...might just be the only one here.
    lol

    Solo Performance Pieces !

    in Theory and Technique

    Posted

    [quote name='Bilbo' timestamp='1349167101' post='1822510']
    Jonas Hellborg's arrangement of 'Blue In Green'[/quote]
    Excellent, this one!
    [quote name='Bilbo' timestamp='1349167101' post='1822510']
    Jeff Berlin's arrangments of 'Dixie'[/quote]
    Uh huh... :lol:

    "All Blues" can be done nicely as a rhythm-and-melody-at-the-same-time solo piece,
    if you transpose it to the key of A, which gives you open string possibilities.
    Just a suggestion...

    You might also want to look up Michael Dimin- [url="http://www.michaeldimin.com/"]http://www.michaeldimin.com/[/url].
    He has some great chordal pieces that aren't too difficult to master,
    including "Autumn Leaves" and "The Shadow of Your Smile".
    He's still the king of the four string chords IMHO
    and a really nice guy to boot...

    Suggest some fretless...

    in Theory and Technique

    Posted · Edited by GonzoBass

    I could suggest Tony Franklin- [url="http://en.wikipedia.org/wiki/Tony_Franklin_(musician"]http://en.wikipedia.org/wiki/Tony_Franklin_(musician[/url]),
    especially with "Blue Murder", for some great R&R fretless
    or any Boz Burrell- [url="http://en.wikipedia.org/wiki/Boz_Burrell"]http://en.wikipedia.org/wiki/Boz_Burrell[/url]
    with "Bad Company" or "King Crimson".

    Little Shop of Horrors

    in Theory and Technique

    Posted

    [quote name='lowdown' post='1345146' date='Aug 18 2011, 10:51 PM']Hey - I Did "Bat Boy" in the West End London run about six years ago, also the Cast CD...
    That show is a read and half, and a great score. You must have had your hands full Gonzo - MD'ing and Bass playing, good one![/quote]
    Ahh yes, "Bat Boy, the Musical"...

    Murder, rape, incest, more murder, bestiality rape, another murder, a bestiality orgy, 23 dead cows
    (including a life size bleeding cow head), dead rats, rabbits and geese, stabbings, one guys slits his own throat,
    one guys burns to death in a slaughterhouse fire (set by his own mother), euthanasia (by the jealous drunkard doctor),
    lots of bats (of course), open drug use, rednecks, gallons of blood, faith healing, spelunking
    and even a guest apperance by the horned Greek god Pan,
    which is all wrapped around a nice moral message about tolerance and acceptance.

    ...and it's all set to music!
    :D

    I was lucky in that I was able to hand pick the band
    so I chose guys I had worked with in the past and had complete faith in.
    This gave me the luxury of "making the score our own" in a few places
    which made my MD role a lot easier.

    My directive to them was something like,
    "I don't need this score note-for-fugging-note."
    My logic being that;
    If there is a section/phrase/lick that is problematic,
    just give me something you can play confidently as long as it's true to the song.

    I tried this when conducting "Cabaret" with a bunch of "right brained" readers,
    "Let's just feel this part and get through it..."
    and they all looked at me as if I had three heads...
    :lol:

    The "Bat Boy Band"-



    Yours truly, Josh-drums, Glenn- Piano (he missed the "band in black" memo),
    Brian-keys/midi guitar/laptop, Loren-guitar

    [i]Conducting[/i] was a whole other challenge!

    It had to be done from on stage, about 10 feet in the air, with the cast and I having our backs to each other.
    :)



    Here is The Bat Cave or what the band liked to call-
    "Five musicians, an 88 key piano (including a bench), two additional keyboards, a laptop,
    a PA head, two guitars, a full drum kit, a bass, four amps, music stands, several effect pedals,
    Loren's Gawd damn stool, life giving fans (!),
    oh... and be sure to leave room for a singer/actor once in a while,
    all in a 10'x6' space."

    *Note the Fender guitar amp hanging from the rafters.
    :)

    A fun show!
    A lot of work,
    but a fun show!!!

    Little Shop of Horrors

    in Theory and Technique

    Posted

    [quote name='lobematt' post='1343053' date='Aug 17 2011, 02:10 AM']How did you guys get your first show?[/quote]
    My first musical was "Hedwig and the Angry Inch".
    The director knew me from several bands around town
    and explained that he was looking for someone to play the roll of "an 80s rock bass player".

    I remember thinking, "Wow...quite a stretch".
    :)

    This play is unique in that the musos are on stage and in character
    and the stage was the stereotype (almost a caricature) of a full blow rock production;
    Risers, light riggings, smoke, strobes...
    Everything a rock band could ask for!

    Needless to say, I had a lot of fun
    but was most taken by the small army of tech people who make these things happen
    and their spirit of working together to do so.

    It was quite a change from the nightclub/bar scene I was use to working in
    where the band is usually lowest on the totem.
    ...and we all know what rolls downhill.
    :)

    Next up was "Godspell" for the same theater troupe,
    "Jesus Christ Superstar" was a referal by the drummer for "Godspell"
    (which lead to a few orchestra Christmas gigs with the same organization),
    MD/Bassist for "Little Shop of Horrors",
    "On the Town" (which was a real [u]b!tch[/u] of a read!),
    MD/Conductor for "Cabaret",
    MD/Conductor/Bassist for "Bat Boy, the Musical"
    and now "Little Shop of Horrors" is back again.

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