GonzoBass

Doing the "Revised Broadway" version this time. A few key changes from the original score, plus embellished bass parts, all rewritten for an extended range instrument.

[quote name='Doddy' post='1324438' date='Aug 2 2011, 05:10 AM']This is where I make the difference between practising and rehearsing.[/quote] Ahh yes, one of my favorite pet peeves! Especially when it applies to Drummers/Guitards who show up at rehearsal unprepared. You [b]practice[/b] at home. You [b]rehearse[/b] with the group.

I can highly recommend this site- [url="http://www.practicesightreading.com/"]http://www.practicesightreading.com/[/url] [quote name='lobematt' post='1320135' date='Jul 28 2011, 11:17 PM']Tapping out the rhythm sounds like a good idea, my problem is though I don't know if I'm doing it right and theres not much point practising something wrong?[/quote] A midi file which plays each random, customly created exercise is provided so you can check yourself. Very cool.

Does [url="http://tamingthesaxophone.com/jazz-transposition.html"]this chart[/url] help at all, Bilbo?

Found out recently that I'll be doing this show again in October.

[url="http://www.visionmusic.com/lessons/bassmodes.html"]The Modes[/url] (Make sure your speakers are on...)

Although it's not entirely accurate nor complete, this illustration might give you a few ideas for creating your own chord chart (especially if used along with Doddy's [u]excellant[/u] post)-

I follow you... Dorian - Funky in a Motown way Locrian - Angry in a Heavy Metal way

I start by drawing a bass neck with the open strings as well as the non-accidental notes filled in, explaining the natural half steps between both B-C and E-F and the fact that the notes in between have two names each (enharmonic spelling) depending on whether you are going sharp (higher) or lower (flat). Here are some blanks I made up for this purpose- [attachment=79170:Chart.jpeg] [attachment=79172:Necks.jpeg] No need to drill this right away because it is used by them as a reference tool for their next few lessons. This is followed by a simple explanation of "one finger per fret", then a drawing of movable patterns from root to ocatve of both the major (2 -4, 1-2-4, 1-3-4) and minor scales (1-3-4, 1-3-4, 1-3) showing them the "mood" or "feeling" that each scale gives by demonstrating simple melodies using each one- "Mary Had a Little Lamb" for major (happy) "Theme from Dragnet" for minor (serious) Then ask them what tunes they would like to learn and pick the simplest one to start with (The Ramones "I Wanna Be Sedated" or Nirvana "Come As You Are" are easy faves here...) because as Soliliquy said, if it isn't fun for them they will glaze over pretty quickly but playing one of their favorite songs is a sure way to get them to practice. It is up to you as the instructor to painlessly trick them into learning the theory by asking questions about each song which make them refer to the handout- "What note is that?" "Does this song sound "happy" or "serious" to you?" "So what scale do you think they are using?" Followed by encouraging, positive praise- "That's awesome/Very good!" "You've got a great ear!" "You're learning fast!" I hope this helps both you and your daughter.

Thanks Major!

[quote name='fatback' post='1188535' date='Apr 4 2011, 12:58 PM']Who says jazz owns it? It's a popular song, not a walking competition.[/quote] I think we all agree... "Moon Dance" is not "Jazz" (although it seems anything without lyrics tends to be called "Jazz" these days), but to the common listener it [u]is[/u] "Jazzy", which IMHO is a far, far more dangerous term. All it takes is for a reviewer to say that a singer "has a Jazzy style" and the next thing you know she is adding "Route 66" to the list and voilà! A Diva is born. I feel the tag "Jazzy" has been applied to "Moon Dance" mainly due to that psuedo-walking line implying all the sophistication of "Jazz". This was probably someone's plan all along (be it the author, the bassist or the producer)- To elevate the writer, the song and the listener's self image to the status of "Cool". Even as they tap along on the 1 and the 3...

I still play Moondance two or three times a week, for which I play the "head" but my own walking line under the solos. ...and I am willing to wager that both Van Morrison and myself smile all the way to the bank.

"Blue Monk" is still one of my faves.

[quote name='Major-Minor' post='1179942' date='Mar 28 2011, 09:06 AM']Great idea! I'll do a session on this just as soon as I can.[/quote] Looking forward to it, Major!

First off- Thank you so much for sharing your knowledge so generously with us through the "Boot Camp Sessions"! I wondered if you would be so kind as to show your approach to a walking line over several bars of one chord. Perhaps using "So What?" as an example? Thanks again!

Did this show about four years ago as bassist/MD. "Mushnick and Son" was the one I spent the most time on but the bit of funk and the upper register part for "Suppertime" was fun. Don't rely on the CD. Tunes were changed/added for the movie.

I recently did a Christmas Choral Concert (with a 24 piece orchestra and full choir) and I've uploaded a couple mp3s from the night here- [url="http://www.reverbnation.com/gonzobass"]http://www.reverbnation.com/gonzobass[/url] The first bar or so is missing on both of them, due to the soundman being late on the PA's "mute" button (next time I record live), but the rest of the tune is there. Handel's "Hallelujah Chorus" was of course played as written but the second one, "A Very Jazzy Christmas", is an improv of mine over a chord chart. If you've got a sec, could you give a listen? Any feedback is appreciated.

"Show Biz Kids" is dead simple.

[url="http://store.hipshotproducts.com/cart.php?m=product_list&c=6"]Hipshot "Bass Xtenders"[/url] [url="http://www.hipshotproducts.com/faqs/category/bass-xtenders.html"]Their FAQ Page[/url]

Another approach based on reading rhythm- [url="http://www.practicesightreading.com/"]http://www.practicesightreading.com/[/url]

<- Actual member photo? Well, I know I've got a question for you Master Sensei, one that I am fequently asked regarding my Steinberger- "So, how do you tune it?" Err, sorry... allow me translate that for you- "Sew, howz dooz yoo toonz et?" :brow:

Yes, those letters in the boxes are "rehearsal letters". As in; "Okay band, we're going to take it from rehearsal letter C" and in this case everyone would begin playing at bar 49, which probably marks the beginning of a verse, a chorus or a solo section.

[quote name='Annoying Twit' post='908048' date='Jul 28 2010, 12:59 AM']What is this "four finger tapping riff"?[/quote] I imagine that there are any number of them, young Jedi. You might try this one for starters (all hammer-ons, in this order): [u]Left Hand[/u]- First finger, 5th fret A on the E string Third finger, 7th fret E on the A string [u]Right Hand[/u]- Second finger, 14th fret A on the G string First finger, 14th fret E on the D string Repeat, faster and faster, until it sounds like a card in the bicycle spokes- Boo Gah Dee Dah Boo Gah Dee Dah Boogah Deedah Boogah Deedah Boogahdeedah Boogahdeedah BoogahdeedahBoogahdeedahBoogahdeedahBoogadeedah...

[quote name='Low End Bee' post='908080' date='Jul 28 2010, 01:22 AM']So where's a good, non boring, place for a non reading, no theory, never had a lesson, self taught chap to start? I'm sure I must know some rules as I know when a note sounds 'wrong'. I'm interested to see what a bit of knowledge could do to my playing even at my advanced age.[/quote] I'm soo glad you asked! Since you apparently are familiar with the notes on the neck, know where your "Natural Half Steps" occur (between B/C and E/F) and hopefully know the "Enharmonic Spellings" (Ab is also G#, etc.) I'd suggest starting with just the Major and Minor Scales. Then I'll trick you into exploring the Modes. Here's how I get my student's curiosity peaked; Let's begin with the "A Minor Scale". Shall we? I usually choose this scale because it contains no sharps or flats. So, this scale is created by simply playing from Root A up to an Octave A. Thus- A, B, C, D, E, F, G, A and of course back down- A, G, F, E, D, C, B, A Notice the overall mood or feeling this scale provides when you end on the Root and Octave. I call it "Serious". (You'll see why in a moment) Now, let's try using those [u]same[/u] [u]notes[/u] but we will create the "C Major Scale" by starting on the Root C and play up to the Octave C. Thus- C, D, E, F, G, A, B, C and again back down- C, B, A, G, F, E, D, C Notice how the mood or feeling of these [u]same[/u] [u]notes[/u] will change when you relate them to a different Root and Octave? I call this "Happy". (Most nursery rhymes are written in Major for this reason) Since these two scales are created from the same note choices, "A Minor" and "C Major" are called "Relative" as in "Relative Major/Relative Minor". Try playing your two "Relative Scales" back to back- "A Minor" then "C Major". Can you hear how the Minor Scale sounds more "Serious" and the Major Scale sounds more "Happy" when you compare them? This was done by relating those same notes to a different root, similar to "changing the backdrop" behind them. Now! What do you suppose would happen if I were to say, start on a Root B and play these [u]same[/u] [u]notes[/u] up to and Octave B? What would these note choices sound like with THAT "backdrop"? Try it- B, C, D, E, F, G, A, B B, A, G, F, E, D, C, B and let me know what adjective YOU would use to describe the mood they provide then. I'd call it "Angry" but Western Music Theory calls it "Locrian Mode". (Metallica and a list of Heavy Metal bands have made a fortune off of this) So far we've used three scale tones, or "backdrops" if you will, for these [u]same[/u] [u]notes[/u] each time achieving and expressing a different mood and feeling. By now your heart should be [b]racing[/b] in anticipation as you wonder what moods can be expressed simply by starting on the other four note choices- What will you (and your listeners) feel when you play these [u]same[/u] [u]notes[/u] but start on Root D and play up to the Octave D? Root E up to Octave E? Root F up to Octave F? Root G up to Octave G? If this strikes your fancy, I suggest having a look [url="http://www.visionmusic.com/lessons/bassmodes.html"]HERE[/url] for a further explanation into the Major/Minor Scales and the Modes (along with sound examples of each!). I sincerely hope this helps. Here's the door my friend. It's up to you to walk through...

Ahh yes, the "Everybody Solo" at the end of the song! I like to hold the root down with 16th notes (someone's should do it) which gives the "soloists" something to play over and then try to match the drummer on his last cliche slowdown roll, or snare build up, that usually leads to the final *crash*. Not real glorious or fancy for us but it provides support and that [b]IS[/b] part of our job description. Another approach, which I like to save for the "Big Ending" of the final tune of the night, is to slowly climb the scale one interval at a time up to the octave and end on the *crash* with the low root. Just some ideas...