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TKenrick

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About TKenrick

  • Birthday 28/07/1986

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    Egham, Surrey

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  1. I remember watching an interview in which Joni said that Wayne Shorter had a problem with a chord progression that was almost entirely sus chords; she said that she wanted it to reflect the unresolved tension in her life, or something similar. On a separate note, part of the reason for Joni hiring Jaco was that she wanted a bassist who would play something other than the root - he certainly fulfilled his job description 😂
  2. As others have already said, I'm deeply envious that you get to discover all of Joni's wonderful work. I had a listening project last year where I listened through her back catalogue from start to finish (one album a week). Luckily that was before she pulled everything off Spotify... The Jaco/Joni era has many great moments - 'Talk To Me' from Don Juan's Reckless Daughter never gets much attention, but is one of my favourites, along with 'Refuge of the Roads'. Max Bennett played some great bass on Hissing of the Summer Lawns, too. For those who want to go full nerd there's a decent biography, Reckless Daughter, that helped to provide context for a lot of her songs.
  3. Transcriptions/videos etc have been a bit thin on the ground over the past year or so because... I've been doing a lot of Zoom teaching and most of my students want to improve their reading, but find that they struggle with the rhythmic aspect of things. I started writing exercises for students to help them overcome specific stumbling blocks and once I started, I found it difficult to stop. The result is not one, but TWO books dedicated to demystifying the rhythmic aspect of notation; I used the Louis Bellson book when I was learning to read, but found that it didn't really explain anything - I wanted to break everything down so that even the most novice reader could start to make progress and hopefully put TAB in the bin forever. Rhythm Reading Bootcamp Volume 1 covers the basics of rhythm reading and has more than 40 exercises to help develop your skills: • Basic notation symbols • Whole, half, quarter, and eighth notes • Rests • How to alter basic note and rest values • Tied notes Volume 2 breaks down 16th-note rhythms in a structured, logical way, allowing you to master complex syncopation with ease. The book covers the following elements along with more than 80 exercises to test your rhythm reading skills: • How to subdivide 16th-note phrases • 16th, dotted eighth, and double dotted quarter notes • 16th-note and dotted eighth-note rests • How to alter basic note and rest values • Tied 16th-note rhythms I also made a whole lot of free videos to accompany the books, so those who feel nauseous at the thought of paying for their music education are still catered to: Season 1: Rhythmic Fundamentals Season 2: The 16th-note Language
  4. Three new charts added to the archive, all from last minute dep gigs where I didn't have the time (or inclination) to memorise everything: Dua Lipa - Don't Start Now Dua Lipa - Levitating Dolly Parton - Jolene
  5. I've been insured with Victor C Knight for years, they specialise in musicians and were basically the only company who would insure me unless I lied and gave my occupation as 'music teacher'. Never had to claim through them so can't comment on how well they handle that side of things, but they should at least be able to give you a reasonable quote.
  6. What a great tune, and what a player - I love Barry's work on Don Blackman's first record and always feel like he doesn't get the recognition he deserves...
  7. Can you post a picture of the offending transcription? Whilst C major won't have accidentals in the key signature that doesn't preclude sharps or flats from appearing within particular bars to accommodate notes that are outside of the C major scale. Sharps and flats don't get mixed in key signatures, but non-diatonic notes might need to be labelled with either according to their context (which direction the line moves in and/or what the chord being played at the time is).
  8. Train your ears. That trumps everything else. After that, learn the notes that make up different chords and figure out where they are on your fretboard; most people think that they've got both of those things covered, but few rarely do. Oh, and gear doesn't really matter.
  9. Ilian bought some pedalboard bits from me. Great comms, swift payment and he even covered the paypal fees!
  10. Facing up to the fact that as 90% of my work is unamplified gigs on upright and I can't have this sitting on a shelf... Cali 76, TX version that can run at 9V-18V. I used this on gigs a lot after first buying it and loved it, it has a few scuffs but is in very good condition overall - if you want more detailed pics of specific areas then let me know. It comes boxed with original manual and info. Asking £580 collected from Egham (minutes from M25 J13) but will also ship according to the buyer's preference. Optional extra: if you have a Noble DI then Jack made me a cable so you can run this at 18V from the Noble's 9V outlets.
  11. I've used (and re-used) the planet waves solderless cables many times through various versions of my pedalboards. Quick and easy to knock up a whole lot of bespoke patch cables for your pedalboard needs. Up for grabs are: 6x straight jack plugs 12x right-angled jack plugs Approx 2.5m cable Cable snipper thing 3x jack connectors 115cm (ish) pedalboard tape (the industrial stuff, not velcro) £25 posted
  12. In addition to @itu's wise words I'd emphasise the importance of studying triads and their inversions in as much depth as you can stomach before moving on to 'bigger' chords. Also take a look at spread voicings of triads (e.g. root - 5th -10th) as these tend to speak better on the bass in some situations compared to close-voiced triads. Another area to check out is the concept of voice leading - essentially finding the path of least resistance through a set of chord changes using inversions. Piano players and guitarists are worth studying for this more than bass players.
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