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TKenrick

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Everything posted by TKenrick

  1. Hi Dave, just tested it with my (bright orange) jazz bass and you can't see the contents at all, it's just the metal doesn't fit together as snugly as it should. Tom
  2. Fender moulded hard case (2005ish, has the metal clip locks rather than the plastic ones on the newer models) up for sale due to lack of use - I recently bought an SKB bass safe and don't have space for 2 hard cases! This was damaged by a baggage handler which means that the case doesn't close perfectly - there's a 2-3mm gap at the bottom when shut (shown in pictures). Other than that it's in good condition. I'm looking for £20 collected from Chiswick or meet in London - would really like to avoid postage if possible. [attachment=172048:IMG_1762.jpg] [attachment=172049:IMG_1763.jpg] [attachment=172047:IMG_1764.jpg]
  3. You can loop in Quicktime by dragging the little markers next to the playhead (I'm sure that there's a technical name for them...). [attachment=171916:Screen shot 2014-09-17 at 13.16.50.png] [attachment=171917:Screen shot 2014-09-17 at 13.17.18.png] Once you've found the right in and out points then press command + T (plays only the marked section) then command + L (turns looping on/off) Hope this helps!
  4. Such a monster bass part. There's a transcription [url="http://www.redtenbachersfunkestra.com/pdf/Jamiroquai-Don%27tGiveHate.pdf"]right here[/url] (not one of mine, sadly).
  5. I use quicktime 7 for all my transcription work - it's free and you can loop sections, slow things down by up to 50% and change the pitch.
  6. He's one of my favourite players, amazing sense of groove and one of the few guys who can really play funk with a pick. It's a shame he doesn't get more exposure, although I think he's at the Warwick bass camp this week. Bobby plays on this: http://youtu.be/VnU2DN9Y0hY He also played in Tower of Power for a while when Rocco was getting a new liver.
  7. [quote name='stingrayPete1977' timestamp='1409084644' post='2536246'] I've read that KOL dont use a click track or any metering at all which gives it 'that feeling', it also makes doing covers a bit of a feel thing ime. Some nice transcriptions there too, I will be back [/quote] Thanks! I've been pretty slack in keeping the site updated but I have a few new transcriptions that will be ready to upload soon.
  8. It seems I only ever get to gig this tune a couple of times a year - would much rather play it than 'Sex On Fire'... And yeah, the BVs sound pretty awful unless everyone gets on board!
  9. Here's a little instrumental ballad that I wrote earlier in the year: [media]http://youtu.be/dRK0YPK2yMM[/media]
  10. I grew up playing exclusively from TAB and didn't really go anywhere near notation until I got to music college (let's call it a 'rude awakening'!). I found it amazingly difficult to start with but I stuck at it, and after a few months it started to make sense. I now can't go anywhere near TAB - I find it deeply confusing and it slows me down considerably. My main objection to TAB is that it allows people to play without understanding what they're doing, particularly when it comes to fretboard knowledge. Although you can still play from notation without an understanding of the theoretical concepts used in the music, you HAVE to know what note you're playing and where it lies on your instrument. Another problem is that TAB represents someone else's opinion of how something is played, whereas notation gives you the freedom to choose how to play a line depending on your personal preferences. Then there's the lack of rhythmic information.... I find reading to be an immensely useful skill, not just for doing gigs (about 30% of the gigs that I do involve notation) but as a tool for accessing music quickly and as a means of communicating easily with other players.
  11. [quote name='Bilbo' timestamp='1403079063' post='2479432'] After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then,After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then, After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then, After every gig I find myself thinking 'I am never going to take any solos ever again'. And then I get the chance and it's 'I can do this, I know I can do this.....'. And then, [/quote] I feel exactly the same!
  12. For notating, I use Sibelius. For slowing things down/looping/pitching, I use quicktime.
  13. It entirely depends on how you're voicing the chord - both 1 ) and 2) have the same notes and perform the same function, so the order of the pitches within that chord is up to you and depends on what sounds best in the context of the music. The main thing is that the chord contains the notes of Gmaj7 and has a B as its lowest note, the arrangement and spacing of the G, D and F# is dependent on context and is subjective.
  14. I've worked with a few Gospel choirs and had much the same problem trying to find the right things to listen to. A lot of the stuff is horrendously cheesy but there's some great playing in there somewhere... Here are some things that I found useful: Israel & The New Breed: 'Alive From Another Level', 'Alive in South Africa' [media]http://youtu.be/zclad1VP6Uc[/media] Kirk Franklin: [media]http://youtu.be/9CZC3pDGUwc[/media] [media] http://youtu.be/KknzGztPlZ4?t=55s[/media] [media]http://youtu.be/_HAIEve3aME[/media] Natalie Grant: [media]http://youtu.be/Q27kyhSbr3A[/media] Not strictly gospel, but Thadeus appears on the live Jill Scott album 'Experience 826+', which is worth a listen: [media]http://youtu.be/sufdMXM5TUY[/media]
  15. [media]http://youtu.be/fuhHU_BZXSk[/media] Here's a transcription of the unison line that appears at 45 seconds in (and again at 5 minutes), it's a good reading workout for semiquaver subdivisions! The fill in the last bar has a really strong Jaco influence to it... [url="http://tomkenrick.files.wordpress.com/2014/02/screen-shot-2014-02-27-at-22-47-41.png"]http://tomkenrick.fi...at-22-47-41.png[/url]
  16. Your ability to read directly impacts your ability to write things down quickly and accurately, particularly from a rhythmic point of view. This is something that can easily be practised and developed away from an instrument - a good use of time spent in waiting rooms or on public transport, provided you don't mind funny looks from those around you... As far as developing your inner ear to the point where you can hear a melody and notate it immediately without the need for an instrument goes it's a long process (I'm still nowhere near it...). Learning to recognise intervals relative to a key centre is a vital part of this, I found that working through [url="http://www.amazon.co.uk/Hearing-Writing-Music-Professional-Training/dp/0962949671/ref=sr_1_1?ie=UTF8&qid=1393507825&sr=8-1&keywords=hearing+and+writing+music+professional+training+for+today%27s+musician"]Hearing and Writing Music[/url] was a big help, as is [url="http://www.joehubbardbass.com/473/ear-training/"]this Charlie Banacos exercise[/url] for developing relative pitch.
  17. I find it helpful to isolate pitch and rhythm and practise them separately before working on 'real' reading examples. [url="http://www.amazon.co.uk/Modern-Reading-Text-For-Instruments/dp/0769233775/ref=sr_1_1?ie=UTF8&qid=1392728595&sr=8-1&keywords=modern+reading+in+4%2F4"]Modern Reading in 4/4[/url] is great a book for getting to grips with syncopation and different combinations of subdivisions (it's also a great cure for insomnia...). Gary Willis has a great pitch reading thing on his site: http://garywillis.com/pages/lessons/read.html
  18. I find that the 1-2-4 system means that I can play comfortably in the first 9 or so frets of the instrument without stretching or straining my left hand - I find that my 'natural' hand span is 3 frets up until the 8th/9th fret, which is where I start using OFPF. Obviously there are exceptions to this, and occasionally I'll use OFPF in lower positions, but only if there's no other way around it. I find the using 1-2-4 feels more secure when fretting notes and allows me to stay more relaxed when playing, especially on longer gigs. There's a Dave Marks vid from a while back where he shares his views on OFPF in lower positions: [media]http://youtu.be/y57-2eaTBwc[/media]
  19. [quote name='yepmop' timestamp='1389400866' post='2333968'] Always thought Sting did very simple lines in the Police songs but they were so effective and catchy. [/quote] Walking On The Moon... [media]http://youtu.be/hxBncnHb8jQ[/media]
  20. [quote name='thebassist' timestamp='1388590851' post='2323740'] I do need to be able to play Birdland and Havona by next Saturday[/quote] Havona in 10 days? Best of luck!
  21. Saw him doing this at Ronnie Scott's last year and it was amazing. His arrangement of 'A Portrait of Tracy' is stunning. Not too shabby on the bass either...
  22. Couldn't have said it any better! [quote name='funkle' timestamp='1378189870' post='2196690'] Bilbo is bang on the money; transcribing is key. By which I mean, learn how to play on the bass what you are listening to (NOT how to write down what you are hearing first, though that is important too). I initially learned intervals years ago but found they weren't terribly useful to me on the bandstand. I have found the 'Charlie Banacos' ear training methods far more effective than learning intervals in the way you describe. Examples of those that have used it include Mike Stern, Chris Tarry, Jeff Berlin, Bruce Arnold, Joe Hubbard, et al. Good descriptions of this type of ear training reside at: [url="http://www.miles.be/articles/14-the-charlie-banacos-exercise"]http://www.miles.be/...anacos-exercise[/url] (original at [url="http://www.franksinger.com/ear%20training.htm"]http://www.franksing...%20training.htm[/url]) [url="http://www.joehubbardbass.com/473/ear-training/"]http://www.joehubbar...3/ear-training/[/url] [url="http://christarrylessons.com/ear-training/"]http://christarryles...m/ear-training/[/url] The software (free) which can get you started: [url="http://www.miles.be/software/4-functional-ear-trainer-basic"]http://www.miles.be/...r-trainer-basic[/url] How to set the software: [url="http://www.joehubbardbass.com/473/ear-training/"]http://www.joehubbar...3/ear-training/[/url] Who was Charlie Banacos? [url="http://en.wikipedia.org/wiki/Charlie_Banacos"]http://en.wikipedia....Charlie_Banacos[/url] Bruce Arnold is aguitarist with a good website who essentially breaks down the Charlie Banacos method into bits that he sells. I have bought stuff from him and found it useful. [url="http://brucearnold.com/blog/ear-training-guided-tour/"]http://brucearnold.c...ng-guided-tour/[/url] Doing this and transcribing works synergistically. Transcribing is the ultimate musical vitamin, though - if you're around your bass I would generally say do that. The other ear training stuff I have posted here I have found ways to do whilst I am commuting. 20-30 mins a day whilst commuting adds up to a lot over years, and I have found transcribing easier since I have also done this formal ear training (caveat: though I have also learned solfege before I did that). This cost years of slow discovery. I took my own advice about transcribing later than I should have. Hopefully your journey is much shorter. Pete [/quote] Ron Gorow's book 'Hearing and Writing Music' is also a good resource, but I found that the Banacos exercises were more effective.
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