XB26354

Big fan too but I wouldn't class this video as a very good example of his playing. As an accompanist he is superb but I find his solo playing rather less engaging. The fact that he fluffed quite a few notes (ugly fretbuzz or unintentionally damped) made for uncomfortable viewing. I'm not much of a Wooten fan but when he steps in the execution is flawless in comparison. I've seen him live a couple of times with Mike Stern and Hiromi and I couldn't wait for the "solo" bits to end. AJ just isn't a "solo" player IMHO.

They're the chords. The chords you mentioned on the first post were wrong. Most of the chords in this song are just triads, e.g. Cm or Bb. I can see why the verse/chorus chords might have been written as C5, Bb5, Ab5 etc. (note that as the key is C minor, whose key signature uses Bb, Eb and Ab, you wouldn't normally write A# or G#), because the keyboard and guitar aren't clearly playing a major or minor 3rd over most of those chords. However, the harmony is there - you can hear it in the bass and backing vocals. That's why it is incorrect to write the chords using the "x5" symbol - which as has been explained elsewhere is a power chord (root and perfect 5th) with no discernible major or minor sound.

Yes, the confusion here is because the chords on the first post are wrong. The song would be written in Cm as this is the first chord - although no chordal instrument is playing an Eb so it is implied rather than played. Verse C Bb Ab Bb Pre chorus Ab (2 bars) Gsus4 G Fm Fm/Bb Gm Bb Chorus C Eb Ab Bb Now there are more complex implied harmonies in the song - the Ab in the chorus is clearly a Lydian sound (2nd vocal melody note is D) but that's essentially it. However, the verse and chorus harmony is the same. Only the bass plays an Eb instead of a Bb, which reharmonises it to an Eb chord. It works just as well with a Bb in the bass but adds a bit of colour to the track. A similar thing happens on chord 5 of the Pre chorus. The kbd is playing an Fm but the bass hits a Bb. This is a fourth over the root, but on a minor chord, which is usually less dissonant.

OK, just listened to the track through headphones to actually hear what the bass is doing as I couldn't hear an Eb anywhere over the Bb chord. Although the guitar is playing a melodic line through the chords it's not really outlining most of them as major or minor. The keyboard is playing root-5th and I can't hear any 3rds other than the final Bb chord. Guitar plays this in the verse: G over C (minor implied, bass sometimes plays Eb as do some of the backing vocals) G-F over Bb (major implied but nothing is playing a D) F-Eb over Ab (major implied but again, nothing is sounding a major third - C) D over the final Bb (this clearly indicates a Bb major chord) The important thing here is the first Bb chord. All I can hear is Bb, F and G, no major 3rd (D). These notes also work well in an Eb chord - Bb is the 5th, F is the 2nd/9th and G is the major 3rd. So, although the tonality appears to suggest it is a Bb chord, the guitar melody makes it easy to reharmonise this as an Eb - which is what the bass does. This wouldn't work as well on the 2nd Bb chord as the guitar now is playing a major 3rd (D), so the bass sticks to Bb. So, after that long-winded explanation, the bass is not playing a 4th over the root but reharmonising the chord with a new root. As for a major chord with a 4th, technically this sounds more appealing if the 4th is below the major 3rd, so, in C: C F G E. It's all about the intervals between each note in the chord. If you place the F above the E you get a minor 2nd/minor 9th interval (E to F) which is very dissonant compared to 4th below 3rd - F to E gives you a major 7th.

Sounds like Cm, Bb, Ab, harmonically. The bass is clearly playing Eb over the C, but it is more ambiguous from the keys and guitar. Even if all 3 chords were power chords they'd be written C5, Bb5, Ab5 because the implied feel is C minor. Why use A#5, which is A# and E#? Much easier to read and write Bb5 (Bb and F)

The question no-one has answered is why there were flats and sharps in the first place. Back in the mists of time people didn't tune instruments in quite the same way. Keyboard instruments in particular were tuned quite differently, and often to a particular sound or "key". The interval in Hertz between each note varied, making for a rich and full sound. However, if one wanted to play in another key, it would sound horrible unless it were retuned to that key. Taking F major for example, the fourth note is B flat. take F# major, and the third note is A#. In those days, the instrument would have been tuned differently for each key, so Bb and A# would have have slightly different pitch, hence the reason for different notes. A great big compromise came along, called equal temperament, and made the gaps between notes consistent, which made for a less rich sound but had the convenience of allowing musicians to be able to play any key without retuning. We now think of Bb and A# as the same note, but spell it one way in a "flat" key and the other way in a "sharp" key. The on the exception is C major, which has neither flats not sharps. The basic idea is that if a scale has 7 different notes, then there should be one from each letter of the musical alphabet - A, B, C, D, E, F and G. If you have a harmonic minor scale starting on C it's easier to think of it as C, D, Eb, F, G, Ab, B rather than C, D, D#, F, G, G#, B.

Tell the assistant MD that there is no such thing as a fretless bass, only a fretless guitar.

Counterparts is a good album. They should remember what songs sound like. I've been distinctly underwhelmed by their recent output, and having bought every album on release since Exit... Stage Left I gave up after Snakes and Arrows, which has one decent song but is otherwise dull (I put it in occasionally and get bored after 1 or two songs, which never happens to me on the previous 20-odd releases). I didn't even bother with the last album. It's a shame because they have been one of the most interesting and varied bands in my lifetime, consistently good and even the weaker songs have good playing and some ideas of merit. It almost feels like they've run out of ideas. Alex Lifeson's layered guitar approach since Vapor Trails doesn't work for me and makes for tiring listening. And am I the only one that wishes Geddy would ditch the Jazz and play something more interesting? The Rick, Steinberger and Wal were such distinctive basses. Ironically though, I think the Jazz worked really well on Counterparts, so maybe it is the wall of guitars. Geddy commented that Alex is an exceptional chordal and arpeggio player and a lot of their song ideas sound like they come from his riffs. I think the layering, and the fact that they take months to make an album, has taken some of their spark and spontaneity away.

The fact is that most solo bass performances don't wash because the electric bass does not have the melodic expression capabilities for a piano, saxophone or cello, cannot play significant chord melody because of the lack of available notes, size of the strings and the scale length. What it boils down to is that any of these performances (apart from the piano and db, which was extraordinary) would have sounded better on almost any other melody instrument or set of instruments. The guy with the TRB was very good and what elevated him above the OP's vid (although that was a live performance) was the tone, execution and feeling. As has been said, that piece would be easy fodder for a classical guitar and would have sounded better. I may have missed something and am not familiar with the song on the original vid but it was poorly executed, no sense of time, movement or melody, as if it were under-rehearsed or he was lacking in confidence. Where opinions are free to be had is when music is performed for public consumption. Performance demands a standard of execution appropriate to the music, and he did not have it. To me it had no heart. Music should be performed with passion, conviction and confidence. Whether you care for classical music or not, the performance in oggiesnr's video fulfills all those criteria in spades. The OP's video fulfills none of them. Doesn't mean that player can't do it, but just not in that performance. As for bass players that have no life, victor Wooten would be well served to put his bass down, sit at a piano and come up with some great music that needs no double thumbing, tapping, tricks or anything other than a straight bass line, but great music.

I've had a lot of Warwicks too. At one point I had three, and have probably owned about 20 overall. The biggest thing for me was always the amazing B string on a 34" scale bass - nothing comes close to a Earwick, even with a longer scale. The bell brass frets really make each note sing, and I really like the natural waxed finish. However, I fell out of love with them because of the chunky necks, weight and abysmal balance both seated and on a strap. Their biggest issue is that they take a 4-string and just enlarge the body for a 5 or 6 without considering the extra weight of the next and headstock. A Streamer Stage 1 6 is still my favourite Warwick but it is too heavy, too neck heavy and the neck too massive at the body end to be enjoyable to play. I've also come across more than one Warwick with neck issues - and the newer ones don't have removable truss rods. I always kept the eq flat as I don't like the tone it imparts and kept the pan away from the bridge PU as it is gutless on most Warwicks. Never liked the $$ configuration either. I still have a soft spot for a good Warwick though

It is worth waiting for the right one to come along. I've bought and sold a lot of Warwicks over the years and have snagged a Thumb NT5 for £650, a Streamer Stage 1 5 for £750 and a Streamer Jazzman 5 for £500. Warwicks fell out of fashion and used prices tumbled a while ago, to a fraction of what it would cost to buy one new (if indeed anyone buys a new high end Warwick nowadays!) Looking at recent FS threads it seems Warwicks are being priced up now - no more £300 Corvettes - which can only be a good thing for owners. They are still brilliant instruments, and £1K for one of their NT instruments is a very good price when you compare the work to make one compared to a Fender, for example. Personally speaking I'd say £1000-£1200 in a private sale, £1300-£1500 from a shop for the Thumb you spec'ed.

A guitarist that can really play in time is like gold dust. They've obviously rehearsed and are experienced players - the balance and sound of instruments fits together like a pro act and they have chops but don't overplay. What elevates them above the norm is the way they groove, and the gaps they leave between notes. '70's US TV cop shows springs to mind (in a good way). Great to see a sax player upfront, too. I'd pay to see them play.

[quote name='Shobaleader One' timestamp='1370814377' post='2105991'] Any ideas where i could get my hands on a complete transcription of this epic? I've got numerous books stating the song is included among the transcriptions, but its only the 'Kuru' bassline (the repeating vamp) and nothing else! A bit frustrating, as its a bit too ambitious for me to tackle a transcription of myself. Any help would be greatly appreciated, Martyn [/quote] I don't know how good your ears are, or your ability to transcribe, but what do you think is holding you back? You mention that it's too ambitious to transcribe. Is it just writing it down or actually picking out the notes? I just want to get to the root of why you don't think you're capable of learning the song by yourself, or at least having a good stab at it. I must admit I've never transcribed it but have played along with it, and in the grand scheme of things it's not mega-hard to work out what's going on. The start, "transaction section" and end have a 5 over 4 run in A minor pentatonic - 5 notes up the pentatonic from the root, then same again starting from the 2nd note of the scale, then the third etc. with a little twist at the end. The one chord vamp over A min appears throughout the tune, briefly going into a 3 over 4 variant - 4 x a 3-beat vamp and 1 x a 4-beat vamp = one 4-bar vamp. The Speak Like A Child sections are more like a jazz standard, but if you listen closely it's almost all cycle of fourths with some chromatic moves. And apart from embellishments, Jaco's line is largely root and 5th. Apart from Jaco's actual lines in the Speak Like A Child bit, that's it. If you feel comfortable with putting dots on a page, why not give it your best shot and post it here (or check against the transcriptions above). You'll learn far more, not just about the tune, but for the future.

Noisy and inconsiderate neighbours should be taken out and shot. It's the worst kind of selfishness. You want an all night party? Go out to a bar or club FFS! I can appreciate the OP wants to practice, and there should be some give and take with good neighbours. I love bass but I wouldn't want to hear someone else playing bass through a wall (good or bad) for 3 hours a day when I'd just got home from work!

Giant Steps in 15/16

It's important to realise what lessons of any type are for: you enter rinto a contract where, someone with more experience and knowledge than you passes on the benefit of that knowledge in a structured way, and you agree to employ the techniques and suggestions in those lessons to improve. If you get a good teacher and really put the hard work in, you will definitely improve, and quickly. If you go to lessons expecting the teacher to 'make' you a better player, you will be disappointed. All a teacher can do is open the door a touch and give an indication of the way: it is up to the student to go though the door. Music theory can be learned from a book or from any of the many websites around. There is no need whatsoever to learn it from a teacher, unless you really cannot understand something, but even then, the wonder of the Internet should be able to provide an answer very quickly. When you've got as much learned as you can, and really don't feel like you can improve, then a teacher may be able to take you to the next level. A good teacher can be hard to find and you won't always fit with their personality, so if you don't think you're getting anything out of lessons (having put the hard work in!) then the teacher probably isn't up to much.

One point that has been overlooked is that, although the string length can change from note to note, the distance between the pickup and the bridge is constant, so this imparts a basic character to the tone of the instrument. My interpretation of the sweet spot is a one pickup bass, where placement attempts to take some of the character of a bridge mounted pickup and a neck mounted pickup, but without the phase and interference issues of running two volumes pots or a pan pot. It's not very scientific nor very accurate, but if I had a jazz bass with the neck pickup deactivated the basic tone would have a tighter sound and bias than if the reverse (deactivated the bridge j pickup and left only the neck pickup) were done. The single pickup Stingray has a noticeably more tight and aggressive tone than a Precision bass, taking woods, strings and electronics out of the equation (if that's possible, of course). Similarly a bass with a single pickup right under the fingerboard tends to a more wooly, fat tone, and even plucking right next to bridge, it's hard to get away from that basic character.

I spent ages trying to learn both 3 and 4 finger techniques before giving them up as gimmicks. Abe Laboriel was probably the initial inspiration and Gary Willis was an influence, but I could never get it to sound anything other than crap. From my point of view three fingers makes no sense, other than maybe for triplets on one string, and the players I've seen that use four fingers don't make a noise that interests me

I don't think there's anything wrong in Ric wanting to protect their IP. It is just a shape but most bass players would identify a Rickenbacker as easily as a P bass or J Bass. As has been mentioned, Gibson failed to demonstrate they were clamping down on copies so lost the PRS lawsuit, so I guess it's only business that makes them aggressive towards copies. But... The far east has been making copies of every manufactured product of the last 50 years. A prime example: import tax for foreign motor vehicles was/is astronomical, protecting the internal motor market, unless it was said manufacturer importing a foreign vehicle to copy it, when all import tax was waived! The reality is that there is no way to stop your product being copied. Fender eventually realised this and instead of trying to beat the copies, joined them. Either Ric is elitist in wanting to preserve their ideal of a boutique instrument, or they're too lazy/unable legally to go after the manufacturers and instead chase the eventual owners in the west. This approach does nothing to stop copying, which is mystifying, really. Either set up or licence their own cheap version and kill most of the copies, or make the original product so amazingly good that people really want to save up to get it. What seems to be hampering their company image is that their product isn't up to the quality standard you'd expect from a ~£2K instrument, and availability seems to be an issue, at least in the UK. Ric really needs to get out of the mindset that licensing a cheaper product is the devaluation of their brand. There really is nothing special about the manufacture of a Rickenbacker that can't be translated into a more affordable product. Almost every big name in every industry does it. Ultimately, with the changes in the music industry and less and less people playing "traditional" instruments, Rickenbacker could find themselves in trouble. Gotta go with the times.

There's being in time and there's being in the groove. Apart from a couple of notes where you're a bit too eager and come in early, you're in time. However, it doesn't groove as much as it should. So you're playing the notes, but not quite feeling them. Listen to beats 2 and 4 as this is where the groove tends to fall apart. And as others have said, try playing with a lot less notes, but make each note count more. I think you're playing the groove to The Chicken? Listen to the original, and pay close attention not to the notes that Jaco plays, but the timing, placement of the notes and overall phrasing that makes it so musical.

I tried and tried to get this technique and even had lessons with him but even after a year couldn't play anything that sounded half decent. I guess it suits some people and not others. It didn't help that every time I noodled using my existing technique everything sounded a million times better. I do play quite a bit lighter and pay attention to my wrist as wat he says at the beginning of the vid is very true. I still have a fond spot for him as a player and whilst his concept of "swing" may not appeal to real jazzers, he's still a class player.

You've got to play with other musicians. The best you can find. Nothing brings your playing on like making a groove work in a band. All the above is the prep work, playing live is the exam It really doesn't matter how good a player you are technically, as long as you can hold a groove and make the drummer feel good. If you can't yet, it's the best place to learn.

That was my transcription on here, thank you Bilbo, ahem if you're looking for chords charts then go the Real Book route as YJ songs have tons of chords in them, which can gt a bit tedious to transcribe and learn. It's great for learning composition, but there's nothing better than listening to the tracks. There are lots of albums, and they can all start to sound a bit samey but I liked Four Corners (tasty solo on, I think, Postcards) and the album from which the track I transcribed comes - Like A River. Blue Hats is OK, as is Altered State, Dreamland and Greenhouse.