Steve Woodcock

[quote name='markstuk' timestamp='1491999561' post='3277043'] c# and db are the same note [/quote] Yes, they are the same but for diatonic notes whether you name it a C# or a Db depends on the key: A key consists of [b]7 pitches [/b]- the other 5 notes that exist within an octave are non-diatonic notes; a key will contain an A [i]of some kind [/i](be it flat, sharp or natural), a B [i]of some kind[/i], a C [i]of some kind[/i], a D [i]of some kind[/i], an E [i]of some kind[/i], an F [i]of some kind[/i], and a G [i]of some kind. [/i]Therefore, if your key already contains a C then the adjacent note will be a D of some kind.

[quote name='timmo' timestamp='1491994275' post='3276998'] Am I getting diatonic intervals and chromatic intervals mixed up? [/quote] An example of a [i]chromatic[/i] interval would be [b]C[/b] to [b]C#[/b] as this does not occur within any key, whereas [b]C[/b] to [b]Db[/b] (the [i]enharmonic equivalent[/i] of C#) would be a [i]diatonic[/i] interval as this occurs naturally in a number of keys.

The term [i]interval[/i] describes [b]the distance between two notes[/b], whether played in succession (a [i]melodic[/i] interval) or simultaneously (a [i]harmonic[/i] interval). The distance between the note E and the C# [u]above[/u], if played within the octave, will always be major 6th [u]regardless of what key it is in[/u]. If the distance is over an octave it is known as a [i]compound[/i] interval - your example of E to C# would be a major 13th. Here is a diagram showing [i]simple[/i] (occurring within the space of an octave) and compound intervals. To find the simple equivalent of a compound interval, subtract 7 from its number (i.e. 13 - 7 = 6): [attachment=242865:Simple and Compound Intervals.png] In your example of E to C#, if you lower the C# by an octave so it is below the E you have [i]inverted[/i] the interval and it becomes a minor 3rd (note that intervals are named from the bottom note up). [attachment=242866:Inversions.png] As you can see in the diagram above the original interval and its inversion always add up to 9: 2 + 7 = 9 3 + 6 = 9 4 + 5 = 9 6 + 3 = 9 7 + 2 = 9 8 + 1 = 9 Perfect intervals remain perfect but minor becomes major, major becomes minor, augmented becomes diminished and diminished becomes augmented.

Not thrash per se but I have played a fair amount of prog metal and death metal over the years and still get calls to do so - in fact I'm going to be playing on a track with Dirk Verbeuren (of Megadeth etc.) in the next few weeks - and have always done so with fingers rather than pick.

Hi Thomas, Posture and correct, efficient, playing technique is the first thing I cover with my students; I also happen to be a fretless player. Please feel free to message me to discuss any way I may be able to help. I am based in Chiswick W4, just a few minutes from both Turnham Green and Stamford Brook stations. Steve

[quote name='ericlemes' timestamp='1490190920' post='3263063'] Dude, you solved the mystery. Thank you very much, now I have a very good reason to work on artificial harmonics. Thank you very much for your time and dedication ;-) Cheers Eric [/quote] My pleasure

[quote name='lowdown' timestamp='1490181672' post='3262894'] In the second bar of your chart, there are some long root and inversion Bass notes that enter (Gmi7 onwards...) Also, did you catch the sneaky (9th) Bb harmonic on the second beat of the third bar ? Things I haven't really noticed before. [/quote] In the right channel? Both things you mention are Rhodes piano.

As promised, here is my transcription of the unison line: [attachment=241304:A Remark You Made.png] *Diamond shape note heads indicate artificial harmonics

[quote name='lowdown' timestamp='1490119537' post='3262367'] I just to listened to the live version you posted. It's slightly different from the studio version? On the studio version he doesn't play the unison harmonics line after he hits that top Eb. Well, he does play a long harmonic, with a pizz Eb (x2) underneath. Unless I am hearing it wrong (on my iPad), then my apologies, and carry on... (I am drivelling on about the first unison section, at around 02:00). [/quote] It's been a few years since I last played this so I just grabbed my bass to check and I stand by my comment they are false harmonics - you can hear it in the attack at the very beginning of the note, there is a slight 'thud' before the note rings out; the notes I am talking about are the F, hammering on to the G then back to the F at 2:08, the slide to C is [i]not[/i] a harmonic, but the following F is. I'll write this out in notation and post it here if I have time later. I haven't compared the live version - I just posted it as it showed the technique used - but I would expect this to be different to the studio cut, it is jazz after all [quote name='spectoremg' timestamp='1490119349' post='3262364'] They don't sound like harmonics on the studio version. I'd be very surprised if he didn't play with tunings a lot. I know he did it for Portrait of Tracy. [/quote] Again, I haven't played Portrait in a long while, but I recall that is in standard tuning. Of course this isn't to say that he didn't use alternate tunings - Black Crow is tuned down to Eb for example.

Hi Eric, I'm guessing you mean the unison line with the saxophone? The notes higher than the Eb are played as artificial harmonics, you can see it in great detail in the clip below: http://youtu.be/F02mBkBoMQw?t=1m42s By the way, no bends - all articulations are either slides or hammer ons.

I do this too - I offer fretted/fretless and Chapman Stick.

Position your music stand off to your left (presuming you are right handed) rather than straight in front of you, that way you minimise the distance your eyes have to jump from the page to your fretting hand.

Just purchased a pedal from Simon - great deal, sent super quick and well packaged. Cheers Simon!

Practice both - you want to eventually reach a point where the right hand operates on auto pilot with both fingers feeling equal, not restricted by the constraint of one feeling more dominant than the other.

String skipping is a difficult thing to do on the bass but here's an exercise of mine that will help, it's derived from a drum rudiment called a [i]paradiddle. [/i] Example 1 shows the sticking pattern for a paradiddle which is right-left-right-right, left-right-left-left. If we take this pattern and translate it to an octave shape on the bass across two strings where 'R' equals the root and 'L' is the octave then we get the figure shown in example 2 - play this in strict index finger-middle finger alternation and you get a nice little workout. Example 3 develops this idea in to an etude which will take you across the fretboard through the [i]cycle of fourths[/i] progression; each phrase is played on the A and G strings only. Note the slide in to the beginning of each bar (or in the case of bar 3, a hammer-on from the open A), this ensures that you start each phrase with an alternate finger so that both get equal attention! [attachment=234048:Preview of “Octave Exercises”.jpg]

It's called an 'anacrusis'

Great find, thanks Ambient!

[quote name='Hobbayne' timestamp='1478882363' post='3172432'] I believe Stickman is based in Chiswick. So I guess maybe Chiswick Park or Turnham Green on the district line. [/quote] Pretty close! I'm near both Turnham Green and Stamford Brook stations (both District line).

I'm in west London but I suspect that will be too far south for you?

Just a heads up to anyone local, monster bass player Ric Fierabracci is playing at the 606 Club tonight (with Dan Reinstein).

[quote name='Funky Dunky' timestamp='1476841841' post='3157744'] Ah, very helpful! Thanks for this, exactly the kind of tip I'm looking for. It's particularly this that's eluded me thus far, so thank you! [/quote] No problem! He explains it in the clip below, if you jump to about the 9 minute mark he demonstrates the line: http://www.youtube.com/watch?v=4lQ614j2keI

[quote name='toneknob' timestamp='1476784539' post='3157140'] That JBK album is brilliant. Saday, Maday is originally from MK's solo record Bestial Cluster which I can't recommend enough. [/quote] Yep, Bestial Cluster is great - that and Tooth Mother were my introduction to Mick.

I loved Mick's playing, truly a unique voice on the instrument. I was going to post a bunch of links to collaborations not mentioned above, like Dali's Car, Polytown (with David Torn and Terry Bozzio), Bill Nelson, Midge Ure etc. but instead here is a track from the live Jansen Barbieri Karn album called 'Playing In A Room With People' as that is the one I seem to return to a lot: http://youtu.be/Cb2J__bxsks