Bilbo

Thanks, Pops x

Steve Reich meets King Crimson https://soundcloud.com/robert-palmer-1/the-daughter-didnt-oughta

[quote name='EliasMooseblaster' timestamp='1433512297' post='2791732'] Does Jazz have a pioneering electric bassist? My obvious suggestion would be Monk Montgomery, but then I really can't think of very many bass guitarists who play 'true' Jazz! (i.e., as opposed to some flavour of Jazz-influenced Fusion/Funk) [/quote] Exactly. What defines pioneering? I would suggest Steve Swallow.

I just read up on this and the whole thing is summed up in one sentence: 'The key signature is not the same as the key' A key signature is not the same as a [url="http://en.wikipedia.org/wiki/Key_%28music%29"]key[/url]; key signatures are merely notational devices. They are convenient principally for [url="http://en.wikipedia.org/wiki/Diatonic"]diatonic[/url] or [url="http://en.wikipedia.org/wiki/Tonality"]tonal[/url] music. Reducing the number of accidentals is their objective but, outside of very simple musics, it will never eliminate the need for them. Writing a piece that is in a melodic minor key, you could use the Major key a third higher or the minor key a third lower and both would have the same number of accidentals. Neither is wrong.

Helpful stuff. Thank you for the link (why ddn't I think to go there - I guess it is because my music computer is not linked to the internet)?

Jaco is barely a Jazz player at all. He does make a contribution to Jazz on one level but is nowhere near hardcore and it would be wrong to call him a pioneer in Jazz. Fusion, yes absolutely. Funk maybe. 'Electric bass' definitely. In Jazz terms, however, he is certainly not a pioneer in any real sense. You would need to look at double bass players for that. The received wisdom says guys like John Kirby (first band leading bassist), Walter Page/Wellman Braud (started 'walking' with Ellington), Slam Stewart (early bowing solos), Jimmy Blanton (first 'soloist' in a mainstream band), Ray Brown, Oscar Pettiford, \\\\\\\red Callender, Charles Mingus, Paul Chambers then guys like Gary Peacock, Scott LaFaro, Charlile Haden (Free Jazz). Jazz bass without Jaco wouldn't look much different whilst pop without Jamerson would be unrecognisable.

Let it go, bro. Let it go.

I was having this problem again last night. Fortunately it was a bass VST so I can revisit it with a real bass without any problem but it remains annoying. Strangely, it seems to happen only with some software. Whenever I use my Miroslav Philharmonik, it all works ok but if I use a Halion player loaded with soiund files, it all gets a bit unstable and things chage unilaterally without notice, I was using an edirol orchestral VST last night and, whenever I changed a patch to marimba, if I stopped the track and started it again, the marimba turned into tympany because tympani was the default for that channel.

13/15. Didn't get the cadence and the 6:8 note.

[quote name='ras52' timestamp='1433320083' post='2789967'] Just call it 13/8, you jazz-progger you! [/quote] It's an approach. Seriously, it's a bitch to read.

I put something together last night that I think is a credible starting point, Just need to see where it goes. It alternates between bars of 3:4 and 7:8. Yummy!!

Is it April 1st?

Listen to Percy Jones. It's all in there. Slinding octaves is nice on a fretless. Because you are playing the same note but not exactly in tune (as it would be on a fretted bass), it has a lovely chorusing effect. You can actually play the higher note slightly flat on purpose to create the effect. I have to say, though, as a fretless player for nearly 30 years, I don't play with 'fretless effects', I just play bass. It is surprising how many of the tricks you are describing can sound derivative. I guess it's how and where you use them.

A very genre specific article. The 'best' year in Jazz is often give as 1959 because we got Kind Of Blue, Mingus Ah Um, Giant Steps.TIme Out and The Shape Of Jazz To Come. Completely arbitrary. Every year is a great year and every decade a great decade. 'Music' is not just 'the Music Business'. It is and will always remain the greatest art form.

There are very rare exceptions but drummers don't ordinarily think in keys (unless it is tympani or tuned percussion)

I don't know what you mean by transposing. Do you mean literally taking a piece of music in one key and putting into another opr are you talking about reading a chart in one key and playing the notes in another? (It happens less now we have ireal books than it did in the days of paper charts). The issues are many and complex depending on what instrumentation you are using. Bass guitar has one set of problems, saxophones another, brass another, tuned percussion another etc etc. Changing the area of any instrument in which a tune is played has the potential to impact upon the instrument's tessitura (the range in which a given instrument presents its best-sounding tone or texture). A sax playing a fourth higher may put comfortable notes into the area of the instrument where tone is thinner, more screechy or plain unreachable etc. Moving things around on stringed instruments is complex as voicing changes can seriously alter the effect. Imagins the opening Dsus of Pinball Wizard played in C. It's a massive subject.

Wasting valuable thinking time.......

I think the kinds of fretboard memory skills we are talking about here are very much at the peripherly of playing the instrument. What I mean by that is that, say I am playing a B on my A string and decide I need to add a 10th. I NEED to know where the requisite Eb is on the fretboard before I go there. Completely agree. The fact is, however, that, for me to WANT to play that 19th, I NEED to know what a tenth is and how it sounds before knowing where the requisite Eb is. Learning about 10ths and how they sound will give me the knowledge I need to make useful musical decisions whereas knowing where and Eb is on the neck will make no more contribution in it's own right than knowing where to plug the lead in. The geography is useless on its own. I was at a Jazz gig last night watching a highly skilled electric bass player who was all over the neck all night. He clearly knew the neck very well and was able to move positions naturally and gracefully without dropping a beat. Trouble was, it was clever but it was often quite unmusical. He did it because he could not because it needed doing. Knowledge is not power; wisdom is power. I think that knowing where notes are is crucial but knowing what they are there for and what you can do with them is infinitely more important. Learning these disciplines comes first; the geography will sort itself out.

Yeah, yeah. He's brilliant. [size=6]NOW WHERE IS THE NEXT PICTURE?!![/size]

I use one fo these with a Fishman Plat Pro into an AI Clarus/Ten 2EX. It mostly sounds like a bass (depends on the gig, the room, the drummers cymbals and how much I have been practising lately). Easy to fit. Feedback a possibility but the Fishman deals with that. http://www.gollihurmusic.com/product/1426-KANDK_SOUND_DOUBLE_BIG_TWIN_UPRIGHT_BASS_PICKUP.html

I did a gig once where a singer called a tune but which, when we started, was all over the place. Thinking I was in the wrong key, I looked over the pianist's shoulder to see that he was playing the wrong SONG. His choice? 'How Insensitive'.

The merit of knowing the fretboard is for improvising. If you play a B on the A sting and you want to play a Eb (10th), if you know the fretboard, you can find it easily and without 'learning; anything new. If you don't know the fretboard, it's an act of faith. I know the electric fretboard very well but, on my double bass, I struggle in ways that I don't on my Wal.

The solution is obvious. You have to speak to him. The issue is not finding the solution, it is implemnting it!! It is important to appraoch the issue of criticism with your ultimate goal in mind. 'Hey, Fred. You're sh*t' wis great if you want to start a row that will result in one of you leaving the band. You need to find an approach that retains your relationship and also allow the other party TIME to address the issue. I remember reading an article once on Bruce Springsteen who, at the top of his career, had a change of drummer. The new guy was not cutting it but The Boss allowed him to sort it his shortcomings over a year. I would record a rehearsal and then sit him down to listen to the tape saying something like 'Hey, Fred. We need to have a chat about your playing. I like your ideas and feel but there are occasional note choices that are not working and [b]we[/b] need to look at (share the issue in terms of recognising that the problem is everybodies not just his) . Is it a gap in your knowledge or are you hearing these notes as correct? Challenge the behaviour but not at the cost of the relationship. I remember telling a friend that he needed to think a bit more about his phrasing. He got the hump (quietly, he was too nice a guy to have a fight) but called me the next day to thank me. He had gone home and listened to himself on a recording and could hear what I was saying. He is still a friend today 20 years on. My greatest epiphanies have happened as a consequence of chats liek,this. The idea is to say to people 'I respect you enough to offer advice and to believe that you will accept this criticism as a means to secure improvements in your playing. If someone is a total trainwreck, I wouldn't be critical because it is pointless. If a small thing can make a massive difference, it is almost a DUTY to say something

Or to MEEEEEEEEE!

Some are probably only voting once because they haven't read the guidance.