Bilbo

Can't watch the video here but it has often struck me as peculiar that the songwriter gets so much in the way of royalties compared to other 'stakeholders' in the process. There are some great songs that have become massive hits but, without the arranger, producer, musicians, performer, even the video director etc the 'song' can a bit something and nothing. I head some old Hoagy Carmichael tunes once, performed as he intended, and they were pretty crap really; the band was weak, the performances lame etc. And yet, years of re-arrangements through hundreds of fresh ears, voices, instrumentalists and they are classics. I get that the 'idea' is the important part but, actually, is it the [i]only[/i] important part?

[quote name='BetaFunk' timestamp='1389218615' post='2331630'] You're not paying attention Bilbo. I posted that before Christmas especially for you! [/quote] I cannot always see the videos posted here as I look at Basschat primarily in work and on a Kindle HD, neither of which allows me to even see the embedded videos let alone watch them. Thanks for thinking of me.

More Aznar. Beautiful [url="http://www.youtube.com/watch?v=-x-031gqsVI"]http://www.youtube.com/watch?v=-x-031gqsVI[/url]

Some iffy intonation, though

Just found it. It's not 'Donna Lee', thank God!! Ooooer; but there are some slippery passages!! (Check out 'One Song').

I have just been asked to play the fretless bass part in a chorale scoiety's performance on Karl Junkins' 'The Peacemakers'. I am trying to access the piece on line and am being sent the parts before accepting the gig but I have noticed that the original recording was done by Laurence Cottle. Does anyone know how difficult the part is (i.e. is it the whole 'suite' or just one section)?

I have had no training in it but am aware of its core messages and use it to inform my own approach to playing the instrument i.e. listening to the body, making the most of a stable centre, using muscles across the arms and hands as efficiently as possible etc. Having had problems in the past, I have found that I am managing to keep on top of the playing without any injuries or specific aches and pains. Still have friction based soreness in my right hand fingers and wish I could play without forgetting to breath properly and without gritting my teeth (am working on those) but, otherwise, it seems to be going well.

I am struggling because, for some irrational reason that has no basis in any reality that I am aware of, I 'kin hate Burt Reynolds and every film he has ever done

Usually have a set list but it is 'flexible', depending on the atmosphere.

[quote name='leschirons' timestamp='1389002982' post='2328523'] Weren't they American or Canadian? Name rings a bell for being a bit "Gong" like (but it was all a long long time ago so I could be talking utter rubbish) [/quote] No they were based in Milton Keynes!!

'Northern Lights' always reminds me, stylistically, of the music to Follyfoot and White Horses (both of which I also loved as kid). Also, does anyone remembers 'Solstice' (I auditioned for them but didn't get the gig - no surprise as I wouldn't have given to to me at that time either!!).

I have recently moved house and, in the process, have had to move my studio into the garden. It is a work inprogress but here is the building it is being housed in. [IMG]http://i283.photobucket.com/albums/kk287/bilbo230763/DSCF00021_zps91a5fb66.jpg[/IMG] [IMG]http://i283.photobucket.com/albums/kk287/bilbo230763/DSCF00031_zpsb4980474.jpg[/IMG]

Brilliant! I'll have two!!

[quote name='discreet' timestamp='1388520439' post='2323112'] ....liked to make their solos about ten times longer at gigs than at rehearsal - and I mean excessively long. [/quote] I am a Jazz musician, It is what we do

Just downloaded a Charles Lloyd cd called Canto. The bass player is new to me, a guy called Anders Jormin. Beautiful sound and some lovely ideas. Google reveals he is widely recorded by ECM and has led 9 recordings in his own right. I will be looking them up.

I think you are the second person to actually FINISH it!! It a bit like Ulysses. A lot of people start it but give up about 30 pages in!!! Thanks for making the effort!

Love doing shows.

It was MEEEEE!

Learn to read music. Now

I did JCS for a school a few years back. The bass pad is nuts (changing time signatures almost bar by bar in some tunes). I am told (by someone on here who did the show with ALW) that the touring groups get a couple of weeks of rehearsal in before the show hits the road. I think, with that amount of time invested, it would be relatively 'easy' to nail it, given an acceptable level of competence.

http://basschat.co.uk/topic/83558-a-remark-you-made/

It's the old packaging versus content argument, isn't it. To be fair, we have now reached the point where content is simply not enough and the packaging has to be exceptional [i]as well[/i]. A lot of great musicians make it because they sound good AND look good, whereas sounding good is just not enough. Looking good and being surrounded by credible musicians in order to create the illusion that you sound good has always allowed people to 'get away with it' for a few albums (look at the Motown back catalogue), as has the increased use of auto-tune, but, in my experience, those acts tend to fade quite quickly. Sounding good but not 'looking good' (what does that mean anyway?) usually condemns artist to a long career as a 'cult figure', carving a niche market like, say, IQ or Marillion do in prog. But 'success' is a subjective term and a lot of 'successful' artists i.e. artist whose ART is successful (as opposed to those whose PRODUCT is successful), make their mark in ways that cannot be measured in unit sales. Van Goch was unsuccessful during his lifetime but does that mean his work lacked merit? Of course not.

C. No question (they don't do a bass clef version). For the sake of completion, the reason other keys are available is for what are called 'transposing instruments'. In short, some horns play a whole tone higher than concert so when you play a C, they would play a concert D so, in order for it all to work, the sheet music is transposed down a whole tone to Bb so, when they play a note 'as written', it sounds a whole tone lower than the note would normally indicate were it not a transposing instrument. Other instruments are a minor third lower so, in order for it to work, the music is transposed [i]up[/i] a minor third to Eb. There are other transposing instrument but, in popular music, C (treble and bass clef), Bb and Eb usually covers it. What came as a revelation to me as I became more and more familiar with writing for horns (I polay a saxophone but only at a VERY rudimentary level), was that reading a Bb clef and and Eb clef does NOT require new learning like, say, a treble clef and a bass clef would. A C on a Bb chart requires the saxophonist to put his or her fingers on the same notes which they would a C on an Eb chart. The chart does the transposition, not the horn player. It's all quite simple really, it just sounds complicated.

I woudl say 'It's Tush, man. It doesn't matter'.