Bilbo

It is always a judgement call. If you go above C on the first ledger line of your transcription, you have the option of using terble clef but, if this is for one or two noites, you wouldn't bother and you woudl used ledger lines (the first ledger line ABOVE bass stave is middle C, the first ledge line BELOW the treble stave is also middle C; that's where the 'transition' is between the two clefs.). If there is a passage well above that that goes on for several bars then you can consider treble clef or tenor clef or, as you say, the 8va/15mb option. It is up to the transcriber to make the chart as easy as possible to read and, in my experience, all three options are used with equal frequency. I guess it also depends on whether your transcription is for study or reading on a gig. Here are a couple of useful links. I wouldn't try to 'learn' it all but it is certainly wirth thinking about some of the basics about the processes involved. http://en.wikipedia.org/wiki/Clef http://en.wikipedia.org/wiki/8ve

Hated everything she did then and still hate it now. Nevertheless, 63 is no age and my condolences to her kith and kin.

My music stand covers about 4 pages easily and five at a push. If it goes above that, it is usually a piece with gaps in so its a case of waiting until the gap, dumping the parts that have passed, moving the other parts and then carrying on with the rest. But 6 page parts are VERY rare in my little universe. Am I the only one who as developed the skill of continuing to play with my left hand hammering notes whilst my right hand turns the page? A lot of bass charts have long notes and this is not as clever as it sounds. It is also important to make representations to whoever transcribes the parts and say that a turn there is difficult and can they redraft the chart so the turn is somewhere else. It's an occupational hazard and the solutions are many and varied depending on tempo, the nature of the lines etc.

[quote name='Nibody' timestamp='1337328198' post='1658038'] I'd love to try a DB. But I dont have the space, and I'm not good enough to play one!! - I take my hats off to all upright bass players, I may call myself a bass player but the upright guys are the "True" bass players IMHO. [/quote] I think there may have been an argument for that 50 years ago but the electric has its own majesty now and I don't think its in anyone's shadow. I think there is a holdover from the idea that a d bass hails from the legitimate area of classical music and, as it is studied in Conservatoires etc, it is somehow 'better' that the e-bass but, as I said, I don't think that's really a credible argument anymore. Good to hear the OP is developing in a new direction. Always a good thing.

MIles plays so few notes compared to everyone else and they all count. Magic solo.

I took my soprano to a gig last night (not to play but to show it to my sax player (who has a £4K Mk VI Selmer). He was really impressed with my Thomann and, when I told him the price, was astonished. He says it plays really evenly and in tune across the full range and only starts to struggle in the absolute highest register. He sounded marvellous on it (unlike me, who still sounds like a duck on heat). If ever I got good enough to play like that, I could still do it on my bargain basement starter instrument. Nice to know that you can still get on board even if you can't afford big money for professional instruments.

[size=6]FREAK!!!![/size] [size=6][/size]

Thanks, mate. Will need to look elsewhere!

I think it may be in the Oct 99 issue of Bass Player and is from Chris Jisi. Have started another thread to that effect. Thanks anyway.

I am looking for a reference for my Paul Chambers book and it m ay be in the October 1999 edition of bass Player (follow the link for the quote) [url="http://basschat.co.uk/topic/176197-anyone-got-the-bass-heroes-book-need-help/"]http://basschat.co.uk/topic/176197-anyone-got-the-bass-heroes-book-need-help/[/url]

Just played the gig...... [url="http://soundcloud.com/robert-palmer-1/marry-me"]http://soundcloud.com/robert-palmer-1/marry-me[/url]

I am making corrections for the typesetting of my Paul Chambers book and included a quote that I [i]think [/i]I got from the Jerry Jemmot interview contained in the Tom Mulhern book 'Bass Heroes' (p. 181). Trouble is, I gave the book to Oxfam about six months ago!! The quote reads: [indent=1]I was shy, withdrawn, and “lost” during my early childhood. Fortunately I was “found” at the age of 10 by the great bassist, Mr. Paul Chambers when my sister Janet played the Miles Davis Quintet recording of “If I Were a Bell”. And I declared “That’s what I want to do!” The persistently passionate, articulate and funky bass lines that Paul laid down lit a fire in me, as they still do today.[/indent] Can anyone confirm that this is the book that the quote is from and then, if it is, confirm the page number (I have all the other details)? Thanks, guys.

I think ES is a pretty rounded musician (albeit not the genius everyone suggests) but the 'cute'/glamour thing really p***es me off. I wish that record companies didn't do that and I wish the female musicians didn't allow it to be done to them. Its only a matter of time until she puts the bass down!! If they can play, let them play. Leave the eye candy to MTV.

No histrionincs just a kind of Dire Straits/country vibe and a bit nonsense. Just one run through of each tune and record. Thank God for dots, I say! Two more to come later. [url="http://soundcloud.com/robert-palmer-1/eight-hours-a-week"]http://soundcloud.co...ht-hours-a-week[/url] [url="http://soundcloud.com/robert-palmer-1/perfect-moment"]http://soundcloud.co.../perfect-moment[/url]

Henri Texier used effects at one time. I think Chris Wood (Medeski, Martin and Wood) may have. He certainly plays 'prepared' bass (sticking things between strings etc). 51mon - 0pen minded is one thing. Undiscerning another The day I hear an effect that improves the sound of a double bass, I will applaud it. Until then..... :bleuuuch: PS I am not alone....

Just get the Thomann and get going. Anything for your budget is going to be flawed but it will get you going and you can upgrade when and if you want to. You can spend a year splitting hairs and still end up with something that the purists will sneer at (those same purists sneer at their own basses as well and always want the next one). Just get moving....

Not a great fan of effects on electric bass. On double bass it really is gilding the lily.

Nice work, Johnny....

My reference to Sheehan et al being in small ponds referred to the fact that, great as some of these guys are, their scope, musically, is pretty narrow. I have heard Sheehan do what he does and, impressive as it is, its a specific niche. If players want to be 'that guy' then its sh*t or bust whereas a more rounded musician has more irons in the fire and will improve thier chances of lucking out. There are plenty of factors that contribute to ones potential for success and most of them are outside of anyone's control (I stand in front of the mirror every day saying 'Johnny Depp, Johnny Depp, Johnny Depp' but I still look more like Rolf Harris) but reading isn't. Its there for all and free. Its just a great way of getting inside of lots of great music. I can't advocate it enough. I actually don't give a rat's whether anyone takes up my suggestion but, for me, its really been worth the effort.

Did a dep gig with this guy last nght, IPswich based Tim Ainslee. Great blues guitar player. Grungetastic! [url="http://itunes.apple.com/gb/album/standing-ten-feet-tall-raging/id498511312"]http://itunes.apple.com/gb/album/standing-ten-feet-tall-raging/id498511312[/url]

Beck and Sheehan are monster players but they are pretty limited in their scope and their 'greatness' is of a 'big fish in small pond' nature. I don't want to take anything away from them because I like their work and Beck is undoubtedly one of the most expressive guitarists out there but I am talking about the big picture. They are like they are for all sorts of reasons and their dedication to their craft is unquestionable but I will never advocate a route that requires a player to be the 'fastest gun' rather than a rounded player because that way is the path of broken dreams. All the rock gods I used to play with when I was 17 gave up years ago. The ones who stick aroundtend to be the more rounded. Ref the comment about 'having no use for reading'. My point is that, once you have that skill, it is incredibly useful and not just for reading on gigs (which, like most people, I rarely have to do).

[quote name='peteb' timestamp='1336068099' post='1640505'] You seem to doubt me sir! [/quote] Not at all. My point was that your reading friends had the pro gigs and you didn't. Is that evidence of cause and effect? Might be, might not.

You can't read music and expect to play well without a good ear. The dots tell you what to play, the ear tells you how to play it. Its not a choice. You need both. A good ear will not, on its own, make you a great player. My wife has a great ear and can recall music from years ago and remember stuff in remarkable detail after hearing it only once but she can't play a note on any instrument. People like the idea that a good ear is the magic bullet because it allows them to remain comfortable with the fact that they can't read but still see themselves as credible. In truth, an informed ear is always more important than reading because reading is useless without it but, if you are serious about your playing, why settle for that? I did a session last night and, in just over two hours (inc a tea break) recorded 4 tunes I had never heard with people I had never met before. The ear was important but it would have taken a lot longer without the dots. Tab would have been of no use at all.

Brilliant

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