Bilbo

Alternatively, spend some time learning something useful like how to read music or some advanced theory That classical fugue showed everything that is wrong with that technique. Take a perfectly servicable piece of music and turn it into a juggling act with no musical merit. Two things to watch and then think about.....both Michael Manring. The second one Manring could probably do standing on his head in terms of his technique. But which one got him a gig outside of someone's living room [url="http://www.youtube.com/watch?v=aY4Ra2KOyas"]http://www.youtube.com/watch?v=aY4Ra2KOyas[/url] [u][color="#0066cc"][url="http://www.youtube.com/watch?v=h_KDum0b2z8"]http://www.youtube.com/watch?v=h_KDum0b2z8[/url][/color][/u]

Blimey - that Gorey/Wyatt stuff is a bit grim (or should that be Grimm?). Marvellous stuff - the best side of prog rock, when it had that wonderful English quality that it seemed to lose after the break-up of the Canterbury Scene etc

Just downloaded this. A trumpet player called Avishai Cohen (NOT the same guy as the bass player). I heard this guy with the SFJazz Collective so got hold of this trumpet/bass/drums trio recording to see what he is doing. Really pleasant surprise. Intense and intelligent stuff. [url="http://images-jp.amazon.com/images/P/B0000CA34T.01._AA160_.jpg"]http://images-jp.amazon.com/images/P/B0000CA34T.01._AA160_.jpg[/url]

Didya get one? Didya? Didya?

Yum yum, pig's bum..... sounds great, Mike.

Can you record an example of what you are doing? Video would be better? Can't tell you what is better without knowing what you are doing wrong!

I remember seeing a Segovia masterclass on tv and this Japanese guitar player playerd for him and, to me, it sounded great. Segovia shook his head and said something like, you play the notes but not the music. And the guy tried again and the piece he was playing just opened up like a flower. A real epiphany for me. Getting the right notes in the right order is just the starting point. After that, after the craft, you have to discover the Art. That is where the magic lies, that's where you will find the Holy Grail of music. Keep going.

Its getting those details right that seperates the men from the boys, xgsix. Stick with it and get it finished. [i]Learn[/i] it and then learn to [i]play[/i] it. Its time well spent.

I was in exactly the same place as you and went for this: [url="http://basschat.co.uk/topic/93958-i-did-it-now-with-photos/page__hl__gedo+musik__fromsearch__1"]http://basschat.co.uk/topic/93958-i-did-it-now-with-photos/page__hl__gedo+musik__fromsearch__1[/url] You can hear it on my Soundcloud paghe (see link in my signature). I cannot compare it to others as I haven't tried them all but it got me gigging. I can say no more than that.

[quote name='lobematt' timestamp='1323099083' post='1459241'] Bilbo - I am playing it, I thought that was a given... just wondering what else should be done with it! [/quote] If you can play it, write it down and then analyse it, the only thing left is to post it here

Don't jsut transcribe it. Play it. That will allow you to develop insight into the execution of these ideas as well as the theory behind them.

Dorian minor, passing notes and chromatics. Then there is dynamics, rhythmic and melodic interplay with the soloist or with the other accompanists, play double time or half time, playing three against four and six against 4, playing lines that resolve in the wrong place (too early or two late), playing off beats in your walking lines, stopping playing and letting the soloist improvise alone or with the drummer.... all of which requires the cooperation of the rest of the ensemble. The options are pretty much infinite.

I have to say it was my first gig with my own trio about a year ago. It was a little pub gig with an audience of about 30 but it was uncompromising and, nevertheless, went down a storm, giving me the confidence to move the project forward. It has been a frustrating year as the drummer who did it has been unable to play and the replacements, whilst great, were not what I wanted conceptually. But the thing was that it clarified what it was I was trying to do. I have since written 18 original tunes for the line-up involved and am rehearsing those tunes this coming weekend. If they work (and they may not), my next gig with the trio, on 1/1/12, will be a jazz trio playing all originals written by me!! Now THAT is worh waiting for!!

Its kind of a rule you get used to over time; be wary of extensions. When you are learning, there is a temptation to tray and imply the extensions of every chord every time you play them. This can lead to illogical and clumsy lines. Its is important to know what the chord names mean and what the extensions are but you should only use them when the line requires it. When chords are shooting past at one chord per bar, there is no way you can get it all in. Friday Night at the Cadillac Clud is a great example of when not to over egg it. Its essentially a rock shuffle and over complicating the line undermines the momentum and the energy of the thing.

Crect..... I nhaven't been in a proper recording studio for years. I think it was pre-millenium? I am trying to get a good sound in my music room which is a sort of loft space, an ordinary bedroom with a sloping roof. You can see it here, particularly on the headstock shot.: [url="http://basschat.co.uk/topic/93958-i-did-it-now-with-photos/page__hl__gedo+musik__fromsearch__1"]http://basschat.co.uk/topic/93958-i-did-it-now-with-photos/page__hl__gedo+musik__fromsearch__1[/url]

I guess my issue is that I can't think of a drummer as great if I know others are 'greater' . Stewart can play a back beat like a monster. I know a lot of Stewart but have only heard this Dana Hawkins guy today so a comparison is unfair, I agree, but I can't get excited about backbeat drummers like this appear to be. I have to say, also, that, despite and early Rush obsession, I find Neil Peart a bit thuggish!

Sounds like late Tribal Tech to me but without the edge. I hear lots of production but not a great deal of depth. There are elements of of Patitucci in there (might be the Ken Smith) and the octave dividier is a very old trick. He's not a bad player but certainly nothing here is grabbing me. Same with Eli Marcus. Massive production effort and a lot of electricity used but the music is cold as fcuk. The basses sound over processed to me. I'm probably not being fair but these drummers playing variations on straight backbeats are pretty soulless. Try this. All the creativity but these are playing not programming!! Listen tot he the way the drummer plays WITH the time not just playing it. And the dynamics WITHIN HIS PLAYING are astonisihing. His control is much more profound than these new breed of hip-hop drummers. Watch his right hand (tune goes onto a second video). [media]http://www.youtube.com/watch?v=U7GmHiA9HKs&feature=related[/media]

The Fripps of today are all in Jazz. There is no room for them anywhere else.

At least one of these Christmas songs has great bass playing..... Chris Squire on bass and lead vocals... I think this appeared chronologically between Jon Anderson leaving the first time and The Buggles arriving. [url="http://www.youtube.com/watch?v=HjvWcDlyh3c"]http://www.youtube.com/watch?v=HjvWcDlyh3c[/url]

I have some pretty useful orchestral samples already but this is quality stuff, mate. Many thanks.

Frankly, I wouldn't write it down as D# but as Eb where the third is G. I recall that there is an argument that D# major is different to Eb major but I think that is generally archaic and less relevant today (please say if you know different). The fundamental thing is that, in normal scales and i order to make it write/readable, you have to have a ABCDEF and G. So D# major scale is D# E# F## G# A# B# C## D# - really cumbersome and an appalling read.

Absolutely - and a lot of fun and learning in the trying. Personally, I will be happy if the recording sounds like the bass does rather than like the bass does at the far end of a really long corridor!! !

There are lots of technological developments in recording that have some bearing on all of this. The early stuff was recorded through horns and drums were not used because they made the needle on the recording equipment jump. As things like rudimentary multi tracking came on line, the first studios had 2,4, 8 and 16 track studios and I suspect it was a long time before bass players got a look in in terms of having their own track allocated. So a lot of older recordings will not have 3 tracks dedicated to the bass (say a di, a close mic and a room mic). So classic jazz would inevitable sound very different to what we hear today. I have listened to loads of Paul Chambers who was probably one of the most recorded players between 1958 - 1963 and his recorded sound varies massively depending on where the recording took place and how much time was available to record and to mess around getting a sound. He used a pick up close to the end but, by then, he was recording a lot less. I guess this all has an impact on what we hear as a generic jazz double bass sound. In the 70s, it wsas low actions pick ups and close miking and some of the sounds are really clanky.

Just listened to my efforts again, Jake, and they have EXACTLY the same ring in there!!! Well, I'll be.... I learned something valuable today!