Bilbo

[quote name='Faithless' post='769675' date='Mar 9 2010, 08:27 PM']Here it goes..[/quote] Got to it at last. Your transcription is fine. The phrases you circled are correct to my ears/eyes. It sounds strange because normally the triplet feel played against straight time creates tension. As the groove is a 12:8 feel, the four sixteenths played against the triplet have a similar effect. So, in this case, you choice of note values in the transcribed version is correct. Good work.

Depends what the bass plkayer plays. If he hits a Csharp, its Emin9 wihtout the root. If the bass player hits a Bb, its a Bb sharp 11 b9

[quote name='thepurpleblob' post='777346' date='Mar 17 2010, 01:25 PM']I've been told I'm "too old" too. Great.[/quote] NOW you know why we play jazz!!

[quote name='Faithless' post='776721' date='Mar 16 2010, 09:26 PM']Nice one, Rob. Sorry for the OT, but, judging from your avatar, you've yet been gigging with double bass? [/quote] Not gigging but I have played it with a trio for a photo session. Its coming. I am close to gig ready but need to sort out stuff like pick-ups etc. Got a call this weekend for a quintet with guitar, drums, sax/clarinet, violin and double bass (original jazz/tango/flamenco stuff) so word is out that I am looking for work.

[quote name='frank' post='776885' date='Mar 17 2010, 02:35 AM']Thanks Bilbo ill have a go at that By any chance would you have a transcription for Terminal Baggage Claim on the Chick Corea Akoustic Band Album which im learning at the minute.[/quote] Not a transcription, frank, but I do have a chart. Have you got it?

Great swinging bassline and a little four bar break. Easy to read, great to play. Its also nice to hear such a logical and simple line played across what many think is a very complex chord sequence. If you get this one under your fingers, Joy Spring will never feel nearly as difficult and you will see the logic much more readily.

Don't let violinists rib you abot intonation, ngh. They have no right to point that particular finger. Definition of a minor ninth? A violin and fretless bass playing unison lines!!!

Thanks for the tip-off, Pablo. And all those DH charts available as downloads!!! Superb resource for dedicated Holland fans like myself!! I'm so excited, I almost bought a round!

Tony Reeves from Greenslade was someone whose work I used to like. Someone once told me he had died but I don't think he has. Anyone know anything?

[quote name='The Admiral' post='771855' date='Mar 11 2010, 05:24 PM']Neil Murray - what a fantastic and inventive player, who really drove the band along. Anyone else got a contender?[/quote] Murray had a lot more to offer than we saw with Whitesnake and Vow Wow. He was, at one time, the bass player in National Health, a UK jazz-rock band that also contained, at one time, Dave Stewart and Bill Bruford before they formed Bruford, the band that introduced Jeff Berlin to the world. Murray also played on Colloseum II's marvellous 'Strange New Flesh'. Obviously and understandably attracted to the bright lights and relatively financial security (?) of the rock market, he has a rep that is based on a very limted perspective on his abilities. A highly rated player who was, neverthelss, underated!

[quote name='essexbasscat' post='771444' date='Mar 11 2010, 11:54 AM']And as Bilbo says:[/quote] When did I say that? Seriously, I do it another way. I now do all of my transcriptions on Sibelius and start with the notes in bar one and work on from there to the end bar. When I have finished writing out the notes the bass plays, I look for the chords. Sometimes I find them by playing along with a guitar, sometimes I have real book charts already but occasionally I go to the net. Sometimes I get a riff and stick with that, other times I look for every fill. It it does depend on why you are transcribing. Sometimes I only want to study a short passage, a few bars. Sometimes, I just want to work out a head, or a solo, or a riff etc. The ones I publish here are generally (but not all) 'complete' end to end transcriptions in a effort to be helpful to people who want to study them but, at home, I transcribe as much or as little as I need to get what I want out of the exercise.

Major Minor's Boot Camp is what you need! Or dlloyds threads here! [url="http://basschat.co.uk/index.php?showtopic=74284"]http://basschat.co.uk/index.php?showtopic=74284[/url]

[quote name='Stingray5' post='770498' date='Mar 10 2010, 03:07 PM']Anyone else here done the Kenwood thing (or similar, e.g., Crystal Palace Bowl, etc.)?[/quote] I did a gig years ago with a jazz band in support of an orchestra at Stroud House in Oxfordshire (I think). We played and then the orchestra did its thing with fireworks etc. What I noticed most was how little gear they all had I found something else out today. You can't listen to Bach Unaccompanied Cello Suites played on the double bass (Edgar Meyer) whilst walking around Ipswich. Too much background noise!!

Don't play 'Mustang Sally'

I think that seeing a live proper orchestra should be an essential part of the national curriculum (more use than Games, ffs). And a ballet, an opera etc. These experiences are well underrated and real 'wow' moments, particularly for kids - same with a jazz big band. Great on record but, in the flesh? Magical.

Welcome - are you a jazz fan?

These questions are all answered under the DB section of Basschat, Jake. A sa DB newbie myself, I do not feel equipped to answer your queries but these issues are covered in various places there - have a scan through and you will find all sorts of goodies. Good luck in your efforts.

While we are on it, f, I couldn't download that file you sent me of the blues you transcribed. I couldn't get Rapidshare to open it. Can you post it here?

[quote name='Faithless' post='768666' date='Mar 8 2010, 11:03 PM']The interesting thing here is rhythmic aspect - for the first time I've experienced what is called [i]jazz articulation[/i], i mean, it's stuff, when sometimes you just can't properly notate it in terms of rhythmic values..[/quote] Another benefit of transcribing is the focus it brings. What you have described may go over your head unless you do what you have done and focus in on it a bit. One thing to watch is whether the soloist is playing something you CAN'T write down or whether is something YOU can't write down (do you et the difference?). For example, I have recently written our Jeff Berlin's '20,000 Prayers'* and there are parts where he is okaying things like 3 over two in the second and third crotchet of a bar or the fourth and first. Its really hard to hear and to get on paper but it CAN be written down, if you can figure it out. Transcribing is a great tool for helping you listen in a more focussed way. * for the record, the reason I haven't posted it is the chords. I have the notes but can't get the chords down at all they are all over the place If anyone wants to see what I have done, let me know. The dots are there but, without the chords, it is incomplete.

I know what you mean but, at the same time, if you have a ropey night, it was already in the public domain anyway so the bad rep is probably already circulating Seriously, though, I have come across three or four things on Youtube that appeared without my knowledge and I am not playing great on any of them. Conclusion? I am not a great player Its an interesting dilemma, isn't it? Censor you publically available material to ensure only the best is out there but accept poor playing standards the rest of the time. Personally, I use it as learning material and as a way of ensuring that my self image is reasonably accurate. I have found most live recordings (tape and video) to be a wake up call and to provide me with insights I can use to focus my practice. I don't think anything I do is important enough for it to matter whether it is on Youtube or Myspace or whatever. It can't undermine my reputation as, to all intents and purposes, I have none