Bilbo

[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

What came over to me (as a fan at that time) was how lame some of them looked - Rob Halford (who I respect) for one looked like he was trying really hard to be rock and roll whilst the absence of a chin militated against it. The Uriah Heep guys looked like they were trying but had given up half way through make up. But it was a real nostalgia trip and I enjoyed it. Just not too often, please

I say no. It will dilute the brand. If people want to talk about stuff enough to want a dedicated section on it, then they need to find a more general site; allaboutjazzcom? Young Composers? tolkien.com? I used to subscribe to a great magazine called Double Bassist (still read the back issues now) but it got subsumed into some general 'string player' magazine. I cancelled my subscription straight away as I knew it woudl be one DB article a quarter. Like when the UK's Bassist got swallowed by Guitarist - goodbye all the good bits.

Depends whether you want jazz bossa nova or Brazillian bossa nova but here goes: Joe Henderson - Double Rainbow (Nico Assumpcao, the real deal, on the Latin stuff and Christian McBride on some jazzier tracks - a fantastic CD) Eliane Elias Sings Jobim (Marc Johnson) Eliane Elias Plays Jobim (a different cd) (Marc Johnson) Eliane Elias - Bossa Nova Stories (March Johnson ---- p.s. Johnson is Eliane's husband) To Jobim with Love by Toninho Horta also, look for stuff by Dori Caymmi, Joao Bosco, Marissa Monte, Joyce, Maria Bethania, Caetano Veoloso, Gilberto Gil (his Acoustico dvd is great), Djavan - one of the great bossa bass players is a guy called Arthur Maia and he has recorded with Jorge Benjor, Gal Costa, Gilberto Gil, Lulu Santos, Caetano Veloso, Roberto Carlos, Martinho da Vila, Djavan, Milton Nascimento, Marisa Monte, Leila Pinheiro and César Camargo Mariano. Its a huge genre and you can spend years exploring its treasures. Its not all root, fifth, root, fifth. Its another 'less is more' genre and playing a great bossa groove is an art form. BUt, when you get it right, its one of those great, great 'pocket' feelings you get as a bass player.

Swapping my tobacco sunburst Ibanez Artist (6 string) guitar for a naff Antoria Acoutsic I still have but never use. Mostly, my regrets revolve around not studying enough and not practising enough and not composing enough. Not being ready for the opportunities I had to play with Iain Ballamy and Stan Sultzman. There is also my 1999 aborted double bass experience that should have turned out differently. I am doing something about that now but do regret the wasted decade of not playing the instrument. Would love to have that back!!

A new one to me. Pianist Eugene Maslov is a fiery player but the record is astonishing. Boris Koslov is the bass player and he is so on the money - I have never heard of him but WOW!!!!!. Think Michel Camilo and Anthony Jackson and then some!! Highly recommended. [url="http://www.amazon.co.uk/Fuse-Lit-Eugene-Maslov/dp/B00006DTZS/ref=sr_1_1?ie=UTF8&s=music&qid=1267183244&sr=1-1"]http://www.amazon.co.uk/Fuse-Lit-Eugene-Ma...3244&sr=1-1[/url]