Connecting the chords

[contraman]

Originally posted by Don Higdon
So Ray is at the turnaround, and the key is C; Ray plays what?

eg: How High The Moon Solo key of C. Album: OPT@ stratford shakespereian festival.
quoted from Bass Player.

"On bar 15, Ray play's one of his trademark 2 octave, arpeggiated runs up the bass. He uses the open G on the & of beat 2 and a G harmonic on the end of beat 4."

I maybe wrong on the "inversion" theory. To me though it sounded like an inversion because beat 1 is a D with the & of beat 1 as a B natural the 2 & is C E & G eight note triplet. 3 & 4 & is B,D,E,G(harmonic tone) over Am7. The next note is a B on the & of the first beat.

Another example of this is "have you met miss jones" of the album " We Get Requests(In a different key and sounding similar).

I'm sure you will advise me if I have made a mistake. In fact, I would apprieciate it.

Bruce I hope I'm becoming more articulate and "Cohearent" if that is the right word.

[Don Higdon]

Originally posted by contraman
.C'mon man! make up your mind. Fact is most Bass players have signature licks they fall back on. eg Ray brown and his two octave third inversion arpeggio. how many times did he do that on a turnaround . That's something we all recognise.

Addressing this and your response to my question immediately above on this page:
The performance you cite is in G, not C. Ray's run is not "his two octave third inversion arpeggio." Your D is not the 7th (third inversion connotes a 4 note chord, the 4th note usually being the 7th note of the scale from which the chord is spelled). Try this: Ray plays a D on beat 1 (and 3-and) of the bar, and lo and behold, so does the melody of How High the Moon. Duh. It's a C chord with two passing tones, a IV on the way to a V7, or the relative minor of the IV, an Am11 with the root implied. Who cares?
The other example (Miss Jones) you give to support your borrowed claim is a descending run, not ascending. Your idea of what constitutes a "signature lick" is too loose to have credence, even if to you it "sounds similar."
Under questioning, you moved from your (prior page) condescending response to Bruce, a working bassist, to quoting from a magazine that doesn't say quite the same thing as you did, side-stepping your own little flourish ("how many times did he do that on a turnaround" - as if your rhetorical question observed some self-evident truth that he and I were missing), for what purpose I don't know beyond trying to appear breezy and hip.

[contraman]

Originally posted by Don Higdon
Addressing this and your response to my question immediately above on this page:
The performance you cite is in G, not C. Ray's run is not "his two octave third inversion arpeggio." Your D is not the 7th (third inversion connotes a 4 note chord, the 4th note usually being the 7th note of the scale from which the chord is spelled). Try this: Ray plays a D on beat 1 (and 3-and) of the bar, and lo and behold, so does the melody of How High the Moon. Duh. It's a C chord with two passing tones, a IV on the way to a V7, or the relative minor of the IV, an Am11 with the root implied. Who cares?
The other example (Miss Jones) you give to support your borrowed claim is a descending run, not ascending. Your idea of what constitutes a "signature lick" is too loose to have credence, even if to you it "sounds similar."
Under questioning, you moved from your (prior page) condescending response to Bruce, a working bassist, to quoting from a magazine that doesn't say quite the same thing as you did, side-stepping your own little flourish ("how many times did he do that on a turnaround" - as if your rhetorical question observed some self-evident truth that he and I were missing), for what purpose I don't know beyond trying to appear breezy and hip.

Thanks for your help! Did not mean to get anyones nose out of joint.

[Howard K]

Crikey! ...and I thought it was tense in EB!!!

So, Bruce are you working, like getting paid more than a nominal amount then?
I got a paid a few months back - two beers, a burger and £30 for a blues rock gig... but I'm still out of pocket as a bassist

Back to the start: CF said

I recommend this kind of "pitch flow chart" kind of approach all the time as a way to rid your lines of ROOTJUMPING. There's a whole theory behind it which is kind of interesting if anyone has eyes for that kind of thing.

Well, I feel my lines could often be decribed as rootjumping - and probably in a rather in a clumsy way - so when you do post on this theory I'd be intersted to hear it too... even if it is a bit too advanced at my stage of the game

Personally, I find a smoother sounding line can often be created by playing through the chords horizontally rather than vertically - but then I am playing real basic stuff, at a basic level - so I guess it's much easier at this stage?

Also, with new material, I frequently sit down and write out every chord, the look at the notes in each chord (I have to do this on paper as I cant do it in my head, yet), but this way I find all those nice semi-tone changes between chord tones - and shared chord tones, and that often helps create a smoother, more flowing line.

Heck I dunno!?!

Interested anyway, bring it on...

[Bruce Lindfield]

Originally posted by Howard K
So, Bruce are you working, like getting paid more than a nominal amount then?
I got a paid a few months back - two beers, a burger and £30 for a blues rock gig... but I'm still out of pocket as a bassist

Eh?

The large latin band charges between £700 and £1500 for a gig - but there's a lot of us!!

[contraman]

Originally posted by Don Higdon
Addressing this and your response to my question immediately above on this page:
The performance you cite is in G, not C. Ray's run is not "his two octave third inversion arpeggio." Your D is not the 7th (third inversion connotes a 4 note chord, the 4th note usually being the 7th note of the scale from which the chord is spelled).

At the time I was thinking the D was leading into the B which is the 7th of C. I could hear an inversion there!

Try this: Ray plays a D on beat 1 (and 3-and) of the bar, and lo and behold, so does the melody of How High the Moon. Duh. It's a C chord with two passing tones, a IV on the way to a V7, or the relative minor of the IV, an Am11 with the root implied.

Who cares?

I think we all care. Or is that a rhetorical question!

The other example (Miss Jones) you give to support your borrowed claim is a descending run, not ascending.

I used the wrong word I meant acscending wich it is!

Your idea of what constitutes a "signature lick" is too loose to have credence, even if to you it "sounds similar."

It really depends if you are looking at the differences or similarities
You can't deny when you hear that you can't say "That dosen't sound like Ray!".

moved from your (prior page) condescending response to Bruce, a working bassist, to quoting from a magazine that doesn't say quite the same thing as you did, side-stepping your own little flourish ("how many times did he do that on a turnaround" - as if your rhetorical question observed some self-evident truth that he and I were missing)

When Bruce made a general comment about repeating licks and getting stuck in a rut I was merely trying to illustrate that even the best Bass players have licks they used to define their playing style.

It seems like a natural reaction when one's ego takes a battering. I took what bruce said personally. My perception was that Bruce seemed to want shoot everything down I had said. You are right about me not saying the same thing as the magazine. I was trying articulate what I heard.
Failing to acknowledge anything I had to say that had credence seemed a little harsh. I'm not trying make any enemies here.

what purpose I don't know beyond trying to appear breezy and hip. [/b]

It appears you don't have all the answers!

[Howard K]

The large latin band charges between £700 and £1500 for a gig - but there's a lot of us!!

Yeah, I kinda meant, has your situation changed - from being a part-time bassist and full-time marketeer to vice versa, innit nevermind, jus messing aboot

[Bruce Lindfield]

Originally posted by Howard K
Yeah, I kinda meant, has your situation changed - from being a part-time bassist and full-time marketeer to vice versa, innit nevermind, jus messing aboot

Ah - I see now - it was Don's phrase "A Working Bassist"....

Yes - that is entirely accurate - I work and I am a bassist!

But as you are no doubt implying - my day job pays far more than I could ever hope to make from playing Latin Jazz!!

[Howard K]

Yes, a bassist that works properly.. as opposed to a broken one