I picked up a copy this past Monday night (treble clef) and I'm curious if any of you guys are playing this stuff on DB.
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Double Bass Playing out of the Omnibook
- Thread starter Aaron Saunders
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*shrug* It was there, in the store. I've been waiting for a copy to come in for two years, and ordering it there is a total PITA, so I've just never bothered with that -- and every time it comes in, it's gone half an hour later!
Aside from that, there's also other practical reasons. At the moment, I'm reading a *lot* of treble clef. The only non-method book I have in bass clef that I use is my Mingus More-Than-A-Playalong -- my bass clef reading comes in the form of this and my music for jazz/concert band (including reading those confounded tuba parts.) Every day though, I'm sight-singing in vocals class (getting decent at it! Still don't have a nice voice though :O ) and I'm reading the heads for my audition songs and other tunes from treble-clef leadsheets out of Real Books.
Also, were I to ever lend it to a friend, most people do not play Charlie Parker on bass-clef instruments. And if they do...well, this is a nice workout
.
EDIT: But, mostly just 'cause it was there. So what're you playing out of it, Pete?
Aside from that, there's also other practical reasons. At the moment, I'm reading a *lot* of treble clef. The only non-method book I have in bass clef that I use is my Mingus More-Than-A-Playalong -- my bass clef reading comes in the form of this and my music for jazz/concert band (including reading those confounded tuba parts.) Every day though, I'm sight-singing in vocals class (getting decent at it! Still don't have a nice voice though :O ) and I'm reading the heads for my audition songs and other tunes from treble-clef leadsheets out of Real Books.
Also, were I to ever lend it to a friend, most people do not play Charlie Parker on bass-clef instruments. And if they do...well, this is a nice workout
.EDIT: But, mostly just 'cause it was there. So what're you playing out of it, Pete?
I definetly recomend playing out of it. I'm currently working on Yardbird Suite up an octave (from bass clef written, so it's at pitch). The music is definetly a good workout; it's not completely idiomatic so that's where the challenge really comes in.
Aaron Saunders said:
Dude, you could have ordered it online and had it a year and 51 weeks ago.
But I'm glad you mentioned the book. I own and it this thread has inspired me to crack it back open again.
I was just messin with you Aaron. I think it's good to read out of the treble book. It's good to be familiar with that and tenor clef. I personally have the bass clef version but I read a lot of treble lead sheets too.
I use it for sight reading purposes and also to cop Bird licks. It's pretty tough stuff though, especially now that I use the Velvets and my action is jacked up...
I use it for sight reading purposes and also to cop Bird licks. It's pretty tough stuff though, especially now that I use the Velvets and my action is jacked up...
I bought my brown (bass clef) version nearly 20 years ago and it's showing lots of mileage but it's one of the books I own that stays on my music stand (or close to it). A lot of it lays nice on the DB and I'm having a ball playing some of the stuff arco.
Yeah...but back then, I would've just ripped out the licks and tried to be Jaco, in all likelihooddjcruse said:
.Pete -- how are the Velvets? I'm looking for a change in string away from my Spiros and was thinking Dominants but I'm open to suggestion. After spending four months with my DB, I'm starting to find the Mittels a bit soft
.
I use the bass clef version. Curiously, I find this useful for the oposite reason to Aaron's treble - if it's a written melody or whatever line, I expect it to be treble since that is what is usually plonked in fromt of me so this makesa nice change.
A lot of the stuff requires (ok it depends how you finger it and I admit this is my take) fluid movement within a major thirds vertical movement on any string (which I try to acheive as a single position by pivoting on hte thumb) and often in the top third of hte first octave which makes them awkward but usefully challenging studies for technique, nevermind that they are essential studies from a musical standpoint in their own right.
Some tunes - if not the solos afterwards, fall under the fingers in such a way you can impress your non bass playing freinds with your dexterity such as Anthropology and Yardbird Suite and it's quite a philip to rattle these off sometimes.
However, I defer to the expertise of Mr Coco.
A lot of the stuff requires (ok it depends how you finger it and I admit this is my take) fluid movement within a major thirds vertical movement on any string (which I try to acheive as a single position by pivoting on hte thumb) and often in the top third of hte first octave which makes them awkward but usefully challenging studies for technique, nevermind that they are essential studies from a musical standpoint in their own right.
Some tunes - if not the solos afterwards, fall under the fingers in such a way you can impress your non bass playing freinds with your dexterity such as Anthropology and Yardbird Suite and it's quite a philip to rattle these off sometimes.
However, I defer to the expertise of Mr Coco.
Jazz trumpet player and educator Hugh Ragin from Denver tells his students -- if they want to learn Bebop -- to read the Omnibook like the newspaper!
Dude - I LOVE them. They sound great on my Kay, they record very well, and feel sooooo good. I've had them now for a few months and I'm not gonna change them anytime soon.Aaron Saunders said:
Also, after you get used to the heavier strings and looser tension playing with spiros just feels weird.
I'm gonna put up some sound clips soon for you to check out.
That's a very loose use of the word expert....Mike Crumpton said:
