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Discussion in 'General Instruction [BG]' started by Mark Wilson, Jan 8, 2010.
Was the other thread getting too long? Is this why you closed it? You're the boss, but I was just wondering.
hey jeff, to me you're a true master of the bass. thanks for the inspiration.
Guess the other thread was getting too long.
Thanks Jeff for clearing up the small matter about the Chord Studies book. There's not many been many instances where I have needed to wonder about the note; usually, as you say, it's easy to work it out from the chord tones, tensions, or it is clearly a passing tone.
Based on this conversation, I just got a copy of Chord Studies. Since I'm working on both my musical knowledge and my reading skills, it's a nice package. Just arrived today, and I just started working on it. Thanks.
They usually lock the thread at 1000 posts and that one went a little over. So they start part two.
I have been transcribing Paul Chambers' bassline on So What, and I was wondering, do you think that, for someone who is a beginning transcriber, I should use a piano or my bass has a reference point? I do not have a very developed ear yet so I kind of need an instrument to be able to check what I'm writing for accuracy (and I check extremely often when I'm transcribing).
I have been using my keyboard as I think that this is a musical activity, not one that is limited to my studies on the electric bass. I figure I can just play the part back by reading the music.
I'm new to transcribing so does this sound right on or no?
I was thinking of posing this same general question - thanks.
I think transcribers of every level use an instrument to check against what was heard. Often that instrument is the voice, singing back what was heard to determine if what was sung sounds like what was heard.
Also as a beginner you may have to listen to things over and over and over to determine what was heard. Transcribing is a tedious process.
Thanks Jeff, i would love nothing more to make the trek from South Africa to do some one on one lessons in Clearwater but it's something that will take a while to accomplish. I studied music at a time when the local university was just developing their jazz curriculum, so the bulk of theory we studied was classically based and i had to study jazz guitar as my instrument because there was no bass teacher available. By the way, as a beginner years ago, it was a copy of your instructional video that somebody lent me that opened my eyes to what could be done on a bass and introduced me to the theoretical aspects that made me more hungry for improvement.
When I transcribe lines, I like to have the bass handy, since that is the instrument I am hoping to play these lines on. May I also suggest you check out Ray Brown on Oscar Pettersons "We get Requests" The bass come through much clearer than on Kind of Blue and may be easier to hear to transcribe. Also, Ray's playing on this album is SO tasty. You'll love it.
just to keep things clean here, when a thread gets to 1,000 posts, we lock it and open up a part two.
Sometimes experience this; other times it's almost as relaxing as meditating. And exciting, knowing that I'll be able to nail a new part. Please don't laugh- I transcribed Barry White's You're My Everything note for note once; played it when the tune was called at a jam I was bass player at, and all were appreciative of the bass clearly defining a tune (and locking up with a savvy drummer) that some onstage didn't really know.
i just watched your online lesson on facebook.
any chance you´ll be doing another one???
If anybody wishes to practice transcription, the best idea is to find two bar melodies, some simple stuff and have someone play them for you to write out. A tape system is a good way to do this, but the music has to be harmonically correct and probably a bit simple to get used to doing this kind of work.
I don't remember doing a lesson for Facebook. Was it a lecture or a proper lesson that I did???
Next time try a Jim Hall solo. Don't transcribe pop music except to imitate what you hear from the players. Transcriptions should enlighten one, to stimulate one's sense of harmony, melody and rhythm. Melodic players do this best for guys who wish to know how they operate at the subconcious level.
I've been meaning to find myself a teacher who could lead me in the right direction regarding jazz harmony. Seeing some of the posts on here yesterday gave me a kick in the pants and I've just spoken to someone at a local university about getting me some names of potential teachers. I was thinking that someone with a background in jazz piano would be good for me (I need music lessons, not bass lessons). Any thoughts, Jeff?
Ok, first stop is Sonny Rollins' The Bridge, unless a better idea is suggested.
this is the one i meant....