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Double Bass John Goldsby on Red Mitchell

#102
John Goldsby said:
I think when I wrote the line out originally, I was just assuming the Ab7 as the implied sound going to Gmin7 . . . so writing the notes Ab and Gb made sense to me.

Rather than this:

View attachment 846465

Again, I'm not being feisty, just trying to file this info away in the "best practices" folder in my brain.
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I don't see why this isn't a simple issue of usability. How you write it depends on your intended target audience.

If you write it to be sight-read, like on a lead sheet, you write it in the the simplest form that takes the least amount of mental gymnastics (the first one). OTOH, if you're writing it out to be analyzed (probably when doing a transcription), you may write it in a way to bring out the information you want. I always write in the first manner and let the analysts chase their own tails on their own.
 
#104
John Goldsby said:
Rather than this:

screen-shot-2016-04-16-at-12-37-01-pm-png.png
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What? No G# love?
As you know, in your original chart, there was no Ab7 chord indicated, so I would have used G# - F#, which conveys the #11 to 3rd movement (on the D7), and visually leads or foreshadows the upcoming Gmin7 in the next bar (yes, I would use a "Courtesy Natural" on the G.)
Yes, If the written chord change was Ab7, then Ab - Gb would be my preferred choice, both as a writer and reader.
I'm not being churlish, just inquisitive, (though I can be pedantic, I'm told. Who Knew?)
Thanks.
 
#105
Don Kasper said:
What? No G# love?
As you know, in your original chart, there was no Ab7 chord indicated, so I would have used G# - F#, which conveys the #11 to 3rd movement (on the D7), and visually leads or foreshadows the upcoming Gmin7 in the next bar (yes, I would use a "Courtesy Natural" on the G.)
Yes, If the written chord change was Ab7, then Ab - Gb would be my preferred choice, both as a writer and reader.
I'm not being churlish, just inquisitive, (though I can be pedantic, I'm told. Who Knew?)
Thanks.
Click to expand...

Right...I added the extra chords here, just to stir things up :)

The original is forever archived on the interwebs.
 
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#106
Don Kasper said:
What? No G# love?
As you know, in your original chart, there was no Ab7 chord indicated, so I would have used G# - F#, which conveys the #11 to 3rd movement (on the D7), and visually leads or foreshadows the upcoming Gmin7 in the next bar (yes, I would use a "Courtesy Natural" on the G.)
Yes, If the written chord change was Ab7, then Ab - Gb would be my preferred choice, both as a writer and reader.
I'm not being churlish, just inquisitive, (though I can be pedantic, I'm told. Who Knew?)
Thanks.
Click to expand...

I don't even think of the notation when I play this fingering "trick." I think of the target notes: the G and the C with the second finger and a 1/2 step above and a 1/2 step below with the fourth and the first. Lest I get howls about the word "trick," I say that about any fingering that is moveable all over the finger board. Another is the minor 7 flat 5 to the dominant seventh played on neighboring strings in any position with 4-2-1 4 fingering. These tricks can become crutches if over done
 
#107
gerry grable said:
I don't even think of the notation when I play this fingering "trick." I think of the target notes: the G and the C with the second finger and a 1/2 step above and a 1/2 step below with the fourth and the first. Lest I get howls about the word "trick," I say that about any fingering that is moveable all over the finger board. Another is the minor 7 flat 5 to the dominant seventh played on neighboring strings in any position with 4-2-1 4 fingering. These tricks can become crutches if over done
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Sure - that approach works fine if the G# and F# are both played on the D string.
Thanks, Gerry.
 
#111
Treyzer said:
That is spot on Chris, and quite funny! Lets post a few more Key & Peele. The one that comes to mind is "I looked her right in the optic nerve and I said......."
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All of my favorite bits are uncensored, and I don't think we can post that sort of stuff here, can we?

"Lil Homie" and '"Gremlins 2' Brainstorm" are two of my favorites!

Can't wait for "Keanu"!!!

Joe
 
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#112
SVT4001 said:
All of my favorite bits are uncensored, and I don't think we can post that sort of stuff here, can we?

"Lil Homie" and '"Gremlins 2' Brainstorm" are two of my favorites!

Can't wait for "Keanu"!!!

Joe
Click to expand...

You gotta love Talkbass, because only here can you post a fairly sensible, well done article by a great jazz bassist about an iconic jazz bassist, that travels through several pages, concerning three notes that were played, how and why they were played, what strings were they played on, and what thought process the player was experiencing at said time, and then denigrates into requests for more clips of Key and Peele.

I love you guys, because you almost make me appear normal.
 
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#113
Paul Warburton said:
You gotta love Talkbass, because only here can you post a fairly sensible, well done article by a great jazz bassist about an iconic jazz bassist, that travels through several pages, concerning three notes that were played, how and why they were played, what strings were they played on, and what thought process the player was experiencing at said time, and then denigrates into requests for more clips of Key and Peele.
I love you guys, because you almost make me appear normal.
Click to expand...

Hey, you forgot to include your BJ comment in the derail recap, Sweetie!
 
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#119
John Goldsby said:
Part 2 of my "Play Like Red Mitchell" series is now online at Bass Player.

I transcribed Red's solo (5ths tuning) from this duet with Clarke Terry . . . "Take The A Train." Enjoy!


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Thanks, John.
Another great ability that Red had from the beginning through the end of his life was, in his solos, his habit of breathing or leaving pretty big spaces between his musical statements. You can hear/see it several times in his solo in this clip, where he just stops and lets some time go by before his next idea. Reminds me of my favorite Jim Hall quote: "Don't just do something; stand there."
 
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