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Double Bass Ron Carter's Line over F Blues Transcribed

#103
They start at about quarter = 154+ and end at about quarter = 142-. I think Jamey put out a new version of that playalong where the tempos are slower, and also where the fluctuations in tempo are ironed out. (Miracles of digital technology).

When I did the book way back when, I don't think I put in metronome markings, since it was a companion book to the playalong album — you put on the album, heard the tempo, and played along with it...

But, you're right, jloehrke. For transcriptions, it's always better to have more information, especially regarding tempo and feel.

I always put in mm for the transcriptions I did for the Jazz Bass Book, the Jazz Bowing Techniques book, and the ones I do for Bass Player Magazine. It makes sense that if someone is going to play something from notation, the notation should have the tempo and feel.
 
#105
Hector Wolff said:
In measure 27 - I am curious why, if you're going to reference the C as being the 5th of F7, are you then refering to the D in the same measure (a whole step up) as the 13th. Yes D would be the 13th of an F an octave lower - but in this context I would assume you would call it the 6th.
Click to expand...

Hey Hector, I don't really hear that D as a 13 or a 6. I hear it as a passing tone to the C in the next measure. Consider its on beat 4 and moving to the 5th of C7, good voice leading. Thats the way I hear it.
www.basslessonslosangeles.com
 
#107
I don't have the PDF, but the whole line is transcribed in this Abersold book, along with Mr. Carter's lines for a bunch of other Bird tunes:

https://www.amazon.com/Ron-Carter-Bass-Lines-Transcribed/dp/1562241001

$17 bucks. There are even some used copies for $8.

I could snap a couple pics with my phone and PM it over if you don't want to spring for the book?
 
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#108
I picked up Ron Carter's book "Chartography" recently — highly recommended. The price is a bit steep, but the quality of the transcriptions by Dave Baron and Boots Maleson is very high and in great depth with regard to articulations. The whole book is 5 versions (4 or 5 choruses each) of Mr. Carter's bass lines on Autumn Leaves from various recordings from the '60s — "Live at the Plugged Nickel," "Miles in Berlin," etc. It's an in-depth look at what was played on one tune over the course of several different performances — no more, no less. I dare to say that even @Don Kasper might approve. (Although there are no tempo indications or metronome markings :)

It seems like the transcribers made an effort to put in a precise description of the implied chord changes, instead of just using generic "playalong changes" like we used way back when in the Aebersold book.
 
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#110
John Goldsby said:
It seems like the transcribers made an effort to put in a precise description of the implied chord changes, instead of just using generic "playalong changes" like we used way back when in the Aebersold book.
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This Chartography transcription looks interesting and amazing. One of the most frustrating things (for me) as a novice jazz bassist is when I don't understand what's happening in one of my own transcriptions. I can tell the bassist is doing something interesting that deviates from the standard changes, but I don't have enough harmonic knowledge to understand why he/she chose those notes at that time.

I constantly hear that Ron Carter's harmonic choices and reharmonizations are one of his superpowers, but my brain can't grock what he's doing 60% of the time. This kind of transcription could be a foothold! Thanks for this!

(And thanks Mr. Goldsby for all the other amazing learning material you've produced!)
 
#111
I
John Goldsby said:
I picked up Ron Carter's book "Chartography" recently — highly recommended. The price is a bit steep, but the quality of the transcriptions by Dave Baron and Boots Maleson is very high and in great depth with regard to articulations. The whole book is 5 versions (4 or 5 choruses each) of Mr. Carter's bass lines on Autumn Leaves from various recordings from the '60s — "Live at the Plugged Nickel," "Miles in Berlin," etc. It's an in-depth look at what was played on one tune over the course of several different performances — no more, no less. I dare to say that even @Don Kasper might approve. (Although there are no tempo indications or metronome markings :)

It seems like the transcribers made an effort to put in a precise description of the implied chord changes, instead of just using generic "playalong changes" like we used way back when in the Aebersold book.
Click to expand...
I agree and posted a review with a few more details and comments in the "music" thread a while back if anyone is thinking of buying this.
 

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