Roy Vogt's Bass Ed Think Tank

[Jim Campbell]

if you mean the oscar peterson album by that name you won't be disappointed

that's how i started decades ago.....reading those liner notes has cost me more money than even my exes......who played on a fine album is usually a good clue which direction(s) to go....miles-paul chambers-coltrane-etc,or miles-bill evans-scott lafaro.....

 

[Eminentbass]

I am not sure what Roy will say, but I would say that is an intermediate step in learning to read well, and is probably unavoidable. The problem here is that when you see an unfamiliar pattern, you will struggle to play it. Ideally, you can read difficult parts, without looking at your hands at all.
I think that you will grow out of the pattern thing in time. I am not sure though. I have been reading music for 20 years, have a degree in classical studies, and find that I can read most things well, except for syncopated rhythm patterns. Roy had me get the Standing in the Shadows of Motown book, which has done wonders for my rhythmic reading skills. This had the added benefit of exposing me to the wonder that was James Jamerson of which I was mostly ingnorant, prior to.

I am now learning to read something new, and I think I am also seeing it as patterns like you are Eminent, but I hope to grow out of that soon!

I've just ordered the Motown book. I'm filling in on a single performance of "The Producers" on friday night and only got my music four days ago. I've been attending rehearsals and the first two performances with my bass pod and in-ears setup so I can play along unheard given the lack of rehearsal time.

The music is pretty straightforward rhythmically but changes key every 8 bars and all key signitures get covered at some point which is how I noticed the use of reading intervals. The thing that's keeping me on my toes as well is the fact that a lot of it is in really fast cut time. No amount of homework could prepare me for working in the pit with a conductor though, especially with the amount of pauses and atempo fluctuations linked to the dialogue.

 

[engedi1]

I've just ordered the Motown book. I'm filling in on a single performance of "The Producers" on friday night and only got my music four days ago. I've been attending rehearsals and the first two performances with my bass pod and in-ears setup so I can play along unheard given the lack of rehearsal time.

The music is pretty straightforward rhythmically but changes key every 8 bars and all key signitures get covered at some point which is how I noticed the use of reading intervals. The thing that's keeping me on my toes as well is the fact that a lot of it is in really fast cut time. No amount of homework could prepare me for working in the pit with a conductor though, especially with the amount of pauses and atempo fluctuations linked to the dialogue.

Good luck! Pit work can be crazy hard, especially if you aren't used to watching a conductor, while reading music, counting rests, watching for cues, listening to the drummer and the other musicians... I haven't done pit work in ages, and nashville is just not the town for it. I am jealous of your gig!

You will love the Motown book. Let us all know how you have been getting along with "How Long has that evening Train been Gone" Truly a ridiculous bass part that only Jamerson could write and pull off. I have been practicing that one for some time now, and still can't read through it perfectly! Possible the most syncopated bass part I have ever heard.

 

[rickl289]

that's how i started decades ago.....reading those liner notes has cost me more money than even my exes......who played on a fine album is usually a good clue which direction(s) to go....miles-paul chambers-coltrane-etc,or miles-bill evans-scott lafaro.....

Just start with a Jazz Messenger's album and go! I'd guess over half of my collection played in the Art Blakey School of Hard Bop! The other half is Miles/Coltrane (with some Chet/Getz/Pepper/... west coast stuff).

BTW, I met Ray Brown once at a jazz club. Great guy.

 

[Eminentbass]

Good luck! Pit work can be crazy hard, especially if you aren't used to watching a conductor, while reading music, counting rests, watching for cues, listening to the drummer and the other musicians... I haven't done pit work in ages, and nashville is just not the town for it. I am jealous of your gig!

You will love the Motown book. Let us all know how you have been getting along with "How Long has that evening Train been Gone" Truly a ridiculous bass part that only Jamerson could write and pull off. I have been practicing that one for some time now, and still can't read through it perfectly! Possible the most syncopated bass part I have ever heard.

Thank you, it's an eye opening experience which is stretching me. On the subject of syncopation, I used to have Rocco Prestia's instructional video. The book that came with that was a challenge even though I was just trying to learn the lines and not trying learn to read them at tempo at that stage. Even the straight 16ths become syncopated because of all the ghost notes that he plays.

 

[Roy Vogt]

I'm finally getting enough time to reopen this. I'll change status on here so I can post more pdfs and we'll get crankin' again....

 

[Commreman]

It's good to have you back, Roy. Thank God you came through the flooding down there OK! With JB on perma ban status, we need you here!

 

[sploot]

It's good to have you back, Roy. Thank God you came through the flooding down there OK! With JB on perma ban status, we need you here!

+1

 

[engedi1]

amen brother! Glad to hear you are alright. Can't wait to get the dialogue going on again.

 

[chadhargis]

Did you get flooded Roy?

I got 5 feet in the bottom on my house and garage. Saved the bass and amp though.

 

[JimmyM]

hey roy, great to see you again!

 

[Eminentbass]

Hey engedi, I've just picked up my Shadows of Motown from the post office I can't wait to get through my band practice to get stuck into it tonight.

Hey Roy, glad to see you're back and that the flood didn't affect you too badly.

 

[Roy Vogt]

Thanks, guys. We had some driveway damage and I'm doing battle with foundation leaks in my garage and basement but nothing material or musical was damaged. I was lucky-I just loaned one of my 5 strings to a friend who lost 2 fine electrics (Pedulla and Music Man Stingray 5s) and 2 uprights (thankfully both of those can be restored it looks like-they're carved and a ply bass would be totally trashed).
Stay tuned....

 

[Ewo]

Out my way, we know the origin of the "God willing and the creek don't rise" saying--and in a prior life, on the NJ coast, we knew about hurricanes and nor'easters--but I've never experienced anything like what hit Nashiville.

Just wanted to add my best wishes to you, Roy, and all the other TBers affected by the flooding.

 

[Roy Vogt]

Consider this the "bump" to wake this thread up.....
I'm changing over to "supporting" status this week so I can post pdf files, etc.
In the meantime, here's some links to some of my educational and informational materials:
[Invalid or Expired Link Removed]
Link Removed
Hope to talk to some of you soon!

 

[chadhargis]

Yeah! Roy is reviving the thread.

Funny how things work...Roy teaches my teacher, so in a way, he's my "grandteacher". LOL!

 

[bottomzone]

Glad you're back, Roy! I totally forgot about this thread!!!

A Groove is a Terrible Thing to Waste!

 

[basvox]

hi Roy, maybe a bit out of line, but do you know effects that work well for electric cello? I'm trying to get some Hendix sounds of that beautiful bass clef instrument.

 

[GastonD]

Well, since we're digging this one out, I was wondering if those lessons that were once available at Eden's site will be offered at some other outlet?