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What am I missing in this measure?
- Thread starter LBS-bass
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It's just a new chord after Cmin and there is no root of G7(b9) visible/heard.
The bass does not play any root of that chord, as in "support the harmony."
What if somebody says, "Hey, your bass-line does not support the harmony."
How would you argue that it's OK not to play the root when the harmony changes constantly?
That is PC's SOLO, not his walking bassline in support of the Harmony...
(The Root is the most boring note in a solo...that's why many bass solos suck.IMFO.)
Yes???
If I could like this more than once, I would.
Groove Master
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- Apr 22, 2011
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Wow, can someone please identify the recording? I was pondering the dance around each unplayed root in those last three bars, and wondering if this might be solo line... EDIT: OK, the last note of bar 4 is a G, but the line is implying the same C minor from the previous bar...
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Groove Master
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Those double flats are actually the proper way to write a flatten note going down and flatten again. It also helps ambiguity when resolving over the bar if a natural alteration is used instead at the end of the previous bar going to a flatten note within the key signature.While we in the Paul Chambers Bass "Chamber", let's look at the following notation of PC's, "I could write a book."
What is the foundation of the Double Flat notation?
View attachment 5124790
Or this one?
View attachment 5124795
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drumvsbass
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This is one of those times where there is a good argument for naming all the notes A-L and calling it a day. The fact that C# and Db are the same and different... (or in this case, someone doing the transcription maybe didn't have a natural sign in their font catalog to express E natural? The line is easily deducible but transcribed utterly wrong.) This causes so much confusion for some people, and is in the large picture of things completely irrelevant for most situations. Or maybe I have been doing it so long that the obvious to me isn't to every one else.
That's why as a bass teacher I've never written lessons with armatures to jazz beginners, it can confuse them. The key here is to indeed trust your ears and knowledge of jazz. The amount of alteration and natural signs can really be confusing at the beginning of the jazz journey, he might be a good teacher, I still question his pedagogy skills. Sometimes it's better to adapt to your students first, and then gradually bring more signs as they feel more confident with sight reading.
Fun fact: he's written a natural for B at the end of the first measure... go figure...
Fun fact: he's written a natural for B at the end of the first measure... go figure...
Well, "he" hasn't written anything here because those following along at home should know by now that this is a transcription from an instructional book.That's why as a bass teacher I've never written lessons with armatures to jazz beginners, it can confuse them. The key here is to indeed trust your ears and knowledge of jazz. The amount of alteration and natural signs can really be confusing at the beginning of the jazz journey, he might be a good teacher, I still question his pedagogy skills. Sometimes it's better to adapt to your students first, and then gradually bring more signs as they feel more confident with sight reading.
Fun fact: he's written a natural for B at the end of the first measure... go figure...
As far as accidentals being confusing, I am thanking my lucky stars that I found a teacher who is willing to meet me where I am and not dumb it down to somnolence level or teach rote lessons to someone with 40+ years of practical experience. It's a pretty thin line someone has to walk in order to get my money on this, because most teachers won't bother to evaluate someone with a combination of practical experience and slightly atrophied reading skills. My reading skills aren't so bad that I need to start with Mary Had a Little Lamb. They're actually not bad at all considering that in 40+ years I've really never needed them.
At any rate, he wouldn't have or keep my business if he were starting me like you suggest. He asked me about my reading skill, and I told him I can read pretty well but very laboriously. I was quite happy that he brought out a first lesson that wasn't oversimplified.
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Maybe, but you're confused still... a teacher that would leave me with confusion would not see me the next lesson.
Did you not notice what I was confused about? I read that problem as well as anyone in this room. After staring at it for ten minutes I thought it'd be a good idea to make sure I wasn't misunderstanding anything.
There's a difference between making sure you understand something and being seriously thrown by it.
I guess I should understand by now that the TalkBass default is to assume people are complete idiots. I should probably try it myself; it'd save me the trouble of replying to a lot of stuff like this.
As for the guy who suggested I should feel very comfortable asking questions in this forum, now you know why I won't make this mistake again.
If anyone would care to offer some actual constructive assistance as I need it behind the scenes, I'd be happy if you drop me a quick line. I am sure I'll need some advice as I move through this course of study but this place is not a resource I'm interested in continuing to pursue.
Asking mods to close the thread.
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That upsets me because I think questions like yours offer some of the most interesting discussions on TB! In any online space, there will always be people taking extreme viewpoints and making wild assumptions. Maybe you could unwatch threads after you get what you want from it? I understand not wanting to deal with it all, though. Best of luck.
Thanks. I know how it goes here - and I really thought this was a very simple question that should result in "yes you are seeing what you think you are seeing" or "no, it's not quite that simple, and here's why." That's really all I was looking for, but there was some good discussion too.
Those folks making it personal by attacking my decision making are really not welcome to do that, however, and that's where I have a problem because it's hard to sit here and have one's integrity and intelligence questioned by people who have zero information about me, my musical background, or my choices and how they were made.
It is not easy to go back to humbling oneself with lessons after 40+ years of playing in all sorts of bands, and it's not easy to find a teacher who is able to meet you where you are in that situation - and willing to do so. I am only doing this now because I was lucky enough to find this, and I'm pretty ecstatic about getting back into lessons and being challenged to work with music and work with this instrument in a way that is new to me.
I need this because I am at the limit of what I can self-teach, and I am bored senseless with all the musical things I do. This is as much for revitalizing my love for the instrument as it is for anything else.
But y'all would like to tear that down and convince me to stop. That's all I'm hearing from some people in this thread. Because of ONE NOTE I should toss it all away and forget everything I have worked hard to find. Y'all are crazy if you think I'm actually here looking for that sort of BS advice.
Nobody has a right to force me to divulge more information than I'm comfortable with in order to prove myself or my worthiness to make decisions about how to educate myself, yet every question demands that I need to say a little bit more that's identifying in order to get a bunch of internet yahoos off my back. No thanks. This was never about that, it was a simple question with a simple answer that should have never been personal. Nobody asked you for your opinion on that.
If y'all knew the actual situation here you'd be embarrassed and ashamed of yourselves.
That is my shortcoming, for sure - feeling a need to clarify, as if it matters. Unwatching the thread is a good idea.
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It’s a mistake. The note with the sharp isn’t supposed to have one, and is supposed to be on the space above it…and the note after it is supposed to have a natural in front of it. Classic 1-3-4-b5-5 walk.
I finally pulled down a bass and played that bar (OP #1). It is true that I lacked the context of hearing the entire composition. The 1-3-4-b5-5 cited in #118 above works. But so does 1-3-4-4-5. It's just that that sharp does not belong there before that D note. Period.
What is being debated here is not @LBS-bass 's reading skills nor her instructor's competence. It is whether an accidental should appear before that D note. Consensus is it does not. But its presence may be intentional, a deliberate flub created by the instructor to see if s/he gets called out on it. Maybe what is being tested, if anything, is LBS's attention to detail.
What is being debated here is not @LBS-bass 's reading skills nor her instructor's competence. It is whether an accidental should appear before that D note. Consensus is it does not. But its presence may be intentional, a deliberate flub created by the instructor to see if s/he gets called out on it. Maybe what is being tested, if anything, is LBS's attention to detail.
This is my thought. Looking at the rest of the piece, there are a lot of slightly unorthodox turns (to my ear) and it wouldn't be out of the realm of possibility for him to have skipped doing the rote chromatic walkup there in favor of something a little less predictable. But I wasn't even going to say this, because everyone wants it to be a mistake, and it's quite possible that it is a mistake. Thanks for standing in my corner here.
The bottom line is that we don't know what he really played because I can't find the recording to verify, and I don't really want to end up learning this line by ear - which is what will happen if I listen to the record. So...
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