I’ve made it to the end of the first repeat of the A section! While this doesn’t sound like much, if you’ve been following this series with me then you’ll know what a challenging piece to play this is. This series of posts is taking a lot longer than I’d anticipated to produce so apologies for the delay, the reason being that I really feel that I need to be up to speed playing wise and also internalising the music before I keep ploughing on through transcriptions so I’ve taken a bit of a breather to try and get to grips with the first 16 bars.
Let’s take a look at the phrase that finishes this section off, a harmonic analysis of the chords would look like this;
One of the first areas of study I look at with a new student is how to play over a 12 bar blues. Using a simple I IV V progression and just one chord type it’s a great way to start learning and using some basic theory for students who are new to it. (If you need help with your theory, I am currently working on a new ebook – an introduction to theory for bassists which will be available soon!)
If you missed the first phrase from this solo you can catch up here. If not, let’s get stuck in!
Harmonically, this sequence starts on the bVII7 chord (Ab7) in the key of Bb, moves to the I chord for two measures, ending on C7, bringing us into the key of F. In Roman numerals you could think of it as | bVII7 | bVII7 | I | I | V of V |
I’ve put it off for long enough, it’s time to transcribe some Charlie Parker! I’ve decided to go for Cherokee and even though I’m only a few bars in, let me tell you… It’s going to be an epic task!
This solo is such a massive and daunting project that I’m going to break it down into bite size chunks to upload as and when I get through them. The plan is to make a comprehensive guide of how to, analysis, dots, TAB, backing tracks, the lot!
Welcome to the first transcription of 2015! I have been working a lot on ‘Alone Together’ so as per usual I wanted to transcribe some parts for this tune. Being a big Mingus fan and a big Miles fan I thought the version from ‘Blue Moods’ would be a perfect fit.
After working my way through a full chorus something didn’t look right, then I remembered reading in Mingus: A Critical Biography, that it was Mingus who had contributed the arrangement for this session. In typical Mingus fashion the song is reharmonised to within an inch of it’s life!
I have done my best to identify the chords used in the transcription but there may be some errors, anyone who finds any discrepancies please let me know in the comments below so I can amend the file!
Hey bass fans! This week’s post is a list of five essential things that I think all bassists should know. The best thing about these five points is that none of them involve knowing super advanced theory or being able to play sixteenths at 250bpm. Let’s get started with number one…
Welcome to another awesome transcription! This one is by Stanley Turrentine who is a guy I definitely don’t listen to as much as I should. The tune I picked is ‘What The World Needs Now’ written by Burt Bacharach. I play an arrangement of this song with my jazz trio, Minor Third so when I found this version I had to transcribe the solo! Take a listen to me playing over the solo in the video below and then read on to find out exactly what’s going on!
Welcome to Part 2 of How To Survive A Jam Session! If you missed the first instalment you can catch up here. If you did read part one then you’ve hopefully been to check out your local jam session and tried to address some of the issues I mentioned last month. It would be really great if we could all contribute to the list of tunes being called on jam sessions! Especially to see if different cities/countries are using a similar list of tunes or not. If you can throw a tune into the list please comment below and hopefully by the end of this series we will have a fairly comprehensive list of tunes!
If you read my post last week on how to survive a jam night, you’ll know that there was a lot of tunes getting called which I didn’t know. On Green Dolphin Street was one of them so this was my next choice for a walking bass line to transcribe. I searched through as many different versions of the song I could find and this version by the Oscar Peterson Trio is the most swinging version by far! Check out the song below and then read on to see what the mighty Ray Brown was getting up to.