No Treble, in case you hadn’t already heard, is an awesome one stop shop for all your bass playing needs, including lessons, news, pro bassist columns and more. They also have a ‘Player Spotlight’ section featuring upcoming bassists, this week I’m proud to say I’m in the spot light! Hit the link below to check out the full article!
I assume most people reading this will already have at least one or two ii V I licks up your sleeve and I’ve just stumbled across a really cool and fairly simple way to extend those to fit other progressions such as a vi ii V I, which is what I’m going to be looking at today!
I’ve just started a Stan Getz transcription of his solo on ‘All The Things You Are’. His opening line pretty much fills the first eight bars but for now I’m just going to look at the first four.
Here we are at the final part of this journey, the final 16 bars! If you’re new here please check out part one, two and three of this mini series. Drawing this solo to a close I feel more like Miles is sneaking quietly out the back door rather than going out with a bang.
Here’s a video of me performing this solo, if you’ve found this useful please ‘Like’ and share my video as it really helps me out!
As I’m sure some of you know by now I am in the process of recording my new EP, there is one track finished although we’re still not finalised on the mix it is available too members of my mailing list! If you’re not signed up already fill in the form below! I’d love to know what you guys think of this track so give me a shout!
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Anyone who follows this blog may have seen my post last month on slowing down the transcription process. As I said, this doesn’t mean an end to transcriptions! Just that I will be trying a more in depth, bite size approach.
I’ve started transcribing one of my favourite solos of all time, Miles Davis on Autumn Leaves from Cannonball Adderley’s album, Somethin’ Else.
Hey guys! Two transcription requests in one week, and two great songs that I haven’t heard before so keep them coming! I thought I would post this one publically too as it’s such a great groove. The song is built around two main bass lines with a few riffs thrown in. It’s got a crazy off beat in the A section though that makes it feel almost like there’s a bar of 3 hiding in there somewhere but it is in 4, Sting just has no respect for bar lines!
Download the transcription below!
I’ve just uploaded 8 full choruses of Paul Chamber’s absolutely killing on this tune! It’s at a pretty rapid 250bpm so you’re going to need to take it slow at first, or at least relatively slow! It’s full of great licks and a lot of cheeky B naturals. He also uses the same lick to open and close most choruses which must be to help give a bit of continuity due to the absolutely rapid tempo of the song.
When I first started transcribing it took me a LONG time to do anything. Even getting half a chorus of a blues walking line down would take me forever. By the time I finished though I pretty much knew the line inside out though and I still can remember these lines now.
I would say that my rate of transcription now isn’t massively fast although I can definitely get the parts onto paper faster, and that is what transcribing is, right?
Well yes and no. The definition is to ‘make a written copy of something verbal’ (or musical). But the reason behind the transcription of jazz tunes isn’t to get the part down on paper, it’s to learn the music. This is something that recently I’ve realised I’ve not been doing as much as I’d hoped, or expected, I would have. Take for example, All The Things You Are, I decided to transcribe part of Paul Chambers playing over this tune a few weeks ago because I didn’t think the way I was playing it was particularly going to set the world on fire and I wanted some pointers from the pros!