Sure. How about walking on Someday My Prince in 3/4. And if you feel like putting in a chorus of solo (optional) I;d like to hear this as well. I would forgo the rock as for me, the jazz defines one's musical abilities more clearly.
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Jeff Berlin says = Question Everything that Bass Players Teach You. Question me, too!
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Great thoughts. I quoted this part of your post as it seemed pertinent to common on.
To begin, everyone is a bad reader until they learn how to read. This is one point that indicates how we all share the same needs and hence, the same need for the same solutions.
Typing on an instrument (I assume means playing specific notes on the neck) and not hearing what they are playing is everyone's common root problem with bass playing because everyone, without exception, has to learn how to hear what they are playing. This is another example that we aren't different, but all need the same root solutions for our common root problems.
And I do agree that if someone reads well but can't pay certain aspects of harmony, then logic dictates that this student need to be taught differently than someone else. But, realize that any capable teacher could figure this out in a second and do. My problem is the assumption that because we are different, we need to be taught differently. But because we all share the exact same needs as bass players which is to play notes correctly, this philosophy (outside of simple individual adjustments that any qualified music teach can do in a moment) simply is a myth.
Don’t get me wrong, I’m still exploring the options on a four string fretted bass more than anything, but I’m not really interested in halftone vs quartertone. Which is more prudent or any comparison of the two is irrelevant to me. I’ve had a few friends show me a few things (more tricks than knowledge) when I used to play more fretless but I never understood the theory behind any of it. Long story short, I was wondering, I thought somebody might have some knowledge and I was helped. Thanks agian Alper.
pardon me, but Jeff Berlin's portion of the forum is part of the bass guitar forum. Isn't a quarter tone question best asked in the double bass forum, where fretless can obtain the notes you are talking about.
I hope Jeff answers you.
Given that most western orchestras can't play quarter tone music, and the majority of basses can't be used, nice question from under the bridge.
One can easily bend a string to get a quarter tone, but I get what you're saying. No one (in my 29 years of playing bass) has ever asked me to do that.
do you play fretless? If so, then you are missing out on quarter tones, else don't worry about it.
By changing your tuning, it is possible to play some of the modes (makams); it does not have to be based on the tuning in fourths. Please note, though, guitar and consecutively bass guitar were designed around some ergonomics (and hence the tuning in fourths and one major third tuning for guitar). Accordingly, tuning the instrument just for a specific mode would really kill the practicality of the instrument using the classical-guitar driven left hand technique. Therefore, playing such music on a fretless is much more practical.
The mere fact that we might be playing a fretted instrument based on half notes and tuning in fourths does not change the method of teaching music with microtones, though. In my opinion, the approach should be still similar; yet ear training definitely takes a different toll than our 12-note system!
IMO and IME...
The mere fact that we might be playing a fretted instrument based on half notes and tuning in fourths does not change the method of teaching music with microtones, though. In my opinion, the approach should be still similar; yet ear training definitely takes a different toll than our 12-note system!
IMO and IME...
Actually it was Anthony Wellington who explained to Vic it is 30 scales, Vic was relaying a story. Peace !
It would be good for you to notice that a lot of people regarded that story as academically trustworthy. Teachers are responsible for what they share with people no matter where the lessons originate from. Me, as well!
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If I open Sibelius or go to Noteflight online, I can choose 30 key signatures for a given piece of music.
Two with no sharps or flats.
7 major sharp keys.
7 major flat keys.
7 minor sharp keys.
7 minor flat keys.
Should bass players not use notation software? Rather, if a bass player is a musician who has a piece of music shared with him in one of these keys be ignorant of them?
I think this is the best explanation of it that I've seen so far:
Keys in Music | Harmony | StudyBass
For those who don't want to click the link, Andrew Pouska says because there are 12 major scales, there are 12 major keys. Likewise, there are 12 minor scales and, therefore, 12 minor keys. So there are 24 keys all together.
Three of the major keys can be named 2 different ways – one way with sharp note names, and the other way with flat note names. This results in 15 different major key spellings.
As an example, the keys of Gb major and F# major contain the exact same notes. The former is spelled using flat note names (Gb, Ab, Bb, Cb, Db, Eb, and F), while the latter is spelled with equivalent sharp note names (F#, G#, A#, B, C#, D#, and E#). There will be times when choosing one spelling over another is preferable. (More on that later.)
In the same way, there are 15 different minor key spellings.
In total, there are 24 keys and 30 ways to spell them. In the next few lessons covering the circle of 5ths, I will show you how you can start memorizing all 30 key spellings. It sounds far scarier than it is, but it will take some effort.
Second paragraph, word notes if you change the that word to pitch, then I will agree. To me, the word enharmonic tells me that Gb and F# are not the same keys.
Since the concept of modes precedes the western music's sharps and flats, it is my opinion that there are 35 keys. (The additional modes of C) While it is convenient to include modal changes to the keys with sharps and flats, I do not hold to the idea that these are variations should be called keys. If a genre like jazz chooses to mix modes and keys, and calls out a mode/key, so be it. Each specialty delevops it own lexicon.
With this thought in mind, the jazz use of modal key, then validates the use of NNS, chords or tabs. After all, staff, NNS tabs and chords are methods of communication
IMO, the staff system, as developed by the Italians provides superior information when compared to NNS or tab. I liken the the argument that we should use only C language and it's modifications to using assembler or APL.
Any thoughts pro or con?
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WOW! Jallenbass is going to get a free bass lesson from Jeff Berlin. drool
P.S. Is it in 3/4?
P.S.2. I would have used a metronome to record that clip but it has nothing to do with the Metronome discussion.
I love reading all those very smart comments. I wish I knew about 30 different keys many decades ago - who knows maybe I could have been a musician. I was just stupidly staring at that Circle.
Just a question for highly educated TB members about transposing into a new key.
From here about Musical Key Characteristics.
Musical Key Characteristics
"One of the most influential descriptions of characteristics shared in German-speaking cultures in the late 18th and early 19th century was from from Christian Schubart's Ideen zu einer Aesthetik der Tonkunst (1806)."
Let's say, we have a song in G major, which has the following characteristics,
"G Major
Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key,"
and we decide to transpose that song into a new key - Ab major, with the following characteristics,
"A♭ Major
Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius."
Would you do it?
First of all I am not one of the highly educated TBers, not music wise any ways. Otherways are also highly questionable.
Now I know that Death Metal has its preferred key. This post also explains why a lot of the funeral music I play is in the key of Ab. Now to the question, should it be done? Yes, since it's a half a step higher, You might invoke comments, why did they the music a half step sharp? That is, change the key to envoke emotions
As your link indicates, key selection asks for an emotional response. To me playing at the status quo, means you should have hired a tribute band, or hired a deejay.
Thank you for sharing. You played a very good walking line. There are a few notes that, as a teacher, I suggest that you fix.
The F7 chord in the 16th bar where you played a descending F Eb D resolving to a Bb on a Bb chord isn't a strong resolution. Try F Eb A, and then resolve on a Bb. And in the Bb chord in the 26th bar, try playing Bb Ab D instead of Bb Ab G. In both cases these resolution points could be improved.
I think that you are a good bass player and I hear where, with more harmonic practice, you could be a great one. If you wish to, play a solo on the tune and share this with me as well. Congratulations.
I would like to offer a thought. Remove yourselves from this line of thinking because while it is admirable that one is curious about this sort of theory, it isn't going to improve your bass playing. So, try this out instead.
Take the first four bars of Donna Lee and play it in 12 keys. The starting key in the 12 key system will be:
Ab Db F# B E A D G C F Bb Eb
It is here as bass players where you will get the most benefit from 12 key playing. If you cannot transpose this line into 12 keys, then you instantly found out something important; it isn't the 12 or 30 keys that counts as much as not having the skill to play a few bars of music in 12 key types. This is good news because now you know exactly what you need to practice. This information could have saved you months or years of not focusing in on correct bass practicing principles.
It begins and ends with your bass unless, of course, you are taking a harmony class which is a great addition to purely musical bass instruction.
Ok, Jeff, a question for you:
Who are your students who mainly learned primarily from your tutelage that have become famous, or at least have become professional bass players? Not just somebody who took a lesson or two from you, but (hopefully) multiple people who studied with you for years (minimum), perhaps decades, and have accomplished what you think a professional bassist should be?
I'm asking because I have been doing searches online and can't find one.
And, as they say, "The proof in the pudding is the tasting."
Who are your students who mainly learned primarily from your tutelage that have become famous, or at least have become professional bass players? Not just somebody who took a lesson or two from you, but (hopefully) multiple people who studied with you for years (minimum), perhaps decades, and have accomplished what you think a professional bassist should be?
I'm asking because I have been doing searches online and can't find one.
And, as they say, "The proof in the pudding is the tasting."
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