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Ray Brown’s Bass line from Surrey with the Fringe on Top
This month’s transcription is Ray Brown’s Bass line from “Surrey with the Fringe on Top” (Download: Surrey – Ray Brown – Transcription), off Barney Kessel’s album The Poll Winners Ride Again! This is a trio, and as such, makes an agreed upon harmony difficult. There are standard changes that a tune can abide by, but there are so many common variations that are widely accepted, it makes it hard to know when chord changes are altered or if one person is just implying an alteration. In a trio, this can be very difficult. For instance, the musicians might be thinking of the song as having four measures on the one chord. In this situation however, there are a dizzying amount of alterations that can and will be applied. One such example as found in this piece is to play the one chord on measures one and three, and the five chord on measures two and four. Another common approach for this tune is to play one measure on the one chord, the next on the two chord, the next on three, and back to the two chord. Sliding in a “two-five” to your target chord is an extremely common technique that bass players can use at any time, even if no one else strictly observes these new alterations. In a trio, when there are only two harmonic instruments, and one of them is taking a solo, it makes it impossible to tell whether alterations were intended to be hinted at, or if they are thought of as firm deviations. What’s the difference? The difference is in knowing when to use the idea. If Ray Brown was implying a chord on top of a different chord, then that is how you would use the idea in your own playing. In this transcription, I did my best to notate the chord changes that would be the most likely agreed upon by the musicians, and the most helpful to us to learn from Ray Brown’s lines.
There are two main points that we can take from this recording. One is to take licks from Brown’s solo, analyze them against the written chord symbols, memorize the idea, and add it to your bag of tricks. The other is to listen to the recording, make note of certain measures where you like the walking line, analyze by the numbers what the idea is and apply to your own walking lines. For instance, if you particularly liked measure 70, you would take the notes A, G, F#, D, and apply those notes to their chord symbols. This would give you 1, b7, 3, 8 (same as 1). Now take this idea, memorize it, and try to use it on all the 2-5’s that are a measure long during your practice time. It’s important to apply them to walking through a real song. Taking the idea through all 12 keys is good, but it must be applied to a real tune before you will find it easy available to use in a real situation.
One interesting idea is that instead of thinking chord scales for a solo, you can use color notes. For instance, in the key of F major, the D chord is a minor seven chord. If you see a 3-6-2-5 chord progression where the six chord is a dominant chord, such as D7 in the key of F major, this chord is only different from the F major scale by one note. Instead of thinking mixolydian flat 13, you could just keep soloing in F major, but be sure to play an F# in the place of all F notes. This will spell out the major third of your D7 without requiring you to think of an entirely new chord scale. This can be particularly handy if the D7 lasts for only two beats and you are playing over 250 bpm. Try this idea out.. Now for any jazz guys who are reading this and thinking that the 9 and 13 are also different, this is sometimes true, but only if you want to imply a temporary minor key center. If the changes are fast enough, it might be more prudent to stick to a generally major key center for the entire 3-6-2-5-1.
That’s it for this month. Hope you enjoyed the tune, see you next time.
Download: Surrey – Ray Brown
Bass Videos
Interview With K3 Sisters Band
K3 Sisters Band Interview…
It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.
Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music, music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.
Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.
Here is the K3 Sisters Band!
Photo, Bruce Ray Productions
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Bass Player Health
What is a Pinched Nerve? with Dr. Randy Kertz
What is a Pinched Nerve?
In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.
Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!
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Gear News
New Gear: Ashdown ORIGINAL-EVO-C112T-300
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.
Product Specification-
Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg
For more info please visit www.ashdownmusic.com
Gear News
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…
The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.
This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.
The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.
It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.
Anticipated Availability: May/June 2024
For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/
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