Latest
The Sorcerer – A Bass Transcription by Alex Wilkerson
The Sorcerer – A Bass Transcription by Alex Wilkerson… This transcription comes from a Herbie Hancock composition entitled “The Sorcerer”. It can be found on Herbie’s album: This Is Jazz, but is a recording from the 1981 V.S.O.P. performance in Tokyo. On the track are Herbie Hancock on keys, Ron Carter on Bass, Tony Williams on drums, and Wynton Marsalis on trumpet. “The Sorcerer” is a 16 bar, A B form. During this analysis, I will be using spelled out numbers for beats in a measure (beat one, two, three) and actual numbers for chord tones (3rd, 5th) for added clarity when discussing analysis.
Download The Sorcerer Bass Transcription Here
This transcription is a great lesson about the importance of learning tunes by ear. If one were to try to learn this song from the chart without first analyzing the recording, the actual changes would be lost and the song’s intention missed.
Before reading this transcription, it’s important to note that the chord symbols used on the transcription are from the Real Book and are clearly NOT the changes Ron was thinking of while walking. This is the real lesson for this transcription.
Take a minute to play through the transcription, ignoring the chord symbols, and determine what chords you might have guessed comprise this composition. I suggest writing down your changes based on the walking line, then listening to the recording to compare to your findings. Now find out how these changes compare with the Real Book changes. They should NOT be the same.
Let’s take a look at what’s happening. At first glance, the changes might be a little overwhelming, but there are a couple clues that can direct you to more accurate understanding.
The first clue, using the bass line for comparison, are the slash chords. The more frequent appearance of slash chords in many cases is an indication that you are looking at piano or guitar voicings, and may not be looking at the structural harmony. The slash chords here are not indication of a pedal (static bass motion under changing harmony). This is clear because Ron does not play any type of pedal. This is further supported by the fact that this song was written by a keyboard player. Keyboard players can tend to use a lot of slash chords to specify the exact voicings they intended. Keyboardists tend to think more in terms of slash chords than other instruments.
Let’s analyze the third and fourth bars. According to the chord symbols, there is a change in harmony that keeps the same bass note. Now look at the walking line. The first measure emphasizes the root and 5th note of E, with the A#’s acting as chromatic lead-in tones to the 5th tone of E. This happens again on beat four leading into the 5 on the next down beat. Ignore the chord symbols momentarily. Beat two of measure four returns to the root, followed by b3, and b7. Does it look like the chord changed? Obviously, Ron Carter knew this song well, and was not confused about the harmony. Furthermore, experience jazz players of all instruments know that the bass player is the last word in what harmony is happening. Other instruments can imply harmony all they want, but in general, if it isn’t supported by the bass player, then those implications can’t be taken as the structure/foundation of the tune.
Let’s look again at measure four. What are the chord tones for Fmaj7(b5)? F, A, Cb (aka B), and E. What notes are present in measure four? B, E, G, and D. Now it will take a little experience to tell which points are the strong beats. As mentioned in other transcriptions, beats one and three hold more weight, or emphasis with the ear than beats two or four. This means that the notes on beats one and three typically define the harmony much stronger than on two and four. There are exceptions, but none are the case here. The strong beats from measure four not only emphasize E minor, but all the other beats do as well. The “new” root according to the chord symbol (F) doesn’t even appear in the measure. The ear has been temporarily conditioned to E minor from bar three, and would need considerable more help to hear a new chord with the same bass note (E). Looking at the bass line from bars three and four makes it clear that harmony has NOT changed. It’s an E minor chord, two bars long. Keep in mind that Ron Carter has been playing jazz a long time, this is Herbie’s tune, and Ron could easily outline more of an Fmaj7(b5) if he or Herbie had wanted. Obviously Ron thinks it’s important not to, with no objection from Herbie (the composer). Which leads to the final conclusion that the chord symbols listed in the real book are either piano voicings, or are from a completely different version of the tune. In either case, they should NOT be considered the foundational harmony for this tune.
Now here’s the huge lesson. Real Book, and iRealB changes are written by average people, NOT by the song’s composer. What does this mean? It means there are a ton of errors. In this case, maybe the person writing the chart was a piano player and wanted to notate the piano voicings instead of making a lead sheet for a band. Maybe the person doesn’t know the difference. Or maybe this person transcribed one special performance of this tune and took it as the foundation for the harmony. In any case, the chart has become misleading, and clearly does NOT indicate the foundational harmony of the tune. Remember, Ron Carter is playing this tune with Herbie just a few feet away from him. It’s Herbie’s tune, so obviously, the changes Ron is playing are true to what Herbie had in mind for the foundational harmony of the song. A good guitar or piano player should embellish the harmony with ornamentation and color, but those embellishments should not be taken as a literal change in the song’s foundational harmony.
So, with a little experience, one could look over this chart before playing or hearing it and upon seeing the F major over E, would raise some internal question marks. Again, the huge lesson here is that the chart is not the standard. It’s a guess written by a imperfect human being. The standard is the recording done by the song’s composer. This HAS to be made priority over the chart or you will learn mistakes and stand the risk of looking foolish. If I may be so bold, neglecting this priority proves that one either doesn’t know or doesn’t care about jazz. It doesn’t take long in studying jazz to find what the “jazz giants” think of chord charts. Not to mention that the history and tradition of jazz is to get away from lead sheets and learn tunes by ear. But this is a subject for a whole other article. For now, just take this writer’s advice that memorizing a tune by ear from the original recording, then comparing what you’ve learned to other recordings is always better for you than learning from ink. Ask any good jazz player.
Now that we know the chord symbols from the Real Book (which I used in this transcription to prove a point) are suspect, let’s look at measures one and two. Ignoring the chord symbols, what does the bass line suggest? I’m seeing a Db7sus. Is this a one time thing, or does this continue every instance at this part of the song. Look at measures 17-18, 33-34, and 49-50. The same occurs at every instance.
Keep in mind that this is the first four choruses of the song. Here, harmony is outlined the clearest since the chords are being presented for the first time. After the harmony is clearly provided and allowed to “soak” into the ears of the audience, changes, implications, and substitutions can later be added and will be heard in the context already provided. This isn’t Autumn Leaves, and isn’t a widely known tune in terms of changes. The average audience won’t already know the changes by ear, and will therefore need to be clearly “told” the harmony when the song starts.
The exact same situation from bars 1-2 happens in bars 5-6. The chord symbols say one thing, but the bass spells out two measures on Db7sus. This continues throughout the transcription for this part of the song. Take a look at measures 7-8. What’s happening here? I’ll let you decide. Remember to double check your findings with later instances where this section of the form reappears. You can probably guess the answer.
The last thing I want to mention is how many times Ron Carter plays the exact same walking idea each time a certain chord appears. This repetition happens frequently and continues if you listen to the rest of the recording. What does this teach us? That the most important part of playing bass in jazz is keeping good time feel, then defining the harmony. Everything else is secondary. If a tune has unusual changes, or is a bit too fast for you, there’s nothing wrong with keeping it simple. Do whatever it takes to make sure your time feel is good, and the harmony clear. This is always the priority. This particular recording happens later in Ron Carter’s career. It isn’t a recording of when he first started playing bass. At times, he still uses simple repetitive lines, and is obviously doing Okay for himself. Hopefully, this will relieve some pressure/shame in situations where you find you need to keep it simple. There’s nothing wrong with keeping it simple, especially over unusual harmony. You may find that some players actually prefer this from a bass player because it provides room to embellish and/or stretch out, just like Herbie can be heard doing in this recording.
To recap the lessons for this transcription: 1,expect written chords to be wrong, no matter which book they came from, 2, harmony learned from recordings is the best and most accurate way to learn tunes, and 3, there’s nothing wrong with keeping it simple while walking. Solid time feel and harmony come first.
Spector, a leading authority in bass guitar design, unveils new additions to its product line: Euro CST, Euro LX and Euro LX Bolt On basses.
Euro CST:
The Euro CST introduces all-new tonewoods, electronics, and finish combinations never seen in the Euro Series, drawing inspiration from Spector’s Woodstock, NY-based Custom Shop. Each Euro CST instrument is meticulously crafted using premium materials, featuring a striking, highly figured Poplar Burl top, a resonant European Ash body, and a 3-piece North American Maple neck paired with an Ebony fingerboard adorned with laminated Abalone Crown inlays.
Euro CST basses are equipped with a lightweight aluminum bridge for precise and reliable intonation. Premium active EMG X Series pickups deliver the exceptional clarity, attack, and silent operation that defines the Spector sound. These basses also feature the all-new Spector Legacy preamp. Developed in collaboration with Darkglass Electronics, this preamp captures the classic “Spector growl,” heard on countless iconic recordings, with added versatility.
Euro CST basses are available in 4- and 5-string models in four distinct high gloss finishes: Natural, Natural Black Burst, Natural Red Burst, and Natural Violet Burst.
Euro LX and Euro LX Bolt-On:
The Euro LX offers all the features that have made the Spector name famous around the globe. Inspired by the iconic NS-2, Euro LX basses feature a fully carved and contoured body, high-grade tonewoods, and professional-grade electronics and hardware. For the first time ever, players can now choose between neck-thru and bolt-on construction in the Euro LX range.
Each Euro LX bass, regardless of construction, is crafted using premium materials, including a European Alder body, figured European Maple top, and a 3-piece North American Maple neck combined with a Rosewood fingerboard for strength, stability, and sustain. Euro LX basses are then outfitted with a lightweight, aluminum bridge for spot-on, reliable intonation. Premium active pickups from EMG provide the exceptional clarity, attack, and silent operation that Spector is known for. Like the Euro CST basses, these instruments also feature the all-new Spector Legacy preamp.
The newly revised Euro LX range is available in four distinct, hand-rubbed stains, including Transparent Black, Natural Sunburst, Haunted Moss, and Nightshade. Each of these colors features a durable and comfortable matte finish.
John Stippell, Director, Korg Bass Division, remarks, “I’m thrilled to announce the latest additions to the renowned Euro Range. The CST Series, our new premium offering, features new and unique wood combinations and unprecedented features. The beloved LX Series is now better than ever with the introduction of Bolt-On models, vibrant new color options, and the all-new Spector Legacy Preamp, delivering the classic Spector tone with unmatched precision.”
For more information, visit spectorbass.com.
Meet Garry Beers, Luthier and owner of GGB Basses…
Bass Musician Magazine: How did you get your start in music?
Garry Beers: I played acoustic guitar as a kid with my mates at school. We decided that one of us should play bass, so we had a contest where the one who knew the least guitar chords would buy a bass – so I lost the contest, bought my first bass, and became the only bass player in the neighborhood. Soon after, I met Andrew Farriss, who had heard that I had a bass, and a few days later, I was jamming with Andrew and Jon Farriss.
Are you still an active player?
Yes, I am still actively writing music and playing bass sessions. I also have an LA-based original band called Ashenmoon.
How did you get started as a Luthier? When did you build your first bass?
I did woodwork in High School and always enjoyed making all sorts of things out of wood.
After finishing high school, I took a course in electronics for a year or so and learned enough to understand basic circuits in guitars, amplifiers, and effects. The best way to learn is to deconstruct and study, so my dad’s garage was littered with old junked radios and any instrument parts I could find.
My first guitars were more like Frankenstein-type creations made out of parts I found here and there. I didn’t really try to build a bass from scratch until I perfected my Quad pickup design and got my patent.
How do you select the woods you choose to build with?
I only use woods that were used at Fender in the 50s, which are my favorite basses and guitars of all time. All my GGB basses are modeled in some way from my INXS bass- a 1958 Fender Precision bass I bought in 1985 in Chicago. I call her “Old Faithful,” and she has an Alder wood body with a maple neck. All of my GGB basses are select Alder wood bodies that I have had extra dried, so they match the resonance of “Old Faithful,” as she has had 66 years to lose all her moisture and become more resonant and alive-sounding. I use plain old Maple necks that I carefully select, and again, I dry the necks to make them sing a little more.
Tell us about your pickups.
I started working on my Quad coil design back in Australia in the ‘90s and then put it to bed, so to speak, until I found an old pickup winding machine at a swap meet here in LA. I taught myself enough about pickup winding to build my first prototype design and worked towards my patented Quad coil design by trial and error. Nordstrand Audio builds the pickups for me here in SOCAL.
What is the reaction of players who pick up your basses?
I build the basses to feel like an old friend. They look and feel vintage, and when you plug them in, you discover the array of vintage sounds available to you from just one pickup. Most of the players I have contact with are established professional players, and they all love the basses. Freddie Washington and Nick Seymour from Crowded House are a couple of players with GGB Basses in their hands.
What are a few things that you are proud of in your instruments and would consider unique?
I would say I am most proud of the patented Quad pickup design. I own the patent from 4 through to 10-string. So far, I have only built 4 and 5-string pickups, but the design is a winner. Split Humbucker / Reverse Split Humbucker / Full Humbucker / Single coil Neck / Single coil bridge. All these sounds come from one passive pickup. I am very proud that my perseverance and desire to have this pickup have made it a reality. Being able to have these sounds in one bass enables the player to have one bass in the studio and on the stage. The only place you can have the GGB Quad pickup is in one of my GGB Basses.
Which one of the basses that you build is your favorite one?
I offer three body shapes and about ten different color options – all based on the ‘50s and early ‘60s custom guitar and car paint styles. I have always been a lover of P basses, but my favorite bass I build is now my XS-1 model- which is a custom Jazz bass body style. It is pretty sexy and is a light, well-balanced, and great-feeling body shape. The other body styles are the XS-2, which is a custom Jazzmaster body and has been the most popular so far- and the XS-3, which is the standard P bass body style. I also offer an XS-58, which is a replica of my “Old Faithful” ‘58 P bass. They are currently available to order now and should be available soon.
Can you give us a word of advice to young Luthiers who are just starting out?
I don’t really consider myself a Luthier in the traditional sense. I just love to build things and tinker. I was always looking to improve things, whether it was a guitar, an amp, a pedal board, or a car. So my advice is to always be curious and learn the basics of what you want to build, and the rest should follow once you decide what you want to say as a designer/builder. People are lucky these days that you can learn pretty much anything from talented people on the internet, but nothing replaces working with and learning from real people in real situations. Seek out like-minded builders and start a discussion.
What advice would you give a young musician trying to find his perfect bass?
Have a good hard think about what you want to say as a player. What is your style, both musically and as a player? There are so many instruments available. Do the research, play the instruments that fit your criteria, and make a decision. But make sure you try a GGB Bass! With all the sound choices my basses offer, with a simple turn of a knob, you may find it easier to find “your” sound.
What is the biggest success for you and for your company?
Well, the company is brand new, and at this point, it is just me, so getting this far in the manufacturing process and now having these amazing basses in my hands is a great achievement, but now comes all the business stuff!!
What are your future plans?
It’s a work in progress. Right now, it’s all about getting the word out and getting the basses into the hands of interested players. I believe in the basses – and the Quad pickup, so hopefully, GGB Basses can become a go-to bass for demanding studio and live players who want sound choices in a gorgeous vintage-style instrument.
Visit online at www.ggbbasses.com
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction:
The Joyo Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
Check out our top 10 favorite basses on Instagram this week…
Click to follow Bass Musician on Instagram @bassmusicianmag
FEATURED @mikelullcustomguitars @maruszczyk_instruments @foderaguitars @marleaux_bassguitars @meridian_guitars @dmarkguitars @benevolent_basses @sandbergguitars @bassworkshopau @glguitars
Future Impact V4 Guitar & Bass Synth Now Available in the U.S….
The Future Impact V4 is an incredibly versatile pedal with an exceptionally wide range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can also drive external synthesizer gear via the optional CV/Gate. As such, it can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Check out this short video with new sounds:
The Future Impact V4 has a completely new hardware platform with numerous enhancements, some of which are:
– 32-bit ultra-low-noise analog-to-digital and digital-to-analog converters
– New app-based software architecture
– Vastly advanced pitch tracking based on 30+ years of experience
– Hard Sync between oscillators to open new sonic worlds
– On-pedal edits that can be saved into program memories
– Total compatibility with all previous Deep Impact and Future Impact patches
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.
For more information, visit online at pandamidi.com/bass-guitar-synth
Exclusive U.S. distribution by Tech 21 USA, Inc
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 15 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Gear Review: Joyo Monomyth – A Versatile Modern Bass Preamp
Luthier Spotlight: Garry Beers, GGB Basses
