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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.
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
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 Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
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 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
