Help for Downloading Truefire Courses (Sierra)

I’ve been looking forward to reviewing Ariane Cap‘s course “Pentatonic Playground for Bass” for too long. Literally. It would not download for me and it took Truefire’s tech support three days to get an email to me although the solution is dated the same day I submitted the problem, which tells me that it’s probably a known one. In any case I am presenting the solution for those of you who might have the same problem, and also to explain my tardiness with the review.

We don’t know the cause, but no Truefire courses would download for me, new or even ones I’ve already downloaded. I’m using OS X 10.12.5, the current version of Sierra. Truefire tech WonderWoman suggested I try their BETA desktop version and so far it seems to be working. It’s over 1/4 of the way through the download, while the other version would not even start, so I’m hopeful.

If you are having download problems with Truefire courses, don’t hesitate to report them and maybe even request the Beta version. You will be helping yourself AND helping Truefire if you find any bugs in the new version (which is Beta, which means it has not been completely tested yet).

And don’t forget that a new update to Dorico is due before the end of the month! Interesting days approach.

Music Theory Wall Chart for the BASS Player

BALANCE: the key to having your guitar sit at the perfect angle; the interplay of parts in a well-mixed song; the amount of theory and its complement in playing.I’m looking at Ariane Cap’s Music Theory Wall Chart for the Bass Player on my wall and am impressed by its balance that has displayed pretty much all the theory you need to know without being cluttered and hard to read. This in itself is an amazing feat (try it sometime when you’re feeling impressed with your own brainpower!). The bonus is that if you have worked through Ms. Cap’s book Music Theory for the Bass Player or taken her course, these are instantly recognizable reminders.

The chart is clear enough that you may not even need the legend at the top, but its there so that all is accessible to everyone. There are three major sections set off by the colour of their headline bars. INTERVALS and their inversions are organized so that they go up on the left and down on the right with nice big diagrams readable from a distance, and fingering options visible a little closer. Whenever practical, each is shown on adjacent strings and also skipping a string.

TRIADS and chords are diagrammed in the two ways suggested in the course, with different coloured fingerings and arrows. A side chart shows the harmonic content of each chord and their sound characteristics.A second chart extends this to 7th chords.

A smaller section for “The Cycle” shows the cycles of 4ths and 5ths in sharps and flats and makes their relationship instantly clear. While this is the true chromatic cycle, the second part shows you how a diatonic cycle is created to stay in the same key but still follow the cyclic patterns.

And that’s just the left-hand side!

The whole right-hand column is devoted to SCALES. The Major and (natural) Minor scales are shown in familiar scale diagram form, with fingerings. These also show the distance from the root (lower root for the ascending form, higher root for the descending one). The relations of scales are shown clearly for major, its relative minor, the major’s parallel minor, and its own relative major. (If that’s starting to sound “out there” you’d better get the book). Major and minor pentatonic and blues scales lead into the basic formula for blues “changes” (labelled as ‘411 of Music’ which is true enough, although you might go so far as ‘911 of music’; they both work). The chart ends on the Modes. Rather than just show a C major scale beginning on each of the degrees, this chart starts each one on C, a more challenging and valuable way to know the modes. The ‘melodic and harmonic minor scales’ are omitted, which I find a wise decision. They are simply variants of the natural minor scale to accommodate the dominant chord, so showing them as separate scales is simply confusing.

I think you would be hard-pressed to find a major omission from this chart.

A last-minute addition: On Tuesday I was fortunate enough to have the time to work through part of Unit 4 of the course that Ariane Cap made available free as a ‘special look’ over the Memorial Day weekend while featuring 15% off the regular price of the course. The part I was able to cover was memorable, meaning that it drove the fingerings and theory into my brain and my fingers — both brain and body memory. This looks like a great course that really does build on the book but goes far beyond it. If you are serious about really learning the bass and you are willing to put in the work — real work — then you should come out of this course ready to take on some pretty challenging gigs, even if you’ve never set foot on a stage.

The days of a bassist playing just the root and 5th of each chord are long gone thankfully, and now bassists are expected to make an equal contribution to a band at any level. Ariane Cap may not bring you into Geedy Lee’s class of player (yet), but she will give you a great start, and one that I bet Geddy wishes that he had had!

Appreciation for “Music Theory for the Bass Player” by Ariane Cap

This is my second review of this great resource for every bass player. It was first published in the January 2016 issue of Just Jazz Guitar, and when I copied it to this blog I goofed: I made the review a “Page” rather than a “Post”. However, over the year and a half I have had this book, it has been my go to book for fingerings and ideas. Now that the 89 videos are complete and available here it is even more valuable. Ariane Cap is a no-nonsense “this is how you do it” teacher who leaves the work of reading and grasping the content of the book to you, so the videos are the perfect complement. “OK, I’ve told you the theory and the value of the different fingerings, this is how to play them and what they look and sound like.”

The book and videos form a powerful combination for learning, but not everyone has the discipline to take so much of the burden of following through on their own. Fear not! Ariane Cap will teach you online, taking you through the book and its content to ensure that your playing and improvising are much better by the time you finish. You can also take regular lessons tailored to your individual needs.  And you still have fallback resources if you forget anything later. Her latest addition to her wealth of teaching materials is a wall chart that summarizes all of the important information from book, course, and videos.

There’s more. You can sign up to receive weekly tips and tricks from Ariane herself. These contain solid information that will clear up concepts and get you out of some sticky situations. For example, last week she taught the difference between a #11 and a b5, both of which sound the same but require different scales and imply very different keys. Knowing the difference will save you in many situations, even if you have perfect pitch. Of course Ariane’s web site is full of these tips and more, and I encourage you to check them out and learn a lot of really useful information for free!

As some of you know, I have been very ill and Ariane’s teaching materials have kept my fingers working and my musical mind active throughout. The good news is my newfound appreciation for a first-class teacher who every bass player should know about.

I’ll be writing more on the wall chart as soon as it arrives and I put it on my wall (I have the space reserved!). I also hope to do a review of Ariane’s DVD Pentatonic Playground for Bass published by our friends at Truefire.

__________________________________________

Here’s the original review:

 

Ariane-Caps-Music-Theory-for-the-Bass-Player

 

by Ariane Cap

CapCat Music Publishing

Bass players rejoice! Music Theory for the Bass Player presents music theory as it matters: to improve your playing and your hearing. And all from the perspective of the bass player. Ariane Cap has put together a challenging book that will reward you with more confident and capable playing and improvising with a solid knowledge of what you are doing and why. In fact it is just as much about fingering as it is about theory, and Ms. Cap explains how fingering patterns relate to theory concepts and how these work together to strengthen your ear, so you know the sound before you play it. This is how theory should be taught: to improve your playing.

This is a book that could only be written by a top-notch bassist with a deep understanding of educational principles. Information is presented in easily digestible chunks that are illustrated in several ways including the fretboard. Each concept should be fully understood before continuing, and this is reinforced by a brilliant set of exercises at the end of each section. DO NOT SKIP THE EXERCISES! To do so would be to miss the whole point of the book: for you to get each concept into your head, your fingers, and your ears.

This is a robust book with no “filler.” For example, when speaking of Whole-Half step scales Ms. Cap notes that there are four possible roots for each of the three different scales. Most books illustrate all 12 possibilities, whereas this one shows the three unique ones; if you are going to master them you need to be able to figure out for yourself how the roots are related. While the text does actually explain the relation (and from a playing perspective) the point is made that when you see musical examples, they are important. Study them.

You could certainly learn to play the bass with this volume, but that is not its aim. This frees the author from providing those boring “quarter notes on the first string” exercises that turn off so many beginners. Instead, we get really “hip” patterns that illustrate what can be done with, say, a single interval using a more contemporary rhythmic style. It also allows accomplished players to learn the theory that they missed without feeling like they are in grade school again.

Many of the concepts are important for bass players, such as how to deal with chords that contain several different extensions or alterations, slash chords, and even how to determine the key of the piece. There are few “rules” given, which is a blessed relief, with the emphasis on why music works as it does. Somewhat ironically (and perhaps to illustrate this) the one spot where rules are given – forming major scales – they immediately require more rules for exceptions, which are explained more clearly in the section on the circle or cycle of fifths. So don’t worry if the rules sound complex at first – the explanation coming is simple.

Fingering is given such prominence in the book that it is as much about proper fingering as theory. This instills good habits in new players while keeping more experienced players on their toes, all the while establishing the sound of the theoretical idea in our ears. Do you know why you want to start with different fingers under a major or minor chord? Have you thought about alternate fingering that will save you from awkward shifts on a single finger? Many such tips demonstrate the interconnection between good technique and solid theoretical understanding. Others are handy for guitarists who try to use their one-finger-per-fret system on the lower bass positions. At the time of writing (January 2016) not all of the audio/video examples were on the web site, but it is likely they will be there by the time you read this.

Of the many extras at the end of the book, the suggestions on technique stand out. The pictures (often tongue-in-cheek exaggerations) show both good and poor positions for your body and hands that will help you to relax and play your best. The overall impression left by this book is of the relation and interdependence of theory, technique, body movement, breathing – all of life as we live it really, and how it affects the bass player. If you are a bass player, want to be one, or care for one, get this book. Ariane Cap has given an excellent gift to the world of music.

Order this great book here.

MuseScore 2.1 a MAJOR Update

What’s better than FREE? High-quality notation software that is as good as (and in some cases better than) paid software, but still free! Welcome to MuseScore 2.1.

The MuseScore team has demonstrated their integrity with their great programming, but they have reached new heights with their announcement of MuseScore 2.1, the first major update since 2015’s version 2.0. After working for a long time on version 3.0, the enormity of the project and issues of backward-compatibility kept pushing a release date farther back than they liked, so they came up with a great idea: cherry pick the best features of 3.0 so far, make over 300 bug fixes,  spiff up the user interface and simply call it MuseScore 2.1.

That little “.1” is deceptively simple; this is an enormous “update.” There are far too many great improvements to copy here, so I’d suggest you head over to the MuseScore web site and check out the video that gives a short but inspiring look at a few of the new features, followed by a text list of many of the best new features. Don’t skip the video, because with the new support for all SFZ libraries, you really do have to hear it to believe it. You can also mix different SFZ’s to get just the instruments that you want.

You can upload your pieces to the MuseScore site, for private or public viewing. This version will also upload an MP3 of your score so that it plays back with the instruments that you chose, and now others can hear it just as it sounds on your computer. You can even keep a change log if you upload different versions of a piece.

Some of the innovative ideas go far beyond what you might expect for FREE software, such as the “swap” function that allows you to swap two sections of music by cutting the first, swapping it into the place you want it to go, while the function takes the music to be swapped out of there and onto the clipboard so that you can simply paste it into its new spot. A great time (and sanity) saver!

Of course the one feature that the MuseScore team has been working on for years is importing a PDF file as flawlessly as possible, and now with the enhanced playback options the project with the IMSLP to make thousands of classical scores available and playable is closer than ever to reality in a version that will please most classical music enthusiasts. This is a project with ambitions, and so far they have outdone themselves. Bravo!

Remember that YOU can help too. Gaze over their development page to see the myriad ways that you can help, from editing words to writing code, to testing, and yes of course to donating. Just think — you can be a part of computing history and help musicians all over the world! Even just playing around with it and finding obscure bugs is a big help.

If you don’t have MuseScore 2.1 yet, try it out TODAY. If you do have an older version, update right NOW. You will be glad you did.

 

Thoughts on Dorico 1.0.30

When I first began raving about Dorico in Just Jazz Guitar magazine it was based purely on Daniel Spreadbury’s blog about Steinberg’s then-unnamed notation software. The programming techniques were state-of-the-art and beyond (if possible) and with almost the entire team that created Sibelius 7.1.3, I had complete faith that their creation would amaze us all. And it did — but in different ways.

It all depends on the type of user you are, what software you use, and the music you want to notate. Playback is also an issue, since some just want to check that they haven’t made an obvious mistake which is easier to pick out by ear, while others want a virtual “record-ready” playback sound. So the first thing to do before looking into Dorico is to look into yourself and see what you want from a notation program, and what you need. If these differ, you have some more thinking to do.

If you don’t have it yet, download the Dorico 1.0.30 update here, where you will also find a link to the latest version of its documentation. You can download the trial version of Dorico here.

Classical and musical show composers and arrangers have the simplest choice. Dorico is amazing in its versatility, the latest version flies on my oldish laptop Mac, and there are so many ways to do almost anything that your score can look just like you want it to look, while mine might look completely different. Unless your situation dictates that you use free software (in which case MuseScore would be my choice) I’d say choosing Dorico is a no-brainer. The only caveat is for those ultra-modern scores that most publishers are still doing by hand. If you use some really wacky notation symbols (I know, they make perfect sense to you) I would suggest using the trial version to be sure that you can do what you want. If you can’t, try the Dorico forum to see if someone has come up with a workaround. If not, request it.

If you are one of the many guitarists, bassists, and other plucked string players who have written in to ask me whether to buy it I’d say that’s an easy choice for now: save your money. I have no doubt that when TAB and chord diagrams become available they will most likely astound us, but that’s still a ways off, and even the expected June update will lack both. As I wrote earlier, chord symbols (names) should be added, and in some pretty cool ways, but that is unlikely to satisfy the bulk of serious guitar and bass players, as well as lutenists and other stringed instruments like the oud, sitar, etc. I’m personally sticking with Sibelius 7.1.x for this stuff. (The ‘x’ is there because I’m actually using 7.1.5 but I keep swearing I’ll move back to 7.1.3 for my next project because I find it more stable and more sensible in general.) If you don’t already have software, download MuseScore here, where you can also find a series of lessons on how to use it. Pretty amazing deal for FREE!

As for playback, if you are a loyal Steinberg user and are happy with Halion then playback should be a breeze for you. If not, you need to try the included Halion Sonic SE which will probably not give you the quality you want for your final mix. This is an area that is under intense development, and the user community is chipping in on which VST2 instruments work with Dorico 1.0.30. I can use my Vienna Symphonic Library instruments for basic sound, but the little subtleties that make this library so life-like and musical range from annoying to impossible to implement. Much of this is chicken-and-egg dilemma time, where there has to be enough demand from Dorico users for sound library companies to want to invest in interfaces, while a number of users are holding off waiting for more of their favourite (often expensive) libraries to be supported. And no, I don’t have any idea how many people are waiting.  But since virtually every recording is going to require some tweaking in a DAW, I would at least try the included sounds in the trial version and keep in mind that more are on the way.

So my recommendation is still to go with Dorico, unless you are a guitarist or other player who needs TAB and / or chord diagrams; in that case either keep what you have or try MuseScore.

Dorico’s Plans for Chord Symbols

By far the most important feature to the readers of this blog seems to be chord symbols, judging from the comments and email I get. (BTW, thank you to all of you who write in with kind words about the blog. Unfortunately this is a common spam technique when a URL is added, so if you do add a valid URL it may take me some time to get to it.)

I’ll admit that I am busy on a project that is beyond Dorico at this moment (odd as that seems) so I have to thank Philip Rothman for alerting me to Daniel Spreadbury’s comments in the Dorico forum. There is very good news and some bad news. Since I prefer it this way myself, I’ll give you the bad news first: guitar diagrams, it seems, are a long ways off for now.

OK, the good news is that chord symbols (i.e. chord names with optional bass notes added) should be ready for the next major update in June. As usual, the number of options for naming them will be staggering, and should fulfill the preferences of virtually any composer, arranger, or typesetter.

One thing to note is that the chord symbols will be attached to a system, which will make lead sheets simple, especially piano-vocal ones.

Chord symbols can be entered from a MIDI keyboard via Shift-Q, and you will be able to enter inversions and specify the root as well as entering polychords.

Rather than steal his well-deserved thunder, take a look at Philip’s web site and read what Daniel posted in the forum.

Make Money While Practising

Every few months the guitar magazines rediscover that regular practice improves playing. This is often touted as the “secret” of the current great guitar player. I’m going to assume that you all know that by now. (If not, try doing 15 minutes of focused practice every day for a few weeks and see what happens.)

I have a few suggestions for your practice sessions that can actually save you money, which is like having more money to spend on that dream instrument while being able to play it better when you get it. It’s like getting paid to practice.

Here’s how: Focus on something you need to learn, not something that you can already play in your sleep (chances are you stopped hearing it a while ago). If you don’t know the whole neck of your instrument, learn it several ways. Up and down one string, across every position, skipping notes, in scales and modes, there are all sorts of ways to make sure that you know where Bb is on the D string, for example.

The second thing is to listen as you play. This will train your ear, and it will also let you hear your guitar (or any other instrument you play). This is crucial, because if you don’t know what your guitar sounds like, and what you can do with it, you won’t be able to spot a better-sounding one in the music store.

Third, I suggest having a set routine that runs through the whole neck, every string and at least every three frets. This should be short and one of the first things your play every day. Notice the changes in tone in all of the various ranges of your instrument. That’s why you want to cover the whole neck.

Finally don’t forget to learn a few songs so well that you can play them perfectly even in front of the person who wrote or played it. You want to be able to listen to the tone you are getting without worrying where your fingers are or if you are hitting the right string.

OK, now that you’ve done that (or when you have) let’s save you some money. Most players tend to freeze when they go into a guitar shop and there are a lot of players there. “Man, is everyone else great on the guitar but me?” Naw, they are just playing their “store set” of exercises and songs. But now you have a store set too! So no matter what that guy in the corner who thinks he’s the second coming of Eddie van Halen is doing, you can do your own thing and listen to the guitars you play. And play a lot of them. Bonus tip: there are subtle differences between every guitar, even ones from the same company in the same model with the same configuration that come off an assembly line. The great thing about wood and the other materials that make up guitars is that you never really know how one piece is going to react to sound. A tip that you won’t need if you listen is that the price of a guitar has little to do with the sound of a guitar. I did a test one day of 15 Les Paul’s in one of my favourite music stores, about half Gibson and half Epiphone (actually 8 were Gibsons). The best two were about the same with slightly different tonal ranges, and they were both Epiphones, over $500 cheaper than the cheapest Gibson (in THAT shop on THAT day; your mileage may vary). The point is that it’s always worthwhile to compare. A friend did a similar comparison with Telecasters and found a Godin that was the best sounding one in the store for less than half the price of a Fender Tele. In that case he wasn’t sure which sounded better, but since I knew a song he’d just learned I suggested he play it on all of them and see which one sounded best. There was no doubt in his mind when he bought the Godin.

You probably see my last example coming, but I’ll tell you anyway. Years ago a friend in a band I was in wanted to upgrade his “Strat knock-off” with a real Fender. We both knew the sound of his guitar well, so we expected great things at the store. He played three Strats and asked me to play them too. Our consensus was that they sounded no better than his guitar — no worse, but no better. In this case we were lucky enough to find the same type of amp that he used, because a better amp can bias you, but in this case he made the biggest savings of all and had a new respect for his knock-off guitar.

So a regular focused practice routine can save you money. At the very least you will end up as a better player. You will also be ready to try out instruments at unexpected places and times. Look into how Geddy Lee and Jack Casady found their favourite basses — the ones their signature models are based on — and you will realize that it was their ability to hear the special tone of the instrument that was crucial.

A lot of the guitar biz is based on players not realizing what they actually have already. As with anything in life (cars, significant others, phones, etc.) be sure to know what you have before you try to upgrade. And if you do upgrade, check out what you are really getting.

 

 

One-Man Band LIVE (and what a band!)

A lot of us find ourselves in remote places at times, or in other situations where we ourselves are the band. It helps to be able to play a number of instruments if we want to record something “band-like”. Even those of us who are able to play a number of instruments well enough, and to sing without inspiring washroom breaks for anyone listening, it can be an exciting if somewhat nerve-wracking experience each time the red-light goes on and the recording is happening.  But of course we can always re-record, although finding the acceptable version without the need for “just one more tweak” can be a mind-killer without a producer to say “Good enough; now move on.”

So I salute all of you who produce your own music because you have to, or because you <…shiver…> want to. Now, that said, there is a level that only a few enter into, and of those who do, it is no great shock to find musicians of the calibre of Jacob Collier.

I found out about Jacob Collier from NS Design, who are stoked that Jacob plays their new NTXa bass (which I guess makes my old NXT bass a ‘vintage’ model now), but this is just one of the many instruments he has mastered, which helped him to win TWO Grammies:1) Best Arrangement: Instrumental or A Capella and 2) Best  Arrangement: Instruments and Vocals.

The NS Design artist web site for Jacob Collier says this: “Based in London, UK, Jacob has been inspired by many sounds – his music combines elements of Jazz, A cappella, Groove, Folk, Trip-hop, Classical music, Brazilian music, Gospel, Soul and Improvisation (to name a few), which culminate to create the world of ‘Jacob Collier.’ ”

Jacob’s own web site features his debut album and live dates, as well as quotes such as these:

“I have never in my life seen a talent like this… Beyond category. One of my favourite young artists on the planet – absolutely mind-blowing”

— Quincy Jones

“Wow!! Jacob, your stuff is amazing”

— Herbie Hancock

“Staggering and unique… Jazz’s new messiah”

— The Guardian
It also features his astounding “Jacob Collier and his One-Man Live Show Creature perform[ing] ‘Don’t You Know’, an original song from Jacob’s debut album ‘In My Room’; filmed live @ Village Underground, London, May 28th 2016.
This is a pretty amazing tour de force of technology, and I applaud him for being able to put it together and use it so creatively. Maybe it will inspire some of you to make music you never thought possible. Or maybe it will just make you appreciate your current band mates a bit more. Either way, you win.

Dorico Releases Update 1.0.30

The latest update to Dorico, version 1.0.30, is now available from their download site.

As I noted earlier (based on Daniel Spreadbury’s comments) this version is more about fixing bugs (about 80 of them) as well as improving performance, with a few improvements in playback, rests, and some more.

I’ll be checking it out later today and will post some comments. I’m not sure how many new users this will attract, but any current Dorico user will want to download it ASAP.

Hints on Dorico’s Next Update

First, thank you to everyone who sent good wishes to me for the surgery. It was a bit more serious than I expected but I’m pretty much back to normal now.

Daniel Spreadbury has given us some hints as to what to expect in the next update to Dorico, which will be 1.0.30. He has resumed his Making Notes column on the Steinberg blog, and you can get the full story there. This update looks to be aimed most at improving performance and fixing bugs, as well as improving work with rests and other “small features.”

The blog entry continues onto what is under development for updates farther down the road. There is detailed information on piano pedalling, enharmonic spelling for MIDI keyboard input, and finally chord diagrams. The Dorico team is aiming to provide all of the major styles of chord diagrams, but unfortunately they cannot add guitar box diagrams until later.

I strongly suggest that everyone read Making Notes to see the level of detail that is put into every feature. While it is not fully ready for guitar music quite yet, when those features are added we can be confident that they will fulfill the fondest dreams of all string players.