Hello everyone and welcome to my transcriptions exercises and lessons page for guitar and bass.

CLICK HERE TO CHECK OUT MY BAND-THAT'S ME ON BASS!

I am a pro player and teacher so this stuff is as accurate as you will find anywhere on the net, however the work is limited by time available and the usual software frustrations. If you find an error or omission please let me know as I'm keen that this stuff should be as accurate as possible. There's a lot of bad tab out there, especially the bass transcriptions, so we could all pull together to make this site the one to use. Similarly if you have any accurate transcriptions please let me know and we'll share them. You may freely use this stuff, but remember that it is not available for profit as this would infringe copyright in many cases. Those looking for a workout should start with some left hand ex's, then right hand stuff, then scales and arpeggios. Finally, I insist that all my students make time for some MUSIC. This should include studying the works of others-your peers- such as other guitar pieces, and the truly smart player studies music from whatever source possible. I have applied violin, cello, piano, sax, trumpet and whatever else to guitar and bass. For an example of how this broadens a musicians approach, consider Allan Holdsworth-plays lead like a sax or violin (which he also has studied) and plays chords like a pianist would. Also check out Dick Dale playing guitar as if it were a mandolin or bouzouki! Your practise time should also make room for some improvisation-always more fun with a friend!


Things With Strings

A home for some considered, accurate and useful stuff for people who play fretted lumps of wood with wire attached.

Wednesday, May 17, 2006

The Soundcheck session

Yesterday, a first recording session for the trio at a wonderful little studio in Portsmouth called Soundcheck UK. 2 rooms and a sofa! Oh, and the most useful engineer I've met so far-understood the music and got the best result for time available. The music moves ahead again. And again i found myself emotionally drained by it-this is frighteningly powerful stuff. Incredible dynamics. i am consistently amazed by the growth of Vic and Haydn, Vic's voice is becoming more distinct and expressive-a sweet solo on Summertime too (only half of which made the cut unfortunately ; Haydn-ever more creative, always ready to listen to suggestions and still a force of immaculately controlled violence. This is a band where suggestions are not automatically taken as insults! Which is incredible given the individuals involved. In fact, I think this is the essence of why it works-we have subdued our selves in favour of the needs of the music. Woohoo! In your face!
One of the most pleasing aspects of the songs is their strength of identity as a whole, there are some rollicking individual performances but they haven't drawn attention from the song.-The Crow is one of the most powerful feats of drumming I've ever heard, but people just say how "cool" it sounds (burning is the word I favour). Despite a horrendously tricky groove which is essentially a G vamp-both major and minor-with a fucking awkward unison triplet figure every other bar, Summertime comes over as delicately funky in the verses and a Mosh everywhere else. Ade gets top marks for the mostly gloriously un PC use of clave and bongos in the creation of this righteous groove! Go Soul Brother! Vic , I pity the poor sod who lands the job of transcribing those chords, man-sweet confusion.
The One is rapidly becoming our anthem, an expression of self-hood; the swelling sections leave me breathless, with a racing pulse.
I Swear I Could Say-simmering intensity, with a clearly implicit threat. "That's fucking evil" said the engineer.
"Hell Yeah!" say we.
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