Sounds very very cool. Doesn't sound familiar though although one of the changes sounds like one of yours

Thanks for giving it a listen, Glenn.

I suppose ripping off your self is the highest from of self-gratification. I hadn't really thought of this instrument in terms of solo pieces, but there are several that are lending themselves to it, covers and originals.

Soon it will be time to get out the video camera. And 'll definitely be playing a couple of tunes on it for the

March 27 concert:
http://thesoundstudios.net/blog/

Very much looking forward to hearing Rob again, too.

Anyone else find this tune familiar in any way:

"Bass a Deux Modes"

[youtube]http://www.youtube.com/watch?v=qbiYFA0-8mU[/youtube] comes to mind, but even that is a bit of a stretch.

Hi Ricardo,

I think there are a lot of similarities with "Linus and Lucy". I was hearing it, too:

-initial major pentatonic melody line
-same general tempo and feel
-the key shift to the second chord.

I'll have to make the B section really different, I think...

Thanks for the feedback!

Greg, OK, here we go. this is like a bunch of people interpreting modern art. Linus and Lucy is close only due to the minor 3rd shift which occurs, however.....

Glenn is right, it is similar, though not the same, to one of your songs, and one my favorites, Blue Ridge from Stick Figures.

at 0:26 there is a harmonic shift to a minor passage, "similar sounding" to the minor harmonic shift in Blue Ridge at 0:44.

Then the tail end of this short piece DBR is again "similar sounding" this time in tempo shift feel, almost rubato to the tempo shift feel in Blue Ridge around 1:08 where it peacefully with space widens out before picking up the melody.

if copying is the highest form of flattery, then you've flattered yourself! still a great piece!!!!
dave brosky

Hi all, thanks for the information Greg, btw I met you at a Stick seminar in Vancouver in 2006.

After years of baritone melody I decided to check out the DBR tuning for a couple of reasons, mainly because I'm needing the Stick more and more for bass gigs and sessions...and the idea of having fourths tuning instantly made all the bass guitar pieces I know accessible.

I first tried it by taking specific strings from older sets to make a close approximation of the proper melody string gauges. After playing with the low B in the 6th string, I realized that it really threw my visualization off, so I went back up a 1/2 step with C as the low string.

The greatest part about this from an electric bass perspective is that on the 5th string, it puts G at the 2nd fret marker, and C at the 7th fret marker. On the 4th string, C is at the 2nd and and F is at the 7th. Since I read a lot of charts in standard notation, it really makes finding notes quicker because I can visualize the G and C on the 3rd fret of an electric bass's E and A strings. From that anchor point, playing bass guitar lines on the stick becomes second nature.

With B on the low string, the low melody fret markers have sharps on them, plus strings 6-10 are suddenly different from my 7 years experience with standard Stick bass tuning.

I realize we should be able to play the Stick keyless, since open strings aren't really used, and there are no black keys...but when living in a scene where I have to play rock and jazz electric bass parts exactly as they are supposed to be, this tuning is wonderful! In my experience it might even help reduce "Stick Rejection Syndrome", where producers/musicians sometimes poo-poo the Stick because they're worried that it won't do the job of the bass guitar.

As a first-day test, I recorded myself playing a song by RUSH, called "Leave That Thing Alone". Rush bass lines have typically been difficult for me to play in 5ths tuning, so this is a great example of the usefulness of DBR.

Thanks all!
Jim McLaren

[youtube]http://www.youtube.com/watch?v=P7MXgHzTbTk[/youtube]

Love those Geddy Lee bass lines!!!! and it sounds great on stick. Well done Jim. You know you want to... thats right YYZ, La villa, Analog Kid,Digital Man etc,etc. Rush Bass lines are such a good workout in so many ways.

Hi Jim,

GREAT!

Love to see so many of the same things I've found in the tuning in your video, too. Love the unison left-hand on strings 5 and 7. And the fluid three-fingered right hand in 4ths....
Keep at it, and thanks so much for posting.

Regarding the key of things, the low B on 5-string bass is just a conceit based upon low E on the 4-string. Having a low C gives you a really nice placement of the low E at fret #4, giving you that much more room for the right hand above it in the two-handed patterns.

I find it easier to reference the inlays, too, as you have more lettered notes falling on the 2nd fret and inlays. With a low B, you have more accidentals falling on those inlays.

Keep 'em coming!

GREAT JOB JIM!!!!!
Very cool! We want more! We want more!


Cheers, Daniel

PS: Welcome to the forum