![]() ![]() Chord tones are highlighted in blue, while scale tones are red:įrom there, we move into outlining the next chord, G#m, via a series of approach notes: Using plucking-hand raking will make it much easier to get this opening phrase up to tempo. We start out by descending a B major 7 arpeggio the rhythm is typical of figures played by jazz musicians from Charlie Parker onwards – this is something that I’ve also come across when transcribing solos from great improvisers like Bill Evans, Joe Henderson, Paul Desmond and Oscar Peterson. The harmony that I’ve used for this analysis is one of several possible interpretations, as there’s not much in the way of chordal support to give us context – there are other ways of breaking down the line and this may well not be how the composers think about it. Zooming out and seeing the ‘bigger picture’ shows us that we’re really just outlining three chords not so bad after all, is it? It’s important to break down lines like this into their most basic building blocks in order to help us understand them from a theoretical standpoint and to aid actually playing the damn things. Here’s the notation for the line, along with my preferred fingering: Cracking The Code ![]() Although on first listen you might feel like it’s just a barrage of random notes, analysing the line in the context of a familiar jazz chord progression allows us to see that it’s really just a series of chord tones, scale tones and chromatic approach notes, albeit played at high speed. Lines like this are an excellent resource for building your technique in a musical way if you’ve spent any amount of time listening to (or even attempting to play) bebop heads and solos, then the language of this lick will feel familiar to you. The real reason for including ‘Swagism’ in this series is the monster unison lick that acts as musical ‘punctuation’ between the solos. My recommended tactic is to listen to the recording repeatedly in order to internalise where the accented notes are in the line and which notes are played using hammer-ons, as this has a huge impact on how the part sits with the other instruments. Notice the use of the tried-and-tested ‘question and answer’ compositional technique, seen here with two alternate endings:Īs you might expect, articulation is integral to getting the bass line to, well, groove it’s not just the notes themselves, it’s how you play them. SimonSays works with dozens of footage formats, including all the usual suspects such as h.264, h.265.The main bass groove is a straightforward four-bar pattern that outlines G#m (thinking of it this way rather than Ab saves us some enharmonic misery later on…). SimonSays.ai who made it, and who is it for? I learned quickly that it was a better idea to upload audio files rather than video files to save time uploading, but I found the service to be equally effective with whichever approach I tried. The SimonSays website states how the team behind this product come from a filmmaking background. In 2015, Shamir Allibhai left his career as a documentary filmmaker in the Middle East, with projects in Qatar and Afghanistan, to begin a new venture in California that aimed to bring computing solutions to the meticulous and sometimes infuriating task of subtitling. 'We really want to solve problems for video professionals" - Shamir Allibhai, CEO SimonSaysĪs someone who had worked across many Middle Eastern languages and dialects, and with a long list of friends in the industry with whom he could consult, Shamir was well placed. His team began by developing and training an in-house AI that could triple task recognizing language, speaker identity, and crucially, auto punctuation. However, a small startup in 2015 was never going to be able to compete with the likes of Google and Amazon in terms of AI computing. Simon says com skin#Īt this point, Shamir said, they had “no skin in the AI game” and simply outsourced those tasks to the best performers in the market. ![]() He said their customers were looking to them to fit into the workflow recognizing this early on meant they could keep their focus on how to solve problems for video professionals. After using SimonSays, it is clear to me that the goal was achieved. To get started, you can either set up an account with SimonSays or create a login using your Apple, Facebook, Google or LinkedIn profiles. Once logged in, you are faced with a homepage that displays all your recent projects alongside demonstration modules. You can sort through these with options on the left side of the main window. ![]()
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