Andreas Oberg - Billie's Bounce

**M-ster** · 01-01-2011, 05:59 PM

Another transcription. This time Andreas Oberg performing Charlie Parker's Billie's Bounce at NAMM 2008 (according to the YouTube page).

Here's the video:

And here's a transcription of the first 138 bars (through the end of Andreas' solo):

billies-bounce-andreas-oberg.pdf

The bassist implies other things in spots, but the changes generally are these:

Code:

 F7         | Bb7        | F7         | F7         |
                                      ( F7alt.     )
 
 Bb7        | Bdim7      | F7/C       | A-7   D7   |
            ( Bb-7  Eb7  | A-7   D7   | Ab-7  Db7  )
 
 G-7        | C7         | A-7   D7   | G-7   C7   |
                         ( F7  )

**dyross** · 01-01-2011, 09:50 PM

Wow, love his blues phrasing. Great stuff.

I'm not that familiar with Andreas - does he always sing his lines? I find it to be a combination of interesting and annoying (at times).

Edit: How hard would it be to add changes to your transcriptions? Obviously I can figure out what the chords are supposed to be, but it's extra work

**docbop** · 01-02-2011, 01:30 AM

Oberg's background in Gypsy Jazz has definitely had a positive effect on his technique, so clean.

**M-ster** · 01-02-2011, 02:09 AM

Originally Posted by dyross

... does he always sing his lines? I find it to be a combination of interesting and annoying (at times).

I'm not that familiar with him, either. Someone referred us to this video, recently. But, I laughed at your comment - a combination of interesting and annoying! I kind of feel the same.

How hard would it be to add changes to your transcriptions? Obviously I can figure out what the chords are supposed to be, but it's extra work

Now that you mention it, I haven't done one with this program (Sibelius) with changes in it. I'm sure Sibelius must do it, though. I need to check how ...

The prior transcription was over an ostinato bass pattern and was essentially a one-chord vamp, so I didn't bother.

And this one is a 12-bar blues (except for the intro, which 16 bars that I would just call F7). The rehearsal letters in the PDF are at the start of each 12-bar blues chorus, and the changes are what I provided in the opening post.

Maybe that helps a little?

**kris** · 01-02-2011, 05:31 AM

Great solo and great work of transcriber!!!

**randalljazz** · 01-02-2011, 06:17 AM

thank you, m-ster!

**MarkRhodes** · 01-02-2011, 08:14 AM

Herb Ellis sang everything he played, though not so audibly on record. (On some of his recordings with Oscar Peterson, you can hear Peterson doing it!) It's a good habit to develop--it does make your lines more singable--but it's not something the audience needs to hear.

I'd never heard this guy before. He is clean and fleet--impressive stuff.

**fep** · 01-02-2011, 11:14 AM

M, wow,

Thanks! That is some excellent work you've done here. This is very generous to share this with us.

I love that video. I discovered it several months ago and I've been telling all my musician friends to give it a listen since. I think he was in the zone... you can see the other musicians with big grins as he finishes. That solo has everything... including a big band type chords / shout chorus.

And, 16th notes at 180bpm...

I don't think you need chords on this but... I also use Sibelius. To add chords, click on a note that you want a chord over, then hit "ctrl k" and type a chord. You can use the space bar to move to the position of the next chord to be typed in. Hit 'Esc' to exit chord entry.

The default is that the chords will include chord diagrams, I'm sure most of the time you don't want chord diagrams. To turn off the chord diagrams on the chart: On the menu bar select 'House Style' then 'Engraving Rules' then 'Chord Symbols'; then select the 'Chord text only' button.

Thanks again for the great work.

**dyross** · 01-02-2011, 02:06 PM

Originally Posted by M-ster

Now that you mention it, I haven't done one with this program (Sibelius) with changes in it. I'm sure Sibelius must do it, though. I need to check how ...

The prior transcription was over an ostinato bass pattern and was essentially a one-chord vamp, so I didn't bother.

And this one is a 12-bar blues (except for the intro, which 16 bars that I would just call F7). The rehearsal letters in the PDF are at the start of each 12-bar blues chorus, and the changes are what I provided in the opening post.

Maybe that helps a little?

Agreed that the Stern transcription required no chords for the static vamp. My thinking was just that it is *probably* trivially easy to add chords and it would benefit me nontrivially (less thinking, the better IMO) and that's why I made the fuss.

I don't mean to take away at all from your excellent work transcribing the solo. Did you do it at real speed on the youtube video, or using something like the slowdowner or transcribe?

**M-ster** · 01-02-2011, 05:12 PM

Originally Posted by fep

I don't think you need chords on this but... I also use Sibelius. To add chords, click on a note that you want a chord over, then hit "ctrl k" and type a chord. You can use the space bar to move to the position of the next chord to be typed in. Hit 'Esc' to exit chord entry.

The default is that the chords will include chord diagrams, I'm sure most of the time you don't want chord diagrams. To turn off the chord diagrams on the chart: On the menu bar select 'House Style' then 'Engraving Rules' then 'Chord Symbols'; then select the 'Chord text only' button.

fep, this is excellent, thank you! I'm finding that Sibelius usually can do whatever I want to do -- it's just figuring out how (or finding it in the Help file) that is difficult.

Originally Posted by dyross

Did you do it at real speed on the youtube video, or using something like the slowdowner or transcribe?

Ha! Even when I was a kid, one slowed the album down to 16-2/3 to learn the fast licks. Today, it's just way-the-heck easier, given the technology. Plus, the audio doesn't drop an octave when you slow it down!

I'm a very happy Transcribe user. That thing is phenomenal for transcribers. Worth every penny, IMHO, and I have no affiliation with Seventh String.

**604bourne123** · 01-21-2011, 12:05 AM

great example of guitar bebop lines look back in the future

**M-ster** · 01-21-2011, 03:43 PM

To everyone that said thanks, you're quite welcome. I'm just looking to share with my fellow musicians/guitarists. Glad you enjoyed any of it!

**604bourne123** · 01-21-2011, 05:07 PM

guitars and pianos are C so if you have a piece of music in F, one flat, to play guitar with it would you raise all the notes 1/2 a tone to play with a sax and a guitar together

**M-ster** · 01-21-2011, 05:41 PM

Originally Posted by 604bourne123

guitars and pianos are C so if you have a piece of music in F, one flat, to play guitar with it would you raise all the notes 1/2 a tone to play with a sax and a guitar together

To what question or post are you responding, 604?

To be "in key," a Bb instrumentalist would have to mentally transpose a "concert" chart up a whole tone (not a half).

**604bourne123** · 01-21-2011, 06:02 PM

for guitar so that to get the idea if the saxophone is a B flat instrument and he is doing Billies Bounce in the key of F major the guitar and piano which are in C would play in the key of G major.

**fep** · 01-21-2011, 06:17 PM

Originally Posted by 604bourne123

you mentioned that you transcribed from a saxaphone for guitar so that to get the idea if the saxophone is a B flat instrument and he is doing Billies Bounce in the key of F major the guitar and piano which are in C would play in the key of G major.

You're confused. If you hear an F from a saxophone, then you mark it down as an F on your transcription, and when you play it it will sound as an F... the same pitch that the sax played. It doesn't matter if the sax player is thinking G, it sounds as an F and that's how you'd write it down if you're writting for concert pitched instruments.

And M didn't transcribe it from a saxophone. He transcribed it from that video, and that's a guitar in that video.

If an experienced sax player tells the band he's playing the tune in F, then he means F concert. The rest of the band plays in F.

The saxophonist is the one that has to worry about transposing in this situation, not the concert pitched instruments.

Billies bounce is in F concert.

**Andrés_G** · 02-21-2011, 11:25 PM

I just found this. Thanks a lot! I'll have to play it slower tough.

**lkmuller** · 02-21-2011, 11:41 PM

Thanks M-ster. Andreas has been around for a while. Flips everybody out.

**jzucker** · 05-20-2011, 08:50 PM

can you transcribe benson's billie's bounce ?

**fep** · 05-20-2011, 10:05 PM

@Jack

M already did Benson's version of Billies Bounce:

George Benson - Billie's Bounce

If you go to the advanced search page and search for threads started by M-ster, you'll find transcriptions he has posted. It's high quality content.

**604bourne123** · 05-20-2011, 11:11 PM

Originally Posted by fep

@Jack

M already did Benson's version of Billies Bounce:

George Benson - Billie's Bounce

If you go to the advanced search page and search for threads started by M-ster, you'll find transcriptions he has posted. It's high quality content.

thanks for the lead

**mikeSF** · 02-27-2013, 04:35 AM

i feel like i played a small role in all that awesomeness, as I was the guy who strung up the guitar for Andreas that afternoon...it takes a village...

**Philco** · 02-27-2013, 05:29 AM

M-ster your a workaholic!

Not to throw water on your transcription chops but this solo is available from Truefire in Tab and music. I've had it for a couple of years.
Then again your saving a lot of folk a lot of money and honing your ears!

There's a lot to be learned from this solo. The man has some mean chops!

**M-ster** · 02-27-2013, 05:37 PM

I go in spurts ... I haven't done anything recently.

But, yes, I always feel like I learn a lot more when I work through them, myself. There's more to the video than I transcribed ... I keep meaning to come back and finish this one (i.e., add all the stuff after the bass solo to the end, I mean).