Hi Bob,
I'm personally very wary of cuing bass parts below the drum staff, as
often the drummer's first instinct is to kick the downstem cues with
the bass drum -- HARD. This can be okay in a "shout chorus" type
situation if the bass is heavily reinforced in e.g., bass trombone,
LH piano and/or bari sax. But if the bass player is the only one
playing the cued part, and the drummer doubles it on the bass drum at
anything above a ghost of a tap, the bass pitches will be inaudible.
Despite the many warning indications I include on my parts -- i.e.
"CUE ONLY -- DON'T KICK," even very good drummers will often ignore
this warning until I point it out, and even then they will try to
revert to kicking them with the bass drum when they think I'm
distracted with other things. I don't know why drummers love covering
up the bass part so much, but they evidently do.
If there are no conflicting cues above the staff, I will often put
the bass cues up there. It's totally nonstandard and drummers
complain about this all the time, but the fact is they play better
when the part is laid out that way, catching the cued bass accents
with a *contrasting* drum or cymbal, instead of the damn bass drum
all the time.
Cheers,
- Darcy
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[EMAIL PROTECTED]
Brooklyn, NY
On 04 Jan 2007, at 3:30 PM, Christopher Smith wrote:
On Jan 4, 2007, at 12:02 PM, Bob Florence wrote:
Thanks to Chuck, Christopher. & Carl:
My question was about indicating what the bass player is playing
if his part switches to something other than playing time. I
talking about the bass part have cross rhythms.
Yes, as I said, I use layer 4 for that, and set it so that stems
are always down, ties are always flipped, and rests are moved down.
I don't use Layer 4 for anything else, so it is fine. Layer 3 is
for cues above the staff, while layer 2 is for normally notated
second voices.
Christopher
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