when "The Sims" swings harder than you (The Sims 2 OST: Jazz - Simply Bop)
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- čas přidán 4. 09. 2024
- the bebop tune of all time
• Simply Bop
/ the_sims_2_complete_co...
.pdf:
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literally my first ever jazz transcription and its the sims lol
May I ask what the point of using triplets (measure 1 beat 4) and dotted 8ths (measure 2 beat 3) is when writing/transcribing in a style where 8th notes are swung? I know it's used sometimes but I've never understood the point. What extra information does it provide? How is the last beat of measure 1 rhythmically different from beat 3 of measure 2 or beat 1 of measure 3? To me they all sound basically the same, yet they are notated completely differently.
Is the point to indicate either a harder swing / emphasis on the upbeat (dotted 8th) or a strict adherence to a triplet grid (triplet)? If that is the case, then I don't really see the point, cause that's more of a performance/interpretation thing. I mean, the pianist here is playing so far behind the beat that the g on beat 1 of measure 3 is not actually played anywhere near beat 1, yet you've notated it on beat 1 for clarity and to avoid over-transcribing. Shouldn't this same reasoning, then, also mean that you should avoid using dotted 8ths and triplets where two simple 8th notes would suffice?
Indeed the random dotted 8ths and triplets aren't useful or even accurate here. It was my pretty bad attempt at notating his swing feel but it definitely should've been just 8ths for clarity.
@@reducefeelings gotcha. Cool transcription nonetheless! I've noticed that a bunch of older big band swing charts use dotted 8ths semi-frequently, perhaps this was at a time when jazz notation was less standardized.
@@asukalangleysoryu6695 thanks! I can recall "The Groove Merchant" having dotted 8ths played actually as dotted 8ths (oh nvm i have no idea what im talking about haha)
An explanation I've heard for using dotted eighth-sixteenth rhythms in older charts is to distinguish between swing and a shuffle feel.
@@prut9261 basically this. It's a practice that dates back to at least the early 1920s, dotted eighths are used as notation for a swing feel in early pop music charts (many of which would later become jazz standards) and were often used alongside straight rhythms within the same tune. It's a very old school way of writing things out and these days there's often notes specifying things... but also often not and you'll need a listening reference (like the score for the musical Chicago is very faithful to the old school ways of writing these things despite being written nearly 50 years after the hey day of this kind of notation nuance)
The pianist is so far laid back its messing with my mind
Straight chilling
ITS SO GOOD
Bros seat is fully reclined
@@daffiidlmao
frrr it almost sounds out of tempo but every new lick always comes just right in time, amazing
Some intense flirting with the lick going on
Wow, pretty cool rhythym changes head! Pianist has a really laid back feel
After an accident, I ended up in Intensive Care Unit, all tied up with tubes everywhere for 10 days.
Nurses were kind enough to put a speaker next to me so we could listen to some music trough my phone, which was especially useful when doing unpleasant work.
One day we were listening to some Ryo Fukui I think, and one of the girls said to the other "you now what that makes me think of ? When I was playing the Sims back to school"
Ryo Fukui's a good choice
Someone else knows ryo fukui!
I was listening to Scenery Album and this got recommended
As a jazz fan, seeing The Sims 2 move away from jazz was a little sad, but understandable, since the franchise was able to develop a personality of its own (don't tell me that 10-note theme doesn't go hard). The series of bebop tunes that came with the University pack was like a farewell to the genre.
"sorry bass solo..."
I WANT BASS SOLO 😭😭😭😭😭✊
We never get that bass solo😭
@@birdwatching_u_backstop getting so emotional @someguy1865
This sounds like a Bud Powell tune
Now let me tell you something!
I was playing Sims 2 when I was in secondary high school when it got out and when I bought the radio in the game and turned on the Jazz Station and listen to this song I got so hooked on it. Actually all of the songs on the jazz radio got me hooked, especially "good evening Bella" a counteract over "There will never be another you" as well as "Sim on the Edge". I got so hooked on the music wich led me to study Jazz as a Profession. My first transcription when I got to university was this one, I listened it 100's of times and I transcribed every single note on Piano and Bass and the Drum tradings, till now I listen it and I never get tired, I truly love this recording, it sounds so fresh, so cool, so relaxing, I can find many words now...
I wanted to know who played it, there was no information out there. I wrote to EA Games, the didn't want to tell me, said they cannot answer me that question. Then I contacted Maxis, they didn't want to tell me either. I wrote on blogs and forums online and asked... I asked every Jazzmusician I came across, every single one said this is the hardest swinging record they ever heard, its so tight, so bouncy, ect...
After 6 years someone wrote me back on an online forum I should contact Darren Johnston (Trumpet), he was involved in it...
I contacted Darren and he told me all how this recording happened and also that he was just putting a Band together, with people he knew while he studied in Berklee. He got "Adam Shulmann" on Piano, "Marcus Shelby" on Bass and "Jeff Marrs" on Drums. This rhythm section and the whole band is awesome...
I learned so much from it and I'm so grateful they did this record. If I wouldn't have listened to this recordings I wouldn't have been so hooked on Jazz and ended up teaching in a university and playing with so many great musicians in the past 15 years. I had so much fun and fulfillment because of this. Thank you Darren, Adam, Marcus, Jeff, Maxis, EA Games and you transcriber!
love this story! Adam Shulmann" on Piano, "Marcus Shelby" on Bass and "Jeff Marrs" on Drums, so there's no Chris Brown to begin with? Or maybe he was on sax for the other tunes? Either way thank you for finding out who these players were and that is an awesome way to get into jazz
its so swung most notes feel a sixteenth off but the down beats on new phrases and measures are right on. its so fucky lmao
your feelings ar eirrational
@@Fire_Axusyour thoughts are flammable
Beat 2 of mm. 4 & 12 is a triplet descending from C diatonically to G on beat 3. You may have assumed sixteenth notes because of how behind the beat they're playing.
Thanks, I hear what you mean. They really were super laid back with it lol
this is actually an amazing piano solo
Reminds me of some Charlie Parker piano arrangements I had.
Nice transcription! Looking forward to your future ones. Btw would you mind putting the transcription in the title? It may make it easier for those looking for it, instead of meme title silliness.
yea I don't like memes either. I'll do something about it now, thanks for the feedback. (EDIT: hopefully it isn't too messy and CZcams drops the algo views lol)
@@reducefeelings in my experience it should be fine as long as you keep uploading vids/bringing people back to the channel
The original is posted on Chris Brown's youtube channel... I didn't know he swung like that
Got a link?
@@saltrocklamp199its on spotify too
czcams.com/video/R_Me2rXDCJ0/video.html
open.spotify.com/track/63NBWxx9AV6XhTyFkuOBaC
definitely Chris Brown at his peak compositional maturity. His other work like "Yeah 3x" or "Run it!" definitely felt a bit regressive in the way he approached harmony.
nice transcription! never heard this song before, but it's tippin & a nice break from the other way overplayed rhythm changes heads lol
there are some things that should be noted about the transcription however:
1. the first 4 bars of each A have wrong chords. The G- chords should be G7, & the 2nd Bb chord should be a D-
2. the melody in the 4th bar & all other repetitions of the line should have a B natural.
3. the sixteenth note thing in the same bar should also be just triplets, with the first Bb cut out.
4. in the last measure of the second A (bar 17), the F7 shape in the RH should be Eb, Gb, A, D, ascending (A F13b9 chord). Not the F13add11 chord that you had written.
5. in the same measure, the Bb chord should be D, F, Bb, ascending, not the Bb5 chord that you had written
6. there are some wrong/missing notes in the LH during the bridge of the head, most of the time it's that you missed notes that were there, but trascribing those kind of things takes lots of practice & playing so it's totally understandable
7. lots of sixteenth notes in the solo should really be eighth note triplets
8. in the last measure of the piano solo, that Eb in the F7alt voicing should be an octave higher
9. don't use 2 eighth notes, triplets, & dotted eighth w/ sixteenth all in the same transcription. The easiest to read is by far the 2 eighth note notations, so I'd suggest sticking with that. Even though some parts are noticabley more laid-back than others, it's not worth causing confusion between the 3, & the feel of the music should be left to the discretion of whoever is playing it anyway.
10. if you're not going to transcribe the left hand comping on the piano, it's nice to just remove the staff completely, & keep it all in one. If you were to print this out, it would save paper, & it is also a lot easier to read.
11. if there is a pick up measure, don't leave it in the measure count, it's confusing. In your transription, bar 2 should be bar 1, bar 17 should be bar 16, etc.
lots of rambling, but what you did here is super cool & i can't wait to see the other songs you transcribe! also your All the Things You Are video was sick, I've no clue how you did it lmao
this is really useful stuff! here's my thoughts on some of your points
2. nice catch somehow i missed that B natural :(
3. yup another comment pointed that out
4. I couldn't hear the b9, sounds like F13sus to me
6. yea it's a little too quiet, i didn't want to guess even if it's shell voicings, and yes i'm not that good at transcribing lol
9. yup pinned a comment pointing that one out
11. interesting, didn't know pick up measures don't count as measures, musescore automatically numbers it but i guess i could change the text if there isn't an option for that somewhere (EDIT: it isn't musescore's fault, there is an exclude from measure count option lol)
no problem rambling is appreciated, and you checked out my weird animal crossing all the things you are contrafact? lol tysm
@@reducefeelings yea man i totally get u on the transcribing struggle. What really got me to start hearing a lot of things I never could before was actually not so much transcribing, not more so playing. I’m assuming you’re a piano player bc that’s the vibe I got from your channel so this could really help your ears; play random shit at the piano & try to understand it. Now that doesn’t mean just smash your hands against the keys & try to make sense of that, but rather start playing chords & making music, then when you find something you either recognize or like, realize what it is you’re playing, the context of the notes, & remember it. What really got me to learn all sounds of the different dominant alterations was just playing solo piano & accidentally stumbling upon the voicings, upon which I would do my best to remember their sound & their color. Now it wasn’t something I was able to internalize after one try, it took many repetitions of playing it in different circumstances as well as many different keys; almost like learning how to use a new word.
Another thing that helps a lot with both your ears & improvisation as a whole is being able to hear & replicate patterns despite the keys that they are in. If someone played the voicing C, Bb, E, A, ascending, instead of thinking of C13, you’d think of a dominant 13 chord, that way, if you hear that particular sound of a 13 chord again, despite its key, you’d know it is a 13 chord & you can use context clues in the music to find the root note.
An exercise that really helps with this is just singing patterns or jazz heads in different keys. It really helps with breaking free from thinking in terms of notes on a piano, but rather patterns & melodies that create music.
“Tossed Salad, and Scrambled Eggs”
this is just bud powell if he was slightly less mentally ill
I wonder who’s playing
I did some searching - all I could find was this site mentioning Darren Johnston (trumpet in other Sims 2 jazz songs) having worked with Chris Brown. Unlike Darren Johnston's page, Chris Brown's page has no mention of working with EA. So not sure if he's the right cat we're looking for...
www.bayimproviser.com/artist/22/chris-brown
www.bayimproviser.com/artist/162/darren-johnston
@@reducefeelings There's a small chance it's Marc Russo - of Yellowjackets fame. He did most of the OST for The Sims 1, and some of The Sims 2.
@@jechet10That would definitely make sense.
Sounds a bit like Lennie Tristano
this is cool and all, but I hate it when people cant decide on how do notate swing… either do just two eight notes, a dotted eight note and a sixteenth note or use triplets. It’s so annoying when all of the methods are used!
👍
this isnt bebop lol
This is very much bebop lmao
Wow, that music is really bad compared to the original Sims music
I want to know what original sims music sounded like because its not better than this
@@grammarp3263 All of them basically
If you are tone deaf yeah probably
@@grammarp3263I don't remember a lot of straight-ahead jazz in The Sims (maybe in the Pets expansion; I think there was a bit of a New Orleans theme going on there), but that original Build Mode music was iconic, the Buy Mode songs were cheesy but had the perfect vibe, the rock station felt like listening to classic rock radio from an alternate dimension, and the bossa nova station was the perfect elevator music.
What's bad about it