The baby bump

Our cat, Katie, checks out my gigantic tummy.

Cheating at the Name Game

One of my co-workers recently declared a "take your children to work day". Actually it's not a bad idea if your dad's a coach. You can play basketball all afternoon in an air-conditioned gym.

As the coach introduced me to his kids, I admired his choice in girls' names.

"Yeah, I picked it out," he said. "My wife liked this other name, and I didn't like it. So I told her I once dated someone with that name."

Well there you go guys and guys, out to win at any cost, there's a trick to keep up your sleeve when the "name game" gets rough.

What's in a name?

Ok, so I think we've picked out a name. But I won't tell you!

Is that rude? I feel rude.

It seemed like a good idea at first, since there's going to be no surprise announcement of "It's a girl!" on delivery day. That day has come and gone at 20 weeks in the womb. So why not make the child's name a suprise on delivery day?

A couple we know actually didn't decide on the full name of their baby until after they took him home from the hospital, so they had to call back at the hospital to get the birth certicate drawn up. I think that's where we got the idea of waiting to announce the name. It seemed like fun to wait and surprise everyone.

But there's a difference between procrastinating and keeping secrets. Everyone seems to ask the same three questions in this order- "1. How are you feeling?" "2. Do you know if it's a boy or a girl?" 3. "Have you picked out a name?"

So when someone asks me #3, now what I say?

"Yes, but I'm not telling. Nah nah"

Murphy's Laws for the Double Bassist

My Murphy's laws of the Garden were proven correct yet again last night. I spent a good hour lugging the hose around the yard last night because I had an early meeting scheduled this morning and I was sure my garden wouldn't make it till the next afternoon. So it rained last night. Rained so hard that the electricity went out at work, so that meeting was cancelled anyway.

So I feel it's time to write the Murphy's laws for the Double Bassist. Many of these laws will also apply to any bass clef instrumentalist.

Murphy's Laws for the Double Bassist

1. No matter how early you show up to the gig, you will never find a close parking space. The flutist will be parked directly next to the door.
2. If you think the conductor is in 4/4 as you count your rests, it's actually in half time. By the time you find your place, the movement is over.
3. If you forget your endpin rest, the floor will be as slick as vasolined linoleum, and you will be sliding away all night.
4. If you drop your music the floor, it will act as a divining rod and direct itself to where the tuba player just dumped the spit valve.
5. If a lick is particullary difficult, it will practically be a solo.
6. If a lick is easy and fun to play, it's always marked "pp".
7. You will develop blisters from plucking, but never calluses.

Why Georgia, why...

...did you have to book John Mayer 6 days after our baby is due?

If I was still in the Midwest, I might be able to catch a show in September, but by the time he arrives down here, in nearby Georgia, I could be in labor any minute.

Sigh.

A Riddle for You

What do the songs "Hey Jude" and "Frosty the Snowman" have in common?

Ok here's a hint: Sing the first two notes of each song.

Photo by Stone Fox

Yes, they both start with a minor third decesencing interval. (In other words, down three half steps.)

Recently I found that ear training can actually be a fun little game when I'm really bored in the car or with life in general. Just pick a random tune and try to pick out the intervals. I also try to picture it on a keyboard, in the key of C.

For a long time, probably from when I first sat at a piano, I've been wishing I could pick out any tune on a keyboard. Justin mentioned a while back that he made ear training a part of his practice routine, and I know this is an important part of musicianship. But I had no clue how to get started. So I was excited to finally find a book to help get me started : Jamey Aebersold's "Jazz Ear Training."

The book doesn't mention this, but I know that the next step in building good walking bass lines, as well as doing good improv on the bass, is to start thinking of intervals in terms of frets or fingerings on the bass. I'm pretty comfortable with knowing where to find fifths, from my recent obsession with the Bossa Nova. But most of the time I'm still thinking in terms of note names and want the notes written out, instead of thinking in intervals.

Any advice on ear training from bass players out there?

Well I know I have my work cut out for me!