FINGERBOARD HARMONY FOR BASS. Gary Willis, 100 esempi e esercizi; posizione della mano, e molto altro. Con diagrammi. CD

Series: Bass Instruction
Medium: Softcover with CD
Author: Gary Willis
A comprehensive source for learning the theory and geometry of the bass fingerboard by one of today's leading players and instructors. Audio features Gary Willis demonstrating 99 examples and exercises. 72 pages.

Price: €23,99

JUMP 'N' BLUES BASS KEITH Rosier LIBRO CD TABLATURE Willie Dixon-Duck Dunn-Tommy Shannon

JUMP 'N' BLUES BASS. Rosier. Esempi da Willie Dixon, Blues Brothers, e tanti altri bassisti blues. 22 play along. CD TAB.

Series: Bass Builders
Softcover with CD - TAB
Author: Keith Rosier
Essential jump/swing and modern blues bass lines for electric and upright players. Includes lessons and music in the style of Willie Dixon, Larry Taylor, Edgar Willis, Duck Dunn, Tommy Shannon, and more! The CD includes a lives blues band with over 20 play-along tracks. 56 pages.

Price: €19,99




Funk Bass

Series: Bass Instruction
Format: Softcover with CD - TAB
Artist: Jon Liebman

Critically acclaimed as the best single source for the techniques used to play funk and slap-style bass! Includes a foreword by John Patitucci and is endorsed by Rich Appleman of the Berklee College Of Music, Will Lee, Mark Egan, Stuart Hamm and many others! Features several photos and a special section on equipment and effects. A book for everyone - from beginners to advanced players! Includes a 58-minute audio accompaniment. CD TABLATURE

Inventory #HL 00699348
ISBN: 9780793516209
UPC: 073999993486
Width: 9.0"
Length: 12.0"
96 pages

The goal of this book is to introduce the contemporary bassist to the funk style of playing. Many books of this type miss the point of what is required of a bass player. Being able to execute a bunch of fast funk licks may dazzle your friends and relatives, but it won't make your phone ring off the hook from contractors and record producers calling you with work. In the real world, you'll be hired according to how well you understand your role as a bass player and how well you do your job. This book will guide you toward those goals in a logical, step-by-step "real-world" approach.
Chapter I, A Word On Practicing, emphasizes the importance of proper practice habits. It includes discussions on metronomes, drum machines, live drummers, tape recorders, utilizing recordings, attending live concerts and maintaining a music notebook.
Chapter 2 begins illustrating the fundamentals of funk bass playing - how to "slap" and "pop." The emphasis here is on precision and proper execution. The exercises in this chapter are developed into some basic funk patterns in Chapter 3.
Chapter 4 introduces some stylistic elements, such as the "hammer-on," the "pull-off," the slide, the trill, the shake and the bend (no, it's not a dancing lesson!). These are the so-called "tricks of the trade" that will make your playing sound funkier.
The focus in Chapter 5 is on establishing a groove - the most important element of playing the bass. If you're going to get anything at all out of this book, get this: GROOVE IS EVERYTHING, AND EVERYTHING MUST GROOVE! I can't overemphasize the importance of this statement. It holds true for all musicians, but especially for the bass player and the drummer, because they're the ones that really lay down the time and make the music "feel" good.
Once you understand this concept and are comfortable (honestly!) with Chapters 2 through 5 of this book, feel free to have fun with the licks I have included in Chapter 6. They are intended to illustrate different possibilities of the funk style, help you develop your technique and give you ideas for creating your own funk lines. Remember, your job is to groove and support the band. These licks are to be used at your discretion as your taste and musicality dictate. They can work very well as fills within the groove or, of course, for your solos.
It is crucial to be able to play in an keys. Many students of funk bass can really "get down" in one or two keys, but are practically helpless when they have to play for a singer whose song is not in "E" or "A" but in some "weird" key. Because this is so important, I have made sure to include plenty of exercises and licks (and grooves!!!) in all twelve keys. Where other books simply suggest, "try these licks in a few different keys," I felt it was important enough to actually write them out. Of course, you are encouraged to transpose anything in this book into any or all twelve keys. It's good for you! It will help your reading, too.
What's more, the key of"a"is not the same as "J)l.," nor is "Fl" the same as "0," nor "B" the same as "0." By the time you get through this book, you'll be able to read and play in any key. Granted, certain keys (like "E" and "A") lend themselves to greater ease and facility on the bass, because of the nature and tuning of the instrument. Also, some keys may be harder to read, but easier to play in, and vice versa. When you come right down to it, there are no such things as "easy" or "hard" keys, only "familiar" keys and "unfamiliar" keys.
The Appendix, Your Equipment, provides an overview of the equipment common to funk bass players. It includes information on types of basses, strings, amplifiers, speakers and effects. It is intended to "de-mystify" the myriad of products available to musicians today, and offers insights into how to invest carefully in the proper tools that will best suit your needs.
At the end of this book I have included a Discography, which is by no means exhaustive, but offers a cross section of some of the greatest funk bassists in music today. It's important that you listen to as much of this music as possible so you understand just exactly what we're trying to do here. If you get a chance to see any of these guys live, don't you dare miss them!

Chapter 1
A Word On Practicing
"Practice doesn't make perfect. Perfect practice makes perfect."
- Vince Lombardi These words, by the late, internationally renowned coach of the Green Bay Packers, are profoundly true. Whether you're talking about music or football, Mr. Lombardi's philosophy still applies. Even if you spend eight hours a day in the woodshed, you could be wasting your time if you don't have proper practice habits. In this chapter, we'll look at what distinguishes "good" practicing from "bad" practicing, and how to make the most efficient use of the hours you spend honing your funk bass skills.
"Did you say bad practicing?" "Does it really exist?"
Absolutely! Do you ever just "wander" around the bass, aimlessly, playing lick after lick? Do you often find yourself charging ahead through bass lines and solos that you already can play inside out? When you practice a part, do you think only of the bass, without considering the interplay between you and the other musicians (the drummer, for one)? Do you practice without a metronome or a drum machine? Or in front of the TV? If you answered yes to any of these questions, you may be found guilty of "bad practicing" and could be subject to eternal banishment from all that's hip, and forced to tap your toes on "one" and "three" for the rest of your life!
When you practice, it's serious business. Create an environment that's conducive to study. Keep distractions out of sight.
Find a time when you won't be disturbed. Convince yourself that you're not hungry or thirsty, and get in the proper frame of mind.
My teacher used to have me keep a log of my practice sessions, which was a great help. Get a calendar, in which you'll record nothing but your practice schedules. Every day, take into account how many hours you're going to spend practicing and what you need to work on, then budget your time accordingly. Write down, for example, 30 minutes for scales and arpeggios, 20 minutes for sight-reading, etc. When the time alloted for each segment expires, move on to the next one, checking things off as you go. That way you're constantly chipping away at everything every day, and won't have to worry about three weeks going by without playing any Stu Hamm finger taps, or whatever else may be on your agenda.
At the end of the week, take a look at your calendar and see how much practicing you're actually doing, versus how much you think you're doing. The results may surprise you.
"Time is of the essence." I don't know who first uttered those words, but they couldn't hold more truth for bassists.
When you're practicing by yourself, always use a metronome, or, better yet, a drum machine. Remember: they're your friends! Concentrate not only on playing in time, but with a good time feel. A GREAT time feel. So what if you know the right changes to 40,000 tunes? Who cares if you can play eighty-bizillion sixteenth notes a minute, or have the "baddest" setup this side of Osaka. THE MOST IMPORTANT JOB YOU HAVE AS A BASS PLAYER IS TO GROOVE WITH A GREAT TIME FEEL. You may think you're playing in time, but the metronome and drum machine will keep you "honest," so use them.
Another way to work on your time feel is to get together with a good drummer and groove. For hours. Don't just fool around, though. Concentrate on "takin' care0' business." Oh, sure, you can still work on your solo chops, but spend most, if not all, of the time on the time. Pick several grooves that you want to work on, and practice them one at a time, over and over, without stopping. Be sure to play in all twelve keys, too. You may want to have your drummer friend program a few grooves into your drum machine, for you to practice with when you're by yourself.
So far, we've got three friends: a metronome, a drum machine and a real live warm body behind the drums. Let's add one more friend to our list: the tape recorder.
Back we go, once again, to the "honesty" category. You think you know what your playing sounds like? Try laying it down on tape and see (hear) if you're right. "Tape recorders don't lie." Recording your playing may reveal many flaws and bad habits of which you may not have been aware. It lets you really zero in on the attack and release of each note, as well as your sustain, intonation, time feel and overall sound. A tape recorder can be an invaluable practice tool.


Sure, I'd like to take all the credit for writing this book. Truth is, though, I had help. A lot of people went out of their way to help me make this project (and it was a project!) move more smoothly, easily and efficiently. I'd like to take this opportunity to acknowledge these people's generosity.
Thanks to the musicians who took the time to talk with me, read my manuscript and actually come up with good things to say about my book:
- John Patitucci: I don't know where you found the time to hang out, John, but I sure do appreciate it. Even though I did have to sit and watch you rehearse your incredible band while waiting to talk to you, really, I didn't mind! Thanks for putting up with all the trans-global phone calls and faxes (what an age we live in!). Thanks for going so far out of your way to help me. Much luck and continued success to you.
- Rich Appleman: A true pedagogue! Thanks for your support and encouragement. Berklee is lucky to have you.
- Brian Bromberg: Glad the word finally got out about what a great player and writer you are. Hell, I've known that for years! Thanks, man.
- Bob Cranshaw: I admire your meticulous, no-nonsense, down-to-business approach. Thank you.
- Mark Egan: I didn't mind sitting through your rehearsal, either! Thanks.
- Stuart Hamm: I am truly honored to have been the one chosen to transcribe the music for your Hal Leonard book.
Throughout the ordeal, though, you quickly went from being my mentor to my tormentor! Seriously, I appreciate all the time we got to spend working together. Now let's go eat!
- Neil Jason: What can I say, Neil? You helped me make the phone company rich! Thanks for all your suggestions, and thanks for being a great guy!
- Will Lee: You sure are hard to get a hold of, but it was definitely worth the effort! Thank you!
Thanks to all my friends, "consultants" and experts in their respective fields:
- Alexis Sklarevski, Dale Titus and everyone at the Bass Institute of Technology, Hollywood, California
Don Coffman, Director of Jazz Bass at the University of Miami Schoor of Music, Coral Gables, Florida
- Tim Emmons and Todd Ferguson at the Dick Grove School of Music, Van Nuys, California
- Dennis Tini, Matt Michaels, Gary Leach and Dan Pliskow of the Jazz Studies Department at Wayne State University, Detroit
- Sid Beshkin: The world's foremost authority on print technology!
- Steve Carryer, Cliff Cohen and Tom Hollyer: three of the most amazing Macintosh wizards on the planet!
- "Dr. Jazz" of Dr. Jazz Operations, Oak Park, Michigan
- Mike "Friedbaum" Friedman. He's my "Mr. Drummer Friend" (see Chapter 1). Thanks for working out all those grooves with me, dude.
- Abe Laboriel: A great inspiration and a true gentleman (and what a bass player!). Thanks for your help and encouragement.
- Herb Mickman: Hey, Herb. Did you hear the one about...?
- Steve Shepard and everyone at Scorpion Systems Group (the "Sybil" people)
- The staff of the Specs Howard School of Broadcast Arts, Southfield, Michigan
- The staff of PM Productions, Southfield, Michigan
Thanks to my merciless proofreaders: Marty Liebman (yo, Bro!), Tom Profit and Rey Sanchez.
Thanks to John Cerullo, Joff Jones and everyone at Hal Leonard Publishing Corporation.
Thanks to Sammi and Josh.
Special thanks to Rey Sanchez (see merciless proofreaders, above). Actually, I don't know whether to thank him, or to blame him! If it weren't for Rey, it never would have occurred to me to write a book (thanks a lot!). That night in Bogota, Colombia - was it just a suggestion when you said, "Hey, man, you ought to write a book. A funk book. Yeah, that's it. A funk book," or was it a dare? Well anyway, here it is! Thanks for the huge hand you've had in my success - all the gigs, all the tours, all those times in the studio. Thanks for introducing me to Jaco. Thanks for your friendship. Where are we going, next?

Notation Legend .
Foreword by John Patitucci .
Introduction .
Chapter I A Word on Practicing .
Chapter 2 Getting Started .
The Slapping Technique .
The Popping Technique : .
Chapter 3 Some Basic Funk Patterns .
Chapter 4 Style Elements .
The Hammer-on .
The Pull-off .
The Slide .
The Trill .
The Shake .
The Bend .
Chapter 5 Establishing a Groove: .
Chapter 6 Building a Vocabulary For Funk Soloing .
Epilogue .
Appendix: Your Equipment. .
Your Bass .
Your Strings ,
Your Amplifier and Speakers .
Your Effects ,
Discography .
Acknowledgments .
About the Author .
Endorsements .

Price: €20,99

LATIN BASS, The Essential Guide to Afro-Cuban and Brazilian Styles CD TABLATURE merengue-mambo-samba-partido alto

LATIN BASS, The Essential Guide to Afro-Cuban and Brazilian Styles. G. Lopez. CD TABLATURE

Latin Bass
The Essential Guide to Afro-Cuban and Brazilian Styles
Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD
Composer: David Keif
Composer: George Lopez

This must-have manual for all bassists teaches how to play Afro-Cuban and Brazilian styles such as mambo, cha cha cha, bolero, nanigo, songo, merengue, samba, bossa nova, 3/4 bossa nova, baiao, and partido alto. For each style, there is a brief introduction, an example or two of the basic groove, and a play-along song on the accompanying CD – both with and without bass parts. Also includes a list of artists for recommended listening.
Inventory #HL 00695543
ISBN: 9780634017483
UPC: 073999235067
Width: 9.0"
Length: 12.0"
32 pages

As the diverse cultures of the world have continued to blend together, the results have become very apparent in music. Though each ethnic style has distinct characteristics, contemporary musicians combine styles from many cultures as they develop a sound. Much of today's popular music is greatly influenced by Latin music. The general term "Latin music" is used to describe ethnic music which originated from Africa and developed stylistically in Cuba, the Caribbean, and the countries of South America. Each has a very specific bass feel. As a bass player, it is important to become familiar with these feels. Latin Bass gives you this opportunity. Learn the differences between a bossa nova, a mambo and a cha cha chaoFind out how to playa nanigo, and much more. Each style is examined and demonstrated. Get hands-on experience as you play along with the compact disc included in the book.

About This Book
In order to demonstrate a wide spectrum of Latin bass playing, this book covers ten styles. Each style includes a brief introduction, an example or two of the basic groove, and a play-along song. All songs feature a full band on the compact disc. The bass lines are notated just as they are played on the CD. There are two mixes (versions) of each song; the first includes the bass, and the second does not. After you learn the written bass part, you may choose to create your own lines. This is highly encouraged, as it will help in the learning process.
In addition, for each style there is a short list of artists we recommend for listening. This is only a fraction of the available material, but if you want to learn more about Latin, check out these musicians!
The styles are divided into two groups. The first group is Afro-Cuban, traditions coming from the Caribbean and Cuba. These styles are mambo, cha cha, bolero, nanigo, songo, and merengue. The second group is Brazilian, and consists of samba, bossa nova (4/4 and 3/4), baiao, and partido alto. After studying the material from this book, you will have a fundamental understanding of the Latin bass style. Keep in mind that this is only the beginning. These styles evolved from numerous cultures and can only be fully understood by continued study. It is in your best interest to listen to as many recordings as possible to hear the complex variations that the musicians from these cultures use in their music. Keep practicing, listen to the records, and have fun!

About the Authors
George Lopez is one of the most in-demand bass players in the Latin music scene in Los Angeles. He has worked with Tito Puente, Celia Cruz, Poncho Sanchez, EI Chicano, and many others.

David Keif is a successful freelance bass player working in Los Angeles. He is the author of Arpeggios for Bass and Grooves for Electric Bass, both available from Hal Leonard Corporation.

Credits & Acknowledglnents
Music written and arranged by George Lopez, David Keif, and Carlos Campos.
Keyboards and rhythm programming by Carlos Campos.
All bass parts played by George Lopez.
The authors would like to thank Carlos Campos, Maria Martinez, Bruce Buckingham, and
afael Cirne Lima for their knowledge and contributions during the writing of this book.

Table Contents
Introduction .
About This Book .
Part One: Afro-Cuban
Mambo .
Cha Cha Cha .

Part 2: Brazilian
Bossa Nova
3/4 Bossa Nova
Partido Alto
Bass Notation Legend

The Essential Guide to Afro-Cuban and Brazilian Styles
• Mambo
• Cha Cha Cha
• Bolero
• Nanigo
• Songo
• Merengue
• Samba
• Bossa Nova
• 3/4 Bossa Nova
• Baiao
• Partido Alto

CD Includes Tracks for Demonstration and Play-Along

ISBN 0-634-01748-9

Price: €17,99


BASS LESSONS WITH THE GREATS. Prestia, Willis, Wooten, Goines, Haslip, Johnson. CD TABLATURE

Six major artists share their vast knowledge and experience in jazz, rock, funk, fusion and Latin bass. Lincoln Goines, Jimmy Haslip, Alphonso Johnson, Rocco Prestia, Gary Willis, and Victor Wooten cover laying down a groove, thumb playing and popping, improvising, expanding your jazz vocabulary and mastering modern harmonic and melodic concepts.

Developed by John Xepoleas
Instrument: Bass Guitar
Series: Manhattan Music Publications
Pages: 96
Format: Book & CD
ISBN 10: 0-7692-2663-9
ISBN 13: 978-0-7692-2663-7
Alfred Item #: 00-MMBK0037CD

Price: €84,99



Price: €19,99

PATITUCCI JOHN, ELECTRIC BASS ITALIANO 2 CD JAZZ WALKING BASS latino-brasiliano-reggae-africano-grooves

PATITUCCI JOHN, ELECTRIC BASS. In italiano e spagnolo. CD TAB.

Tecnica (sul basso a 4 corde: scale/arpeggi, esercizi di picking, hammer on/pull, ...), time/groove, accompagnato da Dave Weckl su Cd, e grooves etnici, inclusi gli stili latino, brasiliano, reggae e africano.

Price: €25,99


PASTORIUS JACO, LICKS. Birdland -Bright Size Life -Come On, Come Over -Continuum -Donna Lee -God Must Be A Boogie Man -Kuru -Liberty City -Night Passage -Palladium -Port Of Entry -Portrait Of Tracy -Rockin' In Rhythm -Talk To Me -Teen Town. CD TAB.

A Step-by-Step Breakdown of the Styles and Techniques of the World's Greatest Electric Bassist
Series: Signature Licks Bass
Softcover with CD - TAB
Author: Dan Towey
Artist: Jaco Pastorius

Learn the trademark grooves and solos of the man who revolutionized bass guitar. This book/CD pack will help you take a closer look at Jaco's rich body of work through the structural, theoretical, and harmonic analysis of these classic recordings, 56 pages
Bright Size Life
Come On, Come Over
Donna Lee
God Must Be A Boogie Man
Liberty City
Night Passage
Port Of Entry
Portrait Of Tracy
Rockin' In Rhythm
Talk To Me
Teen Town

Price: €29,99



Price: €99,99




Progressive Heavy Metal Bass Guitar Licks Volume 1 and Volume 2 contain
Licks that incorporate all the important techniques used by the world's best
heavy metal bass players. (These techniques are outlined in Progressive
Heavy Metal Method for Bass Guitar and Heavy Metal Techniques for Bass Guitar).
The Licks in these books are particularly useful as reinforcements of:
1) Technical aspects of playing heavy metal bass.
2) A source of ideas for your own licks and solos.
3) Practical exercises.
4) A source of teaching material.
Many of the licks are from well known solos or adaptations of these solos. It is
important that after a while you begin to play these licks with some variations
of your own. Combine the study of these licks with constant playing and
listening. All metal bass players use the same basics but development of style
is determined by how these basics are used.
Both music and TAB notation are used. For music readers most of the licks in
the two volumes have accidentals (sharps, flats) placed in front of the note to
be played. In some cases a key signature is used. For more information on key
signatures, reading music and TAB notation see Progressive Bass Guitar.
Chord symbols are used to give an indication of what a guitarist would play
and how the bass line relates to chords.
The technique to use is mentioned before and/or above each lick e.g. use of
hammer-on, pick etc. If nothing is specified use your right hand fingers to play
the lick. To make reading easier and to find the notes faster on the fretboard,
tablature notation is used. Also fingering numbers are used to help you find
the easiest way of playing a lick.
Due to the speed, phrasing and range of heavy metal bass licks they are quite
often very hard to read from written music. For this reason it is essential to
have the cassette tape that contains all the examples in this book. The book
tells you where to locate your fingers and what technique to use and the tape
lets you hear how the lick should sound.
Volume 1 and Volume 2 both contain licks from beginner to professional level.
Good luck and have fun. Stephan Richter
Stephan Richter obtained his degree in Classical Music (Cello major) at the Zurich
Conservatorium of Music in Switzerland. He further studied in New York on Electric Bass with
Rick Laird and Tony Oppenheim. He currently works as a session musician and teacher. Stephan
is author of Progressive Slap Technique for Bass, Tapping Technique for Bass, Heavy Metal
Method and Heavy Metal Techniques for Bass, and Heavy Metal Licks Volume I and 2.
Price: €19,99
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