BASSO

FUNK BASS Liebman LIBRO CD TABLATURE PLAYING Slapping Technique-Popping-BENDING-TRILL-SLIDE

FUNK BASS. Jon Liebman. THE BEST SINGLE SOURCE FOR PLAYING FUNK AND SLAP-STYLE BASS.
SHEET MUSIC BOOK WITH CD & BASS TABLATURE. 

 

LIBRO METODO PER BASSO CON CD.

SPARTITI PER BASSO : 

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Funk Bass

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

FORWARD BY: JOHN PATITUCCI

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
 

INTRODUCTION
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.

 

ACKNOWLEDGMENTS
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?
 

TABLE OF CONTENTS
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 .
 

Prezzo: €26,99
€26,99

BASS METHOD COMPLETE EDITION 1-2-3 ED FRIEDLAND 3 CD TABLATURE rake-Scale-Right-Hand Technique

BASS METHOD COMPLETE EDITION 1, 2, 3. BY FRIEDLAND. 3CD TABLATURE

Hal Leonard Bass Method - Complete Edition
The critically acclaimed Hal Leonard Electric Bass Method – Second Edition in a handy composite edition! Contains 3 books and 3 CDs for Levels 1, 2 and 3.

Inventory #HL 00695074
ISBN: 9780793563838
UPC: 073999950748
Width: 9.0"
Length: 12.0"
144 pages

HAL LEONARD

Books 1, 2 and 3 Bound Together in One Easy-to-Use Volume!
Series: Bass Method
BOOK W/CD - TAB
Author: Ed Friedland

The critically acclaimed Hal Leonard Electric Bass Method - Second Edition in a handy composite edition! Contains 3 books and 3 CDs for Levels 1, 2 and 3. 144 pages,


TUNING
TUNING TO THE CD
To tune your bass, adjust the tuning pegs. Tightening a peg will raise the pitch
of a string, loosening a peg will lower it.
On CO Track 1, each string is played four times. The first string you'll hear is
the G (1st) string. Check your string with the CD; if it sounds lower than the
recording, tighten the tuning peg until you get closer to the pitch on the CD. If
your string is higher, then loosen the peg. Once the G string is in tune, repeat
this process with the 0, A, and E strings (2, 3, and 4).

USING AN ELECTRONIC TUNER
Electronic tuners have become very affordable, so it's a good idea to have one.
There are generally two types available: a "bass" (or "guitar") tuner, which will
only read the open strings of your instrument, or a "chromatic" tuner, which
will read any pitch. Either will do the job. Plug your bass into the input of the
uner and play your open G string. The tuner will read the pitch and tell you if
he string is sharp (too high) or flat (too low). Adjust the tuning peg until the
tuner indicates you are in tune. Repeat the process with the 0, A, and E strings.

TUNING TO A KEYBOARD
Use the appropriate key on a piano/keyboard to check your open strings.

G 4th string
D 3rd string
A 2nd string
E 1st string

RELATIVE TUNING

Here's another way to tune your bass. It is less accurate, as it assumes that your starting string is in tune-and it is harder for
he ear to hear the low pitch of the bass as well as a tuner can-but this method works when there are no other alternatives.
It's also a good way to check your tuning.
• Start with your open G string. If there is an accurate G available, use it; otherwise, assume the G string is tuned to
the correct pitch.
• Play the 0 string at the 5th fret, and see if that note matches the open G. Tune the 0 string up or down until the
two notes match.
• Play the A string at the 5th fret; compare it to the open O. Tune the A string up or down until the two notes match.
• Play the E string at the 5th fret; compare it to the open A. Tune the E string up or down until the two notes match.
nut 5th fret
This is called relative tuning because the strings are tuned relative to one another.

 

BOOK 1

The Electric Bass
The Bass Amp
Tuning
Playing Positions
Musical Symbols
Right-Hand Technique
Fingerstyle
Pick Style
left-Hand Technique
The 1-2-4 Fingering System
Open-String Exercises
The Rake
Notes on the E String
Little Rock
Kinda Folky
More Notes on the E String
lookin' Sharp
The Shift
Notes on the A String
You Go, Slav
Repeat Sign
One More Time
Cattle Crossing
More Notes on the A String
The Finger Roll
Roll It
Rolly
12 -Bar Blues
A Little Heavy
Notes on the D String
Private Eye
Minor league
D-Lite
More Notes on the D String
Three-String Review
Crossin'Three
The Octave
Octa Gone
Notes on the G String
Gee Whiz
All Right
More Notes on the G String .
All Four One .
FiX .
More Octaves .
Octave Blues .
Ties .
Taiwan On .
3/4 Time & the Dotted Half Note .
Three's a Crowd .
Tell It. .
Changin' Times .
Rests .
Rock 'n' Rest .
D.C. al Fine .
Three Play .
Eighth Notes .
Movin' 8's .
Eight Ball .
Eighth Rests ,
Rok Gruv ,
Bop Bop ,
D.C. al Coda ,
Coda Pendant. .
Dee Dee .
Using a Metronome .
The Classic Rhythm .
Down Home .
Raitt On .
Minor's Tale .
A Classic Variation .
Classic Blues .
Petty Thief .
Third Posi~on .
3rd Watch .
Flying leap .
oand 3 .
Shifty .
Shift-Crazy Blues .
Stones-y .
Etude Brute .

 

BOOK 2
The Box Shape
E.A & B Box
Box Lunch
Box-E Blues
Movable Boxes
Your Move
Move It
Movie Star
5th Position
On the G String
Shift Practice
Shifty Henry
On the D String
Dee Gee
5-3-1
Dig It.
On the A String
Introducing Tablature
Tab Hunter
Pay the Tab
On the E String
Open/Closed
Da Blues
All Together Now
Swing lime
One Finger Per Fret
The Major Scale
Scale Sequence #1
Scale Sequence #2
Key Signatures
Universal Fingerings
Scale Sequence #3
Scale Sequence #4
Pasta Mon
D-Lish
A-Flat lire
Open E
G3
B-Flat Jump
The Classic Blues Line
Gee Blues
Aay, Blues! .
Low Down
Understanding Bass Lines
Syncopated Eighth Notes
Off Beat.
Funky Soul Groove
That '70s Thing
The Major Triad .
Tri Again
Funky Li'l Blues .
The Minor Scale .
Minor Scale Sequence .
Relative Minor and Major
House 0' Horror
Noir
Jazz Minor
Modulation
Minor Modulation .
Mod Crazy
Minor Triads
Bogey Man
Roots
Gypsy Swing
Room-ba with a View
Eighth-Note Triplets
The '50s
12/8 Time
Bumpin' .
The Shuffle Rhythm
Old Days
One- and Two-Measure Repeats
Bad Bone
Uptown Down
Classic Flat 7
Rollin' .
Go On


BOOK 3
The Chromatic Walkup
Open Up
Staccato
Double Up
Rez-Q.
Curtis
Kickin' It.
Sixteenth Notes
One Drop
Dada Dadat
Jog Wheel
Sixteenth Rests
Layin' Back
Nazz-T
Plutonic
Funky16th-Note Syncopation
Ookachu Wha?
Groove
Combo
Minor Glitch
Do It Now
Soul Groove
D-Troit
Seventh Chords
Floaty
Vanilla
L'il Thing
Funk lime
Little M
Shufflin'
Middle Man
On the Verge
Slides
Slippin' & Slidin'
Minor Pentatonic
Venture Forth
Deja View
Hammer-Ons & Pull-Offs
Hammer Head
X-Tender
Major Pentatonic
Just Like My Girl
N' awlins Beat
Playing Off Chord Symbols .
Just Roots .
Roots & 8ths .
Jumping Octaves .
Your Turn .
Adding the 5th .
Use the 5 .
5By8 .
Root-5-8 .
You Got It .
Chromatic Approach .
Chromatic R-5-8 .
It's Up to You .
Scale Approach .
Scale R-5-8 .
All Yours .
Dominant Approach .
Dominant to the 5th .
You Go, Hugo .
Using Triads to Create Bass Lines .
Walking Triads .
Walk This Way .
Simple Triads .
On Your Own .
Triads & Dotted Quarters .
Uh Huh .
Locking In to the Groove .
Groove Jam .
lime 2 Groove .
Slap Funk .
Slap This .
Pent Up .
The Pop .
Combining Slap and Pop .
Octave Slap .
Chromatic Octaves .
Gritty .
The Pressure Roll .
Dead Notes .
Dead End .
Keep It Together .
It's an Eyeful! . 

Prezzo: €23,99
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JUMP 'N' BLUES BASS KEITH Rosier LIBRO CD TABLATURE Willie Dixon-Duck Dunn-Tommy Shannon

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

LIBRO METODO DI MUSICA BLUES / SWING, CON CD.  

SPARTITI PER CHITARRA BASSO CON:

ACCORDI, PENTAGRAMMA E TABLATURE.

TECNICA, MANUALE, 

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.

Prezzo: €19,99
€19,99

Basso Elettrico Livello Intermedio Overthrow LIBRO CD TABLATURE GROOVE-MISOLIDIO-SLAP-&-POP

COMPLETE ELECTRIC BASS METHOD, INTERMEDIATE. Overthrow. LIBRO CON CD E TABLATURE
Basso Elettrico Livello Intermedio 

LIBRO METODO PER BASSO, CON CD.

SPARTITI CON: ACCORDI, PENTAGRAMMA, TABLATURE. 

TECNICA, 

IN ITALIANO.

David Overthrow suona e insegna il basso da oltre 20 anni. Ha studiato al Berklee College of Music, ottenendo una Laurea in Musica all’Università del Western Connecticut State.
Dave è stato anche membro della facoltà di basso al National Guitar Summer Workshop per 10 anni, dal
suo esordio nel 1984 al 1994. Al momento è Direttore Musicale e Responsabile Capo degli studi sul
Jazz presso la Canterbury School di New Millford, nel Connecticut. Dave si esibisce regolarmente dal vivo
a New York City e nel Connecticut. Oltre ad essere apparso in diversi CD, in stili che variano dal funk al
rock al reggae, Dave produce anche con il suo gruppo, gli Hippocket.

L’AUTORE .

INTRODUZIONE .

CAPITOLO 1 - Ripasso 
Come Leggere la Musica .
Crome Swingate .
Ritmi in Sedicesimi .
La Scala Maggiore .
Armature di Chiave .
Gli Intervalli .
Le Triadi .
Armonia Diatonica /Le triadi .
Accordi di 7ª .
Armonia Diatonica—Accordi di 7ª .
La Sincope .
Note Stoppate/Il Muting .

CAPITOLO 2 - La Scala Pentatonica Maggiore 
Diteggiature della Scala Pentatonica Maggiore.
I Modi della Pentatonica Maggiore/Le 5 Posizioni della Scala .
Linee di Basso con le Pentatoniche Maggiori .
Dave’s Tune .
Aggiungere la 7 .
Pentatonica Maggiore e il Blues di Dodici Misure .
Major Blues .

CAPITOLO 3-La Scala Pentatonica Minore .
Diteggiature della Scala Pentatonica Minore .
I Modi della Pentatonica Minore / Le Cinque Posizioni della Scala .
Linee di Basso Rock con la Pentatonica Minore .
Altre Linee di Basso .
Groove Funk con le Pentatoniche Minori .

CAPITOLO 4 - La Scala Blues .
Diteggiature della Scala Blues .
Accordi di 5ª .
Gimme 5 .
Play It Straight.
Groove con Crome Swingate nella Scala Blues .
Swing It .
Good Things Come in Threes .
Groove usando la 3ª Maggiore/Minore .
Major Minor Boogie .
Color Me Blues .

CAPITOLO 5—I Modi della Scala Maggiore.
Pensiero Relativo .
Pensiero Parallelo .
I Quattro Tetracordi Modali .
Combinare i Tetracordi per Creare i Modi .
Diteggiature su Due Ottave in Modo Ionico .
Dorico .
Misolidio .
Indice

CAPITOLO 6 - Slap & Pop .
Notazione Slap & Pop .
Tecniche Slap & Pop .
Lo Slap .
Esercizi sullo Slap .
Linee di Basso Slap sulla 3ª e 4ª Corda .
Il Pop .
L’Hammer-on .
Linee di Basso Usando L’Hammer-on .
Note Stoppate - Il Muting .
Il Pull-off .
Linee di Basso Slap & Pop .

CAPITOLO 7-Linee di Walking Bass-Introduz. al Jazz ..
Progressioni Jazz-Blues .
Toniche e 5e. 

 Diggin’ the Roots and 5ths .
 Blues for Charlie .
       Twelve Bars of 3rds and 7ths .
       Mo Better 3rds and 7ths .
Note di Passaggio .
Just Passing Through .
Passing Play .
Indice
Note di Passaggio Cromatiche .
Short Steps.
The Walking Man .
Attività Ritmica .
Get Your Activity Together .
Walk That Way .
Note di Approccio .
Approaching Greatness .
The Cool Approach to Walking .
Conclusione .

CAPITOLO 8 — Le Scale Minori 
Minore Relativa — Minore Naturale .
Minore Armonica .
Minore Melodica .
COSA C’È DOPO 
DISCOGRAFIA 
Blues .
Funk .
Altri Musicisti da Ascoltare .

 

Con ogni libro di questa serie è allegato un CD. Il suo utilizzo renderà 

l’apprendimento più divertente e le informazioni ricevute più ricche di signifi -
cato. Ciascun CD contiene un’intera sezione ritmica nella maggior parte degli
esempi. È molto importante suonare il più possibile con il CD. Hanno suonato
grandi musicisti, potete suonare con loro senza uscire di casa! Il CD aiuta a
suonare le note giuste, i ritmi e i feel di ciascun esempio. I numeri di traccia
sotto ai simboli corrispondono all’esempio che si vuole ascoltare. La traccia 1
serve per accordarsi. Buon divertimento!!! 

Prezzo: €20,99
€20,99

EXPANDING WALKING BASS LINES Ed Friedland BASS BUILDERS HAL LEONARD CD LIBRO BASSO JAZZ TRIO

EXPANDING WALKING BASS LINES.

LIBRO PER BASSO CON CD

Expanding Walking Bass Lines
BASS BUILDERS

Series: Bass Instruction
ormat: Softcover with CD
Author: Ed Friedland


A follow-up to Building Walking Bass Lines, this book approaches more advanced walking concepts, including model mapping, the two-feel, several 'must know changes,' and other important jazz bass lessons. CD includes a jazz trio for practicing standard tunes.

Inventory #HL 00695026
ISBN: 9780793545865
UPC: 073999950267
Width: 9.0"
Length: 12.0"
56 pages

 

- PRE-RECORDED JAZZ TRIO FOR PRACTING STANDARD TUNES
- SCALES TONES, CHROMATIC PASSING TONES AND NON-CHORD TONES
- INTERPRETATION OF CHORD SYMBOLS WITH TENSIONS
- PLAYING OVER MODAL TUNES
- PEDAL POINTS 
- EXPANDING THE ''TWO'' FEEL
- RHYTHM ESSENTIALS

 

Preface
In the first book of this method, Building Walking Bass Lines, we learned many of the basic skills needed to create good, solid lines from a set of chord changes. The techniques discussed were: finding the root motion, adding the fifth, approach techniques (chromatic, dominant and scale), scale wise motion, resolving to chord tones other than the root, arpeggiation, indirect resolution, and chromatic motion.
If you are not familiar with these concepts, I recommend you use Building Walking Bass Lines before attempting to work through the material in this book. It is crucial to your understanding to have a good foundation with the rudiments of walking. The information presented in this book will be most useful to those who have a firm grasp of these basic skills.

Goal Statement
This book will expand on your knowledge of the basics by focusing on some of the finer points of walking bass lines. You will be exposed to some practical concepts to help you become more functional in a jazz rhythm section. We will branch out from the "straight ahead" and learn to stretch the boundaries of tonality.
It is also a goal of this method to provide you with an opportunity to experience some "real world" situations and develop the skills to cope with them.

Acknowledgments
Thanks to my family. Sonia, LeeEllen and Aimee Friedland, and David Taylor. Thanks also to Jim Roberts Bat Bass Player Magazine, Larry Fishman of Fishman Transducers, Bill Brinkley, Michael Merrill, Tom Hamilton, Athena, Lu Ann, Ed Siegfried, Dave Flores, and everyone at Carvin, and GHS strings.

About the Author
Ed Friedland is a graduate of the High School of Music and Art in
New York City, and a former faculty member of Berklee College of
Music and Boston College. He is a frequent contributor to Bass
Player Magazine. His performance credits include Larry Coryell,
Michal Urbaniak, Robben Ford, Mike Metheny, Johnny Adams,
Linda Hopkins, Robert Junior Lockwood, Barrence Whitfield and the
Savages, Martha and the Vandellas, The Drifters, Brook Benton, the
Boston and Tokyo productions of Little Shop of Horrors, the Opera
company of Boston, and the Boston production of A Closer Walk with
Patsy Cline. Ed is involved in producing and arranging with Bass
Station Music. He has a M.Ed. from Cambridge College, Cambridge,
Massachusetts. He uses Carvin basses, GHS strings and Fishman
transducers. Ed resides in Tucson, Arizon. Photo: Jean Hangarter


Using the Audio
The audio portion of this method is of equal importance to the text, since learning to walk without the
opportunity to hear the lines is an incomplete experience. In view of the scarcity of clubs around the world
where you can go sit in and experiment, I have provided an alternative. However, if you have the opportunity
to play at a jam session, or do a jazz gig, by all means take it. There is no replacement for the actual experience
of playing in a live rhythm section. I hope you will get to play with players as great as the ones I hired for this recording, Brad Hatfield on piano and Jim Lattini on drums.
This method's audio uses a split-stereo mix with piano and drums on the left channel, and bass and drums on the right channel. This configuration will allow you to turn off the bass track and play with the piano and drums. It will also make it easier to hear the bass track when learning the lines by ear, and transcription.
The examples in the book marked with a CD.
icon have a number that corresponds to the number on the audio. The example number is given and then counted off with a click. The click is a two measure count off, two half notes, and three quarter notes, leaving beat four of measure two blank. For example: 1. .. 2 ... 1, 2, 3, ... (play).
There are many opportunities in the book to create your own lines. These are the examples with chord symbols and slashes without a specific written bass line. It is more common for the bass player to encounter this type of reading in the real world, so these examples are very important. The bass lines for these examples are not written in the book, so they provide an excellent opportunity to practice learning by ear. Go the extra mile and transcribe these bass lines. Writing music on paper is one of the best ways to improve your ability to read music. Remember, you can use any of the chord progressions presented to practice any technique learned. If you want to practice fingered triplets with a progression from another part of the book, go ahead.
The last section of the book, the Appendix, includes ten jazz progressions. The last three progressions have no chord changes written. These "mystery tunes" are included to provide you with the challenge of learning a song completely by ear, with no prior iMormation given. As difficult as this may seem, thousands of bassists do it all the time. "Faking" tunes is an important skill that bass players must have to survive in the real world. It is not my intention to have this book become a full-scale primer of all the background information one needs to develop this skill; that comes from years of experience. There are suggestions given to help you develop an awareness of the process, things to listen for, hints about form, but nothing concrete.
This process is more like sorcery than science.
This book will not guarantee your ability to swim when you're thrown into the deep end of the pool, but it may save you from drowning! Stick with it, give it time, and keep your ears open!


Table of Contents
Preface .
Goal Statement .
Acknowledgements .
About the Author .
Using the Audio .
Fine Tuning Your Time Feel .

Part One
Overview .
A Disclaimer .
Introducing Rhythms .
Eighth Note Triplets .
Rests .
Combining Rhythms and Rests .
Adding Rhythmic Embellishment .
More Practice with Skips ,
Skips with Dead Notes .
Lift-off Dead Notes ,
Putting It Together .
Using Triplets .
Even More Triplets .
Triplets with Dead Notes .
Expanding the "Two" Feel .

Part Two
Overview .
Targeting Non-chord Tones .
U sing Scale Tones as Targets .
U sing Chromatic Passing Tones as Targets .
Interpreting Chord Symbols with Tensions .
Playing Over Modal Tunes .
Create Your Own Modal Map .
Pedal Points .
A Listening Assignment .
Walking Open: The Art of Implied Harmony .
A Closing Word .

Appendix
U sing the Appendix .
Tune 1: ABAC form .
Tune 2: "Rhythm Changes" A section .
Tune 3: Several Key Centers in A section .
Tune 4: "Expanded Two Feel" .
Tune 5: Modal .
Tune 6: Bridge Modulations .
Tune 7: Repetitive A section .
Three Mystery Tunes .
Things to Consider .
Things You Should Know .
Things You Can Do .
Notation Legend .
 

Prezzo: €22,99
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BLUES AND RHYTHM & BLUES BASS TECHNIQUES The mastery-Soul-Funk styles Jerry Jemmott book CD TABLATURE

BLUES AND RHYTHM & BLUES BASS TECHNIQUES. The mastery of Blues, Soul, and Funk styles. Jerry Jemmott. CD TABLATURE

LIBRO PER BASSO CON CD E TABLATURE


JEMMOTT JERRY, BLUES AND RHYTHM & BLUES BASS TECHNIQUE

Series: Bass Builders
Softcover with CD - TAB
Author: Jerry Jemmott

Jerry Jemmott wrote the book on R&B bass, and here it is! This book/CD pack examines Jerry's personal philosophy of music and teaches the secrets to mastering blues, soul and funk bass. Includes a CD with new compositions that demonstrate the techniques he used with legendary performers such as Aretha Franklin, King Curtis, B.B. King and Freddie King. Includes note-for-note transcriptions, comprehensive perfor-mance notes, an in-depth bio, and rare photos. 80 pages

JERRY JEMMOTT wrote the book oh rhythm & Blues bass -and here it is !

Share his personal philosophy of music and learn the secrets to mastering blues, soul, and funk bass.

- CD WITH NEW COMPOSITIONS 

- NOTE FOR NOTE TRANSCRIPTIONS IN STANDARD NOTATION & TABLATURE

- COMPREHENSIVE PERFORMANCE NOTES, IN DEPTH BIOGRAPHY, RARE PHOTOS

- GROOVE ALONG IN THE STYLE OF THE GREATEST HITS OF ARETHA FRANKLIN, KING CURTIS, B.B. KING, FREDDIE KING.

 

In collaboration with Dave Rubin

Jerry Jemmott has had the singular experience of playing with a veritable Who's WHO of blues and Rhythm & Blues illuminaries. Here are a selection of his candid memories from this all-star group:

ARETHA FRANKLIN: "Being exposed to her creative process has had a profound effect on my writing, producing and playing. Performing with her and King Curtis at the same time has to be among the greatest of good fortunes that I have encountered. Her combining of gospel and jazz to form a Rhythm & Blues style really locked with my jazz and Rhythm & Blues styles. My style came out of playing dance music and jazz. I guess I h;1(jthe groove and the beat from playing dance music, and she had that soul and e1.'Pressionfrom playing gospel and jazz. It was quite an experience playing together, like lightening striking.
We met when King Curtis had me come down, with my bass, to be a paid observer at her sessions for Atlantic Records in New York in 1968. I sat in the control room and watched the Muscle Schoals rhythm section Gimmy Johnson, guitar, Tommy Cogbill, bass and Roger Hawkins, drums) play tills one song over and over. As soon as I heard it, I fclt the groove was a country kind of thing, you know, a country "two" feel. They went all around the world with different things, and never really hit that particular groove. They took a break, and when they carne back producer Jerry Wexler told me to go in the studio and take a shot.
Two takes later "Think" was finished.
In 1971 I was on the road with the King Curtis band backing up Aretha. After being out a while, the band had developed a thing of trying to outdo each other. We had really gotten tight in three months and we used to see how far we could push Aretha, because we loved playing with her, and she would always rise to the occflsioll, even if she was sick. One time in Paris things got so intense that Aretha almost passed out onstage."

KING CURTIS: "Starting at the Pine Grill in Buffalo, New York in 1967, the interplay between Curtis and myself was very personal. I never experienced that before or since. It was almost like two people feeding each other and never dropping a crumb of food. He hClda lot of faith and confidence in my style of playing.
That made me feel free to do whatever I wflnted to do, which helped me to grow quite a bit, and which he himself enjoyed.
He was a tough bandleader, particularly in regard to guitarists and drummers. He had trouble with Jimi Hendrix when he was in ills band, but he did not have a problem with me. The only problem I had with rum was when he would not give me the recording work I thought I should have! That's when I left the band from 1967 to 1971. But then he recognized that I wanted to stay in the studio, so he would just call on me to make records. However, when he got a good tour, like the one with Aretha, he would call me. At firstT did not want to do thflt one, but after thinking about it for a couple of days, I said okay, I'll do it, because I liked working with both of them. I actually tried to rationalize why I should stay in New York, where I had plenty of studio jobs, but then I thought I should do it for the fun of it. Billy Preston was going to be there, along with Cornell Dupree and Bernard Purdie, so it was going to be a great band.
The audiences were fantastic. Every place was sold out. The Fillmore West was something else! There were no seats in the place! They took all the chairs out and everybody stood up for two hours. I had never seen anything like that, because usually you have seats in a concert hall. Everybody stood right up against the stage as there was no barrier to keep them back. Their heads were right at stage level.


Istant groove
When the spirit of King Curtis appeared in my kitchen the morning after his death, I became a believer in the existence of a higher power. This power had been a force in my life all along, but I had never acknowledged it. The "instant groove" or "God is talking to you" is that phenomenon that reveals itself, thus enabling you to rf'cognize in a micro-second the true essence and direction of what could possibly happen.
You can then deal with the situation at that moment to achieve a positive result when you come into
the presence of another person, place or thing.
All through my life I have experienced many "instant grooves." These include coming in contact with the mllsir of P,lUJ C:hamhers along with all the other great musicians, singers, artists and philosophers who have affected me. Also, my introduction to Nichiren Shoshu Buddhism (Nam Myoho Renge Kyo) and the love and support of my mother, father, sister and my children Jeanine, Tishiro and Isis. Another time was my refusal to give Lionel ("Hey Gates") Hampton my place in line for the bathroom at the Pazant brothers home in Bufford, South Carolina. This resulted in "Gates" firing me, thereby sending me back to New York to begin my studio career full time in 1968. Lastly, there was the return of my dream girl, Miss Constance Bailey, back into my life after a twenty-three year absence to become my fiancee.
You've got to "recognize" and make it happen with courage, confidence and conviction. You rarely get a second chance unless, as they say in Egypt, "Insha-AllaJ1," which means "If God wills it."


Michael Bloomfield: "A great guitarist. We developed a friendship after meeting at the Fillmore East. I had already known his buddy Al Kooper from the "Well" session of B.B. King's Live and Well (1969). I arranged a telephone conversation between Michael and Cornell Dupree (who Michael was anxious to meet) when Michael and I were working together at My Father's Place on Long Island. I got to do a few more gigs with him just before he died. He was an incredible player."

DUANE ALLMAN : "Another great player, innovative, a real hard worker. He was very personable and we got along well together. Being with Duane was the first time I had played with a slide guitarist. This occurred on the Aretha Franklin sessions when she did a cover of "The Weight" by the Band.
The last time I saw him he was going home to start a band with his brother Greg. The Allman Brothers Band was formed and the next thing I remember was travelling through Georgia on the way to a gig and hearing about the accident on the radio." (Note: Duane Allman died in a motorcycle crash on October 29, 1971, in Macon, Georgia.)

FREDDIE KING : "He was great to work with and could really play and sing. Curtis brought Freddie to the Atlantic studios to record and that was the first time I heard him. He was really something. He knew what he wanted and we would just follow him. Freddie King IsA Blues Master(l969) gave us a chance to spice up some of his old instrumentals. Also, it was the first time that I got to record "Get Out Of My Life, Woman," (Allen Toussant), which I had played all my Rhythm & Blues life. My Feeling For The Blues (1970) had more traditional blues on it.
Freddie was from Texas, like Curtis, and he could play in a big way. He had a good set of chops and he had a very lyrical way of playing, almost like he was singing. I have heard that Freddie was also influenced by Louis Jordan, just like Curtis."

Robeta Flack and the jingle scene: "Another woman who played piano and sang. A different style
than Aretha, more of a jazz piano player. She was very similar to ina Simone, her whole persona and playing. I grew up listening to Nina Simone and had the good fortune to record with her, so playing with Roberta Flack was just one more extension of that experience, to a great degree.
She only worked on weekends because that's where the money was. During the week she took care of her dogs, cats, mother and her music business. She wouldn't do any recording then, and she took her time about doing stuff. She had it so she only worked on weekends, gigs at venues that held 20,000 or more people. The small group that backed her had Terry Plumeri, Eric Gale, Ralph MacDonald and Grady Tate. I loved working with Grady. We used to do a lot of jingles together with Herbie Hancock, with maybe Vincent Bell or Eric Gale on guitar. One company, Grant and Murtaugh, would hire the three of us a lot. The thing about it was that if you couldn't get one of us, you could get another. It was rare that we could guarantee all three of us showing up together at the same time. If I couldn't make it, Ron Carter would be there; if Grady wasn't there maybe Ed Shaughnessy or Herb Lovelle would be there. If Herbie couldn't make it, Dick Hyman or Keith Jarrett would be there. They would also use all the hip horn players like Hubert Laws, George Coleman, Jon Faddis, Joe Newman, Seldon Powell, Ernie Royal, Snooky Young, Heywood Henry, nothing but the best, the cream of the crop. It was like looking at Count Basie's Band and Duke Ellington's Orchestra all at once. I had come up with hom players and big bands, so I was in heaven!"

Wilson PIckett: '''The Wicked Pickett,' a piece of work, so to speak. I had always admired him, but did not get a chance to work with him until around January, 1968, at Atlantic studios in ew York. The bassist they had booked for the session did not show up so they called me at my house to come down. It ....

 


PREFACE
I want to let you in on a little secret. I was not born in Macon, Georgia, with a bass inIllYhands, as King Curtis once stated, butIllYpredilection to create hip, funky bass lines led him and others to think so. I was actually born in the South Bronx, New York, and after I heard Paul Chambers play I could not keep the bass out of my hands!
In addition to this secret, for those who want to know, a "few" choruses of biography follow to set the record straight, and a "few" Jines about my experiences with the extraordinary artists I have had the good fortune to record and/or perform with over the last five decades.
For you who want to groove, within these pages and on the accompanying CD there is a detailed account of what I do and the techniques I lise to do it. With the permission of Reel Souler Energy Music Publishing, I have written a set of music similar to the records I made with Aretha Frankl in, King Curtis, RB. King and Freddie King. I hope you enjoy playing them as much as I enjoyed creating them for you.

Jerry Jemmott
It has never been easy being Gerald Joseph Stenhouse Jemmott. I would like to acknowledge the love and support I have received along the way from my Higher Power, family and friends: Richard Davis, Fred Paterno, the Pazant brothers, Richard Otto, Agnes Hall, King Curtis, Cornell Dupree, Paul Gaulden, Don Covay, Arlen Roth, Constance Bailey, Paul Conway, Yoko Yamabe, MerrH Roberts, Daisy White, James Bailey, Rebecca Thomas, Robert Bailey, Gwendolyn Jones, Z Cookie, Mercer Ellington, my students, Seldon Powell, Paul Griffin, B. R King, Stewart Moore, Sam Leon, Alfie Wade, Herb Lavelle, Richard Dubin, Brent Owens, Kirk urock, Bill "Junior" Linton, George Naha, Chuck Raney, Phil Coco, Gordon Edwards, Roy Hicks, Joan White, Al Fontaine, Frankie Paris, Michael Moore, Bill Dawson, Dr. Janet Moses, Bob Moses, Miriam Citron, Dr. Joel Beddard, Charlie Kellam. Shad Polier. Abe Rivera, ESP, Vantage, Murphy's Music, Andre-audio-tronics, Carl Thompson, P Vine Non Stop Records and Hot Licks Tapes and Videos.


PAGE CD TRACK

What is "Instant Groove"
Preface and Acknowledgements
Foreward
Biography
My Biggest Influence
Jerry Remembers
Playing in a Big Band Versus an R&B Combo
Getting Down and Going Deeper
You Too, Will Groove
The Different Aspects of My Bass Technique

Recordings
TRANSCRIPTIONS WITH PERFORMANCE NOTES
In the Moonlight
Until The Day I Die
Big Maybelle
Sweet Mr. Soul
Sweet Trippin' 
In Every Way He Treats Me Right
Jubilee Jam One on One
My Papa Always Treats Me Right
You Know I Know 
Sableline 
Ooh Scooby Doo
Good Cookin'
Always on the Way
Love Light in the Daylight
Jerry's Bass Equipment
Jerry Jemmott Selected discography
CD Production Credits
Bass Notation Legend 

Prezzo: €21,99
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BRUNEL BUNNY COMPLETE BOOK OF BASS ESSENTIALS For 4 & 5 STRINGS DVD LIBRO PENTAGRAMMA METODO

BRUNEL BUNNY, COMPLETE BOOK OF BASS ESSENTIALS. Un metodo direttamente dal bassista francese di Al Di Meola, e altri della jazz-fusion. TABLATURE DVD

LIBRO METODO PER BASSO, CON DVD.

SPARTITI PER BASSO CON: ACCORDI, PENTAGRAMMA, GRAFICO DELLA TASTIERA.

Product Description:
Bunny Brunel has played with Chick Corea, Herbie Hancock, Tony Williams, Larry Coryell, Wayne Shorter, Al Dimeola, Al Jarreau, and many other jazz and fusion greats. Bunny has compiled over 250 pages of "nuts and bolts" basics needed to play contemporary bass. Applicable to either 4- or 5-string bass, this comprehensive text covers position playing, utilizing scales and modes, chords and harmony, creating bass lines, improvising, fingering, and much more! In notation only with fretboard diagrams.

Product Number: 94740DP
Format: Book+DVD
ISBN: 0786672439
UPC: 796279096959
ISBN13: 9780786672431
Series: Complete
Publisher: Mel Bay Publications, Inc.
Date Published: 3/8/2006

Contents:

Lesson #1
The Right- & Left-Hand Fingerings

Lesson #2
The Major Modes
The Ancient Greek Modes

Lesson #3
The C Major Positions

Lesson #4
The G and D Major Positions

Lesson #5
The Harmonic Minor Modes

Lesson #6
The C Harmonic Minor Positions

Lesson #7
The G and D Harmonic Minor Positions

Lesson #8
The Melodic Minor Modes

Lesson #9
The C Melodic Minor Positions

Lesson #10
The G and D Melodic Minor Positions

Lesson #11
The Additional Modes

Lesson #12
Reviewing the Modes

Lesson #13
The Pentatonic Scales

Lesson #14
Chords & Harmony

Lesson #15
Key Signatures

Lesson #16
Matching the Chords with the Modes

Lesson #17
A Few Tips

Lesson #18
Creating Bass Lines

Lesson #19
Improvisation

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BUILDING WALKING BASS LINES Ed Friedland CD LIBRO SPARTITI METODO BASSO ACCORDI LATIN

BUILDINDG WALKING BASS LINES. LIBRO CD CD

LIBRO DI MUSICA, METODO PER CHITARRA BASSO CON CD.
ACCORDI E PENTAGRAMMA.

Building Walking Bass Lines

Series: Bass Instruction
Format: Softcover with CD
Author: Ed Friedland

A walking bass line is the most common approach to jazz bass playing, but it is also used in rock music, blues, rockabilly, R&B, gospel, Latin, country and many other types of music. The term 'walking' is used to describe the moving feeling that quarter notes create in the bass part. The specific goal of this book is to familiarize players with the techniques used to build walking bass lines and to make them aware of how the process works. Through the use of 90-minutes' worth of recorded rhythm tracks, players will have the opportunity to put the new learning directly into action. This book literally gives bassists the tools they need to build their own walking bass lines.

Inventory #HL 00695008
ISBN: 9780793542048
UPC: 073999950083
Width: 9.0"
Length: 12.0"
64 pages

Prezzo: €26,99
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CLARKE STANLEY, COLLECTION. Bass Recorded Versions TABLATURE -rock 'n' roll jelly -school days

CLARKE STANLEY, COLLECTION BASS. Bass folk song -christmas in rio -dayride -east river drive -i wanna play for you -life is just a game -lopsy lu -the magician -rock 'n' roll jelly -school days -silly putty -song to john (part ll) -stories to tell -time exposure -vulcan worlds -what if i forget the champagne. TABLATURE
 

16 MASTERPIECES

Bass Recorded Versions
Series: Bass Recorded Versions TAB
Artist: Stanley Clarke

Features authentic, note-for-note transcriptions with tab for 16 super tunes from this eclectic bass master, 96 pages.

Stanlev Clarke
Performer, Bandleader, Arranger,
Producer and Composer
Stanley Clarke is one of the most celebrated bassists in the world today. During his career, he has received virtually every honor that can be bestowed upon a musician, including Rolling Stone's "Jazzman of the Year," Playboy magazine, "Jazz Bassist of the Year" for ten consecutive years, and Guitar Player magazine's "Gallery of Greats." A seven-time Grammy nominee, Clarke received a Grammy for his critically-acclaimed album No Mystery in 1975 and his score for Boyz N The Hood received an Oscar nomination. In 1989, he returned to his native Philadelphia where his name was placed in cement on the "Walk of Fame," and where Mayor Wilson Goode presented him with a Philadelphia Music Foundation Hall of Fame award.
His albums continue to top a variety of charts; not only Jazz, but the R&B, New Adult Contemporary and Top Pop charts. Born in 1951, Clarke was encouraged from an early age to study music by his mother, who sang opera. Though he initially studied violin and cello, he literally outgrew both instruments. With his long, lean frame, he was a natural to play the acoustic bass. Equally interested in jazz, classical, and rock music, Clarke started playing in bands in junior high. By the time he'd reached the twelfth grade he became a serious student of the bass, practicing and playing for eight hours a day. At 16, he bought an electric bass for $29.00, a Kent hollow body, so he could get after-school jobs playing bass. His jobs ranged from a blues combo, a country group and a Top-40 band that rolled into the Holiday Inn circuit. He then enrolled in the prestigious Philadelphia Musical Academy, studying string bass and composition, but continuing to be influenced by Jimi Hendrix, Jack Bruce and Charles Mingus, as well as Bach, Beethoven and Wagner. In 1970, Clarke moved to New York City where he played with such jazz greats as Horace Silver, Stan Getz, Dexter Gordon, Art Blakey, and Gil Evans. He came into international prominence as a founding member of the groundbreaking jazz rock fusion band, Return to Forever. Though initially a jazz purist devoted exclusively to the acoustic bass, Clarke went electric and electrified the music world during his eight-album collaboration with members Chick Corea, Lenny White and AI Di Meola. In 1975, Return to Forever's No Mystery album won the Grammy for Best Jazz Performance by a Group. His slap and pop playing with this group had a powerful influence on the jazz-funk styles to come.
Clarke remembers those times: "The Return to Forever years were important for me... RTF was really one of the only times in my playing career that I got to use some of the skills I'd worked on in college-through composition, writing for orchestra and things like that. Because before we did an album, we'd always take off for a month or so to compose music."
During his tenure with Return to Forever, Clarke launched his highly-successful solo career. On his 1972 solo album, Children of Forever, he played acoustic exclusively. The 1975 release of Stanley Clarke with Tony Williams and Jan Hammer put him into the fusion scene. His 1976 album School Days became a crossover hit. His crossover R&B/pop Clarke/Duke Project in collaboration with keyboardist George Duke resulted in three best-selling albums and a Top 20 single, "Sweet Baby." Their 1990 album 3 garnered the duo an NAACP Image Award nomination for Best Jazz Artists. His solo East River Drive featured an all-star ensemble including Duke, Hubert Laws, Jean-Luc Ponty, Poncho Sanchez and Gerald Albright, plus big names in bass: Abe Laboriel, Armand Sabal-Lecco, Alphonso Johnson and Jimmy Earl. Clarke's independent label, Slamm Dunk Records, has released a variety of recordings including his own Live at the Greek, and the soundtrack album for Passenger 57. Live at the Greek features Clarke with Larry Carlton, Billy Cobham and Najee. Clarke's rock projects included working with Jeff Beck, Stewart Copeland, and Deborah Holland with the group Animal Logic, the New Barbarians (which featured The Rolling Stones' Ron Wood and Keith Richards) and scoring the opening sequence of Michael Jackson's video Remember the Time, which was directed by John Singleton. He has co-written with Paul McCartney, recorded with Quincy Jones, Carlos Santana and Aretha Franklin, and produced records for Brenda Russell, Ramsey Lewis, Shalamar, and Natalie Cole. In the television arena Clarke has received three Emmy nominations for television scoring. He started out by sending tapes to everyone in the field, and got his first break doing Pee- Wee's Playhouse. That's when he bought his first Mac and MIDI keyboard, and got his first Emmy nomination. It was while scoring an episode of Tales from the Crypt that his desire to score was fueled, when he became aware of how powerful music can be in a scene. With this turn in composing, Clarke has been in constant demand to score films and television since the mid '80s. His films include John Singleton's Boyz N The Hood, Panther, Passenger 57, Book of Love, Poetic Justice, Higher Learning, Little Big League, Tap, Dangerous Ground, Cherokee Kidd, and the acclaimed score for What's Love Got To Do With It, the drama based on the life of Tina Turner. He loves the challenge of composition and orchestration, the exposure to rapidly changing music technology, and the new sense of freedom, noting that "Underscoring, in particular, takes away all the constraints of producing music that must have commercial potential." Clarke claims that film composing has influenced his solo writing-"When you do as much film composing as I've done lately, you just kind of get oiled as far as writing melodically is concerned." 


TITLES:
Bass Folk Song - STANLEY CLARKE - 1973
Christmas In Rio - STANLEY CLARKE - 1993
Dayride - STANLEY CLARKE - 1977
East River Drive - STANLEY CLARKE - 1993
I Wanna Play For You - STANLEY CLARKE - 1979
Life Is Just A Game - STANLEY CLARKE - 1976
Lopsy Lu - STANLEY CLARKE - 1977
The Magician - STANLEY CLARKE - 1976 
Rock 'N' Roll Jelly - STANLEY CLARKE - 1978
School Days - STANLEY CLARKE - 1980
Silly Putty - STANLEY CLARKE - 1977
Song To John - STANLEY CLARKE - 1975
Stories To Tell - STANLEY CLARKE - 1988
Time Exposure - STANLEY CLARKE - 1983
Vulcan Worlds - STANLEY CLARKE - 1974
What If I Forget The Champagne - STANLEY CLARKE - 1993

Prezzo: €19,99
€19,99

BERKLEE PRACTICE METHOD BASS CD TABLATURE JOHN REPUCCI GET YOUR BAND TOGETHER comping-improvisation-rhythm

BERKLEE PRACTICE METHOD: BASS. GET YOUR BAND TOGETHER. CD TABLATURE

Berklee Practice Method: Bass
Series: Berklee Methods
Publisher: Berklee Press Publications
Format: Softcover with CD - TAB
Author: John Repucci
Author: Rich Appleman

Make your band better, or prepare yourself to join one! This sensational series lets you improve your intuitive sense of timing and improvisation, develop your technique and reading ability, and master your role in the groove. Play along with a Berklee faculty band on the accompanying CD, then play with your own band!

Inventory #HL 50449427
ISBN: 9780634006500
UPC: 073999494273
Width: 9.0"
Length: 12.0"
176 pages

 

Foreword
Berklee College of Music has been training musicians for over fifty years. Our graduates go onto successful careers in the music business, and many have found their way to the very top of the industry, producing hit records, receiving the highest awards, and sharing their music with millions of people.
An important reason why Berklee is so successful is that our curriculum stresses the practical application of musical principles. Our students spend a lot of time playing together in bands. When you play with other musicians, you learn things that are impossible to learn in any other way. Teachers are invaluable, practicing by yourself is critical, but performing in a band is the most valuable experience of all. That's what is so special about this series: it gives you the theory you need, but also prepares you to play in a band.
The goal of the Berklee Practice Method is to present some of Berklee's teaching strategies in book and audio form. The chairs of each of our instrumental departments-guitar, bass, keyboard, percussion, woodwind, brass, string, and voice-have gotten together and discussed the best ways to teach you how to play in a band.
They teamed with some of our best faculty and produced a set of books with play-along audio tracks that uniquely prepares its readers to play with other musicians.
Students who want to study at Berklee come from a variety of backgrounds. Some have great technique, but have never improvised. Some have incredible ears, but need more work on their reading skills. Some have a very creative, intuitive sense of music, but their technical skills aren't strong enough, yet, to articulate their ideas.
The Berklee Practice Method teaches many of these different aspects of musicianship. It is the material that
our faculty wishes all Berklee freshmen could master before arriving on our doorstep.
When you work through this book, don't just read it. You've got to play through every example, along with the recording. Better yet, play them with your own band.
Playing music with other people is how you will learn the most. This series will help you master the skills you need to become a creative, expressive, and supportive musician that anyone would want to have in their band.
Gary Burton
Executive Vice President,
Berklee College of Music


Preface
Thank you for choosing the Berklee Practice Method for bass. This book/CD package, developed by the faculty of Berklee College of Music, is part of the Berklee Practice Method series-the instrumental method that teaches how to play in a band.
The recording included with this method provides an instant band you can play along with, featuring great players from Berklee's performance faculty. Each tune has exercises and practice tracks that will help prepare you to play it. Rock, blues, and funk are just some of the styles you will perform.
The lessons in this book will guide you through developing reading skills and playing basic grooves, walking bass lines, and other standard bass techniques. This book is for bass players who are just beginning lessons with their teacher, though players learning on their own will also find it invaluable. You should have some knowledge of fingering on the low part of the neck and a sense for how to play the bass notes. These are reviewed in the "Basics" chapter.
Most importantly, you will learn the skills you need to play bass in a band. Play along with the recording, and play with your friends. This series coordinates methods for many different instruments, and all are based on the same tunes, in the same keys. If you know a drummer, guitarist, hom player, etc., have them pick up the Berklee Practice Method for their own instruments, and then you can jam together.
Work hard, make music, have fun!
Rich Appleman
Chair of the Bass Department
Berklee College of Music
John Repucci
Assistant Chair of the Bass Department
Berklee College of Music

 

This series coordinates methods for many different
instruments, and all are based on the same tunes, in the same
keys. !fyou know a guitarist, drummer, keyboardist, vocalist,
horn player, etc., have them pick up the Berklee Practice
method for their own instrument, and jam together!

Lessons throughout this book guide you through playing basic
grooves, walking bass lines, and other standard bass
techniques. Daily practice routines are designed for practicing
by yourself or with other musicians. The accompanying CD
features outstanding Berklee players and covers a variety of
styles including rock, funk, jazz, blues, swing, and bossa nova.

Get Your Band Together
This is the first-ever method that teaches you how to play in a
rock band. learn what all the great musicians seem to know
intuitively-how to listen, interact and respond, improvise, and
become part of the groove. The book and play-along CDwill help
improve your timing, technique, and reading ability. Become the
great player that everyone wants to have in their band.

Topics include:
• learning by ear
• theory and technique
• rhythmic interpretation
• improvisation
• comping
• reading
• song form
• interpreting lead sheets

"THE BEST WAY TO LAUNCH YOUR PLAYING TO THE NEXT LEVEL IS BY PERFORMING REAL TUNES WITH SEASONED MUSICIANS. THIS BOOK/CD COMBO PROVIDES THAT KIND OF EXPERIENCE FOR ASPIRING BASSISTS, ALONG WITH A TREASURY OF MUSIC-THEORY KNOWLEDGE AND PRACTICAL INSIGHTS."
RICHARD JOHNSTON, EDITOR, BASS PlAYER MAGAZINE

"By FAR THE MOST INFORMATIVE BOOK I'VE EVER SEEN. GREAT FOR BASSISTS OF BEGINNER OR ADVANCED STAGES. FROM TUNING AND HOLDING THE BASS, TO TRANSPOSING AND IMPROVISING BASS LINES, IT COVERS EVERYTHING. THE WAY THAT THE DIFFERENT BASS
STYLES ARE THOROUGHLY BROKEN DOWN ALONG WITH DIFFERENT PRACTICE TIPS IS FANTASTIC. " CHRISTIAN McBRIDE

"AN EFFECTIVE WAY FOR YOU TO READ CHARTS AND PLAY ALONG WITH OTHER MUSICIANS IN A REAL-TIME PLAYING ENVIRONMENT. THE BOOK WIll KEEP YOUR NOSE IN THE MUSIC AND THE CD WIll KEEP YOUR EARS OPEN TO THE GOINGS-ON OF THE OTHER MUSICIANS WHO ARE PLAYING. HAVE FUN, PRACTICE REGULARLY, ANO ENJOY THIS FINE BOOK."
JEFF BERLIN

"TRUE TO THE TRADITION OF BERKLEE COLLEGE OF MUSIC TO THOROUGHLY TRAIN STUDENTS TO BE PROFESSIONAL MUSICIANS, THIS METHOD IS A GREAT WORKOUT. AN EXCELLENT PRACTICE BOOK COVERING MANY STYLES, WHICH WIll HELP YOU LEAR THE NECESSITIES OF WORKING IN THE RHYTHM SECTION CREATIVELY. "
CAROL KAYE, BASS RECORDING LEGEND, PIONEER IN AUTHORING TUTORS FOR THE ELECTRIC BASS, EDUCATOR AT THE HENRY MANCINI INSTITUTE-UCLA

"THE PRACTICE METHOD RULES! IT's A GREAT WAY TO LEARN RIFFS, LATCH ONTO SOME BASIC SONG STRUCTURES, AND SEE HOW TUNES ARE PUT TOGETHER. THIS LETS YOU FOCUS ON PLAYING IN A BAND, AND ON CREATING YOUR OWN INTERPRETATIONS IN ANY STYLE. "
JOE STUMP, SHRED GUITAR MASTER, ASSISTANT PROFESSOR, BERKLEE COLLEGE OF MUSIC

Berklee Practice Method is also available for:
• drum set • alto sax
• guitar • tenor sax
• Keyboard • trombone
• voice • trumpet
• Vibraphone ·violin

"TEACHERS ARE INVALUABLE, PRACTICING BY YOURSELF IS CRITICAL, BUT PERFORMING IN A BAND IS THE MOST VALUABLE EXPERIENCE OF ALL. THAT's WHAT IS SO SPECIAL ABOUT IS SERIES: IT GIVES YOU THE THEORY YOU NEED, BUT ALSO PREPARES YOU TO PLAY IN A BAND.
THIS SERIES WILL HElP YOU MASTER THE SKILLS YOU NEED TO BECOME A CREATIVE, EXPRESSIVE, AND SUPPORTIVE MUSICIAN THAT ANYONE WOULD WANT TO HAVE IN THEIR BAND."
GARY BURTON, EXECUTIVE VICE PRESIDENT, BERKLEE COLLEGE OF MUSIC

Berklee Press, a publishing activity of Berklee College of Music, is a not-for-profit educational publisher. Available proceeds from the sales of our products are contributed to the scholarship funds of the college.
Cover design: mooremoscowitz
Berklee Press

 

Contents
CD Tracks
Foreword
Preface
Basics .
Chapter I. Playing Rock ("Sweet") .
Lesson 1. Technique/Theory .
Lesson 2. Learning the Groove .
Lesson 3. Improvisation .
Lesson 4. Reading .
Daily Practice Routine .
Chapter II. Playing Blues ("Do It Now") .
Lesson 5. TechniquelTheory .
Lesson 6. Learning the Groove .
Lesson 7. Improvisation .
Lesson 8. Reading .
Daily Practice Routine .
Chapter III. Playing Blues Swing ("I Just Wanna Be With You") .
Lesson 9. Technique/Theory .
Lesson 10. Learning the Groove .
Lesson 11. Improvisation .
Lesson 12. Reading .
Daily Practice Routine .
Chapter IV. Playing Funk ("Leave Me Alone") .
Lesson 13. TechniquelTheory .
Lesson 14. Learning the Groove .
Lesson 15. Improvisation .
Lesson 16. Reading .
Daily Practice Routine .


Chapter V. Playing Light Funk ("Affordable") .
Lesson 17. Technique/Theory .
Lesson 18. Learning the Groove
Lesson 19. Improvisation .
Lesson 20. Reading .
Daily Practice Routine .
Chapter VI. Playing Hard Rock ("Don't Look Down") .
Lesson 21. Technique/Theory .
Lesson 22. Learning the Groove .
Lesson 23. Improvisation .
Lesson 24. Reading .
Daily Practice Routine .
Chapter VII. Playing Bossa Nova ("Take Your Time") .
Lesson 25. Technique/Theory .
Lesson 26. Learning the Groove .
Lesson 27. Improvisation .
Lesson 28. Reading .
Daily Practice Routine .
Chapter VIII. Playing Stop Time ("Stop It") .
Lesson 29. Technique/Theory .
Lesson 30. Learning the Groove .
Lesson 31. Improvisation .
Lesson 32. Reading .
Daily Practice Routine .
Final Remarks .


 

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