LIBRO CON CD

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 .

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

COMPLETE ELECTRIC BASS METHOD, INTERMEDIATE. Overthrow. CD TAB.

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.

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

Introduction
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 .
Bolero
Nanigo
Songo
Merengue

Part 2: Brazilian
Samba
Bossa Nova
3/4 Bossa Nova
Baiao
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
HL00695543