Jazz Bass: Bass Guitar Solo: Instrumental Tutor

The Total Jazz Bassist is a complete jazz method giving equal treatment to both electric and double bass. Covering styles like bebop Latin funk and fusion this book provides examples and lessons that will help you become a well-rounded bassist. The Total Jazz Bassist also covers theory technique tunes solos jazz styles and includes great advice for practicing and doing business. You'll learn to develop walking bass lines how to solo bass lines and solo patterns for blues changes and major and minor 'two-five-one' progressions dominant 7th chord scales approaches for playing 'Rhythm Changes ' and much much more! This is the one place to get everything youneed to make you not only a great jazz bassist but an asset to any band. A CD demonstrating the examples in the book is included.

Par AEBERSOLD JAMEY. For All musicians wishing to learn fantastic bass lines. While reading from the book, play along with the bassist on the recording ( Volume 70 'Killer Joe', sold separately) until you feel you’ve mastered his 'feel' and nuances. Then, using thespecial stereo separation on all of our Play-A-Long recordings, switch the bassist off and play along by yourself with just the piano and drums! This book (like all the Aebersold bass line transcription books) is a great study in professional bassline construction, and is a natural companion to the Aebersold Play-A-Longs. Combo instructors can use this book to give their bass students instant, professional bass lines. Includes notes inbass clef with chord symbols above eachmeasure. THIS BOOK: Transcribed bass lines to the chord changes of: Killer Joe, Blue Moon, Sweet Georgia Brown, Sugar, Misty, Stop-Time Blues, Girl From Ipanema, Bb New Orleans Blues, Mr. PC, You Stepped Out Of A Dream, Ladybird, Afternoon InParis, 3/4 Blues. / Rép International / Recueil / Guitare Basse

Par AEBERSOLD JAMEY. All the bass lines from Vol. 6 'Charlie Parker - All Bird' - by bass legend Ron Carter! For All musicians wishing to learn fantastic bass lines. While reading from the book, play along with the bassist on the recording (sold separately) until you feel you’ve mastered his “feel” and nuances. Then, using the special stereo separation on all of our Play-A-Long recordings, switch the bassist off and play along by yourself with just the piano and drums! This book (like all the Aebersold bass line transcription books) is a great study in professional bass line construction, and is a natural companion to the Aebersold Play-A-Longs. Combo instructors can use this book to give theirbass students instant, professional bass lines. Includes notes in bass clef with chord symbols above each measure. THIS BOOK: Transcribed bass lines to the chord changes of: Billie’s Bounce, Confirmation, Dewey Square, Donna Lee, My Little Suede Shoes, Now’s The Time, Ornithology, Scrapple From The Apple, Thriving From A Riff, and Yardbird Suite. / Rép International / Recueil / Guitare Basse

It's time to take center stage to deliver all the pyrotechnics usually associated with six-string guitar shredders! Shredding Bass Guitar takes you there through in-depth lessons on building technique, dexterity, and speed. It shows you how to shred using chords, arpeggios, and scales, and covers heavy metal and funk techniques like tapping, string skipping, and slap and pop. Lessons and examples are in the styles of bass masters Billy Sheehan, Les Claypool, Steve Harris, Victor Wooten, Stanley Clarke, and others. Shredding Bass Guitar provides a fresh perspective on the four-string electric bass and is a must-have for any bassist looking to take their playing to a new level. The accompanying CD features all the examples from the book. Features * In-depth lessons for developing technique, dexterity, and speed * For pick-style and fingerstyle players * Covers techniques like string skipping, tapping, two-handed tapping, wide-interval skipping, slap and pop, double thumbing, double popping, and more About the Author David Overthrow is an author, educator, and virtuoso bassist. After attending Berklee College of Music, he began performing with a wide variety of artists throughout the U.S. and Europe, playing rock, funk, jazz, and R and B. David is Director of Music at the Canterbury School in New Milford, Connecticut. He has written for Bass Guitar magazine, authored numerous electric bass methods, and taught three instructional videos for Alfred Music. David has performed with such luminaries as Pat Metheny, Stanley Clarke, Mike Stern, Trey Anastasio, Paul Gilbert, Zakk Wylde, and Sonny Landreth. / Guitare Basse

Par HUNGERFORD JAY. La basse a été appelée ' l'instrument le plus important dans tout groupe'. Le bassiste doit créer des lignes intéressantes en vertu des changements de corde, garder la ' écoulement du temps ' ou ' d'impulsion ' stable et garder la forme de la chanson ensemble. Cet ouvrage est conçu pour aider les bassistes à créer début patrons avancé de marche (lignes de consonance lisse) qui peut être utilisé dans le jazz, de blues, de RandB, de gospel, de Latin et de musique country. En expliquant les rudiments des intervalles, des accords et des échelles, l'auteur a construit un cadre pour la compréhension des patrons de la ligne de basse. Le livre présente alors des patrons d'un et deux mesures pouvant servir à jouer du blues, des changements de rythme, la progression II-V-I et 20 standards de jazz populaires. Le livre est écrit en notation standard avec les symboles de la corde. Le CD vous donne l'occasion de jouer avec l'un des plus belle sections rythmique autour. C'est en stéréo, avec la basse et la batterie sur la gauche et du piano et la batterie sur le droit. Puisque les exemples dans le livre sont présentés avec les lignes de basse échantillon... / Niveau : Débutant à Intermédiaire / Jazz - Rhythm/Backup / Recueil / Guitare Basse

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

A Comprehensive Method For Electric And Upright Bass. Par GERTZ BRUCE. La maîtrise de la basse est une méthode approfondie pour basse électrique et dressées conçu pour guider les bassistes de maîtrise. Elle débute avec la construction des temps forts et compétences rythmiques, une base solide sur laquelle tous les basse jouant doit être enraciné. Suite à cela, les étudiants apprendre un large éventail de rainures et pratique de la lecture de tous les styles de musique : Blues, Rock, Funk, Reggae, Fusion (y compris les compteurs impairs), Jazz, Latin, Baroque, classique et plus. Formation oreille incorporée dans la méthode améliore les aptitudes des élèves d\'écoute, enseigner aux étudiants d\'entendre les rythmes, les mélodies et les progressions de corde. Leçons de théorie aident les élèves à comprendre le fonctionne de la basse dans la musique. Les étudiants étudient également improvisation de pièces de bass et de solos sur les changements de la corde, articulation (doigt et technique de la prosternation), des objectifs de rendement, visualisation et bien plus. Chaque volume se déplace logiquement au prochain niveau même joueurs chevronnés peuvent combler les trous dans leur technique en passant par la méthode du livre I et en déplaçant sur la technique d\'une plus grande... / Niveau : Débutant / All Styles - Methods / Méthode / Guitare Basse

Par CHRISTIANSEN COREY. Cet ouvrage donnera bassistes aperçu beaucoup des échelles utilisées dans le jazz. Chaque écaille est présenté avec la notation standard, tablature et patrons de doigté pour une octave et de deux octaves. Le livre commence avec les échelles de major base, puis se penche sur les échelles de modes (lydien, Phrygiens, etc.), altérés, bebop balances, échelles pentatonique, échelles de blues et des échelles symétriques (échelles diminuées, échelles de tonalité d'ensemble et écailles chromatique). Si vous n'êtes pas familier avec ces termes, ne crains - ils sont clairement expliqués dans le livre. En chemin, les auteurs offrent des conseils et des exercices pour vous aider à utiliser les échelles de l'improvisation. Alors qu'il n'allait ne pas en grande profondeur ou donnant de nombreux exemples pour chaque écaille, cet ouvrage donnera le bassiste une compréhension approfondie de la grande variété des échelles disponibles pour improviser. L'intention de passer du temps à pratiquer et à élaborer vos propres modèles une fois que vous avez maîtrisées celles dans le livre. Les doigtés échelle présentées sont applicables à ces deux électrique... / Niveau : Intermédiaire / Jazz - Improvisation / Tablatures / Guitare Basse Tablatures