Concepts for Bass Soloing. It's the first book of its kind to address at length improvisational concepts for the bass. Download PDF MP3 $ Includes transcriptions of bass solos by Eddie Gomez, John Patitucci, Scott La Faro The samples are in pdf format and do require Adobe Acrobat Reader to be. Concepts for Bass musicmarkup.info - Ebook download as PDF File .pdf) or read book online.
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downloads Views 17MB Size Report. This content was uploaded by our users and we assume good faith they have the permission to share this book. Includes 2 CDs of Marc Johnson soloing on each exercise. Concepts For Bass Soloing goes a long way towards filling this gap, providing a Download PDF. Download Chuck Sher & Marc Johnson - Concepts for Bass musicmarkup.info
Part Milano: Tito di G. London: Hawkes, Bottesini, Giovanni, and F Clayton. Paris: Henry Lemoine et Cie,
Boston: Ditson, Practical Method for the Double Bass. Boston: O. Ditson, Philadelphia: O. Bologna: Bongiovanni, Stockholm: Thore Ehrling, Bonn, J, and Jacques C. Hamilton and Jacques C.
London: R. New York: Witmark Educational Publications, Cincinnati: Piper, The Fundamentals of Double Bass Playing. Cincinnati: Piper Co, The Popular Bass Method. Books El Cerrito, Calif: Barry Green, Palombo, and Lucas Drew. Advanced Techniques of Double Bass Playing.
Bloomington: Indiana University Press, New York: Peer International, Ancona: Edizioni musicali Farfisa, Chicago: M. Cole Pub. Co, London: Yorke Ed, Stockholm: A. New York: Robbins Music Corp, Froehlich, and Jacques C. Paris: Aulangnier, All metnods by Hause that were found in libraries worldwide are cited here. However, due to the evolving publishing standards some of them were difficult to date, thus their chronology and precise place of origin remain to be researched more thoroughly in the future.
Wenzel Hause may rightly be considered as a father of modern bass pedagogy, and it is certainly of importance to understand his work in all the lands he was active during his lifetime which includes not only his native Bohemia, yet also France and the other European countries. Standischen Theater zu Prag. Gestochen und gedruckt in der Hilscherschen Notendruckerei zu Dresden.
Partie 1. Prague: Berra, n. Mayence: Chez les fils de B. Schott,  Hause, Wenzel. Paris: Chez les fils de B. Schott, Place des Italiens No.
Mayence [u. Partie I II. Mainz, Paris und Antwerpen: Schott, Paris: Chez Schonenberger, [ca. Mainz [u.
This may be either a cataloging mistake in dating, or a reissue of an earlier edition? Boston: Jean White, Leitfaden zum Studium des Contrabasses.
Kbh, Frankfurt: Wilhelm Hansen, Kontrabasskole: 1. Hansen, n. Paris: A. Paris : A. Paris: Leduc, Leduc, Play the arpeggio ascending from the lowest note on the sixth bass string. Play the arpeggio descending from the highest note on the first top string. Ascend and descend the arpeggio from the lowest note to the highest. Repeat the previous step, but this time say the name of each interval out loud as you play it.
When you can comfortably play these arpeggios, try linking all three arpeggios together using the following steps you do not need to have memorised each shape yet, it is O.
Ascend each arpeggio in turn from the root. Take a short break between each arpeggio. Ascend each arpeggio in turn from the lowest note on the sixth string. Descend each arpeggio in turn from the highest note on the first string.
Ascend the first arpeggio from the lowest note, descend the second from the highest note and then ascend the third from the lowest note. Reverse the previous step.
Be creative with your exercises and find new ways to memorise these arpeggio shapes. When you are feeling confident, it is time to begin the playing some exercises to target chord changes. The first task is to focus on a tiny part of the bass and find as many ways to change between the arpeggios as possible.
The only rule is that I hit a tone from the new arpeggio each time the chord changes. The examples in this lessonare only a starting point. Your task is to find as many ways as you can to navigate between each successive arpeggio. When you begin to run out of ideas, switch to the next two-string group, i.
Here are two possible routes through the changes. It should be clear by now that some notes are common to more than one arpeggio. If you wish to repeat a note on a chord change, this is acceptable just so long as the note exists within both arpeggios. Gradually, you can start focusing on slightly larger string groupings.
The following example shows the same exercise played across the lowest three strings. Work through every possible adjacent three-string group and then progress to four-string groups. You will quickly build up a wide variety of ways to link each arpeggio together. All the work you do here will pay huge dividends in the future.
Joining the Dots The next stage in the process is to play a non-arpeggio note on beat four of each bar. There are three ways to do this. With chromatic passing notes: A chromatic passing note fills in a one-tone gap between arpeggio notes in different chords. In this lesson, the parent scale is Bb Major.
With chromatic approach notes. These are just like chromatic passing notes, but they can be played either side of the target tone. These three techniques are the most commonly used decorations in jazz music and they are always used to smooth out the transition between notes in different arpeggios. This is easier to see and hear musically. Study the following example carefully.
Pay attention to the first five notes.