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Building Jazz Bass Lines: A Compendium Of Techn... Extra Quality

Ron Carter is a master at the jazz bass, and has played and recorded with many of the all-time greats of jazz. He's also an in-demand session player and an author of several books on bass technique. In this in-depth book/audio download package, he provides a series of lessons and exercises which cover everything from fingering techniques to mastering fast tempos.With illustrations and sidebars aplenty, Ron Carter illustrates step-by-step basic concepts of creating bass lines; he delves into getting better tone by focusing on right-hand technique; constructing lines using non-harmonic tones and diverse rhythms; and developing better pitch.The 48 page, large-format (9x12) soft-cover book also includes a play-along CD download with an all-star rhythm section and isolated bass parts, so players can listen to Ron play the sample written lines, and practice them with the audio tracks - with the guitar, piano and drums backing them up. These play-along exercises give you a unique way to apply your new knowledge, and soon you'll be creating your own memorable and unique bass lines.The lessons are very clear and well explained. This book is definitely suitable for beginners. Complete song list for "Ron Carter - Building Jazz Bass Lines" - Sheet Music SongbookAll composed by Ron Carter

Building Jazz Bass Lines: A compendium of techn...

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 available online using the unique code in the book; 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. . . . . Sample Audio & etc. . . . Sample Page 22 CONTENTS 2 CONTENTS BACK COVER FRONT COVER PRODUCT INFORMATION PublisherHal Leonard Media Softcover Audio Online Format Book/Online Audio Pages64 Length x Width x Height12 x 9 x 0.182 inches Shipping Weight0.52 pounds East Coast Music Product Code ZHL695008UPC Code73999950083 ISBN 793542049 EAN 9780793542048 1st Publication Date05/1995Below are Related Products that you may be interested in. Building a Jazz Chord Solo : A Guitarist's Guide to the Art of Chord Melody Playing : by Fred Sokolow : Book/CD Pack : # 695868Building Guitar Arrangements from the Ground Up : by Muriel Anderson : Book/Online Audio : # 696502Building a Jazz Vocabulary : by Mike Steinel : # 849911Building Bridges (SATB) : arr. Nick Page : SATB : # 8744831

I highly recommend getting your keyboard skills together. If you are remotely interested in composing or even using a Digital Audio Workstation (Logic, Cubase. Pro Tools etc) keyboard skills will help. Learnt from a keyboard point of view, harmony and melody also make a lot more sense when you return to the bass and expand your mind greatly. This is a brilliant book focussed towards (did you guess this already??)....jazz.

I reckon this is another bass bible in the vein of 'Standing in the Shadows of Motown'. Even though John Goldsby is an upright player and the players presented in the book are too, electric players can learn so much from this book. It goes through the main jazz bass players from the swing era onwards. The rest of the book is dedicated to the technique and styles involved. This is a treasure trove.

Playing walking jazz bass lines is an incredibly satisfying thing to do. Obviously essential if you want to play jazz too! This book presents the subject in a very manageable way. There is a follow up book to this too ('Expanding Walking Bass Lines').

The music Bach wrote for the cello turned out to be challenging but extremely rewarding for us bassists. He was a harmonic genius too writing many jazz-like passages before jazz existed. Having some Bach in your repertoire is a wonderful thing.

You can do a whole background jazz gig with one of these even if you don't know any of the tunes. Learn to read chord symbols and improvise a bass line (sign up to the newsletter at to learn how to do this kind of thing) and you are good to go!

Carole Kaye is a session bass titan. She played on thousands of records and TV and film sessions in the 70s and 80s. She came up through the clubs playing jazz guitar in the 60s. She has so much wisdom, many great stories as well as experience and expertise. I recommend all her books actually. Do check out the film The Wrecking Crew (also look at my DVD recommendations) if you want to see a fascinating documentary on the LA session crew of the 70s and 80s.

With so many books to choose from, which one(s) should you order? There seem to be 4 kinds of jazz method books: All encompassing ones that include the basics of holding a bass, posture, scales, walking bass lines, soloing and more...

An all encompassing book! $28.95 Quantity: JB-101 Rufus Reid's The Evolving Bassist DVD is one of the most educational bass DVD's on the planet! If you are an aspiring jazz bass player, at any level, get this DVD and I promise, you will be a better player by the end of the DVD!! This DVD works perfectly in tandem with the book. Even if you are primarily a classical bassist, you will enjoy the book because bass playing (and music) is universally the same! Whatever Rufus talks about, can almost always be immediately used in your respective discipline area. (While written for the jazz player in mind, it made me a better orchestra player). He talks about arm weight and it is truly eye opening. (Get the movie, then you will know all about his"turning the key!") Read more about the Rufus Reid book and DVD here. $28.95

Gain the tools and knowledge you need to improvise jazz bass lines like a seasoned professional. Learn to play great jazz bass lines, recognize common chord progressions in jazz standards, and study the work of jazz bass greats like Paul Chambers, Ray Brown, Ron Carter, and Christian McBride.

Whether you are new to playing jazz or wish to hone your skills, and whether you play acoustic or electric bass, this book will help you expand your basic technique to create interesting and grooving bass lines and melodically interesting solos. Included are 166 audio tracks of demonstrations and play-alongs, featuring a complete jazz combo playing bass lines and solos over standard jazz progressions.

The chord symbols in fake books are called changes. Reading changes goes all the way back to the Baroque period, when writing in figured bass was common. Often, the harpsichord player would improvise the harmony above the printed bass line, based on the numbers below the note. This is known as figured bass. Harpsichordists had to invent the accompaniment themselves using the figured bass as a guideline, assuring that each performance would be different, much like jazz! Figured bass went out of style in the Classical and Romantic Periods. Early jazz musicians studied the Baroque composers, and no doubt picked up on this method of composition and adapted it to their own needs.

Musicians in jazz bands find it convenient to play from fake books because they are available in different keys, including C (concert-pitch instruments), B-flat (trumpet and tenor saxophone), E-flat (alto and baritone saxophones), and bass clef (double bass and trombone). Each version has the exact same page numbers, so band leaders can simply call out a page. That way, each band member can easily pull up a popular tune and already know what changes and rhythms to use.

Once you understand the chords, try improvising a bass line that outlines these chords. Now you have to think like a bass player! This is a crucial step to developing a good ear for jazz. Understanding the bass can greatly enhance your own improvisations and you will hear the melody in a new light! For a real experiment, try recording yourself playing the new bass line and then play the melody over it. You will be amazed at your capabilities!

"We jazz bassists all have the same notes. The difference is in our finding different and new places to play them on the instrument. This is what makes our own sound unique to us" - Ron Carter

Paul Chambers was the most in-demand bass player in modern jazzfrom the mid-1950s into the mid-1960s. He recorded more than 300 albums andplayed with almost every great modern jazz instrumentalist who was active atthat time. This includes historic recordings with trumpeter Miles Davis, suchas Kind of Blue, Sketches of Spain, and Porgy and Bess. He performed on themonumental John Coltrane saxophone album Giant Steps. Chambers was one-thirdof the celebrated group of accompanists that Davis put together for a veryimportant period in his career. Chambers was so accomplished by the time hewas invited to join Davis that it may be difficult to believe he was onlytwenty years old during their first gigs. The combination of pianist RedGarland, bassist Paul Chambers, and Philly Joe Jones was so respected thatwhen saxophonist Art Pepper had a record date with them they were admiringlytermed "The Rhythm Section." Not only was the bassist a propulsiveforce for timekeeping, swinging, and feeding the most desirable tones intothe harmonic mix of any band's accompaniment, but he also devised apizzicato solo style in which he could invent melodic lines within the bebopidiom and sound almost like trumpeter Dizzy Gillespie, but in the bassregister. In addition, he mastered jazz improvisation with the bow. His arcosolos were well-conceived jazz improvisations that stood as a pinnacle towhich other bassists aspired. 041b061a72

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