EXPANDING WALKING BASS LINES ED FRIEDLAND PDF

Bass Guitar Tablature sheet music. Bass Bass Instruction. Instructional book softcover and accompaniment CD. With standard notation no tablature , chord names, instructional text, notation legend and introductory text.

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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. 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. He is a frequent contributor to Bass Player Magazine. Ed is involved in producing and arranging with Bass Station Music. He has a M. 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. 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. 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.

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. About the Author. Using the Audio. Fine Tuning Your Time Feel. Part One Overview. A Disclaimer.

Introducing Rhythms. Eighth Note Triplets. Combining Rhythms and Rests. Adding Rhythmic Embellishment. 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. 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. Skip to Main Content Area. Home About us Contacts Blog. Search Search this site:. Shopping cart View your shopping cart. Languages Italiano English. Create new account Request new password. 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.

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By , April 22, in Theory and Technique. Hi, Does anyone have a list of the jazz standards in the back of the Expanding Walking Basslines book. I have a list of the ones from his Creating Walking Basslines book, but not from the Expanding book. During an online search it says the names will appear if you put the CD into a computer, however this does not work on my copy.

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