Rock Bass: Rock, Blues, Reggae, Funk, Jazz, Etc. - Couverture souple

Reznicek, Jacky

Couverture souple

ISBN 10 : 3932587987 ISBN 13 : 9783932587986

Editeur : AMA Varlag GmbH, 2002

Synopsis

"The comprehensive method book for the modern electric bassist including notation and tablature. Today, a good bass player has to be able to play in a wide variety of styles. You have to be able to solo as well as provide a solid groove and the necessary harmonic foundation of a song. This book helps you with more than 150 licks and basic grooves for rock, blues, reggae, funk, jazz, and other styles plus exercises for timing, tapping, slap and other techniques. Learning to play in different positions will help you feel at home on the bass. In addition, a thorough presentation of music theory throughout the text will give you the knowledge you need to branch out into composing, arranging, or producing, or to become a more capable sideman or studio musician. All of the exercises have been recorded on the split-track CD without repeats. Turn the left channel all the way down, and you can practice with just drums, or leave it up to hear the bass part as well. Whether you are a beginner or an experienced player looking to improve, this method book will put you on the path to becoming a better bass player."

A propos du livre

Biographie de l'auteur

''Preface

A hearty welcome to you whether you're new to the bass player's guild or whether you've already got well developed callouses on the tips of your fingers. I'm glad you've decided to play bass. You made the right decision. The bass emerged from the shadows of its ''''oom-pah, oom-pah-one-and-three'''' existence long ago and has become a powerful and important instrument. The bass callisthenics of such players as Jack Bruce, Jaco Pastorius, Mark King or Billy Sheehan, which you most certainly have in your ear, impressively verify this fact. Even the ''''synth-sampler-computer'''' bass is slowly but surely becoming a thing of the past. Real and live bass playing is back in vogue.

I've tried to incorporate all these aspects of bass playing into this method book. lt's designed to help you along the path of becoming a better bass player. It doesn't matter whether you are a beginner and self-taught player who's only played within the comfort of his or her own home or whether you are an instrumentalist with band experience who may be presently taking or had some bass lessons already.

In the first part of this book I'll get you acquainted with the bass, give you a few tips on practicing and a few hints about technique. The second part is the most important section on the way to mastering the bass. Here you'll learn to feel ''''at home'''' on the bass. Learning to play in different positions will help you to do just that. The advantage of being able to do this is that, as you gradually move from position to position (from the open strings to the final fret), you'll get to know and have command of each and every note on the bass, from the very lowest to the very highest. You should always play through the position diagrams found at the beginning of each chapter as an additional exercise. ''''Dead notes'''' are important when it comes to precise rhythmical playing on the bass. These are normally left unmentioned in conventional bass method books or discussed only in connection with slap bass technique. I will familiarize you with this special method of picking and muting from the very beginning. The ''''dead notes'''' will be your constant companion in this volume.

There you'll find the respective names of the notes and their corresponding positions on the fingerboard. If it makes you feel more secure, just play an exercise that's on the CD by ear and compare it to the notation. This way you can train your ear as well. A good musician should be able to both read music and play by ear. As an extra treat in Part 11, I've included an introduction to fretless bass playing which is another indispensable technique of the accomplished bass player. In fretless playing, the double bass fingerings that I chose to use in this book from the beginning will turn out to be a big help. I conciously chose to use these fingerings (up to XII. Position) as opposed to guitar fingerings because in this range, the bass is tonally and functionally closer to an upright double bass than to a guitar (see p. 14).

In Part 11I, ''''Styles'''', we'll begin to use all the positions and techniques you learned about in Part 11.

Revue de presse

In the single chapters discussing the individual positions in Part 11you'll find references to exercises in Part III that you can practice supplementarily. This doesn't mean, however, that the exercises in Part 11are purely theoretical in nature. Taken on their own accord, they are just as practically oriented and suitable for live performance as the stylistic examples. Part III serves to do justice to the stylistic variety of contemporary bass playing.

Although dynamics (the theory behind different levels of volume) are an importantelement of music, I decided not to use them in the musical examples. First, they only play a subordinate role in rock and pop music. Secondly, dynamic markings originate from classical music theory and finally, in consideration of the amount of markings already present (stroke direction, accents, harmonic symbols, position indications and fingerings), additional dynamic markings would be just too confusing. Just practice all (!) the exercises at several different dynamic levels. That way you'll have even more musically expressive possibilities at your disposal.The CD that accompanies this book is more than a helpful point of reference when it comes to this.

Part IV, ''''Equipment Tips'''', will offer fundamental suggestions far the selection and care of your equipment and information on five and six string basses. Nonetheless, you should never forget: your bass sound is made first and foremost with your fingers.

In addition to the ''''Fret and Notation Table'''' I've already mentioned, you'll also find Scale and Chord Tablesas well as a list of the special symbols used in this book in the Appendix.

Before you begin, here's an important message: creativity is a substantial element of our music. In working with this book, your creativity is expressly desired. Use your own musical imagination and alter the exercises as you see fit. Remember, though: it's better to leave out a few notes in the right place than play too many in the wrong spot. Of course you should take your level of technicalability into consideration. It's better to play something simple and with more command of the instrument so that it's convincing and more secure. ''''Artistic'''' yet tensely played mega-licks, performed poorly, lead nowhere and therefore are not desired. And in this spirit: let your fingertips catch on fire!'' (AMA-Verlag)

Détails de l'édition

• Éditeur: AMA Varlag GmbH
• Date d'édition: 2002
• Langue: anglais
• ISBN 10: 3932587987
• ISBN 13: 9783932587986
• Reliure: Broché
• Nombre de pages: 151
• Coordonnées du fabricant: non disponible
• Personne responsable: non disponible