The IIB Monthly Newsletter
Volume 10, Number 12
Happy holidays fellow bassists and friends!
Welcome to the latest issue of the International Institute of Bassists newsletter!
Welcome to the latest issue of the International Institute of Bassists newsletter!
The Next Session Of Jazz Bass Lines Begins February 1 - Enroll Today!
Jazz Bass Lines is a beginner to intermediate level course that explores all of the fundamental components of walking bass line construction. During this comprehensive 12-week course, you will acquire a vast knowledge of improvisation techniques by studying the bass lines of the most prominent jazz bassists. Following a systematic and guided approach of analysis, Jazz Bass Lines examines the key elements of walking bass line creation. This course begins by concentrating on the basic building blocks of bass parts including intervals, triads, seventh chords, and scales. As the course progresses, you will be introduced to concepts including walking bass line cells, rhythmic embellishments, the two feel, and the utilization of those components in practical application. Students will analyze transcriptions, play-alongs, and essential listening tracks of classic walking bass lines to assist in learning the proper integration of technique, sound, and feel. Special emphasis is placed on the 12-bar blues song form along with a collection of legendary bass tracks recorded by Ray Brown, Ron Carter, and Paul Chambers. By the end of this course, not only will you possess a deeper awareness of what makes a walking bass line great but you will also have expanded your fretboard familiarity, developed an incredible set of skills that will provide you with a greater understanding of how the bass functions within a band, and feel more confident in your ability to improvise effectively over jazz standards. From the basics of traditional walking bass line construction to more advanced contemporary principles, Jazz Bass Lines is designed to establish the essential foundation and indispensable vocabulary that is necessary for bassists interested in the art of improvising bass lines. This course is a must for anyone passionate about becoming a proficient bass player and serious about furthering their knowledge of improvisation. ... Read More!
Bass Lessons
Jazz Bass Lines: Ron Carter's Bass Line On "Cedar's Blues"
Having appeared as a sideman on over 2,000 recordings and on dozens of projects as a leader, Ron Carter is recognized as one of the most original, prolific, and influential bassists in jazz music. Born in 1937 near Detroit and raised in a musical family, Ron Carter's career in music began with a classically influenced background. He took up the cello at age ten and in high school learned to play violin, clarinet, trombone, and tuba. At age 17, Carter picked up the acoustic upright bass and within six months was awarded a scholarship to the Eastman School of Music in Rochester, New York where he became the first black member of the Eastman-Rochester Philharmonic Orchestra. After graduating with a bachelor of music degree from Eastman in 1959, Carter moved to New York and earned a master's degree in double bass from the Manhattan School of Music in 1961. While attending the Manhattan School of Music, Carter freelanced as both a bassist and cellist. He played with the Chico Hamilton Quartet as well a number of other prominent musicians including Eric Dolphy, Thelonious Monk, Jaki Byard, Cannonball Adderley, and Art Farmer.
In 1963, Carter replaced Paul Chambers as bassist of the renowned Miles Davis Quintet. Davis' classic quintet of the mid-1960's is considered by many critics to not only be Davis' finest group but also one of the most influential bands in the history of music. Alongside Davis, pianist Herbie Hancock, saxophonist Wayne Shorter, and drummer Tony Williams, Carter played in clubs and concert halls around the world while contributing to some of the most significant recordings in jazz history. With Williams, Carter anchored one of the greatest rhythm sections of all-time.
Carter left the Miles Davis Quintet in 1968 and settled permanently in New York where he worked as a sideman and led his own groups. In the 1970's, Carter developed a cello-like piccolo bass which he played as a leader of his own two-bass quartet with bassist Buster Williams. Throughout the '70's and '80's, Carter played and recorded with an extraordinary list of legendary jazz artists including Herbie Hancock, Wayne Shorter, Joe Henderson, McCoy Tyner, Wes Montgomery, Freddie Hubbard, Horace Silver, Stan Getz, Sonny Rollins, Bill Evans, Stanley Turrentine, and Red Garland.
Over the past five decades, Carter has received numerous awards and accolades from both critics and reader's polls alike for his contributions to jazz music. Carter has been named by Downbeat magazine as "Jazz Bassist of the Year" and "Most Valuable Player - Acoustic Bass" by the National Academy of Recording Arts and Sciences. He has also been acknowledged as "Outstanding Bassist of the Decade" by the Detroit News. Carter has been awarded two honorary doctorate degrees in music from the New England Conservatory of Music and the Manhattan School of Music and is also the recipient of the prestigious prestigious Hutchinson Award from the Eastman School of Music at the University of Rochester. Carter won the "Best Instrumental Composition" Grammy award in 1987 for "Call Sheet Blues" which was featured in the film 'Round Midnight. In 1994, he won the "Best Jazz Instrumental Performance" Grammy for A Tribute To Miles.
As an instructor, Carter has authored several method books on jazz bass technique and classical bass studies. He has lectured, conducted clinics, directed jazz ensembles, and taught the business of music at numerous leading universities. When it was located in Boston, Carter served as the Artistic Director of the Thelonious Monk Institute of Jazz Studies, and after 18 years on the faculty of the City College of New York, Carter retired as Distinguished Professor Emeritus.
One of the most effective ways to learn how to improvise walking bass lines involves the transcription, analysis, emulation, and manipulation of the bass lines recorded by your favorite bassists. Similar to learning a new language, improvising involves studying and using a vocabulary to express and develop ideas. Because there are too many variables to consider at the beginning, transcribed bass lines that have been recorded by your favorite bassists will initially limit your focus and help establish a solid foundation so you don't feel overwhelmed with all of the possibilities that are available to you as a bass player.
Keep a collection of transcribed bass lines by legendary bassists such as Ray Brown, Ron Carter, and Paul Chambers as well as your favorite bassists. This archive may consist of bass lines you've personally transcribed as well as bass lines you've acquired through other resources. After you transcribe the lines of your favorite bassists, practice playing them along with the recordings by memorization without referring to the notation. Listen very deeply to how the master bassists communicate through the language of improvisation. Strive to not only play all of the notes and rhythms perfectly but also emulate the sound and feel that has been captured on the recordings as close as possible. Pay particular attention to all the little nuances and inflections that bassists often incorporate into their lines, and try to make an emotional connection to their performance. Once you understand how they arrange their lines, you will be able to utilize that knowledge and create more sophisticated bass lines by altering the basic structure of your favorite lines and then assimilate those ideas into your own playing.
In this lesson, we will take a look at a complete transcription of the walking bass line recorded by Ron Carter on "Cedar's Blues." "Cedar's Blues" is a 12-bar blues in Bb that was composed by pianist Cedar Walton.
After you listen to the recording of "Cedar's Blues," play through this transcription of Carter's bass lines many times, and commit as many of these lines to memory as possible. Since the 12-bar blues is the most common set of chord changes utilized in the jazz repertoire and the foundation of numerous jazz standards, you can take your favorite bass lines from this transcription and easily incorporate them into other jazz tunes.
You can expand these concepts by transcribing and analyzing the bass lines of your favorite bassists, and incorporate modified excerpts of those lines into your own playing. By developing this approach to bass line construction, you can borrow ideas that have been recorded by your favorite bassists and then create lines that are in their styles but at the same time still retain your own voice since you are using altered lines and not playing excerpts note-for-note. ... Read More!
Jazz Bass Lines: Octave Displacement, Delayed Resolution, Ostinato Figures & Pedal Tones
The three fundamental building blocks utilized in the construction of walking bass lines include chord tones, scale tones, and chromatic approach notes. Chord tones are identified as the root, third, fifth, and seventh degrees of a scale while scale tones consist of the second, fourth, and sixth scale steps. Chromatic approach notes are defined as being the non-diatonic tones which are not found within the chord or its diatonically associated scale. Chromatic approach notes generally resolve to a chord tone by a half-step from above or below, but they can approach scale tones as well. When placed appropriately and used within the proper context, chromatic approach notes can heighten the underlying feeling of tension and release, and it is this tension which helps propel bass lines forward. If you disrupt the stability of walking bass lines through using chromatic approach notes, they will generate more melodic interest than completely diatonic bass lines created by employing the triad, chordal, and scalar walking bass line techniques. Chromaticism helps create the vital element of consonance and dissonance in walking bass lines. However, if chromatic approach notes are used improperly, they can obscure or completely destroy the overall tonality of the chord changes and confuse the listener. If you ever accidentally paint yourself into a corner when improvising walking bass lines by adding too much chromaticism or you play notes which simply don't seem to fit the chord changes, always remember that regardless of the position you are in on the fingerboard, you are never more than a whole-step away from resolving to a chord tone.
In this lesson, we are going to analyze walking bass lines built through the concepts of octave displacement, delayed resolution, ostinato figures, and pedal tones.
Through the use of compound intervals or intervals larger than an octave including ninths, tenths, elevenths, twelfths, thirteenths, fourteenths, and fifteenths, octave displacement helps add color to walking bass lines.
A delayed resolution does exactly what its name suggests. Delayed resolutions are easily identified through the placement of scale tones including the second, fourth, and sixth scale degrees on the first beat of the measure or the downbeat of a chord change. Typically in a bass line containing a delayed resolution, the root note of the chord is placed on the beat which follows the scale tone. However, the underlying sense of tension can be heightened if the resolution is further delayed by placing the root note later in the measure.
An ostinato figure is simply a repeating bass line which generally lasts for between two to four measures. Like the other techniques outlined in this lesson, ostinato figures help build tension.
Another very useful walking bass line technique consists of pedal tones. Although pedal tones can be placed anywhere within a song form, they are often played during the introduction of a composition or within the turnaround at the end of the song. Rather than continuing to play in a straight-ahead four style, the bassist pedals or stays on a particular note which creates the feeling of harmonic suspension that is then resolved upon the continuation of the quarter note walking line. The root and fifth of the chord are the most common scale degrees to function as pedal tones. They are often played on beats two and four of the measure or within a distinct rhythmic figure as the series of chords continue to change over the top.
When used appropriately, each of these techniques will create texture, generate different degrees of tension, and break up the predictability of standard walking bass lines.
In order to illustrate the development of functional walking bass lines consisting of octave displacement, delayed resolution, ostinato figures, and pedal tones, I have composed a number of bass lines over several choruses of the 12-bar blues in F. The 12-bar blues contains the most common set of chord changes found in jazz music, and it is the first song form that musicians learn to play when they begin studying jazz. Within this basic set of blues changes, there are only two different chord types present including dominant seventh (7) and minor seventh (m7). Although these bass lines contain more of these techniques than you will typically use while performing, they will supply you with ideas on how to effectively employ these concepts over the 12-bar blues.
To acquire a deeper understanding of the possibilities you have available to construct walking bass lines with the techniques of octave displacement, delayed resolution, ostinato figures, and pedal tones, first play through the bass lines as notated many times. For analysis, I recommend that you print these bass lines, and then beneath each note of every measure, use a pencil to write the relationship of that note to each applicable chord type and also highlight all of the chromatic approach notes by circling them. Utilize the collection of MP3 play-along tracks that I have provided with this lesson to help simulate a live performance application. Transpose my bass lines to all of the remaining keys such as a 12-bar blues in Bb, Eb, G, and so forth. Since the 12-bar blues is the most common song form used in the jazz repertoire and the foundation of numerous jazz standards, you can take your favorite bass lines from this examples and easily incorporate them into other jazz tunes. These walking bass lines have been written in the styles of Ray Brown, Ron Carter, and Paul Chambers, three of the most legendary jazz bassists, so I would also suggest that you commit these walking bass lines to memory. If you can improvise bass lines similar to these during a live performance, you will have absolutely no problems acquiring jazz gigs. Even with just a small collection of memorized lines, you can employ them over practically any other chord type through simple note modification. Whenever you adapt a bass line to fit on another chord type, always remember to adjust the chord tones first, and then choose the most appropriate scale tones as dictated by chord/scale theory. Finally, improvise your own walking bass lines featuring all of the fundamental building blocks combined with octave displacement, delayed resolution, ostinato figures, and pedal tones over the 12-bar blues in every key. ... Read More!
Having appeared as a sideman on over 2,000 recordings and on dozens of projects as a leader, Ron Carter is recognized as one of the most original, prolific, and influential bassists in jazz music. Born in 1937 near Detroit and raised in a musical family, Ron Carter's career in music began with a classically influenced background. He took up the cello at age ten and in high school learned to play violin, clarinet, trombone, and tuba. At age 17, Carter picked up the acoustic upright bass and within six months was awarded a scholarship to the Eastman School of Music in Rochester, New York where he became the first black member of the Eastman-Rochester Philharmonic Orchestra. After graduating with a bachelor of music degree from Eastman in 1959, Carter moved to New York and earned a master's degree in double bass from the Manhattan School of Music in 1961. While attending the Manhattan School of Music, Carter freelanced as both a bassist and cellist. He played with the Chico Hamilton Quartet as well a number of other prominent musicians including Eric Dolphy, Thelonious Monk, Jaki Byard, Cannonball Adderley, and Art Farmer.
In 1963, Carter replaced Paul Chambers as bassist of the renowned Miles Davis Quintet. Davis' classic quintet of the mid-1960's is considered by many critics to not only be Davis' finest group but also one of the most influential bands in the history of music. Alongside Davis, pianist Herbie Hancock, saxophonist Wayne Shorter, and drummer Tony Williams, Carter played in clubs and concert halls around the world while contributing to some of the most significant recordings in jazz history. With Williams, Carter anchored one of the greatest rhythm sections of all-time.
Carter left the Miles Davis Quintet in 1968 and settled permanently in New York where he worked as a sideman and led his own groups. In the 1970's, Carter developed a cello-like piccolo bass which he played as a leader of his own two-bass quartet with bassist Buster Williams. Throughout the '70's and '80's, Carter played and recorded with an extraordinary list of legendary jazz artists including Herbie Hancock, Wayne Shorter, Joe Henderson, McCoy Tyner, Wes Montgomery, Freddie Hubbard, Horace Silver, Stan Getz, Sonny Rollins, Bill Evans, Stanley Turrentine, and Red Garland.
Over the past five decades, Carter has received numerous awards and accolades from both critics and reader's polls alike for his contributions to jazz music. Carter has been named by Downbeat magazine as "Jazz Bassist of the Year" and "Most Valuable Player - Acoustic Bass" by the National Academy of Recording Arts and Sciences. He has also been acknowledged as "Outstanding Bassist of the Decade" by the Detroit News. Carter has been awarded two honorary doctorate degrees in music from the New England Conservatory of Music and the Manhattan School of Music and is also the recipient of the prestigious prestigious Hutchinson Award from the Eastman School of Music at the University of Rochester. Carter won the "Best Instrumental Composition" Grammy award in 1987 for "Call Sheet Blues" which was featured in the film 'Round Midnight. In 1994, he won the "Best Jazz Instrumental Performance" Grammy for A Tribute To Miles.
As an instructor, Carter has authored several method books on jazz bass technique and classical bass studies. He has lectured, conducted clinics, directed jazz ensembles, and taught the business of music at numerous leading universities. When it was located in Boston, Carter served as the Artistic Director of the Thelonious Monk Institute of Jazz Studies, and after 18 years on the faculty of the City College of New York, Carter retired as Distinguished Professor Emeritus.
One of the most effective ways to learn how to improvise walking bass lines involves the transcription, analysis, emulation, and manipulation of the bass lines recorded by your favorite bassists. Similar to learning a new language, improvising involves studying and using a vocabulary to express and develop ideas. Because there are too many variables to consider at the beginning, transcribed bass lines that have been recorded by your favorite bassists will initially limit your focus and help establish a solid foundation so you don't feel overwhelmed with all of the possibilities that are available to you as a bass player.
Keep a collection of transcribed bass lines by legendary bassists such as Ray Brown, Ron Carter, and Paul Chambers as well as your favorite bassists. This archive may consist of bass lines you've personally transcribed as well as bass lines you've acquired through other resources. After you transcribe the lines of your favorite bassists, practice playing them along with the recordings by memorization without referring to the notation. Listen very deeply to how the master bassists communicate through the language of improvisation. Strive to not only play all of the notes and rhythms perfectly but also emulate the sound and feel that has been captured on the recordings as close as possible. Pay particular attention to all the little nuances and inflections that bassists often incorporate into their lines, and try to make an emotional connection to their performance. Once you understand how they arrange their lines, you will be able to utilize that knowledge and create more sophisticated bass lines by altering the basic structure of your favorite lines and then assimilate those ideas into your own playing.
In this lesson, we will take a look at a complete transcription of the walking bass line recorded by Ron Carter on "Cedar's Blues." "Cedar's Blues" is a 12-bar blues in Bb that was composed by pianist Cedar Walton.
After you listen to the recording of "Cedar's Blues," play through this transcription of Carter's bass lines many times, and commit as many of these lines to memory as possible. Since the 12-bar blues is the most common set of chord changes utilized in the jazz repertoire and the foundation of numerous jazz standards, you can take your favorite bass lines from this transcription and easily incorporate them into other jazz tunes.
You can expand these concepts by transcribing and analyzing the bass lines of your favorite bassists, and incorporate modified excerpts of those lines into your own playing. By developing this approach to bass line construction, you can borrow ideas that have been recorded by your favorite bassists and then create lines that are in their styles but at the same time still retain your own voice since you are using altered lines and not playing excerpts note-for-note. ... Read More!
Jazz Bass Lines: Octave Displacement, Delayed Resolution, Ostinato Figures & Pedal Tones
The three fundamental building blocks utilized in the construction of walking bass lines include chord tones, scale tones, and chromatic approach notes. Chord tones are identified as the root, third, fifth, and seventh degrees of a scale while scale tones consist of the second, fourth, and sixth scale steps. Chromatic approach notes are defined as being the non-diatonic tones which are not found within the chord or its diatonically associated scale. Chromatic approach notes generally resolve to a chord tone by a half-step from above or below, but they can approach scale tones as well. When placed appropriately and used within the proper context, chromatic approach notes can heighten the underlying feeling of tension and release, and it is this tension which helps propel bass lines forward. If you disrupt the stability of walking bass lines through using chromatic approach notes, they will generate more melodic interest than completely diatonic bass lines created by employing the triad, chordal, and scalar walking bass line techniques. Chromaticism helps create the vital element of consonance and dissonance in walking bass lines. However, if chromatic approach notes are used improperly, they can obscure or completely destroy the overall tonality of the chord changes and confuse the listener. If you ever accidentally paint yourself into a corner when improvising walking bass lines by adding too much chromaticism or you play notes which simply don't seem to fit the chord changes, always remember that regardless of the position you are in on the fingerboard, you are never more than a whole-step away from resolving to a chord tone.
In this lesson, we are going to analyze walking bass lines built through the concepts of octave displacement, delayed resolution, ostinato figures, and pedal tones.
Through the use of compound intervals or intervals larger than an octave including ninths, tenths, elevenths, twelfths, thirteenths, fourteenths, and fifteenths, octave displacement helps add color to walking bass lines.
A delayed resolution does exactly what its name suggests. Delayed resolutions are easily identified through the placement of scale tones including the second, fourth, and sixth scale degrees on the first beat of the measure or the downbeat of a chord change. Typically in a bass line containing a delayed resolution, the root note of the chord is placed on the beat which follows the scale tone. However, the underlying sense of tension can be heightened if the resolution is further delayed by placing the root note later in the measure.
An ostinato figure is simply a repeating bass line which generally lasts for between two to four measures. Like the other techniques outlined in this lesson, ostinato figures help build tension.
Another very useful walking bass line technique consists of pedal tones. Although pedal tones can be placed anywhere within a song form, they are often played during the introduction of a composition or within the turnaround at the end of the song. Rather than continuing to play in a straight-ahead four style, the bassist pedals or stays on a particular note which creates the feeling of harmonic suspension that is then resolved upon the continuation of the quarter note walking line. The root and fifth of the chord are the most common scale degrees to function as pedal tones. They are often played on beats two and four of the measure or within a distinct rhythmic figure as the series of chords continue to change over the top.
When used appropriately, each of these techniques will create texture, generate different degrees of tension, and break up the predictability of standard walking bass lines.
In order to illustrate the development of functional walking bass lines consisting of octave displacement, delayed resolution, ostinato figures, and pedal tones, I have composed a number of bass lines over several choruses of the 12-bar blues in F. The 12-bar blues contains the most common set of chord changes found in jazz music, and it is the first song form that musicians learn to play when they begin studying jazz. Within this basic set of blues changes, there are only two different chord types present including dominant seventh (7) and minor seventh (m7). Although these bass lines contain more of these techniques than you will typically use while performing, they will supply you with ideas on how to effectively employ these concepts over the 12-bar blues.
To acquire a deeper understanding of the possibilities you have available to construct walking bass lines with the techniques of octave displacement, delayed resolution, ostinato figures, and pedal tones, first play through the bass lines as notated many times. For analysis, I recommend that you print these bass lines, and then beneath each note of every measure, use a pencil to write the relationship of that note to each applicable chord type and also highlight all of the chromatic approach notes by circling them. Utilize the collection of MP3 play-along tracks that I have provided with this lesson to help simulate a live performance application. Transpose my bass lines to all of the remaining keys such as a 12-bar blues in Bb, Eb, G, and so forth. Since the 12-bar blues is the most common song form used in the jazz repertoire and the foundation of numerous jazz standards, you can take your favorite bass lines from this examples and easily incorporate them into other jazz tunes. These walking bass lines have been written in the styles of Ray Brown, Ron Carter, and Paul Chambers, three of the most legendary jazz bassists, so I would also suggest that you commit these walking bass lines to memory. If you can improvise bass lines similar to these during a live performance, you will have absolutely no problems acquiring jazz gigs. Even with just a small collection of memorized lines, you can employ them over practically any other chord type through simple note modification. Whenever you adapt a bass line to fit on another chord type, always remember to adjust the chord tones first, and then choose the most appropriate scale tones as dictated by chord/scale theory. Finally, improvise your own walking bass lines featuring all of the fundamental building blocks combined with octave displacement, delayed resolution, ostinato figures, and pedal tones over the 12-bar blues in every key. ... Read More!
News
Be sure to check out the latest books, DVD's, CD's, and gear. ... Read More!
Charlie Banacos - August 11, 1946 - December 8, 2009
Dean Peer - Airborne
Reggie Washington Joins The Markbass Family
Charlie Banacos - August 11, 1946 - December 8, 2009
Dean Peer - Airborne
Reggie Washington Joins The Markbass Family
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The IIB Giveaways
Each month, the IIB gives its viewers the opportunity to participate in various monthly giveaways. Sponsored by: D'Addario, Planet Waves, LightWave Systems, Ibanez, Markbass, Line 6, Epifani Custom Sound, Evidence Audio, Nordstrand Pickups, Zon Guitars, Comfort Strapp, and BassBooks.com. To become eligible to win products including basses, amplifiers, speaker cabinets, combo amps, effects, strings, instrument cables, pickups, gig bags, straps, gift certificates, DVD's, CD's, books, lessons, t-shirts, and more!
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ENTER TO WIN TODAY! ... Read More!
The IIB MP3 Bass Samplers - Volumes 1 & 2
The IIB MP3 Bass Samplers are comprised of selected tracks that have been recorded by many of today's premier bass artists including Marcus Miller, Michael Manring, Stuart Hamm, Gary Willis, Adam Nitti, Norm Stockton, Ray Riendeau, Tom Kennedy, Yves Carbonne, Gerald Veasley, and many more.
2 HOURS OF MUSIC! ... Read More!
2 HOURS OF MUSIC! ... Read More!
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There are over 100 individual lessons and over 100 MP3 play-alongs currently available for download within the IIB Subscriber's Area.
By becoming a subscriber, you will help keep this resource online for you and others to enjoy in the future.
The IIB MP3 Bass Samplers - Volumes 1 & 2 - You'll receive access to the IIB MP3 Bass Samplers which feature selected tracks that have been recorded by many of today's premier bass artists including Marcus Miller, Michael Manring, Stuart Hamm, Gary Willis, Adam Nitti, Norm Stockton, Ray Riendeau, Tom Kennedy, Yves Carbonne, Gerald Veasley, and many more. 2 HOURS OF MUSIC! ... Read More!
Bass Tips Of The Week - You will have access to a huge database of lesson material that has been written on subjects such as Classical & Jazz Music Theory, Sight Reading, Ear Training, Bass Line Construction, Right & Left Hand Technique, Soloing, Jazz Improvisation, Slapping, Tapping, Chordal Techniques, Harmonics, Fingerstyle Funk, Altered Tunings, and Concepts For Solo Bass Playing. All of the lessons are available as downloadable PDF files.
There are over 100 individual lessons and over 100 MP3 play-alongs currently available for download within the IIB Subscriber's Area.
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Editor: The IIB
Thanks so much for your continued support, and I look forward to hearing from you soon!
Editor: The IIB
