The IIB Monthly Newsletter
Volume 9, Number 4
Hello 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!
Product Spotlight - M Basses
With a workshop based in Terryville, Connecticut, luthier Jon Maghini has been fabricating his customized M basses since 2001. Before venturing out on his own and starting a business with his own name, Maghini honed his skills as an apprentice under the guidance of a master luthier. During that period, Maghini worked on everything from basic assembly and wiring processes to surfacing and fretting necks, repairs, the complete restoration of vintage basses, and even building limited production runs of boutique instruments. With the principle philosophy that a bass guitar should play and sound just as good as it looks, Maghini's goal is to design visually-stunning and sonically well-balanced instruments. Regardless of playing level, Maghini strives to work on an individual basis with each of his customers to accommodate their specific needs. Whether you just seek repairs to an existing instrument or wish to commission the creation of an MEJ or M3 series M bass, Jon Maghini has solidified his reputation as one of today's premier builders of handcrafted bass guitars. ... Read More!
Bass Faces - Esperanza Spalding
A musical prodigy since her early childhood, Esperanza Spalding had become the concertmaster of her local community orchestra in Portland, Oregon by the time she was 15 years old. Through the encouragement of her high school band director, Spalding began playing bass and left high school a year later to enroll in the music program at Portland State University. Aided by a full scholarship, Spalding soon relocated to the opposite coast for three years of accelerated study and expanded networking opportunities at Berklee College of Music. Even before she completed college, she excelled at landing coveted touring engagements and recording projects with the likes of Patti Austin, Joe Lovano, Pat Metheny, and many other luminaries. In 2005, Spalding completed her bachelor's degree at Berklee and then accepted a teaching appointment which made her, at age 20, one of the youngest faculty members in the history of the institution. During that same year, she was also awarded the prestigious Boston Jazz Society scholarship for outstanding musicianship. Just within the past couple years, she has already performed at many of the world's leading jazz clubs, concert halls, and festivals in Canada, Italy, the United Kingdom, Switzerland, Brazil, and the United States. On May 20, 2008, Spalding makes her debut to a worldwide audience on Heads Up International with a self-titled release that features a glimpse of both her instrumental and vocal chops on a collection of a dozen tracks which combine the sounds of jazz, soul, pop, and world music. ... Read More!
Bass Tips Of The Week
Sight Reading For Bass: Rhythm Studies - Eighth Notes
If you take an analytical approach to sight reading standard notation and break it down into its fundamental components, you are left with two primary variables consisting of notes and rhythms. Since there are only 12 unique pitches in the Western-based musical alphabet, memorizing their positions on the staff in the bass clef as well as on the fingerboard of your instrument is a relatively easy task. The much more challenging aspect of sight reading standard notation is experienced in learning to instantly recognize rhythms. Unlike notes where there are a relatively few number of them, the rhythmic combinations you could be potentially presented with in a piece of standard notation are practically limitless.
In this lesson, we will work through a collection of rhythm studies exercises comprised of eighth note rhythmic combinations in an effort to increase the proficiency of your rhythmic recognition skills when sight reading standard notation for bass. Since the principal goal of this lesson is to improve rhythmic acuity as it pertains to sight reading, these rhythm studies exercises have been notated using rhythmic notation. This is the type of notation that a drummer would be required to read in a percussion-related chart.
Initially, you won't need your bass to practice rhythm studies. Because we are focusing on rhythmic recognition independent of note recognition, we are not concerned with notes. In fact, specific notes will be completely irrelevant when working with rhythm studies. To acquire maximum results from these exercises, simply begin by clapping through these rhythms at a tempo that is as slow as you need it to be in order to play the rhythms perfectly in time without making any errors and then increase the tempo accordingly.
Be sure to practice all of these rhythms against the steady, even pulse of a metronome or drum machine. Begin with a tempo that is slow enough to minimize mistakes but at the same time is fast enough to push you and create a challenge. From there, gradually increase the tempo. I would recommend breaking down these examples into smaller sections to make them more manageable. At first, try to play through these rhythms in one, two, four, eight, and twelve bar segments without pausing. Eventually, your goal should be to play through complete pages in their entirety without stopping due to a mistake. If any errors occur, stop and correct them before proceeding, and if you are having a particularly difficult time with a measure, decrease the tempo significantly so that you don't allow yourself to become frustrated and continue to reinforce bad habits through inaccuracy. Most musicians will overlook the significance of elemental exercises like these and rush through them in a sloppy fashion in order to get to more advanced material, but don't sacrifice accuracy for speed because this will be counterproductive to our long term goals. The best sight readers can be presented with standard notation, sight read that material perfectly on the first take, and make their performance sound like a prepared piece of music that they have been playing for years.
After you feel comfortable with these rhythms and can clap through them flawlessly, apply them to your bass by simply choosing any single note or combination of notes on your instrument and then allow those notes of your choice to sound for the durations that are indicated in the rhythmic notation of these rhythm studies exercises. Any note on the fingerboard or even any open string can be utilized to complete these exercises. Again, start at a slow tempo and then gradually build from there. If any of the exercises seem easy, simply increase the tempo. With all the rhythmic variability possible, no matter how fast you can read through these rhythms error-free, you can always improve your rhythmic recognition skills and heighten the degree of difficulty by increasing the tempo. Becoming a proficient sight reader of standard notation on an advanced level is a process that takes dedication and time. This isn't a subject area that anyone is going to have completely mastered within just a couple weeks or even a couple months.
Although these exercises may seem somewhat dry, great strides can be made in your ability to sight read standard notation over a relatively short span of time by concentrating on these basic rhythmic recognition exercises. By becoming a proficient sight reader, you will see your options as a working bassist increase exponentially because you will be able to more effectively communicate with other musicians. There are so many gigs available which require the ability to read standard notation. Whether your goal is to become a commercial session bassist, a member of the college jazz ensemble, bass chair of the local symphony orchestra, play in the school musical, or provide support in your community church, becoming a proficient sight reader will only increase your opportunities and chances of obtaining these gigs. Not only does being able to sight read greatly increase your value as an in-demand bass player, but as an additional benefit, it also makes your practice sessions much more productive since you are able to use that time more efficiently and cover more material. ... Read More!
Contemporary Tapping Techniques: The Right Hand
To continue our comprehensive analysis of two-handed tapping techniques on bass guitar, we will now explore the technical aspects required of your right hand. With your right hand positioned over the fingerboard, the basic principles that are utilized while tapping with your left hand also apply to your right hand. Using the efficient one-finger-per-fret concept, your fingers should be slightly curved over the fretboard. Simply tap the strings to the fingerboard with the tips of your fingers. Like standard fretting hand technique, tap the strings directly over or just slightly behind the fret wire for optimum tone. Refrain from tapping the strings down between frets because doing so will require more exertion which could potentially lead to experiencing undesired tension or pain in your right hand. When tapping between frets, you are also more likely to produce an excessive amount of fret buzz. If you tap the strings close to the frets, that will require a minimal amount of effort and also permit you to generate the cleanest, most articulate sound. To end a note, just lift your finger off the fingerboard. The small amount of force required to tap the strings to the fretboard should be generated primarily from your fingers and not your wrist. Initially, your third and fourth fingers may seem a little weak in performing this action. With time and diligent practice, all of your right hand fingers will feel equally comfortable in articulating each note across all the strings. Be precise with your right hand taps especially on the lighter gauge D and G strings which are more challenging to hit accurately. Tap the notes directly to the fingerboard, and be careful not to accidentally sound adjacent strings or bend notes out of tune. Continually remain aware of extraneous string-related noise and ringing. Mute the strings with available fingers to help eliminate unwanted noise. Only the notes that you are tapping should sound. Always strive for clear, articulate notes and consistent dynamics in every position across all the strings.
Keep your thumb positioned along the top of the neck, and allow it to slide as your right hand shifts from one position to the next. This technique is often referred to as "tracking." Your thumb can also be utilized as another tool for tapping, but if the thumb is not being used in this fashion, then keep it placed alongside the top of the fingerboard. If you use your thumb as a moveable anchor along the top of the fretboard, you can generate more power for your tapping fingers. The tracking technique also helps serve as a point of reference to your position on the fingerboard which as a result will help improve the accuracy of your tapping. Plus, since your thumb will be lightly touching the E-string with the tracking technique, you will be able to mute the E-string while you tap on the higher strings. When you tap notes on the E-string, just rotate your thumb away from that string or slide your thumb towards the back of the neck to create just enough space for the E-string to vibrate freely. If you are playing a 5 or 6-string bass, you can also adapt the floating thumb concept from standard bass playing technique. For example, if you are tapping on the G or C strings of a 6-string bass, you can place your right hand thumb between the A and D strings. By employing the floating thumb concept in this manner, you can mute the lower strings with the side of your thumb while tapping on one or more of the higher strings.
If you have never experimented with tapping techniques and have been using the alternating, two-finger approach to playing bass in the standard performance position, you will notice that your third and fourth fingers on your right hand will be your weakest fingers. By isolating those fingers and working with them independently, you will see a dramatic increase in their strength and dexterity in no time at all. At first you may miss a few notes when attempting to tap with your third and fourth fingers, but the accuracy of your tapping will increase with practice.
In this lesson, we will break down right hand tapping technique in a step-by-step fashion and focus our attention on the most elemental aspects of right tapping to increase your finger strength, independence, and dexterity. Play these exercises as legato as possible, and hold each note for its indicated rhythmic value. Allow each note to ring right up until the subsequent note sounds. Don't forget to incorporate expressive devices such as vibrato into your right hand technique. By utilizing vibrato and dynamics, you can make even elemental examples such as these sound alive and much more musical as opposed to mere technical exercises. Tablature has been included to serve as a source of reference with the standard notation so you can see the exact positions on the fingerboard that I am tapping. Below selected measures you will find suggested fingerings which will help you work through all the exercises.
The chromatic and scale-based exercises can be articulated using separate taps or through a series of hammer-ons and pull-offs (and slides when applicable). Your left hand will not be used to sound any of the notes in these exercises. When ascending a passage, hammer-on from each preceding note, and while descending, pull-off from the note above. With hammer-ons and pull-offs, at least one finger should remain in contact with the string at all times. For example, if you tap a note with your index finger and then hammer-on a note above with your middle finger, your first finger will remain in contact with the string. If you hammer-on a note from your third to fourth finger, your first, second, and third fingers should all remain in contact with the string. To execute pull-offs, your right hand fingers will be required to lift off of notes. As you perform pull-offs on the E-string, you won't need to worry about higher pitched strings getting in your way and inadvertently sounding, but special attention should be made to muting the adjacent strings when playing pull-offs on the higher strings (G, D, or A-strings). When moving across the strings, keep each finger in place unless you have to shift it in order to complete the passage or mute strings. The position of your right hand should remain constant as you shift up the fingerboard. Your right hand tapping technique should consist of a very fluid motion with a minimal amount of movement.
If you find any of these exercises too difficult to play in the positions notated, simply move them up to an area where the frets are closer together to lessen any strain on your right hand. If you play an extended range bass with five or more strings, expand all of these exercises across each of the available strings. Experiment with as many variations as time allows, and let your ears be the final judge as to what does and does not sound good with tapping techniques.
Before assimilating a metronome or drum machine to play along with these exercises, make sure you can play these examples perfectly at a slow tempo. Once you feel comfortable with the techniques, start at a relaxed rate and then gradually increase the tempo on your metronome or drum machine. If you feel any strain at all in your right hand as you are playing these exercises, take a break before proceeding. Allow the muscles in your right hand to get accustomed to the mechanics and proper range of motion required to perform these right hand tapping exercises. As your right hand fingers acquire more strength and independence, all of these exercises will become easier. With all technique-based exercises such as these, particular attention must be paid to the precise execution of the technique before any thought is given to speed. Keep in mind that the end goal is not to play fast just for the sake of speed. The primary objective with all of these exercises is to develop a consistently accurate and completely independent right hand tapping technique that will allow you the melodic, harmonic, and rhythmic freedom to perform flawlessly in any musical application.
In future tapping lessons, we will delve deeper into the art of tapping with more solo electric bass tapping techniques including chordal accompaniment, melody with accompaniment, and completely independent voices. We will also study and analyze various examples across a wide range of styles. ... Read More!
If you take an analytical approach to sight reading standard notation and break it down into its fundamental components, you are left with two primary variables consisting of notes and rhythms. Since there are only 12 unique pitches in the Western-based musical alphabet, memorizing their positions on the staff in the bass clef as well as on the fingerboard of your instrument is a relatively easy task. The much more challenging aspect of sight reading standard notation is experienced in learning to instantly recognize rhythms. Unlike notes where there are a relatively few number of them, the rhythmic combinations you could be potentially presented with in a piece of standard notation are practically limitless.
In this lesson, we will work through a collection of rhythm studies exercises comprised of eighth note rhythmic combinations in an effort to increase the proficiency of your rhythmic recognition skills when sight reading standard notation for bass. Since the principal goal of this lesson is to improve rhythmic acuity as it pertains to sight reading, these rhythm studies exercises have been notated using rhythmic notation. This is the type of notation that a drummer would be required to read in a percussion-related chart.
Initially, you won't need your bass to practice rhythm studies. Because we are focusing on rhythmic recognition independent of note recognition, we are not concerned with notes. In fact, specific notes will be completely irrelevant when working with rhythm studies. To acquire maximum results from these exercises, simply begin by clapping through these rhythms at a tempo that is as slow as you need it to be in order to play the rhythms perfectly in time without making any errors and then increase the tempo accordingly.
Be sure to practice all of these rhythms against the steady, even pulse of a metronome or drum machine. Begin with a tempo that is slow enough to minimize mistakes but at the same time is fast enough to push you and create a challenge. From there, gradually increase the tempo. I would recommend breaking down these examples into smaller sections to make them more manageable. At first, try to play through these rhythms in one, two, four, eight, and twelve bar segments without pausing. Eventually, your goal should be to play through complete pages in their entirety without stopping due to a mistake. If any errors occur, stop and correct them before proceeding, and if you are having a particularly difficult time with a measure, decrease the tempo significantly so that you don't allow yourself to become frustrated and continue to reinforce bad habits through inaccuracy. Most musicians will overlook the significance of elemental exercises like these and rush through them in a sloppy fashion in order to get to more advanced material, but don't sacrifice accuracy for speed because this will be counterproductive to our long term goals. The best sight readers can be presented with standard notation, sight read that material perfectly on the first take, and make their performance sound like a prepared piece of music that they have been playing for years.
After you feel comfortable with these rhythms and can clap through them flawlessly, apply them to your bass by simply choosing any single note or combination of notes on your instrument and then allow those notes of your choice to sound for the durations that are indicated in the rhythmic notation of these rhythm studies exercises. Any note on the fingerboard or even any open string can be utilized to complete these exercises. Again, start at a slow tempo and then gradually build from there. If any of the exercises seem easy, simply increase the tempo. With all the rhythmic variability possible, no matter how fast you can read through these rhythms error-free, you can always improve your rhythmic recognition skills and heighten the degree of difficulty by increasing the tempo. Becoming a proficient sight reader of standard notation on an advanced level is a process that takes dedication and time. This isn't a subject area that anyone is going to have completely mastered within just a couple weeks or even a couple months.
Although these exercises may seem somewhat dry, great strides can be made in your ability to sight read standard notation over a relatively short span of time by concentrating on these basic rhythmic recognition exercises. By becoming a proficient sight reader, you will see your options as a working bassist increase exponentially because you will be able to more effectively communicate with other musicians. There are so many gigs available which require the ability to read standard notation. Whether your goal is to become a commercial session bassist, a member of the college jazz ensemble, bass chair of the local symphony orchestra, play in the school musical, or provide support in your community church, becoming a proficient sight reader will only increase your opportunities and chances of obtaining these gigs. Not only does being able to sight read greatly increase your value as an in-demand bass player, but as an additional benefit, it also makes your practice sessions much more productive since you are able to use that time more efficiently and cover more material. ... Read More!
Contemporary Tapping Techniques: The Right Hand
To continue our comprehensive analysis of two-handed tapping techniques on bass guitar, we will now explore the technical aspects required of your right hand. With your right hand positioned over the fingerboard, the basic principles that are utilized while tapping with your left hand also apply to your right hand. Using the efficient one-finger-per-fret concept, your fingers should be slightly curved over the fretboard. Simply tap the strings to the fingerboard with the tips of your fingers. Like standard fretting hand technique, tap the strings directly over or just slightly behind the fret wire for optimum tone. Refrain from tapping the strings down between frets because doing so will require more exertion which could potentially lead to experiencing undesired tension or pain in your right hand. When tapping between frets, you are also more likely to produce an excessive amount of fret buzz. If you tap the strings close to the frets, that will require a minimal amount of effort and also permit you to generate the cleanest, most articulate sound. To end a note, just lift your finger off the fingerboard. The small amount of force required to tap the strings to the fretboard should be generated primarily from your fingers and not your wrist. Initially, your third and fourth fingers may seem a little weak in performing this action. With time and diligent practice, all of your right hand fingers will feel equally comfortable in articulating each note across all the strings. Be precise with your right hand taps especially on the lighter gauge D and G strings which are more challenging to hit accurately. Tap the notes directly to the fingerboard, and be careful not to accidentally sound adjacent strings or bend notes out of tune. Continually remain aware of extraneous string-related noise and ringing. Mute the strings with available fingers to help eliminate unwanted noise. Only the notes that you are tapping should sound. Always strive for clear, articulate notes and consistent dynamics in every position across all the strings.
Keep your thumb positioned along the top of the neck, and allow it to slide as your right hand shifts from one position to the next. This technique is often referred to as "tracking." Your thumb can also be utilized as another tool for tapping, but if the thumb is not being used in this fashion, then keep it placed alongside the top of the fingerboard. If you use your thumb as a moveable anchor along the top of the fretboard, you can generate more power for your tapping fingers. The tracking technique also helps serve as a point of reference to your position on the fingerboard which as a result will help improve the accuracy of your tapping. Plus, since your thumb will be lightly touching the E-string with the tracking technique, you will be able to mute the E-string while you tap on the higher strings. When you tap notes on the E-string, just rotate your thumb away from that string or slide your thumb towards the back of the neck to create just enough space for the E-string to vibrate freely. If you are playing a 5 or 6-string bass, you can also adapt the floating thumb concept from standard bass playing technique. For example, if you are tapping on the G or C strings of a 6-string bass, you can place your right hand thumb between the A and D strings. By employing the floating thumb concept in this manner, you can mute the lower strings with the side of your thumb while tapping on one or more of the higher strings.
If you have never experimented with tapping techniques and have been using the alternating, two-finger approach to playing bass in the standard performance position, you will notice that your third and fourth fingers on your right hand will be your weakest fingers. By isolating those fingers and working with them independently, you will see a dramatic increase in their strength and dexterity in no time at all. At first you may miss a few notes when attempting to tap with your third and fourth fingers, but the accuracy of your tapping will increase with practice.
In this lesson, we will break down right hand tapping technique in a step-by-step fashion and focus our attention on the most elemental aspects of right tapping to increase your finger strength, independence, and dexterity. Play these exercises as legato as possible, and hold each note for its indicated rhythmic value. Allow each note to ring right up until the subsequent note sounds. Don't forget to incorporate expressive devices such as vibrato into your right hand technique. By utilizing vibrato and dynamics, you can make even elemental examples such as these sound alive and much more musical as opposed to mere technical exercises. Tablature has been included to serve as a source of reference with the standard notation so you can see the exact positions on the fingerboard that I am tapping. Below selected measures you will find suggested fingerings which will help you work through all the exercises.
The chromatic and scale-based exercises can be articulated using separate taps or through a series of hammer-ons and pull-offs (and slides when applicable). Your left hand will not be used to sound any of the notes in these exercises. When ascending a passage, hammer-on from each preceding note, and while descending, pull-off from the note above. With hammer-ons and pull-offs, at least one finger should remain in contact with the string at all times. For example, if you tap a note with your index finger and then hammer-on a note above with your middle finger, your first finger will remain in contact with the string. If you hammer-on a note from your third to fourth finger, your first, second, and third fingers should all remain in contact with the string. To execute pull-offs, your right hand fingers will be required to lift off of notes. As you perform pull-offs on the E-string, you won't need to worry about higher pitched strings getting in your way and inadvertently sounding, but special attention should be made to muting the adjacent strings when playing pull-offs on the higher strings (G, D, or A-strings). When moving across the strings, keep each finger in place unless you have to shift it in order to complete the passage or mute strings. The position of your right hand should remain constant as you shift up the fingerboard. Your right hand tapping technique should consist of a very fluid motion with a minimal amount of movement.
If you find any of these exercises too difficult to play in the positions notated, simply move them up to an area where the frets are closer together to lessen any strain on your right hand. If you play an extended range bass with five or more strings, expand all of these exercises across each of the available strings. Experiment with as many variations as time allows, and let your ears be the final judge as to what does and does not sound good with tapping techniques.
Before assimilating a metronome or drum machine to play along with these exercises, make sure you can play these examples perfectly at a slow tempo. Once you feel comfortable with the techniques, start at a relaxed rate and then gradually increase the tempo on your metronome or drum machine. If you feel any strain at all in your right hand as you are playing these exercises, take a break before proceeding. Allow the muscles in your right hand to get accustomed to the mechanics and proper range of motion required to perform these right hand tapping exercises. As your right hand fingers acquire more strength and independence, all of these exercises will become easier. With all technique-based exercises such as these, particular attention must be paid to the precise execution of the technique before any thought is given to speed. Keep in mind that the end goal is not to play fast just for the sake of speed. The primary objective with all of these exercises is to develop a consistently accurate and completely independent right hand tapping technique that will allow you the melodic, harmonic, and rhythmic freedom to perform flawlessly in any musical application.
In future tapping lessons, we will delve deeper into the art of tapping with more solo electric bass tapping techniques including chordal accompaniment, melody with accompaniment, and completely independent voices. We will also study and analyze various examples across a wide range of styles. ... Read More!
News
Be sure to check out the latest books, DVD's, CD's, and gear. ... Read More!
Esperanza Spalding - Esperanza
Esperanza Spalding - Esperanza
Advertising Special On The IIB!
If you purchase a 6-month advertising package, not only will you receive 2 months of web site advertising for FREE, but your banner will also appear in each monthly newsletter during that 6-month period for FREE! That is a savings of $150 off the regular 6-month newsletter advertising rate! In September, 1999, the IIB delivered its first monthly newsletter to less than 100 subscribers. Today, the IIB's newsletter reaches over 10,000 bass enthusiasts each month! The International Institute of Bassists is a bass-centric web site aimed specifically toward the art of contemporary bass playing and the study of the bass tradition. Since its founding in 1997, the IIB has established a long-time presence on the internet and grown into one of the largest and most popular interactive bass-related web sites found online. As a viewer of the IIB, you can read exclusive interviews with bass virtuosos including Michael Manring, Stuart Hamm, Jeff Berlin, Gary Willis, Alain Caron, Matt Garrison, Keith Horne, and Brian Bromberg to name just a few. Viewers of the IIB also have access to free, downloadable lessons which are published by a staff of highly-respected instructors such as Michael Manring, Todd Johnson, Ray Riendeau, and Berklee College of Music professor Jim Stinnett. In addition to these lessons and interviews with the bass greats, viewers have access to interviews with the founders of manufacturing companies, bass shops, and bass events along with the latest bass-related news, reviews, and streaming media. Plus, viewers can also watch selected instructional, concert performance videos, and live bass clinics on IIBtv as well as communicate with other bassists around the world through the IIB chat room. ... Read More!
The IIB Giveaways
Each month, the IIB gives its viewers the opportunity to participate in various monthly giveaways. Sponsored by: D'Addario, Planet Waves, Thunderfunk, AccuGroove, Line 6, Ibanez, SWR Sound, Fender, Evidence Audio, Norstrand Pickups, Zon Guitars, Bass Specialties, 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!
ENTER TO WIN TODAY! ... Read More!
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!
As a subscriber, you will receive the following benefits:
The IIB Monthly Giveaways - Each month, your name will be entered in all of our various giveaways providing you with the opportunity to win 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! ... Read More!
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 70 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 70 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.
CLICK HERE To Subscribe Today For Only $9.95 Per Year!
If you have any comments, suggestions, news-related items such as press releases, or products that you would like to submit for review on the IIB, please feel free to e-mail: Editor@InstituteOfBass.com.
Thanks so much for your continued support, and I look forward to hearing from you soon!
Editor: The IIB
April 2008
To Unsubscribe from the IIB's monthly newsletter, simply go to: http://www.instituteofbass.com and submit your e-mail to be removed.
Thanks so much for your continued support, and I look forward to hearing from you soon!
Editor: The IIB
April 2008
To Unsubscribe from the IIB's monthly newsletter, simply go to: http://www.instituteofbass.com and submit your e-mail to be removed.
