The IIB Monthly Newsletter
Volume 7, Number 12
Happy Holidays fellow bassists and friends!
Welcome to the latest issue of The International Institute of Bassists newsletter and the web site of the International Institute of Bassists!
Welcome to the latest issue of The International Institute of Bassists newsletter and the web site of the International Institute of Bassists!
Subscribe To The IIB Today!
The International Institute of Bassists was founded in 1997, and since then, the IIB has become regarded as one of the premier bass-related web sites online today. As an IIB subscriber, your name will be entered in all of our various MONTHLY GIVEAWAYS providing you with the opportunity to win basses, amps, effects, strings, instrument cables, gig bags, straps, DVD's, CD's, books, lessons, and apparel. You'll receive access to the IIB MP3 BASS SAMPLER which features over 1 hour of selected tracks that have been recorded by many of today's premier bass artists including Marcus Miller, Michael Manring, Adam Nitti, Gary Willis, Norm Stockton, Gerald Veasley, Tom Kennedy, Ray Riendeau, and many more. You will also have access to a huge database of BASS TIPS OF THE WEEK lesson material that has been written on subjects such as classical and jazz music theory, sight reading, ear training, bass line construction, soloing, jazz improvisation, fingerstyle funk, and concepts for solo bass playing. All of the lessons are available as downloadable PDF files, and many lessons include MP3 play-alongs.
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Bass Tips Of The Week
Jazz Bass Lines - "Rhythmic Embellishments: Ghost Skips"
The three fundamental building blocks of walking bass line construction in jazz music include chord tones, scale tones, and chromatic (non-diatonic) approach notes. Although standard walking bass lines predominantly consist of quarter notes, rhythmic embellishments have become essential components in the vocabulary of the contemporary jazz bassist to increase the rhythmic interest of quarter note-based walking lines. Rhythmic embellishments help break the often monotonous flow of a straight-ahead bass line that is improvised through a steady stream of quarter notes and played continuously over an extended period of time. In addition to accentuating the overall feel of the music, rhythmic embellishments add a rhythmic dimension and create the feeling of forward motion which will make your walking bass lines sound like they have a sense of direction and are continually going somewhere.
In terms of their application, rhythmic embellishments should generate a feeling of anticipation or tension which is then resolved or released on the subsequent quarter note pulse. Rhythmic embellishments are extremely versatile since they can be placed on any beat within the measure, and in order to capture the listener's attention, reinforce the quarter note pulse, and enhance the overall forward flow of the music, it is important that bass lines contain the sense of tension and release created through rhythmic embellishments.
The single biggest factor in determining the usage of rhythmic embellishments will be the tempo of the composition. Rhythmic embellishments work best when applied to compositions that are performed within the slow to medium tempo ranges because there is more rhythmic space in between each individual quarter note pulse than on tunes played at faster tempos. Compositions that are performed at fast tempos really need to be handled with greater care because you don't want to interrupt the steady flow of the quarter note pulse. You simply won't have as much opportunity to incorporate rhythmic embellishments on up-tempo arrangements as compared to tunes with slow and medium-based tempos. In other words, you'll tend to defer to more quarter notes as the tempos continue to increase so keep in mind that the application of rhythmic embellishments is inversely related to the tempo of the composition.
As a bassist, your primary responsibility within a rhythm section is to support the entire ensemble so you'll want to be careful not to overuse rhythmic embellishments or else the walking line might actually disrupt the overall flow of the pulse or possibly draw the listener's attention away from the song's melody or someone's solo. If the line becomes saturated with too much rhythmic activity rather than quarter notes, you will go beyond your role as an accompanist. Within the setting of a larger band, you'll probably want to refrain from using too many rhythmic embellishments when multiple instruments are sounding simultaneously because adding rhythmic embellishments might only clutter the soundscape. In a smaller group such as a duo, trio, or quartet configuration, you have much more rhythmic flexibility available within the sonic spectrum.
Your taste and judgment along with the particular musical context that you are performing within should dictate whether or not rhythmic embellishments are to be utilized. If you are listening carefully when accompanying a soloist and interacting with other members of the rhythm section, you will play notes and rhythms that support and compliment what the soloist is trying to convey to the audience. If executed inaccurately or played out of the proper context, rhythmic embellishments can totally destroy the flow of the music. If there is ever any doubt as to whether or not you should include rhythmic embellishments, it's better to leave them out. The quarter note is still the fundamental element of walking bass line construction, and even on tunes played at slow tempos, you might not necessarily need to add rhythmic embellishments. Rhythmic embellishments can add a rhythmic depth to your lines, but in many situations, a strong quarter note-based walking line is all that is required to successfully complete the task. Rhythmic embellishments just offer you the option of providing rhythmic motion in order to enhance the overall feel of the music.
In this lesson, you will find three choruses of the 12-bar blues, the most common set of chord changes played in jazz music, in F. To illustrate the development of solid, functional walking bass lines with rhythmic embellishments, I have composed a number of lines which are intended to supply you with ideas on how to effectively employ ghost skips over these changes. Ghost skips are played within the framework of eighth note triplets, and similar to most other rhythmic embellishments, ghost skips fill in space between quarter notes and help propel the momentum forward. They accentuate the first and third subdivisions of the eighth note triplet figure and add a rhythmic bounce to bass lines. When compared to standard skips, they are played rhythmically the same, but ghost skips produce a percussive effect because they do not sound a definitive pitch. One or more of the fingers on the fretting hand remains in contact with the string, but it does not press the string all the way to the fingerboard. The left hand mutes the string to create a ghost note or click. The ghost skip may be played on the same string as the note it follows, on the string above the note it follows, or on the string below the note it follows. By placing a slight accent on the ghost skip, you will create the feeling of anticipation and tension that is then resolved upon the continuation of the quarter note-based walking line. In the standard notation and tablature, the ghost skips have been notated using ghost notes ("x"). ... Read More!
Jazz Bass Lines - "Rhythmic Embellishments: Syncopated Rhythms"
In this lesson, you will find three choruses of the 12-bar blues, the most common set of chord changes played in jazz music, in F. To illustrate the development of solid, functional walking bass lines with rhythmic embellishments, I have composed a number of lines which are intended to supply you with ideas on how to effectively employ syncopated rhythms over these changes. By incorporating syncopated rhythms into your bass lines, you briefly disrupt or suspend the time which will create the feeling of anticipation and tension that is then resolved upon the continuation of the quarter note-based walking line. The syncopated rhythms have been notated using ties. In standard notation, a tie is simply a curved line that connects two notes of the same pitch, and when tied, the rhythmic value of those notes is added together. Therefore, the first note is played, and the tied notes are then held for the full rhythmic duration of both notes without articulating the second note of the tie. Unlike other rhythmic embellishments such as skips or ghost skips which can be typically integrated in a liberal fashion throughout the performance of a composition, syncopated rhythms are a dramatic device which are most effective if utilized sparingly to catch the listener's attention quickly and break the often monotonous sound of a standard, straight-ahead walking bass line. Of all the various rhythmic embellishments available to the modern bassist, syncopated rhythms need to be handled with the greatest amount of care. For demonstration purposes, I have included many more syncopated rhythms into these walking bass lines than I would generally recommend using in real world application during a live performance. ... Read More.
Jazz Improvisation - "Melodic Interpretation: On Green Dolphin Street"
Melody, harmony, and rhythm are the three fundamental components of music. Generally, the melody of a composition is the element that initially grabs the listener's attention and is retained the longest. A melody can be defined as a succession of pitches of varying durations that are organized to convey a musical idea or a succession of ideas.
If we compare music to a spoken or written language, not every word within a sentence is of significance to our overall understanding of the meaning attempting to be communicated. For example, nouns and verbs constitute the primary information in an effort to convey ideas whereas adjectives, adverbs, and the like assist in qualifying that information. In music, some tones provide the basic structure while other notes serve to embellish upon that principal melodic content. Think of the chord tones and scale tones of a melody as providing the foundation or structure. In other words, chord tones and scale tones will function as the nouns and verbs of music. The way we approach playing or ornamenting those chord tones and scale tones will be the equivalent to the roles of the adjectives or adverbs of a language. Since Western-based music is comprised of only 12 different tones, the essential building blocks (chord tones and scale tones) used in building melodies is rather limited. However, through the utilization of embellishing tones and different methods of articulation, soloists can add individuality or a degree of uniqueness to the way they interpret melodies.
Embellishing tones are notes of secondary significance in a melody. Many times they are not a part of the harmony and are referred to as non-chord tones. Embellishing tones are usually played for a short duration and receive very little emphasis. Often, they create dissonance and resolve by either half-step or whole-step to a more critical pitch. Additionally, not only will embellishing tones be found individually amongst notes of greater melodic importance, but they can also be used in combination with each other as well to form more expanded phrases.
One of the most commonly employed embellishing tones is the passing note. Passing notes connect two other pitches of greater importance through stepwise motion. The passing note may appear in a descending or ascending fashion between two pitches, and it may or may not be diatonic to the harmonic texture.
Other melodic embellishments include approach notes and neighbor tones. Approach notes may precede any target tone by either half-step or whole-step from above or below. They may or may not be a member of the sounding chord or one of that chord's most closely associated scales. Some of the most frequently used approaches to target notes are scalar approaches as well as single chromatic and double chromatic approach notes.
A neighbor note is an embellishing tone that leaves an important note by a half-step or whole-step and returns to the same note. It may be played above or below the tone of greater significance, and like the passing note or approach tone, the neighbor note may be either diatonic or non-diatonic to the harmonic structure.
As a soloist, one technique of melodic development involves the varying of phrase lengths. This can be accomplished through either phrase extension (prolongation) or phrase compression (reduction). Phrase extension can be applied by simply making the durations of notes longer or including notes not found in the original melody. Phrase compression is a technique where a portion of the phrase is omitted or note durations are shortened.
Besides altering the melodic vocabulary within a phrase using the aforementioned methods of extension and reduction, phrases can be modified through rhythmic displacement. Rhythmic variety can be attained by simply changing the place within the measure where you begin and end phrases as well as manipulating the length of the phrases. Effective rhythmic phrasing is an essential aspect of sustaining rhythmic interest. When presenting a speech, the best speakers will pause in order to allow the listeners to absorb the information. Great soloists take the same approach and will incorporate pauses so that the listeners can process the musical ideas being expressed.
Have you ever sat through a speech where the speaker talked in a monotone voice throughout the entire presentation? Just as a skillful speaker will use different inflections during a speech, sophisticated soloists will integrate various articulation techniques, dynamics, and vibrato into their phrases. Instead of just playing the notes without accents, you can breathe life into your phrases by using articulations such as grace notes, hammer-ons, pull-offs, and slides. You can also assimilate different degrees of dynamics and vibrato according to your personal taste. If, as a soloist, you don't insert a combination of both melodic and rhythmic interest into your solos, listeners will simply tune you out as they would someone speaking in a monotone voice. Phrasing should remain interesting and varied.
Learn as many melodies as possible because they usually contain repetition and the best target notes, and experiment with improvising phrases using variations on those melodies. This is a great way to understand how ideas relate to each other which will help you expand and personalize your own ideas. Melodies can begin early, start late, speed up, or slow down, and the accompaniment will continue. By learning how to play and interpret melodies, you will break free of outlining every chord change that is played because you will learn to hear the chord progressions moving underneath your phrases instead of using your note choice to constantly remind you of the chord changes. As you learn more melodies, you will acquire a sense of the independence the melodic instrument has from the accompaniment. ... Read More.
The three fundamental building blocks of walking bass line construction in jazz music include chord tones, scale tones, and chromatic (non-diatonic) approach notes. Although standard walking bass lines predominantly consist of quarter notes, rhythmic embellishments have become essential components in the vocabulary of the contemporary jazz bassist to increase the rhythmic interest of quarter note-based walking lines. Rhythmic embellishments help break the often monotonous flow of a straight-ahead bass line that is improvised through a steady stream of quarter notes and played continuously over an extended period of time. In addition to accentuating the overall feel of the music, rhythmic embellishments add a rhythmic dimension and create the feeling of forward motion which will make your walking bass lines sound like they have a sense of direction and are continually going somewhere.
In terms of their application, rhythmic embellishments should generate a feeling of anticipation or tension which is then resolved or released on the subsequent quarter note pulse. Rhythmic embellishments are extremely versatile since they can be placed on any beat within the measure, and in order to capture the listener's attention, reinforce the quarter note pulse, and enhance the overall forward flow of the music, it is important that bass lines contain the sense of tension and release created through rhythmic embellishments.
The single biggest factor in determining the usage of rhythmic embellishments will be the tempo of the composition. Rhythmic embellishments work best when applied to compositions that are performed within the slow to medium tempo ranges because there is more rhythmic space in between each individual quarter note pulse than on tunes played at faster tempos. Compositions that are performed at fast tempos really need to be handled with greater care because you don't want to interrupt the steady flow of the quarter note pulse. You simply won't have as much opportunity to incorporate rhythmic embellishments on up-tempo arrangements as compared to tunes with slow and medium-based tempos. In other words, you'll tend to defer to more quarter notes as the tempos continue to increase so keep in mind that the application of rhythmic embellishments is inversely related to the tempo of the composition.
As a bassist, your primary responsibility within a rhythm section is to support the entire ensemble so you'll want to be careful not to overuse rhythmic embellishments or else the walking line might actually disrupt the overall flow of the pulse or possibly draw the listener's attention away from the song's melody or someone's solo. If the line becomes saturated with too much rhythmic activity rather than quarter notes, you will go beyond your role as an accompanist. Within the setting of a larger band, you'll probably want to refrain from using too many rhythmic embellishments when multiple instruments are sounding simultaneously because adding rhythmic embellishments might only clutter the soundscape. In a smaller group such as a duo, trio, or quartet configuration, you have much more rhythmic flexibility available within the sonic spectrum.
Your taste and judgment along with the particular musical context that you are performing within should dictate whether or not rhythmic embellishments are to be utilized. If you are listening carefully when accompanying a soloist and interacting with other members of the rhythm section, you will play notes and rhythms that support and compliment what the soloist is trying to convey to the audience. If executed inaccurately or played out of the proper context, rhythmic embellishments can totally destroy the flow of the music. If there is ever any doubt as to whether or not you should include rhythmic embellishments, it's better to leave them out. The quarter note is still the fundamental element of walking bass line construction, and even on tunes played at slow tempos, you might not necessarily need to add rhythmic embellishments. Rhythmic embellishments can add a rhythmic depth to your lines, but in many situations, a strong quarter note-based walking line is all that is required to successfully complete the task. Rhythmic embellishments just offer you the option of providing rhythmic motion in order to enhance the overall feel of the music.
In this lesson, you will find three choruses of the 12-bar blues, the most common set of chord changes played in jazz music, in F. To illustrate the development of solid, functional walking bass lines with rhythmic embellishments, I have composed a number of lines which are intended to supply you with ideas on how to effectively employ ghost skips over these changes. Ghost skips are played within the framework of eighth note triplets, and similar to most other rhythmic embellishments, ghost skips fill in space between quarter notes and help propel the momentum forward. They accentuate the first and third subdivisions of the eighth note triplet figure and add a rhythmic bounce to bass lines. When compared to standard skips, they are played rhythmically the same, but ghost skips produce a percussive effect because they do not sound a definitive pitch. One or more of the fingers on the fretting hand remains in contact with the string, but it does not press the string all the way to the fingerboard. The left hand mutes the string to create a ghost note or click. The ghost skip may be played on the same string as the note it follows, on the string above the note it follows, or on the string below the note it follows. By placing a slight accent on the ghost skip, you will create the feeling of anticipation and tension that is then resolved upon the continuation of the quarter note-based walking line. In the standard notation and tablature, the ghost skips have been notated using ghost notes ("x"). ... Read More!
Jazz Bass Lines - "Rhythmic Embellishments: Syncopated Rhythms"
In this lesson, you will find three choruses of the 12-bar blues, the most common set of chord changes played in jazz music, in F. To illustrate the development of solid, functional walking bass lines with rhythmic embellishments, I have composed a number of lines which are intended to supply you with ideas on how to effectively employ syncopated rhythms over these changes. By incorporating syncopated rhythms into your bass lines, you briefly disrupt or suspend the time which will create the feeling of anticipation and tension that is then resolved upon the continuation of the quarter note-based walking line. The syncopated rhythms have been notated using ties. In standard notation, a tie is simply a curved line that connects two notes of the same pitch, and when tied, the rhythmic value of those notes is added together. Therefore, the first note is played, and the tied notes are then held for the full rhythmic duration of both notes without articulating the second note of the tie. Unlike other rhythmic embellishments such as skips or ghost skips which can be typically integrated in a liberal fashion throughout the performance of a composition, syncopated rhythms are a dramatic device which are most effective if utilized sparingly to catch the listener's attention quickly and break the often monotonous sound of a standard, straight-ahead walking bass line. Of all the various rhythmic embellishments available to the modern bassist, syncopated rhythms need to be handled with the greatest amount of care. For demonstration purposes, I have included many more syncopated rhythms into these walking bass lines than I would generally recommend using in real world application during a live performance. ... Read More.
Jazz Improvisation - "Melodic Interpretation: On Green Dolphin Street"
Melody, harmony, and rhythm are the three fundamental components of music. Generally, the melody of a composition is the element that initially grabs the listener's attention and is retained the longest. A melody can be defined as a succession of pitches of varying durations that are organized to convey a musical idea or a succession of ideas.
If we compare music to a spoken or written language, not every word within a sentence is of significance to our overall understanding of the meaning attempting to be communicated. For example, nouns and verbs constitute the primary information in an effort to convey ideas whereas adjectives, adverbs, and the like assist in qualifying that information. In music, some tones provide the basic structure while other notes serve to embellish upon that principal melodic content. Think of the chord tones and scale tones of a melody as providing the foundation or structure. In other words, chord tones and scale tones will function as the nouns and verbs of music. The way we approach playing or ornamenting those chord tones and scale tones will be the equivalent to the roles of the adjectives or adverbs of a language. Since Western-based music is comprised of only 12 different tones, the essential building blocks (chord tones and scale tones) used in building melodies is rather limited. However, through the utilization of embellishing tones and different methods of articulation, soloists can add individuality or a degree of uniqueness to the way they interpret melodies.
Embellishing tones are notes of secondary significance in a melody. Many times they are not a part of the harmony and are referred to as non-chord tones. Embellishing tones are usually played for a short duration and receive very little emphasis. Often, they create dissonance and resolve by either half-step or whole-step to a more critical pitch. Additionally, not only will embellishing tones be found individually amongst notes of greater melodic importance, but they can also be used in combination with each other as well to form more expanded phrases.
One of the most commonly employed embellishing tones is the passing note. Passing notes connect two other pitches of greater importance through stepwise motion. The passing note may appear in a descending or ascending fashion between two pitches, and it may or may not be diatonic to the harmonic texture.
Other melodic embellishments include approach notes and neighbor tones. Approach notes may precede any target tone by either half-step or whole-step from above or below. They may or may not be a member of the sounding chord or one of that chord's most closely associated scales. Some of the most frequently used approaches to target notes are scalar approaches as well as single chromatic and double chromatic approach notes.
A neighbor note is an embellishing tone that leaves an important note by a half-step or whole-step and returns to the same note. It may be played above or below the tone of greater significance, and like the passing note or approach tone, the neighbor note may be either diatonic or non-diatonic to the harmonic structure.
As a soloist, one technique of melodic development involves the varying of phrase lengths. This can be accomplished through either phrase extension (prolongation) or phrase compression (reduction). Phrase extension can be applied by simply making the durations of notes longer or including notes not found in the original melody. Phrase compression is a technique where a portion of the phrase is omitted or note durations are shortened.
Besides altering the melodic vocabulary within a phrase using the aforementioned methods of extension and reduction, phrases can be modified through rhythmic displacement. Rhythmic variety can be attained by simply changing the place within the measure where you begin and end phrases as well as manipulating the length of the phrases. Effective rhythmic phrasing is an essential aspect of sustaining rhythmic interest. When presenting a speech, the best speakers will pause in order to allow the listeners to absorb the information. Great soloists take the same approach and will incorporate pauses so that the listeners can process the musical ideas being expressed.
Have you ever sat through a speech where the speaker talked in a monotone voice throughout the entire presentation? Just as a skillful speaker will use different inflections during a speech, sophisticated soloists will integrate various articulation techniques, dynamics, and vibrato into their phrases. Instead of just playing the notes without accents, you can breathe life into your phrases by using articulations such as grace notes, hammer-ons, pull-offs, and slides. You can also assimilate different degrees of dynamics and vibrato according to your personal taste. If, as a soloist, you don't insert a combination of both melodic and rhythmic interest into your solos, listeners will simply tune you out as they would someone speaking in a monotone voice. Phrasing should remain interesting and varied.
Learn as many melodies as possible because they usually contain repetition and the best target notes, and experiment with improvising phrases using variations on those melodies. This is a great way to understand how ideas relate to each other which will help you expand and personalize your own ideas. Melodies can begin early, start late, speed up, or slow down, and the accompaniment will continue. By learning how to play and interpret melodies, you will break free of outlining every chord change that is played because you will learn to hear the chord progressions moving underneath your phrases instead of using your note choice to constantly remind you of the chord changes. As you learn more melodies, you will acquire a sense of the independence the melodic instrument has from the accompaniment. ... Read More.
News
Be sure to check out the latest books, DVD's, CD's, and gear. ... Read More.
Jeff Berlin - Bass Logic From The Players School Of Music
UZEB (featuring Alain Caron) - The Last Concert
Jeff Berlin - Bass Logic From The Players School Of Music
UZEB (featuring Alain Caron) - The Last Concert
The IIB Monthly Giveaways
Each month, the IIB gives its viewers the opportunity to participate in various monthly giveaways. Sponsored by: Line 6, D'Addario Strings, Gallien-Krueger, Ibanez, Hartke, Zoom, Evidence Audio, and Zon Guitars. To become eligible to win products including basses, amps, effects, strings, instrument cables, gig bags, straps, DVD's, CD's, books, lessons, apparel, and more!
ENTER TO WIN TODAY! ... Read More.
ENTER TO WIN TODAY! ... Read More.
The IIB MP3 Bass Sampler
The IIB MP3 Bass Sampler is comprised of selected tracks that have been recorded by many of today's premier bass artists including Marcus Miller, Michael Manring, Adam Nitti, Gary Willis, Norm Stockton, Gerald Veasley, and many more.
OVER 1 HOUR OF MUSIC! ... Read More.
OVER 1 HOUR 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 monthly giveaways providing you with the opportunity to win basses, amps, effects, strings, instrument cables, gig bags, straps, DVD's, CD's, books, lessons, apparel, and more! ... Read More.
The IIB MP3 Bass Sampler - You'll receive access to the IIB MP3 Bass Sampler which features selected tracks that have been recorded by many of today's premier bass artists including Marcus Miller, Michael Manring, Adam Nitti, Gary Willis, Norm Stockton, Gerald Veasley, and many more. OVER 1 HOUR 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.
By becoming a subscriber, you will help keep this resource online for you and others to enjoy in the future.
The IIB MP3 Bass Sampler - You'll receive access to the IIB MP3 Bass Sampler which features selected tracks that have been recorded by many of today's premier bass artists including Marcus Miller, Michael Manring, Adam Nitti, Gary Willis, Norm Stockton, Gerald Veasley, and many more. OVER 1 HOUR 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.
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!
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December 2006
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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 me at: Editor@InstituteOfBass.com.
Thanks so much for your continued support, and I look forward to hearing from you soon!
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December 2006
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