The IIB Monthly Newsletter
Volume 10, Number 1
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!
The IIB Launches New Online Bass Courses
The International Institute of Bassists (IIB) is an online resource dedicated to the advancement of contemporary bass performance 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 bass-related web sites found online. Today, the IIB is recognized as one of the leading online publications for bass players and the promotion of all things bass. The IIB keeps both electric and acoustic upright bassists of all levels of playing experience, from novice to professionals alike, returning every day for the latest updates and information in the bass community.
If you live in a remote area and are unable to attend one-on-one lessons with a private instructor on a regular basis or you maintain a hectic schedule due to work or family commitments, the courses offered at the IIB will take your knowledge to the next level and stimulate your pursuit of playing the bass with greater depth and new insight. By studying bass online through the IIB, you can learn at your own pace, on your own time, in the comfort of your own home, at a cost that is much cheaper than the price of most one-on-one private bass lessons from a local instructor, and you can easily archive the lesson material for future reference.
The IIB offers an expanding catalog of courses in all areas of contemporary bass playing including technique, theory, sight reading, bass line construction, and soloing. These courses will enhance your understanding of techniques and theories that are crucial to you success as in independent musician. If you are seeking to increase your performance opportunities, enhance your skills, or communicate with a network of like-minded bassists, the IIB is the place for you. Please review our course catalog to explore the different ways the IIB can assist in achieving your goals.
If you live in a remote area and are unable to attend one-on-one lessons with a private instructor on a regular basis or you maintain a hectic schedule due to work or family commitments, the courses offered at the IIB will take your knowledge to the next level and stimulate your pursuit of playing the bass with greater depth and new insight. By studying bass online through the IIB, you can learn at your own pace, on your own time, in the comfort of your own home, at a cost that is much cheaper than the price of most one-on-one private bass lessons from a local instructor, and you can easily archive the lesson material for future reference.
The IIB offers an expanding catalog of courses in all areas of contemporary bass playing including technique, theory, sight reading, bass line construction, and soloing. These courses will enhance your understanding of techniques and theories that are crucial to you success as in independent musician. If you are seeking to increase your performance opportunities, enhance your skills, or communicate with a network of like-minded bassists, the IIB is the place for you. Please review our course catalog to explore the different ways the IIB can assist in achieving your goals.
Jazz Bass Lines - Contemporary Concepts For Bass Guitar & Acoustic Bass
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!
The Stinnett Music Online School, The Bass Workout & The New Hampshire Bass Fest
As a professor at Berklee College of Music where he has taught students in labs and private lessons since 1986, Jim Stinnett is recognized as one of the world's leading bass instructors. After issuing his first book, Stinnett formed an independent publishing company to document and distribute his teaching methods which today include a collection of texts covering topics such as jazz bass lines, sight reading, slap bass playing, and the music of Paul Chambers. In addition to his acclaimed instructional books, Stinnett also directs a series of intense weekend workshops called the Bass Workout that are held several times throughout the year. With its third edition scheduled to take place this June at the Manchester Community College, the New Hampshire Bass Fest is an annual 4-day event that brings bass enthusiasts of all performance levels together to participate in a variety of structured daily activities which focus on both traditional and contemporary techniques for electric and acoustic upright bassists. Lectures, lab-style playing classes, product demonstrations, and nightly concerts featuring a group of world-class performers, guest artists, and renowned educators are included in the festivities. Following the success of Jazz Bass, the online course that he authored for Berkleemusic, Stinnett opened the Stinnett Music Online School which takes his methodologies out of the conventional college classroom environment, expands upon the fundamental concepts established in Jazz Bass, and makes it possible for anyone to study with him and other distinguished Stinnett Music Online faculty from anywhere in the world. On January 12, 2009, the first course offered by Stinnett's school, Jazz Bass 2, went online. ... Read More!
Bass Tips Of The Week
Sight Reading For Bass: Reading Notes From The Open Strings - 3rd Fret
If you take an analytical approach to sight reading standard notation and break it down into its fundamental elements, you are left with two primary components consisting of notes and rhythms. In order to begin sight reading standard notation for bass, you must have two pieces of note-based information committed to memory including the notes on the staff in the bass clef as well as the position of those notes on the fingerboard. 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 because 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. Once you have the notes on the staff as well as on your instrument thoroughly internalized, the position of those notes will never change. The only thing about those notes that is going to change will be their function as they are applied to different chord types.
In this lesson, you are presented with several choruses of the 12-bar blues. Each chorus consists of a bass line featuring notes on the lowest position of the fingerboard, from the open strings to just the third fret. These bass lines have also been notated using only basic rhythms including half and quarter note values in an effort to increase the proficiency of your note recognition skills when sight reading standard notation for bass. Unlike the rhythmic recognition exercises which we discussed previously where you begin practicing them 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, I recommend that you start reading through these note recognition exercises at a challenging tempo to acquire maximum results. The tempo that you choose to begin with will be at your discretion. To track your progress, read through all these bass lines against the steady, even pulse of a metronome or drum machine. Start with a tempo that isn't too slow because that won't provide you with much of a challenge, but at the same time, don't begin with a tempo that is too fast which causes you to create errors. From there, continually increase the tempo with each subsequent pass through these bass lines.
At first, try to read through these bass lines one chorus at a time 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.
If any of the exercises seem easy, simply increase the tempo. No matter how fast you can read through these lines error-free, you can always improve your note 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 since memorizing notes on a sheet of standard notation and your bass isn't the most exciting task you will ever devote time to practicing, 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 note 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!
Jazz Improvisation: Melodic Interpretation - "Stella By Starlight"
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.
In this lesson, we will take a look at one of the practically infinite ways you could interpret the classic jazz standard, "Stella By Starlight." In the standard notation, you will find two bass clefs. The top bass clef features the basic melody played in a very straight-ahead fashion. In the bottom bass clef, I have notated one possible way of interpreting this melody demonstrated through some of the devices discussed previously. First play the basic melody many times. Next, play my interpretation of "Stella By Starlight," paying specific attention to the numerous notated articulations. Then, create your own melodic interpretations by experimenting with the techniques of melodic development. Finally, seek out recordings by the masters, transcribe their lines, and analyze how they interpret the melody of "Stella By Starlight" as well as other classic jazz standards. Take note of how they embellish key melody notes, how they begin and end phrases, the way in which they vary phrase lengths, and the different methods they use to articulate the tones. In addition to transcribing those phrases, play along with the recording and try to mimic all of the articulations, dynamics, and vibrato. After you feel comfortable playing along with your favorite melodic interpretations on recordings, expand upon those ideas and build your own solos around those concepts. ... Read More!
If you take an analytical approach to sight reading standard notation and break it down into its fundamental elements, you are left with two primary components consisting of notes and rhythms. In order to begin sight reading standard notation for bass, you must have two pieces of note-based information committed to memory including the notes on the staff in the bass clef as well as the position of those notes on the fingerboard. 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 because 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. Once you have the notes on the staff as well as on your instrument thoroughly internalized, the position of those notes will never change. The only thing about those notes that is going to change will be their function as they are applied to different chord types.
In this lesson, you are presented with several choruses of the 12-bar blues. Each chorus consists of a bass line featuring notes on the lowest position of the fingerboard, from the open strings to just the third fret. These bass lines have also been notated using only basic rhythms including half and quarter note values in an effort to increase the proficiency of your note recognition skills when sight reading standard notation for bass. Unlike the rhythmic recognition exercises which we discussed previously where you begin practicing them 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, I recommend that you start reading through these note recognition exercises at a challenging tempo to acquire maximum results. The tempo that you choose to begin with will be at your discretion. To track your progress, read through all these bass lines against the steady, even pulse of a metronome or drum machine. Start with a tempo that isn't too slow because that won't provide you with much of a challenge, but at the same time, don't begin with a tempo that is too fast which causes you to create errors. From there, continually increase the tempo with each subsequent pass through these bass lines.
At first, try to read through these bass lines one chorus at a time 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.
If any of the exercises seem easy, simply increase the tempo. No matter how fast you can read through these lines error-free, you can always improve your note 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 since memorizing notes on a sheet of standard notation and your bass isn't the most exciting task you will ever devote time to practicing, 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 note 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!
Jazz Improvisation: Melodic Interpretation - "Stella By Starlight"
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.
In this lesson, we will take a look at one of the practically infinite ways you could interpret the classic jazz standard, "Stella By Starlight." In the standard notation, you will find two bass clefs. The top bass clef features the basic melody played in a very straight-ahead fashion. In the bottom bass clef, I have notated one possible way of interpreting this melody demonstrated through some of the devices discussed previously. First play the basic melody many times. Next, play my interpretation of "Stella By Starlight," paying specific attention to the numerous notated articulations. Then, create your own melodic interpretations by experimenting with the techniques of melodic development. Finally, seek out recordings by the masters, transcribe their lines, and analyze how they interpret the melody of "Stella By Starlight" as well as other classic jazz standards. Take note of how they embellish key melody notes, how they begin and end phrases, the way in which they vary phrase lengths, and the different methods they use to articulate the tones. In addition to transcribing those phrases, play along with the recording and try to mimic all of the articulations, dynamics, and vibrato. After you feel comfortable playing along with your favorite melodic interpretations on recordings, expand upon those ideas and build your own solos around those concepts. ... Read More!
News
Be sure to check out the latest books, DVD's, CD's, and gear. ... Read More!
The Rocky Mountain Bass Slam
Aguilar Amplification Announces Master Class With Gerald Veasley
ASU School Of Music To Host Arizona Bass Players Festival
Doug Johns - Pocket Fulla Nasty
Rich Brown & Rinse The Algorithm - Locutions
The Rocky Mountain Bass Slam
Aguilar Amplification Announces Master Class With Gerald Veasley
ASU School Of Music To Host Arizona Bass Players Festival
Doug Johns - Pocket Fulla Nasty
Rich Brown & Rinse The Algorithm - Locutions
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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, 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!
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!
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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 90 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 90 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.
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January 2009
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Thanks so much for your continued support, and I look forward to hearing from you soon!
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January 2009
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