The IIB Monthly Newsletter
Volume 10, Number 7
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 Next Session Of Jazz Bass Lines Begins September 7 - Enroll Today!
Jazz Bass Lines is a beginner to intermediate level course that explores all of the fundamental components of walking bass line construction. During this comprehensive 12-week course, you will acquire a vast knowledge of improvisation techniques by studying the bass lines of the most prominent jazz bassists. Following a systematic and guided approach of analysis, Jazz Bass Lines examines the key elements of walking bass line creation. This course begins by concentrating on the basic building blocks of bass parts including intervals, triads, seventh chords, and scales. As the course progresses, you will be introduced to concepts including walking bass line cells, rhythmic embellishments, the two feel, and the utilization of those components in practical application. Students will analyze transcriptions, play-alongs, and essential listening tracks of classic walking bass lines to assist in learning the proper integration of technique, sound, and feel. Special emphasis is placed on the 12-bar blues song form along with a collection of legendary bass tracks recorded by Ray Brown, Ron Carter, and Paul Chambers. By the end of this course, not only will you possess a deeper awareness of what makes a walking bass line great but you will also have expanded your fretboard familiarity, developed an incredible set of skills that will provide you with a greater understanding of how the bass functions within a band, and feel more confident in your ability to improvise effectively over jazz standards. From the basics of traditional walking bass line construction to more advanced contemporary principles, Jazz Bass Lines is designed to establish the essential foundation and indispensable vocabulary that is necessary for bassists interested in the art of improvising bass lines. This course is a must for anyone passionate about becoming a proficient bass player and serious about furthering their knowledge of improvisation. ... Read More!
Bass Faces: Todd Johnson & Jim Stinnett - Fishin' For Grips
Ever since the advent of the 6-string bass guitar, bassists have expanded the traditional role of the electric bass with new sonic textures. At the forefront of the extended range movement is Todd Johnson. Over the past two decades, Johnson has continued to refine his distinct performance style through the utilization of innovative chordal techniques by arranging popular standards from the jazz repertoire and original compositions for unaccompanied bass guitar. Assisted by Berklee College of Music professor Jim Stinnett, Johnson's latest production, Fishin' For Grips, is the first instructional DVD to present the application of melodic harmonization on electric bass. This 84-minute DVD/book package is an indispensable resource for the contemporary study of chordal vocabulary on bass guitar. Besides his teaching duties at Berklee College of Music, where he has taught bass and arranging since 1986, Stinnett has authored a series of acclaimed publications including his latest projects, Secret Chambers and 12 Keys To Success, which document his teachings. Stinnett is also the director of the annual New Hampshire Bass Fest and the founder of weekend workshops for both electric and acoustic bassists called Bass Workouts which are regularly scheduled throughout the year. Prior to the release of Fishin' For Grips, Johnson and Stinnett collaborated on One Good-Looking Guy?, their first studio recording to demonstrate Johnson's pioneering chordal approach combined with Stinnett's acoustic upright prowess. ... Read More!
Reviews: Jim Stinnett - Secret Chambers
Compiled by Jim Stinnett, a professor at Berklee College of Music, Secret Chambers features 70 transcribed bass solos as performed by Paul Chambers. Often referred to as "the Bird of the bass," Chambers was a master of the bebop style. In addition to his own work as a leader in the studio, Chambers was an integral part of many classic jazz recordings released during the 1950's and '60's. Alongside Miles Davis and John Coltrane, Chambers contributed to some of the most influential and best-selling recordings in the history of jazz music. Secret Chambers is the fourth installment issued by Stinnett covering the music of this jazz bass icon, but unlike Stinnett's other publications, Secret Chambers isn't just a collection of transcribed solos. Considering all of its analysis, this 180-page book extends much further beyond standard transcriptions as it clearly illustrates Chambers' mastery of the bass and the language of jazz. Stinnett begins by outlining the fundamental building blocks of Chambers' vocabulary through a series of short melodic phrases that he calls licks. These licks, which are characteristic of Chambers' style, are then systematically categorized using a Lick Distribution Chart that places a numerical analysis on the appearance of the most commonly played licks by Chambers during his solos. Throughout this comparative analysis, Stinnett provides insight to Chambers' tendencies as a soloist. Following the transcriptions, Stinnett includes a complete discography of all the transcribed tracks so you can listen to and play alongside Chambers on the original recordings in order to imitate his phrasing and articulations. Stinnett also supplies several easy-to-read bar graphs and a pie chart that ranks the top licks utilized by Chambers when soloing. As an educational tool, Secret Chambers should be adopted by all bass instructors at the college level as required research for students and for anyone interested in learning the history of the jazz bass tradition. Secret Chambers is the most authoritative resource for the study of Paul Chambers' legendary style and bebop soloing on bass. ... Read More!
Bass Tips Of The Week
Jazz Improvisation: Scale Cell Sequences
Understanding the relationship between the horizontal and vertical construction of music is an essential aspect to expanding your musical vocabulary and becoming a successful improviser. When discussing the harmonic structure of compositions, musicians utilize scales to represent tonal centers, and while improvising melodic phrases, you have two options as a soloist. You can play notes in skips or you can arrange notes through a series of steps. If you move by skips for more than two notes, your phrases will start to imply a chord formation, and if you move in steps for more than two notes, your phrases will suggest a scale form.
As you study transcriptions of renowned solos, you will notice that rarely will a soloist run up or down a scale in its entirety over the course of a solo because most musicians frequently change directions. If you analyze solos that were recorded by Charlie Parker, seldom will you find a phrase where he played a complete scale in an ascending or descending fashion without pausing. However, there are certain players that have made more use of scales in their improvisations. During his modal period, Miles Davis and John Coltrane would often play a phrase that contained an entire scale. Since most musicians simply don't run scales up and down during a solo, it makes sense to practice scales in smaller cells or fragments. Using scale fragments will allow you to alter directions more easily and also provide you with greater melodic freedom than playing whole scales.
In this lesson, we are going to utilize scales as melodic cells. We won't be dealing with entire scales but rather scale cells or scale fragments. The most common scale in Western-based music is the major scale. It features a particular arrangement or formula of whole steps and half steps. Besides the major scale and its related modes, there are many other scales that are built using different combinations of whole steps and half steps including the modes of the melodic minor scale, the half-step/whole-step symmetrical diminished scale, the whole-step/half-step symmetrical diminished scale, and the whole tone scale. Each of these scales can be broken down into smaller scale fragments consisting of two, three, four, and five-note cells. ... Read More!
Jazz Improvisation: Deflections From Below
One of the most conventional devices found in modern improvisation is the usage of chromaticism or chromatic ornamentation. Chromaticism may be defined as the presence of notes within a melody or passage which are not a part of the diatonic scale(s) typically associated with the particular chord type that is sounding at that time. Chromatic notes or non-diatonic tones usually resolve, diatonically, to either chord tones or scale tones (tensions). These chord or scale notes are referred to as target tones, and the target notes are normally placed on metrically strong beats within the measure (1, 2, 3, or 4).
There are many different types of chromatic rotation employed by soloists. In classical music theory, rotations are termed cambiatas. Just as its name implies, a chromatic rotation simply rotates around a target note. The target tone is generally a chord tone, but it may also be a tension (9th, 11th, or 13th). Although the target tone is ordinarily placed on a downbeat, they can be found on the upbeat as well.
A deflection is an extended chordal improvisation technique that can be comprised of both diatonic and non-diatonic notes which approach a target tone from above or below. Deflections can also enclose or rotate from above and below or even from below and above to a target note. In a deflection, the note being targeted acts as a pivot point while other notes "deflect" off it, and the notes being deflected can be a combination of any intervallic relationship. In other words, deflections don't have to start only a major and minor second higher or lower than the target tone. The deflection could start a major third and a major second higher than the target note and so forth. These deflections will really help intensify the underlying element of tension and release (dissonance and consonance) in phrases due to the number of notes played before being resolved to a target tone. ... Read More!
Understanding the relationship between the horizontal and vertical construction of music is an essential aspect to expanding your musical vocabulary and becoming a successful improviser. When discussing the harmonic structure of compositions, musicians utilize scales to represent tonal centers, and while improvising melodic phrases, you have two options as a soloist. You can play notes in skips or you can arrange notes through a series of steps. If you move by skips for more than two notes, your phrases will start to imply a chord formation, and if you move in steps for more than two notes, your phrases will suggest a scale form.
As you study transcriptions of renowned solos, you will notice that rarely will a soloist run up or down a scale in its entirety over the course of a solo because most musicians frequently change directions. If you analyze solos that were recorded by Charlie Parker, seldom will you find a phrase where he played a complete scale in an ascending or descending fashion without pausing. However, there are certain players that have made more use of scales in their improvisations. During his modal period, Miles Davis and John Coltrane would often play a phrase that contained an entire scale. Since most musicians simply don't run scales up and down during a solo, it makes sense to practice scales in smaller cells or fragments. Using scale fragments will allow you to alter directions more easily and also provide you with greater melodic freedom than playing whole scales.
In this lesson, we are going to utilize scales as melodic cells. We won't be dealing with entire scales but rather scale cells or scale fragments. The most common scale in Western-based music is the major scale. It features a particular arrangement or formula of whole steps and half steps. Besides the major scale and its related modes, there are many other scales that are built using different combinations of whole steps and half steps including the modes of the melodic minor scale, the half-step/whole-step symmetrical diminished scale, the whole-step/half-step symmetrical diminished scale, and the whole tone scale. Each of these scales can be broken down into smaller scale fragments consisting of two, three, four, and five-note cells. ... Read More!
Jazz Improvisation: Deflections From Below
One of the most conventional devices found in modern improvisation is the usage of chromaticism or chromatic ornamentation. Chromaticism may be defined as the presence of notes within a melody or passage which are not a part of the diatonic scale(s) typically associated with the particular chord type that is sounding at that time. Chromatic notes or non-diatonic tones usually resolve, diatonically, to either chord tones or scale tones (tensions). These chord or scale notes are referred to as target tones, and the target notes are normally placed on metrically strong beats within the measure (1, 2, 3, or 4).
There are many different types of chromatic rotation employed by soloists. In classical music theory, rotations are termed cambiatas. Just as its name implies, a chromatic rotation simply rotates around a target note. The target tone is generally a chord tone, but it may also be a tension (9th, 11th, or 13th). Although the target tone is ordinarily placed on a downbeat, they can be found on the upbeat as well.
A deflection is an extended chordal improvisation technique that can be comprised of both diatonic and non-diatonic notes which approach a target tone from above or below. Deflections can also enclose or rotate from above and below or even from below and above to a target note. In a deflection, the note being targeted acts as a pivot point while other notes "deflect" off it, and the notes being deflected can be a combination of any intervallic relationship. In other words, deflections don't have to start only a major and minor second higher or lower than the target tone. The deflection could start a major third and a major second higher than the target note and so forth. These deflections will really help intensify the underlying element of tension and release (dissonance and consonance) in phrases due to the number of notes played before being resolved to a target tone. ... Read More!
News
Be sure to check out the latest books, DVD's, CD's, and gear. ... Read More!
John Patitucci - Remembrance
Bernhard Lackner - In Between
Aguilar Amplification Announces The Octamizer Analog Octave Pedal
Industrial Radio Releases 4-String Midi Bass
Behemoth Bassist Orion Joins Markbass Family
Rotosound Launches Nexus Coated Bass String Range
John Patitucci - Remembrance
Bernhard Lackner - In Between
Aguilar Amplification Announces The Octamizer Analog Octave Pedal
Industrial Radio Releases 4-String Midi Bass
Behemoth Bassist Orion Joins Markbass Family
Rotosound Launches Nexus Coated Bass String Range
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The IIB Giveaways
Each month, the IIB gives its viewers the opportunity to participate in various monthly giveaways. Sponsored by: D'Addario, Planet Waves, LightWave Systems, Ibanez, Markbass, Line 6, Epifani Custom Sound, Evidence Audio, Nordstrand Pickups, Zon Guitars, Comfort Strapp, and BassBooks.com. To become eligible to win products including basses, amplifiers, speaker cabinets, combo amps, effects, strings, instrument cables, pickups, gig bags, straps, gift certificates, DVD's, CD's, books, lessons, t-shirts, and more!
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 100 individual lessons and over 100 MP3 play-alongs currently available for download within the IIB Subscriber's Area.
By becoming a subscriber, you will help keep this resource online for you and others to enjoy in the future.
The IIB MP3 Bass Samplers - Volumes 1 & 2 - You'll receive access to the IIB MP3 Bass Samplers which feature selected tracks that have been recorded by many of today's premier bass artists including Marcus Miller, Michael Manring, Stuart Hamm, Gary Willis, Adam Nitti, Norm Stockton, Ray Riendeau, Tom Kennedy, Yves Carbonne, Gerald Veasley, and many more. 2 HOURS OF MUSIC! ... Read More!
Bass Tips Of The Week - You will have access to a huge database of lesson material that has been written on subjects such as Classical & Jazz Music Theory, Sight Reading, Ear Training, Bass Line Construction, Right & Left Hand Technique, Soloing, Jazz Improvisation, Slapping, Tapping, Chordal Techniques, Harmonics, Fingerstyle Funk, Altered Tunings, and Concepts For Solo Bass Playing. All of the lessons are available as downloadable PDF files.
There are over 100 individual lessons and over 100 MP3 play-alongs currently available for download within the IIB Subscriber's Area.
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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July 2009
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Thanks so much for your continued support, and I look forward to hearing from you soon!
Editor: The IIB
July 2009
To Unsubscribe from the IIB's monthly newsletter, simply go to: http://www.instituteofbass.com and submit your e-mail to be removed.
