The IIB Monthly Newsletter
Volume 9, Number 5
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!
Bass Abroad - Stuart Clayton
With the goal of publishing high quality instructional titles for bass guitarists, Stuart Clayton founded his own media company, Bassline Publishing, in 2005. To date, Clayton has authored over a dozen acclaimed instructional methods for bass guitarists covering subjects such as fundamental technique, theory, and contemporary slap bass techniques. Along with a very successful series of Level 42 transcriptions documenting the playing of Mark King, Clayton has also completed a book of transcriptions showcasing the music of Stuart Hamm. His most recent publication contains complete bass and guitar transcriptions of the classic funk and disco grooves produced by legendary bassist Bernard Edwards and guitarist Nile Rogers. Later this year, Clayton plans to publish a compilation of arrangements for solo bass guitar featuring well known pop songs, classical pieces, jazz compositions, ragtime music, rock tracks, and theme tunes. Since 2002, Clayton has conducted interviews, contributed lesson articles, and written product reviews as a staff writer for the U.K.'s popular Bass Guitar Magazine. Clayton holds a degree in popular music from Leeds College of Music and heads the bass department at Bristol Institute of Modern Music. In addition to his hectic teaching and writing duties, Clayton maintains a busy touring schedule and has played shows around the world as a member of the Carl Palmer Band. ... Read More!
Bass Tips Of The Week
Soloing Techniques: Charlie Parker
One of the most effective ways to learn how to solo involves the transcription, analysis, emulation, and manipulation of the phrases recorded by your favorite soloists. Similar to learning a new language, soloing involves studying and using a vocabulary to express and develop ideas. Because note choice, rhythm, and phrasing are too many variables to consider at the beginning, transcribed solos that have been recorded by your favorite musicians will initially limit your focus and help establish a solid foundation so you don't feel overwhelmed with all of the possibilities that are available to you as a soloist.
Keep a collection of transcribed solos by your favorite bassists, saxophonists, trumpet players, pianists, and guitarists. This archive may consist of solos you've personally transcribed as well as solos you've acquired through other resources. Even though there are a number of outstanding bass soloists including John Patitucci and Jeff Berlin, be sure to check out the solos of other great instrumentalists like Miles Davis, Charlie Parker, John Coltrane, and Oscar Peterson.
As bassists, we devote most of our time to practicing grooves since our primary function in an ensemble is to provide support within the rhythm section, and as a result, bassists are generally not the best soloists. While bassists such as John Patitucci and Jeff Berlin spent time analyzing bass solos early in their development, today they are considered elite bass guitar soloists because they have spent a significant amount of time studying solos that were recorded by their favorite horn players, pianists, and guitarists which they then assimilated into their own approach. By examining the solos played by horn players, for example, you are presented with a different approach to playing bass since horn players don't have to deal with the same physical limitations that are imposed by a fretted bass guitar.
After you transcribe the lines of your favorite soloists, practice playing them along with the recordings by memorization without referring to the notation. Listen very deeply to how the master soloists communicate through the language of improvisation. Strive to not only play all of the notes and rhythms perfectly but also emulate the sound and feel that has been captured on the recordings as close as possible. Pay particular attention to all the little nuances and inflections that soloists often incorporate into their phrases, and try to make an emotional connection to the solos. Once you understand how they arrange their phrases, you will be able to utilize that knowledge and create more sophisticated solos by altering the basic structure of your favorite phrases through melodic interpretation and rhythmic displacement and then assimilate those ideas into your own solos.
As a soloist, one technique of melodic interpretation 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 techniques of extension and reduction, phrases can be modified through rhythmic displacement. Rhythmic displacement is a basic musical concept that involves taking a figure and manipulating it by simply shifting notes from their original position to other beats within the music. 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. A completely different solo phrase can be created by just changing the place within the measure where you begin and end phrases as well as manipulating the length of the phrases.
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 so you should always try to maintain interesting and varied phrasing.
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 acquire the ability to 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 specific 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 a blues-based solo recorded by alto saxophonist Charlie Parker on "Now's The Time." Parker was one of the most prominent figures of the bebop era and is today regarded as one of the most innovative musicians in the history of jazz music. He created a musical legacy that will continue to influence musicians for generations to come. Over half of Parker's original compositions were written in the standard blues form, and this brilliant solo on "Now's The Time" features an extensive collection of melodic phrases over the 12-bar blues in F. Parker recorded "Now's The Time" at his first studio session as a leader in 1945. This rendition captures Parker's mastery of the blues in 1953, and it would be the final blues he recorded in the studio before his death. Since the 12-bar blues is the most common set of chord changes utilized in the jazz repertoire and the foundation of numerous jazz standards, you can take your favorite phrases from this solo and easily incorporate them into other jazz tunes. ... Read More!
Jazz Improvisation: Minor Pentatonic Sequences
As improvisers attempt to balance unity and variety through repetition and contrast, one of the most common techniques of melodic development involves the utilization of sequences. A melodic sequence is the immediate or nearly immediate repetition of a melodic figure, motive, or phrase by the same instrument but at a different pitch level. Sequences have been one of the most successful and widely employed devices in music composition and improvisation for hundreds of years because they provide musicians with the ability to play music that is both similar and varied simultaneously. Sequences not only occur in melody, but they may be also used in rhythm and harmony as well.
Melodic sequences are classified in two ways. They can be either a real or tonal sequence. A real sequence is the intervalically exact transposition of a musical idea. Real sequences may require the use of accidentals because they often occur when modulating from one key center to the next. In a tonal sequence, the quality of certain intervals is changed but their numerical designation is preserved. In other words, the intervals used in tonal sequences don't necessarily have to maintain the exact interval structure, but they will retain the same basic shape. Tonal sequences are generally more prevalent than real sequences, and they also remain diatonic within a single key more frequently than do real sequences. All of the exercises contained within this lesson are examples of tonal sequences, and to be more precise, because we are using the minor pentatonic scale to demonstrate the concept of a melodic sequence, these particular sequences will be five-note tonal sequences.
Jazz musicians such as Herbie Hancock and Joe Henderson have made extensive use of sequences as an improvisational tool. Sequences create structure in music, and they can add a dimension of cohesion to phrases within solos and help make melodies more memorable. They can also increase the underlying sense of tension and release in phrases. By incorporating sequences into your solos, you can easily play outside the changes because the listener's ears will grasp onto the internal structure of a sequence as the harmony continues underneath. With a sequence, you can begin by playing a melodic phrase within a key, step outside, and then resolve once again diatonically. As you set up melodic sequences in this fashion, you establish structure. Your ear begins to anticipate certain things through a degree of predictability, and even though the notes you might be playing in the sequence aren't found within the harmony, the ear will temporarily accept those bitonal sonorities as sounding "correct" when played together.
The pentatonic sound is one of the most recognized tonalities in music, and beginners to advanced players alike have made widespread use of the pentatonic sound in every style of music. Although pentatonic scales have existed for centuries, they didn't become a significant part of the jazz vocabulary until the early 1960's when musicians such as John Coltrane, Miles Davis, and McCoy Tyner began exploiting them in their improvisations.
Theoretically, the minor pentatonic scale is the fifth mode of the major pentatonic scale, but it has come to be recognized by its own name because it has been played so extensively by itself over m7 chords when no alterations are present (m7). The formula of the minor pentatonic scale is minor third/whole-step/whole-step/minor 3rd/whole-step, and it is composed of the first, third, fourth, fifth, and seventh scale degrees of the natural minor scale. The minor pentatonic scale starting on C contains the notes C-Eb-F-G-Bb-C.
Because the minor pentatonic scale is constructed entirely of whole steps and minor thirds, it lacks the type of chromaticism found in typical seven-note scales. As a result of its construction, the overall tonality of the minor pentatonic scale suggests a greater sense of space than most other scales and tends to give music a more "open" type of sound.
Only second to the blues scale, the minor pentatonic is one of the most played scales in blues improvisation, and it is considered to be interchangeable with the blues scale. Similar to the blues scale, minor pentatonic can also be used on unaltered dominant seventh chords, and you can play a single minor pentatonic scale on all three dominant seventh chords of a basic 12-bar blues. On an F blues consisting of only F7, Bb7, and C7 chords, you could use F minor pentatonic on all of the changes.
The primary objective of these exercises is to not only illustrate the concept of melodic sequences but to also increase your fretboard familiarity due to the range spanned within each sequence, facilitate in ear training purposes by thoroughly internalizing the tonality produced by the minor pentatonic scale, and develop your right and left hand technique through all the required string crossing shifts. ... Read More!
One of the most effective ways to learn how to solo involves the transcription, analysis, emulation, and manipulation of the phrases recorded by your favorite soloists. Similar to learning a new language, soloing involves studying and using a vocabulary to express and develop ideas. Because note choice, rhythm, and phrasing are too many variables to consider at the beginning, transcribed solos that have been recorded by your favorite musicians will initially limit your focus and help establish a solid foundation so you don't feel overwhelmed with all of the possibilities that are available to you as a soloist.
Keep a collection of transcribed solos by your favorite bassists, saxophonists, trumpet players, pianists, and guitarists. This archive may consist of solos you've personally transcribed as well as solos you've acquired through other resources. Even though there are a number of outstanding bass soloists including John Patitucci and Jeff Berlin, be sure to check out the solos of other great instrumentalists like Miles Davis, Charlie Parker, John Coltrane, and Oscar Peterson.
As bassists, we devote most of our time to practicing grooves since our primary function in an ensemble is to provide support within the rhythm section, and as a result, bassists are generally not the best soloists. While bassists such as John Patitucci and Jeff Berlin spent time analyzing bass solos early in their development, today they are considered elite bass guitar soloists because they have spent a significant amount of time studying solos that were recorded by their favorite horn players, pianists, and guitarists which they then assimilated into their own approach. By examining the solos played by horn players, for example, you are presented with a different approach to playing bass since horn players don't have to deal with the same physical limitations that are imposed by a fretted bass guitar.
After you transcribe the lines of your favorite soloists, practice playing them along with the recordings by memorization without referring to the notation. Listen very deeply to how the master soloists communicate through the language of improvisation. Strive to not only play all of the notes and rhythms perfectly but also emulate the sound and feel that has been captured on the recordings as close as possible. Pay particular attention to all the little nuances and inflections that soloists often incorporate into their phrases, and try to make an emotional connection to the solos. Once you understand how they arrange their phrases, you will be able to utilize that knowledge and create more sophisticated solos by altering the basic structure of your favorite phrases through melodic interpretation and rhythmic displacement and then assimilate those ideas into your own solos.
As a soloist, one technique of melodic interpretation 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 techniques of extension and reduction, phrases can be modified through rhythmic displacement. Rhythmic displacement is a basic musical concept that involves taking a figure and manipulating it by simply shifting notes from their original position to other beats within the music. 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. A completely different solo phrase can be created by just changing the place within the measure where you begin and end phrases as well as manipulating the length of the phrases.
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 so you should always try to maintain interesting and varied phrasing.
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 acquire the ability to 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 specific 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 a blues-based solo recorded by alto saxophonist Charlie Parker on "Now's The Time." Parker was one of the most prominent figures of the bebop era and is today regarded as one of the most innovative musicians in the history of jazz music. He created a musical legacy that will continue to influence musicians for generations to come. Over half of Parker's original compositions were written in the standard blues form, and this brilliant solo on "Now's The Time" features an extensive collection of melodic phrases over the 12-bar blues in F. Parker recorded "Now's The Time" at his first studio session as a leader in 1945. This rendition captures Parker's mastery of the blues in 1953, and it would be the final blues he recorded in the studio before his death. Since the 12-bar blues is the most common set of chord changes utilized in the jazz repertoire and the foundation of numerous jazz standards, you can take your favorite phrases from this solo and easily incorporate them into other jazz tunes. ... Read More!
Jazz Improvisation: Minor Pentatonic Sequences
As improvisers attempt to balance unity and variety through repetition and contrast, one of the most common techniques of melodic development involves the utilization of sequences. A melodic sequence is the immediate or nearly immediate repetition of a melodic figure, motive, or phrase by the same instrument but at a different pitch level. Sequences have been one of the most successful and widely employed devices in music composition and improvisation for hundreds of years because they provide musicians with the ability to play music that is both similar and varied simultaneously. Sequences not only occur in melody, but they may be also used in rhythm and harmony as well.
Melodic sequences are classified in two ways. They can be either a real or tonal sequence. A real sequence is the intervalically exact transposition of a musical idea. Real sequences may require the use of accidentals because they often occur when modulating from one key center to the next. In a tonal sequence, the quality of certain intervals is changed but their numerical designation is preserved. In other words, the intervals used in tonal sequences don't necessarily have to maintain the exact interval structure, but they will retain the same basic shape. Tonal sequences are generally more prevalent than real sequences, and they also remain diatonic within a single key more frequently than do real sequences. All of the exercises contained within this lesson are examples of tonal sequences, and to be more precise, because we are using the minor pentatonic scale to demonstrate the concept of a melodic sequence, these particular sequences will be five-note tonal sequences.
Jazz musicians such as Herbie Hancock and Joe Henderson have made extensive use of sequences as an improvisational tool. Sequences create structure in music, and they can add a dimension of cohesion to phrases within solos and help make melodies more memorable. They can also increase the underlying sense of tension and release in phrases. By incorporating sequences into your solos, you can easily play outside the changes because the listener's ears will grasp onto the internal structure of a sequence as the harmony continues underneath. With a sequence, you can begin by playing a melodic phrase within a key, step outside, and then resolve once again diatonically. As you set up melodic sequences in this fashion, you establish structure. Your ear begins to anticipate certain things through a degree of predictability, and even though the notes you might be playing in the sequence aren't found within the harmony, the ear will temporarily accept those bitonal sonorities as sounding "correct" when played together.
The pentatonic sound is one of the most recognized tonalities in music, and beginners to advanced players alike have made widespread use of the pentatonic sound in every style of music. Although pentatonic scales have existed for centuries, they didn't become a significant part of the jazz vocabulary until the early 1960's when musicians such as John Coltrane, Miles Davis, and McCoy Tyner began exploiting them in their improvisations.
Theoretically, the minor pentatonic scale is the fifth mode of the major pentatonic scale, but it has come to be recognized by its own name because it has been played so extensively by itself over m7 chords when no alterations are present (m7). The formula of the minor pentatonic scale is minor third/whole-step/whole-step/minor 3rd/whole-step, and it is composed of the first, third, fourth, fifth, and seventh scale degrees of the natural minor scale. The minor pentatonic scale starting on C contains the notes C-Eb-F-G-Bb-C.
Because the minor pentatonic scale is constructed entirely of whole steps and minor thirds, it lacks the type of chromaticism found in typical seven-note scales. As a result of its construction, the overall tonality of the minor pentatonic scale suggests a greater sense of space than most other scales and tends to give music a more "open" type of sound.
Only second to the blues scale, the minor pentatonic is one of the most played scales in blues improvisation, and it is considered to be interchangeable with the blues scale. Similar to the blues scale, minor pentatonic can also be used on unaltered dominant seventh chords, and you can play a single minor pentatonic scale on all three dominant seventh chords of a basic 12-bar blues. On an F blues consisting of only F7, Bb7, and C7 chords, you could use F minor pentatonic on all of the changes.
The primary objective of these exercises is to not only illustrate the concept of melodic sequences but to also increase your fretboard familiarity due to the range spanned within each sequence, facilitate in ear training purposes by thoroughly internalizing the tonality produced by the minor pentatonic scale, and develop your right and left hand technique through all the required string crossing shifts. ... Read More!
News
Be sure to check out the latest books, DVD's, CD's, and gear. ... Read More!
Pasadena Bass Day 2008
Rocky Mountain Bass Slam 2008
Aguilar DB 285 JC Cabinet
Pasadena Bass Day 2008
Rocky Mountain Bass Slam 2008
Aguilar DB 285 JC Cabinet
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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, 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!
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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 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.
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May 2008
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Thanks so much for your continued support, and I look forward to hearing from you soon!
Editor: The IIB
May 2008
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