The IIB Monthly Newsletter
Volume 9, Number 9
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 Faces - Project M (Featuring Michael Manring)
With the release of their self-titled collaboration, Project M features a non-traditional quartet of bassists including Michael Manring, Jim Stinnett, Rob Gourlay, and Grant Stinnett. Accompanying a 10-track audio CD of original compositions, is a 92-minute DVD, Making Project M, which contains a behind-the-scenes look at the recording process in the studio along with interviews and demonstrations. Individually, each member of Project M has produced their own bass-fronted endeavors. Through his virtuoso technical innovations, Michael has completely redefined the function of the bass guitar as an unaccompanied instrument by merging all of the contemporary bass techniques with his unparalleled utilization of the EBow, harmonics, and altered tunings. Jim, a professor at Berklee College of Music where he has taught bass and arranging since 1986, is considered one of the world's finest bass educators. In addition to the numerous independent publications he has authored for bassists which document his teaching methods, Jim is the founder of the Bass Workout, intense weekend workshops for both electric and acoustic bassists, and the director of the annual New Hampshire Bass Fest. Having compiled a very popular series of transcribed bass lines, Rob is an accomplished educator who recently issued his first recording as a leader. While Grant is the youngest member of this ensemble, his compositions and performance facility reveal a level of sensitivity and depth which extend well beyond his age. As a quartet, Project M explores the expansive spectrum of textures and sonorities accessible on bass guitar in an unconventional format. Employing an assortment of fretted and fretless instruments, Project M has produced a dynamic repertoire of expressive tracks which transcend the traditional bass repertoire. ... Read More!
Bass Tips Of The Week
Jazz Bass Lines: Paul Chambers' Walking Bass Line On "So What"
Throughout a career that extended five decades, Davis released a collection of landmark projects spanning bebop, cool jazz, modal jazz, and fusion music. He also discovered some of the most important figures in jazz music such as John Coltrane, Bill Evans, Wayne Shorter, Chick Corea, Herbie Hancock, Tony Williams, Ron Carter, Dave Holland, and many others.
In 1959, Davis released Kind Of Blue, a recording that influenced jazz of the 1960's more profoundly than any other single work and is often cited as the best in jazz history. Featuring one of the greatest small jazz groups ever assembled with legendary musicians including John Coltrane, Bill Evans, Wynton Kelly, Cannonball Adderley, Paul Chambers, and Jimmy Cobb, Kind Of Blue has become one of the most consistent selling recordings in the history of recorded music, regardless of genre.
"So What" is a modal composition that is characterized by a form which contains few chord changes and plenty of space. The result of this form is a single chordal/scalar tonality which continues for an extended period of time. Davis thought the jazz music of the 1940's and 50's was becoming too constrained and overcrowded with chords. When compared to jazz compositions from the bebop era, modal songs offered much more freedom for improvising on each individual chord change. Improvisers could focus their attention on the entire scale or mode which was related to the particular chord type rather than using the chordal approach to improvisation that was employed during the swing and bebop periods. Instead of thinking vertically through chords, jazz musicians started to take a more horizontal or scale-based approach to improvisation. This was a radical departure from the standard functional harmony of the bebop era where vertical harmonies or chords were utilized extensively and the tonality of a composition often moved through many key centers.
Not only is "So What" historic from an improvisational perspective in moving from a chordal to a scalar approach of improvisation, but it is also just one of a couple jazz standards which features the theme played on bass. On Kind Of Blue, "So What" was played by one of Miles Davis' most renowned bassists, Paul Chambers.
The harmonic concept behind "So What" is very simple. It is a 32-bar AABA song form composed of only two chord changes, Dm7 and Ebm7. The harmonic formula consists of 8 measures of Dm7, followed by another 8 bars of Dm7, then 8 measures of Ebm7, and finally 8 bars of Dm7. Rather than using a chordal approach to improvising over Dm7 and Ebm7, musicians approach it modally by playing D Dorian and Eb Dorian over the two respective chord changes. Other scales such as natural minor, melodic minor, and even harmonic minor are often utilized in the construction of walking lines to add more flavor to the monotonous sound of Dorian when played over a prolonged period of time.
Although the song form of a modal tune such as "So What" is easy to analyze theoretically, modal compositions present improvisers with a number of formidable challenges. Since "So What" is comprised of 16 measures of Dm7 (AA), followed by 8 bars of Ebm7 (B), and then another 8 measures of Dm7 (A), improvisers are faced with the task of sustaining musical interest over an expanded time frame using only two chord changes. When you combine the last eight measures of "So What" with the first sixteen bars, you will be playing 24 continuous measures of Dm7.
If you experience problems in losing your place within the form of modal compositions, there are a couple things you can do to help alleviate that issue. First, divide the form of a 32-bar AABA modal song such as "So What" into four sections of eight measures. When you are playing, position your left foot forward for the first eight measures (A). To signify the second set of eight bars (A), place your right foot in front of your left. For the next eight measures (B), put your left foot in front of your right, and then again for the final set of eight measures (A), move your right foot in front of your left. This technique will help keep your place in the form and will remain totally undetected by the audience. Another technique to help ensure that you don't get lost in the song form involves picking four permanent spots in the room, and then move from point to point as the song progresses. Don't use moveable objects like people for your markers because they can relocate. Not only do both of these techniques work great on 32-bar AABA modal compositions, but you can apply them to other song forms in different styles as well. You can also play a simple repetitive figure such as an ostinato or pedal point similar to the ones recorded by Chambers as a signal to the other members of the group when a particular section or chord change is being played.
Modal tunes such as "So What" provide an excellent opportunity to experiment with playing "outside" the changes because they supply plenty of space to establish the tonality on a single chord type. Plus, by going outside the key center of a modal composition, you can create more interest over the inherently static harmony through dissonance and resolution.
Because "So What" features 24 consecutive measures of Dm7 when the last eight measures of the song form are combined with the first sixteen bars, as bassists, we need to figure out different methods of generating bass lines that will maintain the listener's interest without sounding too repetitive. Even though a bassist might be somewhat limited by the number of diatonic notes which are available to play over a single chord change, rhythmic embellishments such as skips, ghost skips, hammer-on skips, pull-off skips, slurred skips, syncopated rhythms, and triplets can be incorporated to further enhance your walking bass 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. By combining chord tones, scale tones, and chromatic approach notes with the various rhythmic embellishments, you can improvise more advanced sounding lines by increasing that underlying sense of harmonic and rhythmic tension and release.
In this lesson, you will find a complete transcription of the classic walking bass line played by Paul Chambers on "So What." First, I recommend that you listen to the original recording of "So What" on Kind Of Blue so you can make your performance of this bass line sound similar to what Chambers played. Below the standard notation in this transcription, analyze Chamber's walking bass lines by using a pencil to write the relationship of each note to the chord change in every measure. As Chambers demonstrates throughout his performance on "So What," all of the great jazz bassists repeat notes and phrases because that repetition provides structure within bass lines. You can utilize the audio track as a play-along to help replicate a live performance application. After you play these bass lines several times, use this transcription as a template and then improvise your own walking lines on "So What" based on variations of the lines in this transcription. I also suggest that you seek out recordings released by the legendary Miles Davis quintet of the 1960's which feature Ron Carter playing "So What," and then compare the different ways Paul Chambers and Ron Carter interpreted this modal standard. Transcribe your favorite walking bass lines, and assimilate them into your own playing. ... Read More!
Contemporary Tapping Techniques: Rhythmic Exercises
To continue our comprehensive analysis of two-handed tapping techniques on bass guitar, we will now tap lines with both the right and left hands through a series of rhythmic exercises. The technique required of your left hand in standard playing position remains essentially the same when tapping. Your thumb should be positioned on the back of the neck between your first and second fingers. When tapping with the right hand, keep your right hand thumb positioned along the top of the neck, and allow it to slide as your right hand shifts from one position to the next. This technique is often referred to as "tracking." Your thumb can also be utilized as another tool for tapping, but if the thumb is not being used in this fashion, then keep it placed alongside the top of the fingerboard. If you use your thumb as a moveable anchor along the top of the fretboard, you can generate more power for your tapping fingers. The tracking technique also helps serve as a point of reference to your position on the fingerboard which as a result will help improve the accuracy of your tapping. Plus, since your thumb will be lightly touching the E-string with the tracking technique, you will be able to mute the E-string while you tap on the higher strings. When you tap notes on the E-string, just rotate your thumb away from that string or slide your thumb towards the back of the neck to create just enough space for the E-string to vibrate freely. If you are playing a 5 or 6-string bass, you can also adapt the floating thumb concept from standard bass playing technique. For example, if you are tapping on the G or C strings of a 6-string bass, you can place your right hand thumb between the A and D strings. By employing the floating thumb concept in this manner, you can mute the lower strings with the side of your thumb while tapping on one or more of the higher strings.
Using the efficient one-finger-per-fret concept, your fingers should be slightly curved over the fretboard. Simply tap the strings to the fingerboard with the tips of your fingers, and tap the strings directly over or just slightly behind the fret wire for optimum tone. Refrain from tapping the strings down between frets because doing so will require more exertion which could potentially lead to experiencing undesired tension or pain in your right hand. When tapping between frets, you are also more likely to produce an excessive amount of fret buzz. Tapping the strings close to the frets will require a minimal amount of effort and also permit you to generate the cleanest, most articulate sound. To end a note, just lift your finger off the fingerboard. The small amount of force required to tap the strings to the fretboard should be generated primarily from your fingers and not your wrist. Initially, your third and fourth fingers, especially on your right hand, may seem a little weak in performing this action. With time and diligent practice, the accuracy of your tapping will increase and all of your fingers will feel equally comfortable in articulating each note across all the strings. Be precise with your taps especially on the lighter gauge D and G strings which are more challenging to hit accurately. Tap the strings directly to the fingerboard, and be careful not to accidentally sound adjacent strings or bend notes out of tune. Continually remain aware of extraneous string-related noise and ringing. Mute the strings with available fingers to help eliminate unwanted noise. Only the notes that you are tapping should sound. Always strive for clear, articulate notes and consistent dynamics in every position across all the strings.
Previously in this contemporary tapping techniques series, we worked on tapping with the right and left hands separately before tapping with both hands simultaneously in a unison fashion. In this lesson, we will focus our efforts on achieving complete independence between hands by playing through a collection of rhythmic-based exercises which will also increase your finger strength and dexterity as each hand executes different rhythmic figures. Play these exercises as legato as possible, and hold each note for its indicated rhythmic value. Allow each note to ring right up until the subsequent note sounds. Don't forget to incorporate expressive devices such as vibrato into your right and left hand technique. By utilizing vibrato and dynamics, you can make even elemental examples such as these sound alive and much more musical as opposed to mere technical exercises. Tablature has been included to serve as a source of reference with the standard notation so you can see the exact positions on the fingerboard that I am tapping.
Before assimilating a metronome or drum machine to play along with these exercises, make sure you can play these examples perfectly at a slow tempo. Once you feel comfortable with the techniques, start at a relaxed rate and then gradually increase the tempo on your metronome or drum machine. If you feel any strain at all in either of your hands as you are playing these exercises, take a break before proceeding. Allow the muscles in your hands to get accustomed to the mechanics and proper range of motion required to perform these rhythmic tapping exercises. As your fingers acquire more strength and independence, all of these exercises will become easier. With all technique-based exercises such as these, particular attention must be paid to the precise execution of the technique before any thought is given to speed. Keep in mind that the end goal is not to play fast just for the sake of speed. The primary objective with all of these exercises is to develop a consistently accurate and completely independent tapping technique that will allow you the melodic, harmonic, and rhythmic freedom to perform flawlessly in any musical application.
In future tapping lessons, we will delve deeper into the art of tapping with more solo electric bass tapping techniques including chordal accompaniment, melody with accompaniment, and completely independent voices. We will also study and analyze various examples across a wide range of styles. ... Read More!
Throughout a career that extended five decades, Davis released a collection of landmark projects spanning bebop, cool jazz, modal jazz, and fusion music. He also discovered some of the most important figures in jazz music such as John Coltrane, Bill Evans, Wayne Shorter, Chick Corea, Herbie Hancock, Tony Williams, Ron Carter, Dave Holland, and many others.
In 1959, Davis released Kind Of Blue, a recording that influenced jazz of the 1960's more profoundly than any other single work and is often cited as the best in jazz history. Featuring one of the greatest small jazz groups ever assembled with legendary musicians including John Coltrane, Bill Evans, Wynton Kelly, Cannonball Adderley, Paul Chambers, and Jimmy Cobb, Kind Of Blue has become one of the most consistent selling recordings in the history of recorded music, regardless of genre.
"So What" is a modal composition that is characterized by a form which contains few chord changes and plenty of space. The result of this form is a single chordal/scalar tonality which continues for an extended period of time. Davis thought the jazz music of the 1940's and 50's was becoming too constrained and overcrowded with chords. When compared to jazz compositions from the bebop era, modal songs offered much more freedom for improvising on each individual chord change. Improvisers could focus their attention on the entire scale or mode which was related to the particular chord type rather than using the chordal approach to improvisation that was employed during the swing and bebop periods. Instead of thinking vertically through chords, jazz musicians started to take a more horizontal or scale-based approach to improvisation. This was a radical departure from the standard functional harmony of the bebop era where vertical harmonies or chords were utilized extensively and the tonality of a composition often moved through many key centers.
Not only is "So What" historic from an improvisational perspective in moving from a chordal to a scalar approach of improvisation, but it is also just one of a couple jazz standards which features the theme played on bass. On Kind Of Blue, "So What" was played by one of Miles Davis' most renowned bassists, Paul Chambers.
The harmonic concept behind "So What" is very simple. It is a 32-bar AABA song form composed of only two chord changes, Dm7 and Ebm7. The harmonic formula consists of 8 measures of Dm7, followed by another 8 bars of Dm7, then 8 measures of Ebm7, and finally 8 bars of Dm7. Rather than using a chordal approach to improvising over Dm7 and Ebm7, musicians approach it modally by playing D Dorian and Eb Dorian over the two respective chord changes. Other scales such as natural minor, melodic minor, and even harmonic minor are often utilized in the construction of walking lines to add more flavor to the monotonous sound of Dorian when played over a prolonged period of time.
Although the song form of a modal tune such as "So What" is easy to analyze theoretically, modal compositions present improvisers with a number of formidable challenges. Since "So What" is comprised of 16 measures of Dm7 (AA), followed by 8 bars of Ebm7 (B), and then another 8 measures of Dm7 (A), improvisers are faced with the task of sustaining musical interest over an expanded time frame using only two chord changes. When you combine the last eight measures of "So What" with the first sixteen bars, you will be playing 24 continuous measures of Dm7.
If you experience problems in losing your place within the form of modal compositions, there are a couple things you can do to help alleviate that issue. First, divide the form of a 32-bar AABA modal song such as "So What" into four sections of eight measures. When you are playing, position your left foot forward for the first eight measures (A). To signify the second set of eight bars (A), place your right foot in front of your left. For the next eight measures (B), put your left foot in front of your right, and then again for the final set of eight measures (A), move your right foot in front of your left. This technique will help keep your place in the form and will remain totally undetected by the audience. Another technique to help ensure that you don't get lost in the song form involves picking four permanent spots in the room, and then move from point to point as the song progresses. Don't use moveable objects like people for your markers because they can relocate. Not only do both of these techniques work great on 32-bar AABA modal compositions, but you can apply them to other song forms in different styles as well. You can also play a simple repetitive figure such as an ostinato or pedal point similar to the ones recorded by Chambers as a signal to the other members of the group when a particular section or chord change is being played.
Modal tunes such as "So What" provide an excellent opportunity to experiment with playing "outside" the changes because they supply plenty of space to establish the tonality on a single chord type. Plus, by going outside the key center of a modal composition, you can create more interest over the inherently static harmony through dissonance and resolution.
Because "So What" features 24 consecutive measures of Dm7 when the last eight measures of the song form are combined with the first sixteen bars, as bassists, we need to figure out different methods of generating bass lines that will maintain the listener's interest without sounding too repetitive. Even though a bassist might be somewhat limited by the number of diatonic notes which are available to play over a single chord change, rhythmic embellishments such as skips, ghost skips, hammer-on skips, pull-off skips, slurred skips, syncopated rhythms, and triplets can be incorporated to further enhance your walking bass 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. By combining chord tones, scale tones, and chromatic approach notes with the various rhythmic embellishments, you can improvise more advanced sounding lines by increasing that underlying sense of harmonic and rhythmic tension and release.
In this lesson, you will find a complete transcription of the classic walking bass line played by Paul Chambers on "So What." First, I recommend that you listen to the original recording of "So What" on Kind Of Blue so you can make your performance of this bass line sound similar to what Chambers played. Below the standard notation in this transcription, analyze Chamber's walking bass lines by using a pencil to write the relationship of each note to the chord change in every measure. As Chambers demonstrates throughout his performance on "So What," all of the great jazz bassists repeat notes and phrases because that repetition provides structure within bass lines. You can utilize the audio track as a play-along to help replicate a live performance application. After you play these bass lines several times, use this transcription as a template and then improvise your own walking lines on "So What" based on variations of the lines in this transcription. I also suggest that you seek out recordings released by the legendary Miles Davis quintet of the 1960's which feature Ron Carter playing "So What," and then compare the different ways Paul Chambers and Ron Carter interpreted this modal standard. Transcribe your favorite walking bass lines, and assimilate them into your own playing. ... Read More!
Contemporary Tapping Techniques: Rhythmic Exercises
To continue our comprehensive analysis of two-handed tapping techniques on bass guitar, we will now tap lines with both the right and left hands through a series of rhythmic exercises. The technique required of your left hand in standard playing position remains essentially the same when tapping. Your thumb should be positioned on the back of the neck between your first and second fingers. When tapping with the right hand, keep your right hand thumb positioned along the top of the neck, and allow it to slide as your right hand shifts from one position to the next. This technique is often referred to as "tracking." Your thumb can also be utilized as another tool for tapping, but if the thumb is not being used in this fashion, then keep it placed alongside the top of the fingerboard. If you use your thumb as a moveable anchor along the top of the fretboard, you can generate more power for your tapping fingers. The tracking technique also helps serve as a point of reference to your position on the fingerboard which as a result will help improve the accuracy of your tapping. Plus, since your thumb will be lightly touching the E-string with the tracking technique, you will be able to mute the E-string while you tap on the higher strings. When you tap notes on the E-string, just rotate your thumb away from that string or slide your thumb towards the back of the neck to create just enough space for the E-string to vibrate freely. If you are playing a 5 or 6-string bass, you can also adapt the floating thumb concept from standard bass playing technique. For example, if you are tapping on the G or C strings of a 6-string bass, you can place your right hand thumb between the A and D strings. By employing the floating thumb concept in this manner, you can mute the lower strings with the side of your thumb while tapping on one or more of the higher strings.
Using the efficient one-finger-per-fret concept, your fingers should be slightly curved over the fretboard. Simply tap the strings to the fingerboard with the tips of your fingers, and tap the strings directly over or just slightly behind the fret wire for optimum tone. Refrain from tapping the strings down between frets because doing so will require more exertion which could potentially lead to experiencing undesired tension or pain in your right hand. When tapping between frets, you are also more likely to produce an excessive amount of fret buzz. Tapping the strings close to the frets will require a minimal amount of effort and also permit you to generate the cleanest, most articulate sound. To end a note, just lift your finger off the fingerboard. The small amount of force required to tap the strings to the fretboard should be generated primarily from your fingers and not your wrist. Initially, your third and fourth fingers, especially on your right hand, may seem a little weak in performing this action. With time and diligent practice, the accuracy of your tapping will increase and all of your fingers will feel equally comfortable in articulating each note across all the strings. Be precise with your taps especially on the lighter gauge D and G strings which are more challenging to hit accurately. Tap the strings directly to the fingerboard, and be careful not to accidentally sound adjacent strings or bend notes out of tune. Continually remain aware of extraneous string-related noise and ringing. Mute the strings with available fingers to help eliminate unwanted noise. Only the notes that you are tapping should sound. Always strive for clear, articulate notes and consistent dynamics in every position across all the strings.
Previously in this contemporary tapping techniques series, we worked on tapping with the right and left hands separately before tapping with both hands simultaneously in a unison fashion. In this lesson, we will focus our efforts on achieving complete independence between hands by playing through a collection of rhythmic-based exercises which will also increase your finger strength and dexterity as each hand executes different rhythmic figures. Play these exercises as legato as possible, and hold each note for its indicated rhythmic value. Allow each note to ring right up until the subsequent note sounds. Don't forget to incorporate expressive devices such as vibrato into your right and left hand technique. By utilizing vibrato and dynamics, you can make even elemental examples such as these sound alive and much more musical as opposed to mere technical exercises. Tablature has been included to serve as a source of reference with the standard notation so you can see the exact positions on the fingerboard that I am tapping.
Before assimilating a metronome or drum machine to play along with these exercises, make sure you can play these examples perfectly at a slow tempo. Once you feel comfortable with the techniques, start at a relaxed rate and then gradually increase the tempo on your metronome or drum machine. If you feel any strain at all in either of your hands as you are playing these exercises, take a break before proceeding. Allow the muscles in your hands to get accustomed to the mechanics and proper range of motion required to perform these rhythmic tapping exercises. As your fingers acquire more strength and independence, all of these exercises will become easier. With all technique-based exercises such as these, particular attention must be paid to the precise execution of the technique before any thought is given to speed. Keep in mind that the end goal is not to play fast just for the sake of speed. The primary objective with all of these exercises is to develop a consistently accurate and completely independent tapping technique that will allow you the melodic, harmonic, and rhythmic freedom to perform flawlessly in any musical application.
In future tapping lessons, we will delve deeper into the art of tapping with more solo electric bass tapping techniques including chordal accompaniment, melody with accompaniment, and completely independent voices. We will also study and analyze various examples across a wide range of styles. ... Read More!
News
Be sure to check out the latest books, DVD's, CD's, and gear. ... Read More!
Aguilar Amplification Tone Hammer Preamp/D.I.
Aguilar Amplification Artist Series Master Class With Anthony Wellington
SWR Spellbinder Blue Bass Combo
Euro Bass Day 2008
Dave Holland - Pass It On
Bryan Beller - Thanks In Advance
Aguilar Amplification Tone Hammer Preamp/D.I.
Aguilar Amplification Artist Series Master Class With Anthony Wellington
SWR Spellbinder Blue Bass Combo
Euro Bass Day 2008
Dave Holland - Pass It On
Bryan Beller - Thanks In Advance
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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.
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