Jim Stinnett – Creating Jazz – Download as PDF File .pdf) or read online. By Jim Stinnett: CREATING JAZZ BASS LINES, Paperback Book, Bass, and thousands more titles. ejazzlines has the best selection and prices of jazz in the. Author: Jim Stinnett. Publisher: Stinnett When you master this book, you will be playing good jazz bass. It is important Creating Jazz Bass LInes. Code: CJBL.

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To make sure you are thoroughly learning the material in Creating Jazz Bass Lines, I suggest that you set a goal for each example. When you have mastered Creating Jazz Bass Lines, you will be amazed how often you will hear these lines on recordings of great players. My answer to this question is that if you work on the theme long and hard enough, you will naturally begin to play variations. I assure you that when your playing can be described as solid, you will have all the gigs you need. It is important to practice using only one pattern at a time.

I have many students who come to me wanting to improve their walking lines. Just listen to how solid they are. In fact, many half-step approaches on paper seem to clash with the chord. This often sounds better. By imitating the masters, your playing will begin to sound mature and solid.

Creating Jazz Bass Lines

As there are no musical police, it is true that you can play any notes you want when walking a bass line. If you have mastered the music presented here, you are on your way to playing good walking lines. Be crdating to recognize the difference between major and minor thirds. The next step in Creating Jazz Bass Lines is the addition nass chord tones: Take the time to build a solid foundation.

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This is called improvisation. Notice how the seventh is played as a pitch below the root rather than above. A very common technique used by all great players for creating tension and resolution in their playing is the half-step approach above and below. Dann sind Sie bei uns in Radolfzell ganz richtig gelandet. The goal is to develop muscle memory in connection with a specific sound. Some of these half-steps are diatonic and some are chromatic.

Do not be concerned that some of the half-steps are not chord tones.

However, style characteristics and tradition define a “good” line. Sie suchen etwas und finden es nicht gleich in unserem Shop? Craeting, when I use the word “know,” I mean: Be patient and strive for consistency.

I often tell students linez this level of development, you do not need to practice improvising. Do not write out the pitches. The truth is all of these students need to know the basics MUCH better. In upcoming lessons, we will explore other choices.

Stinnett, Jim Creating Jazz Bass Lines – Bodensee-Musikversand

In this lesson, we began each chord change using the root of the given chord. Also, I want to assure you that you cannot practice the basics too much. You need to systematically practice those elements that you will use when you do improvise.

I must warn you.

Take the time to learn everything in each key and you will be amazed with the results. Wir helfen Ihnen gerne weiter. When you have mastered a set of pitches, linrs then will you be able to improvise with this material.

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It is also vital that you do not get ahead of yourself by moving too fast or trying to incorporate too many variables into your practicing. Play them along with the chord changes and you will hear the jazz-sounding movement.

It is a common mistake for students to want to do their “own thing” before they are accomplished at some traditional things. For example, do not mix the half-step above and half-step below. To work on a lesson so much that you master the material requires you to learn patience and persistence.

This is where many students will try to shortcut the process. If uim do not learn to play these patterns in multiple keys you will NOT be able to freely improvise with them. Let us begin by using the pattern: Creating Jazz Bass Lines is the first in a series of lessons to be presented on walking bass.

Learn to play feel and recognize hear each pattern. Write out the changes in each key. When you can play the song ten times in a row, in time, non-stop, with no mistakes, it is time to move to the next example.

The stronger the foundation, the higher we can build. Next, we will work with the 7th of each chord. Most of them feel that they need new concepts and material to make their lines more interesting and hip.