CREATING JAZZ BASS LINES JIM STINNETT PDF

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.

Author: Karisar Douktilar
Country: Great Britain
Language: English (Spanish)
Genre: Photos
Published (Last): 24 August 2017
Pages: 209
PDF File Size: 6.2 Mb
ePub File Size: 13.56 Mb
ISBN: 514-2-55385-284-1
Downloads: 73199
Price: Free* [*Free Regsitration Required]
Uploader: Kajinris

Take the time to build a solid foundation.

Creating Jazz Bass Lines

In fact, many half-step approaches on paper seem to clash with the chord. Both sound good because they lead to the root of the following chord, and this creates a very strong resolution.

When you can easily improvise with a predetermined group of notes, you will sound infinitely fresh and creative. Let’s now use the 3rd of each chord. If you have mastered the music presented here, you are on your way to playing good walking lines. Be sure to recognize the difference between major and minor thirds. Sie suchen etwas und finden es nicht gleich in unserem Shop? It is a common mistake for students to want to do their “own thing” before they are accomplished at some traditional things.

This often sounds better. Do not write out the pitches. As there are no musical police, it is true that you can play any notes you want when walking a bass line.

When you have mastered a set of pitches, only then will you be able to improvise with this material. This is where many students will try to shortcut the process. Do not be concerned that some of the half-steps are not chord tones. Understand, when I use the word “know,” I mean: The goal is to develop muscle memory in connection with a specific sound. In this lesson, we began each chord change using the root of stnnett given chord. This is called improvisation. Just listen bzss how solid they are.

Related Posts  A VUCCHELLA PDF

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. If you will focus on a specific pattern, you will more quickly internalize the sound and feel in your hands. I have many students who come to me wanting to improve their walking lines. Wir sind ein Vollsortimenter, der Ihnen auch schwer zu besorgende Titel besorgt.

The stronger the foundation, the higher we can build. 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.

Creating Jazz Bass Lines (Jim Stinnett) ยป Sheet Music for Bass

I often tell students at this level of development, you do not need to practice improvising. One does not need exotic notes to sound good. Learn to play feel and recognize hear each pattern. Do not try to do this by memory. If you cannot play all of the patterns, in all keys, spend more time to get this basic stuff DOWN. Be patient and strive for consistency. Also, I want to assure you that you cannot practice the basics lones much. In this first lesson, I will cover some basic material that all players should know regardless of style preference.

Dreating is important to practice using only one pattern at a time. Creating Jazz Bass Lines is the first in a series of lessons to be presented on walking bass. Let us begin by using the pattern: I must warn you. The next step in Creating Jazz Bass Lines is the addition of chord tones: Take the time to learn everything in each key and you will be amazed with the results. Wir helfen Ihnen gerne weiter. 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.

Related Posts  PAUL BRUNTON A SEARCH IN SECRET EGYPT PDF

Stinnett, Jim Creating Jazz Bass Lines – Bodensee-Musikversand

By imitating the masters, your playing will begin to sound mature and solid. But, if you slight the theme and focus on the variations, your playing will often not be solid. The truth is all of these students need to know the basics MUCH better.

With much study and practice, you will subconsciously begin to arrange your choices of pitches into lines that sound good to stinnnett ear. Most of them feel that they need new concepts and material to make their lines more interesting and hip. However, style characteristics and tradition define a “good” line. You need to systematically practice those elements that you will use when you do improvise.

At this point, I would like to suggest that you learn the Blues, Rhythm Creatting, and two standard songs using the previously presented patterns. If you do rceating learn to play these patterns in multiple keys you will NOT be able to freely improvise with them. These choices, in turn, will begin to define your style. Next, we will work with the 7th of each chord. Play them along with the chord changes and you will hear the jazz-sounding movement.