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.

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With much study and practice, you will subconsciously begin to arrange your choices of pitches into lines that sound good to your ear. Take the time to learn lijes in each key and you will be amazed with the results. For example, do not mix the half-step above and half-step below.

Write out the changes in each key. The next step in Creating Jazz Bass Lines is the addition of chord tones: My answer to this question is that if you work on the theme long and hard enough, you will naturally begin to play variations. These choices, in turn, will begin to define your style. When you have mastered a set of pitches, only then will you be able to improvise with this material.

As there are no musical police, it is true that you can play any notes you want when walking a bass line. Dann sind Sie bei uns in Radolfzell ganz richtig gelandet.

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At this point, I would like to suggest that you learn the Blues, Rhythm Changes, and two standard songs using syinnett previously presented patterns. It is a common mistake for students to want to do their “own thing” before they are accomplished at some traditional things.

Creating Jazz Bass Lines

This is where many students will try to shortcut the process. It is important xtinnett practice using only one pattern at a time. If you cannot play all of the patterns, in all keys, spend more time to get this basic stuff DOWN. Let us begin by using the pattern: Be patient and strive for consistency. Do not try to do this by memory.

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

Sie suchen etwas und finden es nicht gleich in unserem Shop? By imitating the masters, your playing will begin to sound mature and solid.

Some of these half-steps are diatonic and some are chromatic. Just listen to how solid they are. Understand, when I use the word “know,” I mean: In fact, many half-step approaches on paper seem to clash with the chord.

The truth is all of these students need to know the basics MUCH better. Remember, oines because you understand it does not mean you can play it fluently. To make sure you are thoroughly learning the creatting in Creating Jazz Bass Lines, I suggest that you set a goal for each example.

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The stronger the foundation, the higher we can build. I must warn you. Take the time to build a solid foundation. This is called improvisation.

jazz bass walking

The note between two chord tones is called a passing tone. In this lesson, we began each chord change using the root of the given chord. Play them along with the chord changes and you will hear the jazz-sounding movement. 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.

If you will focus on a specific pattern, you will more quickly internalize the sound and feel in your hands. This often sounds better. I often tell students at this level of development, you do not need to practice improvising. 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. 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.

If you have mastered the music presented here, you are on your way to playing good walking lines.