CREATING JAZZ BASS LINES JIM STINNETT PDF

Jul 5, 1. Jan 8, Hi, Can anybody recommend me some good books on creating jazz bass lines walking bass? Jul 5, 2. Aug 25, West Tennessee.

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Jul 5, 1. Jan 8, Hi, Can anybody recommend me some good books on creating jazz bass lines walking bass? Jul 5, 2. Aug 25, West Tennessee. Jul 5, 3. Well, these books contain plenty of examples, but no theory on how to construct walking bass lines. For example , if you are moving from Dm to G7 in two measures you can take this or that approach.

Jul 5, 4. Feb 28, Northampton Mass. Get Friedland's Books if thats the Aprroach that works for you Aj. Jul 5, 5. Apr 11, Florida. Do you have a teacher? If you don't, that could be the issue. You'll probably figure out what you're trying to learn eventually, but a good teacher can help get you there soooo much faster. Jul 5, 6. Jun 16, New York. I like Mike Richmond's walking bass line book. He doesn't say "use this pattern over this chord, etc.

So, if you pay the crap out of the lines and memorize them, you'll automatically learn a lot of great material and solid lines that you can super-impose in your own walking. Also, each subsequent bass line adds a new rhythmic device, like anticipations, triplets, etc. I would also recommend that you transcribe some bass lines.

In my opinion, this is the best way to learn. Hope this helps Jul 5, 7. Listen to records of Ray Brown, Paul Chambers, Red Mitchell and all you can find of other greats as well recorded between and Do not bother with the modern Flashy guys to learn walking. Flying comes much much later just like 'Flute' playing does.

If you cant learn from Rays' book, then you have another problem all together. If you really wanna learn, you have to study. Feel and note placement is NOT in any book. Then you have to Jam with guys, sit in, gig, and practice your butt off till things start to sink in.

Jul 5, 8. Jul 5, 9. No book can be all things to all people. I used to search for "the book" that would suddenly make a difference. Each of us could probably name the book that was most helpful to us, but I'll bet it played a very small role in your overall path to where you are now. Books are great when you are already doing what Ken said. If you are not at a level where you can jam with other players, you should probably be finding a teacher.

Jul 5, Aug 21, Massachusetts. I found that book R. Bass Method and still do, to be an incredible source for well-constructed blues basslines and patterns useful both in lines and soloing. If they are internalized, which requires a LOT of work and patience and in many cases a good teacher , they serve as a great model in helping to solve any bassline construction problems you may encounter in the realm of diatonic sraight-ahead bass playing.

What Ken has reccomended can't be stated any better There is no denying it; the type of thing you are after all of us are after isn't easy and there isn't just one book or exercise that will provide a faster way to learn it. I hope any of this might help. Nov 19, Winnipeg, baby. Also good advice, Damon. Mar 14, Seattle, WA. Well, the one that you didn't list that seems to be obligatory is Rufas Ried's. The truth is that I didn't find "that book" either and went through a few.

I agree with you about Ray Brown's book. I think Ray Brown is maybe the best of all times at walking lines, but I don't think that his book was all that helpful or well edited. I still work exercises out of his book and Rufas Ried's and there's nothing wrong with them, but they didn't teach me how to walk lines. So the two pieces of advice that you're getting are good and typical: 1 Get a good teacher 2 Transcribe everything But I respect that there may be reasons why each poses obstacles.

With the former, good teachers can be hard to find and bad teachers aren't the answer. With the later, it's freaking hard. Hard to hear bass distinctly on some of my favorite jazz recordsm, hard not to be distracted by the trumpet or whatever you ear is supposed to be drawn to and just hard to do.

While I do believe that transcribing is essential, I think that it's a bad barrier to entry for people who can play somewhat, but are really trying to learn. Again, it's not bad advice, but it may not be the right or the only first step. So, you should should still do 1 and 2 above, but there is some theory that can help too.

I was a learn by theory and practice guy and then applied the other things after the fact now. What specifically are you struggling with? Feel free to PM me if you'd rather.

I don't know if I know anything that you don't, but would be glad to make a few suggestions that helped me. Jul 14, Jan 11, San Diego, Calee'forn'knee'a. They seem to be all in the same keys so you can focus on the relitive tone progressions then you can move the riffs to whatever key you want. I agree that the Ray Brown book is largly a excersise book but there is some great stuff there. I have really learned a lot about 10th patterns which was imediatly applicable to performance.

And you got to love the pictures. Jul 28, Jul 22, Saint Louis Missouri. I have to say May 17, Bend, Oregon. From there just listen to the greats and refine your approach. If notes and fingerings are tripping you up then finding a good teacher that can put you through some basic classical training or show you an organized approach to scales will remedy that.

Nov 12, Eastern North Dakota. Get Ed's books. I use them with great success. My freshman was the alternate at All State this year. Aug 2, Mar 3, Leamington Spa, UK. Ed Friedland's 'Building walking bass lines' books come with CDs of the exercises in the book, but not all of them are notated, you have to transcribe them before you play them.

The bass is nice and clear so it's pretty easy to get going with transcribing. Books are great to dip into for variety but I learn 10 times as much in an hour with my teacher then a week plodding through exercises in books.

Aug 3, To the OP Maybe what your looking for is not in a book. If you've digested the books listed, attempted to apply what you've read and can't still figure out various ways to go from a Dm7 to a G The Jim Stinnett book is a good one for the basics, but no book is the be all and the end all.

What Ken Smith says is on the money, listen to a lot of stuff by the masters, then get out there and play with other people, record what you've plaved and critically listen to it, wash, rinse, repeat.

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Stinnett, Jim

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