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Luis Anthony Silva - Bass Shopping. Plans et mouvements utilisés en anatomie macroscopique. Publié le jeudi 10 septembre 2009 Section: Anatomie ostéo-articulaire (Membres supérieur et inférieur) Images et références Ce module présente 11 schémas anatomiques illustrant les plans utilisés en anatomie, la position anatomique de référence, et les différents types de mouvements des membres inférieurs et supérieurs. Cet élément de cours d’anatomie est destiné aux étudiants en médecine et aux étudiants en études paramédicales. Ce court module est primordial en introduction à l’étude de l’anatomie humaine, car les représentations, les schémas, les illustrations et les descriptions anatomiques reposent sur des concepts et des définitions très précises sur l’orientation du corps humain dans l’espace. Position anatomique de référence Position anatomique de référence : Diagramme Plans anatomiques Il existe 3 plans de coupe principaux en anatomie : Plan frontal ou coronal : sépare les parties antérieures et postérieures.

Termes de localisation Antérieur (ou ventral) : en avant du corps. Folder - My 4shared. Files Photo Music Books Video Games Sign Up Log In Forgot password? Login with: PremiumLanguageen FAQ Help Report abuse My 4shared by mmooohhaa 469,730 KB | 251 files | Folder Check out 18 photo files at my 4shared folder My 4shared - الصور What is B1? More Download desktop Upload files via desktop app easily and for free Play all mp3's from this folder Slideshow View all images Show QR Code Remove Ads x.

Auto ostéopathie par christophe carrio. Video d'un examen clinique realisé selon la méthode Mézières. Legato Exercises - Intermediate Guitar Lesson. Soundscape: A Master Class with Benjamin Verdery. ESBJORN SVENSSON TRIO , PAT METHENY. Folder - Bass Arquivos Zip. Billy Sheehan's Secret Trick. Slap Bassics by Scott Whitley Lesson 1 - Slap Bass Overview. Bass | Zippyshare MP3 & FLAC - Zippyshare Radio & SAT music, Discography collections, bluray movies, Music Videos and TV Shows.

Livre de la theorie du jazz - Slappyto. Serious Electric Bass: The Bass Player's Complete Guide to Scales and Chords - Joel Di Bartolo. Folder - My 4shared. Files Photo Music Books Video Games Sign Up Log In Forgot password? Login with: PremiumLanguageen FAQ Help Report abuse My 4shared by BENTO-3 126,343 KB | 18 files | Folder Check out files at my 4shared folder My 4shared What is B1? More Download desktop Upload files via desktop app easily and for free Show QR Code Remove Ads x. Folder - My 4shared.

Slap Bass - Techniques, Adjustments and Tricks to Develop Your Tone. Technique | Practice | Low Action | Strings & Gauges | Electronics | Amps & Settings | Preamps | Frets Want your slap tone to sound more like Victor Wooten, Flea, Les Claypool, Marcus Miller and other slap bass greats? No problem! There are many free and inexpensive tricks, adjustments and accessories that can help you sound like your favorite bassists! Before we get started, remember that tone is extremely subjective. Technique The first thing you'll need to get good slap tone is proper technique. Your overall tone and performance will improve if you keep your slapping hand as relaxed as possible.

When slapping with your thumb, you want the side of the pad/knuckle to bounce off the string just hard enough to slap it against the frets. You can also experiment with attacking the strings at different points down their lengths, listening for tonal differences. Practice The only way (outside of the Matrix) to develop your technique is practice, practice, practice! Low Action Amps & Settings. Theory slepovogo strike. Слэп является очень интересной и яркой басовой техникой, позволяющей получить специфический, своеобразный звук. Так как слэп является довольно молодой техникой звукоизвлечения, многие технические вопросы всё ещё требуют уточнения.

И одним из таких вопросов является слэповый удар большим пальцем – именно он во многом определяет звучание и специфику этой техники. В этой статье я попробую рассмотреть некоторые основные аспекты именно удара большим пальцем по струне (этот приём носит название slap или thumb). Слэп независимо друг от друга открыли Larry Graham и Louis Johnson в начале 70-х.В основном слэповая техника включает 2 основных приёма игры – удар большим пальцем и подцеп (по-английски эти приёмы носят название slap и pop, или thumb и pluck).

И именно правильность техники удара большим пальцем вызывает больше всего споров и разногласий, в то время как подцеп одинаков. Можно выделить: Есть следующие варианты постановки кисти при ударе большим пальцем по струне: Техника удара рукой. Stevie Wonder's Greatest Hits.pdf - - document sharing - download. Doobie Brothers - Collection (book).pdf - - document sharing - download. The Classical Music Ebook Collection (PDF) | Ebooks Free. Gary Willis - Two Hand Positions. Going to do my best..... To describe the two positions. Both are based on the one finger per fret method with stretches one fret above and below with the outer two fingers - index ( used when ascending), pinky (used when descending) as the music or scale dictates (varies - passing tones, other accidentals etc.).

The positions are named based on the key / the finger the root falls on (only 2 or 4) / and the string the pattern starts on. The first position, most commonly learned, is called SECOND FINGER POSITION. So for example the G major scale played 2-4 (E), 1-2-4 (A), 1-3-4 (D) would be called G2E. The second position is called FOURTH FINGER POSITION, as the pinky finger (fourth) falls on the root. Hopefully someone can understand this. The International Institute Of Bassists | The Bass Greats. Merging technical virtuosity with musical mastery, Gary Willis is widely acknowledged by fans, peers, and critics alike as one of the most influential voices of our time. Recognized for his fretless bass prowess and fingerboard harmony concepts, Willis' unconventional musical facility is demonstrated through often thick, 16th note-laced, hypnotic grooves and lyrical solo flights entrenched with a dynamic melodic sense.

Over the past two decades, Willis' innovative, ultra-light right-hand approach has defined economy-of-motion while the depth and scope of his musical vision has often defied easy categorization. Now a resident of Barcelona, Spain, Willis' story begins as a Texas-native. In 1978, Willis enrolled in the legendary jazz program at North Texas State University (now the University of North Texas) where he studied composition and improvisation.

As a web site developer, Willis maintains one of the most informative bass-related sites on the web at: A few things. Jean Bisello - cours de basse 1 (1/1) (Bassiste Magazine) DepositFiles. DepositFiles. Folder - Piano. Files Photo Music Books Video Games Sign Up Log In Forgot password? Login with: PremiumLanguageen FAQ Help Report abuse Piano by diego123456907 279,716 KB | 97 files | Folder Check out 15 document files at my 4shared folder Piano - (SCORE) Bach - Well-tempered clavier - Book 1.pdf, Alfred Basic Adult Piano Course.pdf, Alfred's Basic Piano Level 4 - Jazz-Rock Course.pdf What is B1? More Download desktop Upload files via desktop app easily and for free Show QR Code Remove Ads x. Right and Left Hand Positions for Bass Guitar.

Improving Clarity: Left Hand/Right Hand Coordination. There are several reasons why a passage may sound sloppy. One of the more prevalent ones, however, is incorrect coordination between the two hands during passages of separate (i.e. not slurred) notes. For such passages, the fingers must completely stop the string before the right hand, or bow, articulates. While studying violin pedagogy with Mimi Zweig at Indiana University she often referred to this general rule of string playing as “Fingers Before the Bow” or simply “FBB.” Too often students try to coordinate the two hands by moving them the same time.

So how do we practice this type of technical coordination? Let’s consider the passage below: One way to practice correct coordination between the hands is to change the rhythm to ensure we are fully stopping the string with our left hand before we articulate. **If you are plucking, interpret the slurs as “hammer-ons.” Next, we would continually shorten our added note until it is only a nanosecond or so early. Long term. Basic Vibrato on the Upright Bass – A How To Guide. Many students have trouble mastering vibrato technically and understanding its usage musically. There are numerous debates regarding vibrato usage in musical contexts, so today we will focus on a simpler matter: how to achieve technical mastery of this skill. From an instrumental point of view, our goal is to have complete control over the width and speed of our vibrato, no matter what area of the bass you are in, or what finger you are using.

There are many types of body motion that can create a vibrato on the upright bass including full arm vibrato and finger vibrato motions, among others. In most cases, however, a forearm vibrato is the appropriate motion. We produce this basic vibrato motion by turning our left forearm “in and out” at the elbow using our biceps muscle (i.e. you will pronate and supinate your left forearm). We already make this motion away from the bass every time we turn a doorknob. For the exercise below, we will measure our movements in “half oscillations.” Intentional Practice. Too many instrumentalists begin their daily practice session without knowing specifically what they wish to accomplish that day. If they think about their practice goals at all, they do so in a cursory, vague and last minute manner. Even worse, some serious students think the goal of practice is simply to “put in the time.” They may spend several hours a day at their instrument, without maximizing their efforts. Although merely playing everyday stands to increase one’s skill level over time, it is certainly not the most efficient path.

Rather than “flying by the seat of your pants” in the practice room, put some thought into your practice session before you pick up your instrument. Your own general desires should be taken in to account, of course, when structuring your sessions. Whatever your goals, I suggest – at a minimum, scheduling time in your session for: Warmup, Technique, repertory review and new material. A basic short session might look something like this: Warmup Technique.

Technique Series: Fast Fingers. Although there are musical situations when we want our left hand fingers to strike the fingerboard forcefully, we most often want to use the minimum amount of pressure, and no more. To do otherwise is generally inefficient, clumsy, noisy and speeds up muscle fatigue, among other things. When it comes to left hand technique, the speed of the finger movement is far more important than muscular force. Sometimes the fingers must move slowly, of course, but fast fingers are often necessary. This is especially true with loud (unamplified) playing. Fast, light fingers have other benefits as well. Timing of Finger Motion When we are dropping a finger on the string, we place the finger on the string, then the new note is played. There are many exercises to develop this skill, but below are two that I like. Play quickly. Remember: Thumb Position Exercises for Bassists. “Thumb position” is a left hand technique in which the thumb is used on top of the board to press down the strings.

In essence, we use it just as we use our other fingers. Although the technique can be used anywhere on the instrument, this technique is most often used at the midpoint of the string or higher. Thumb position is specific to the upright bass (and cello) and not generally found in electric bass playing. Thumb position technique, like any other technique, requires some exercises to solidify it. Scales, of course, are necessary but a few dexterity drills can be helpful as well.

Play the G as a harmonic with the thumb, not as a closed note.Start slowly, and gradually speed up the tempoUse minimum pressure and minimum muscular effortIf you get tense, stop and start again after a few minutes.Although they are written for the D and G strings, you should play these patterns on the E and A strings as well. Bass Technique: Shifting and the Feeling of Lightness.

Accurate shifting is extremely important on an upright bass. It may even be the one technique we use the most often. Most other string instruments can play a few two-octave scales without shifting, while we can play a grand total of zero, even if we “pivot.” Despite how often we must execute flawless shift, for many it is a point of weakness.

Not only is shifting an area where we may use needless tension, but if we are going to play an out of tune note, it is most likely to be one we shift to. In my experience, if someone isn’t light when they shift, they probably aren’t terribly accurate either. Drill 1 Our shifts should be light and easy, especially as regards thumb pressure. Play the last note before a shiftRelease both your thumb and the string entirely.Drop your hand down by your side, completely away from the bass. Drill 2 When you feel you have mastered Drill 1, try the procedure without dropping your arm to your side. Drill 3 Play the last note before a shift. Left Hand Thumb: Position. For all instrumentalists, excess tension should be a source of concern.

We should work to eliminate it as much as possible. For string players, and especially bassists, excess tension can not only lead to technical and musical inaccuracies, but also to physical discomfort and injury. Sometimes these injuries can be resolved or worked around, other times they cannot. When serious enough, it can end a career.

Suffice it to say that for bassists, excess tension should be a source serious individual inquiry, especially when it occurs in their hands. When there is excess tension in the hands, the source is often improper use of the thumb and its corresponding muscles. There are many pedagogues who have differing opinions on exactly where the thumb should be placed. Unless you are in action up and down a portion of the neck, (e.g. Next time: Left Hand Thumb: Pressure. Live концерты cо спутникового канала MEZZO. Folder - Music Theory. Folder - metodos. Folder - Nico Assumpção. Folder - Blues and Jazz Lessons. Folder - Bottesini Giovanni. Folder - Methods.

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