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Luis Anthony Silva - Bass Shopping. Plans et mouvements utilisés en anatomie macroscopique. Publié le jeudi 10 septembre 2009.

Plans et mouvements utilisés en anatomie macroscopique

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Gary Willis - Two Hand Positions.

To describe the two positions. The International Institute Of Bassists. 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.

The International Institute Of Bassists

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:

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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.

Improving Clarity: Left Hand/Right Hand Coordination

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. They attempt to place the left hand fingers on the note at precisely the same time they articulate with the right hand. So how do we practice this type of technical coordination? Let’s consider the passage below: Basic Vibrato on the Upright Bass – A How To Guide. Many students have trouble mastering vibrato technically and understanding its usage musically.

Basic Vibrato on the Upright Bass – A How To Guide

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). Some people may find themselves attempting to move from the wrist once they press a string down, rather than from the elbow. Intentional Practice. Too many instrumentalists begin their daily practice session without knowing specifically what they wish to accomplish that day.

Intentional Practice

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. If we are serious about improvement we need to be intentional about our practicing. 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. A basic short session might look something like this: 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.

Technique Series: Fast Fingers

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.

The louder the volume, the wider the string vibrates; the wider the string is vibrating, the faster the finger must drop on, or lift from, the string. 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. 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. 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. Live концерты cо спутникового канала MEZZO. Folder - Music Theory. Folder - metodos. Folder - Nico Assumpção. Folder - Blues and Jazz Lessons.

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Piano Technique: Finger Crossovers. Proper fingering for piano scales. Proper fingering of the scales on the piano is very important to development of your skills and advancement as a pianist. Begin by setting the metronome at a tempo that is realistic, yet challenging, and work through each group of keys, doing one group per week. When scales are learned well at the beginning tempo, increase the tempo, and start over with Group I again. Keep increasing the tempo infinitely! A common progression might be to start the metronome at a quarter note equals 80, and increase to 96, then 112, 120, and 144. Jazz piano voicing skills - dan haerle.pdf - - document sharing - download. Mike Mangini Clockwise Counter Clockwise Limb System on Bass Guitar. Shakin' the grounds. Many times sound advice will be to play ‘with a straight wrist’ or ‘with forearm and hand in line’.

Problems may arise in two ways: flexing the wrist too sharplybending the wirst sideways As explained above, a correct thumb position prevents flexing the wirst too much. Incidentally flexing the wrist some more is no problem, but constant strain on the carpal tunnel is asking for big problems. Bending the wrist sideways may cause wrist tendonitis. To avoid problems below the thumb, do not bring out or lift your elbow too much. Wrist problems below the little finger may result from keeping the bass' neck too close to the left shoulder. Michael Hopkins: String Pedagogy Notebook: Pedagogical Information.