Music Theory for the Bass Player Comes with 89 videos that are viewable online. Have you always wanted to learn music theory but felt it was too overwhelming a task? Perhaps all the books seem to be geared toward pianists or classical players? Do you know lots of songs, but don´t know how the chords are put together or how they work with the melody? If so, this is the book for you! Starting with intervals as music´s basic building blocks, you will explore scales and their modes, chords and the basics of harmony. Packed with fretboard diagrams, musical examples and exercises, more than 180 pages of vital information are peppered with mind-bending quizzes, effective mnemonics, and compelling learning approaches. Extensive and detailed photo demonstrations show why relaxed posture and optimized fingering are vital for good tone, timing and chops. You can even work your way through the book without being able to read music! Music Theory for the Bass Player is a comprehensive and immediately applicable guide to making you a well-grounded groover, informed bandmate and all-around more creative musician. This is the definitive resource for the enthusiastic bassist!
Lloyd Bradley was classically trained as a chef but for the last 20 years has worked as a music journalist, most recently for Mojo - which he has just left with editor Mat Snow to launch a new men´s magazine in Autumn 2000. He is the author of Reggae on CD. He lives with his wife and two children in Kentish Town, London.
This is a comprehensive approach to the construction of improvised bass lines. Intended for beginners and professionals alike, the book deals with playing in ´´2´´, creating walking bass lines, 3/4 time, using a ´´broken feel´´, modal and slash-chord harmony, ballads, and much more. Each chapter is full of fundamental and advanced concepts and ideas, accompanied by transcribed examples from the masters of jazz bass playing. Mike Downes is currently the head of the bass departement at prestigious Humber College in Toronto. He is much in demand as a clinician, and he continues to be one of the most sought after bassists in Canada. Instrumentation: bass
This book by the founding editor and former publisher of Bass Player magazine not only celebrates the 50-year history of Fender´s revolutionary Precision Bass, it also - for the first time - illuminates the full scope of its profound impact on music and society. Focusing on the bass´ artistic influence, it details the technical milestones that gave the bass its musical power. This book also describes the impact of the bass in the hands of such visionaries as James Jamerson; cheers the innovations of rockers like Jack Bruce, Paul McCartney, John Entwistle and Sting; and honors the inspired work of such virtuosos as Jaco Pastorius. Loaded with black & white and 100 stunning color photos.
Previous albums on Brilliant Classics have illuminated significant figures in the school of North German organ music in the generations before Bach: among them Georg Ludwig Bohm (BC94612), Johann Gottfried Walther (BC94730) and Dieterich Buxtehude (BC94422). Here is the work of another, hardly less significant figure, Heinrich Scheidemann. Hamburg-based, Heinrich took over from his father as organist at the church of St Catherine´s in 1629 and remained in post until his death in 1663. He wrote almost exclusively for his instrument, and in the expected forms of chorale fantasias, motet arrangements, preludes, toccatas and fantasias which constituted the bread and butter of the 17th-century church musician´s diet. On this newly recorded album, the French organist Joseph Rassam plays a selection of all these genres, juxtaposed for maximum variety. In fact Scheidemann invented the genre of chorale fantasia, later so refined and developed by J.S. Bach, where a well-known chorale melody is played as the soprano line and reworked by means of superimposition, canon and imitation for the effects of grandeur and spiritual elevation. There are several Praeambulum movements in which Scheidemann builds on the legacy of the Dutch master Sweelinck, more freely composed, allowing full rein for the performer/composer´s own virtuosity. Until quite recently, all Scheidemann´s keyboard works were thought to have been written for the organ, but scholarly research has now shown that more than a quarter of the hundred or so pieces known to be by Scheidemann (or attributed to him) were actually written for the harpsichord and intended for performance in a secular context. Joseph Rassam´s recording is therefore one of the first to place such pieces in their original, intended context. In doing so, it reveals new and extrovert facets of the music which was hitherto characterised as more solemn and monumental according to an eccelesiastical context. Joseph Rassam has chosen to use three instruments appropriate to the historical and stylistic context of Scheidemann´s music. The organ is a relatively new one, inaugurated in 2010 by Gustav Leonhardt in the church of St Martin, Amilly, and built by Bertrand Cattiaux in the style of North-German Baroque instruments. He also plays an original 17th-century harpsichord of unknown manufacture, beautifully decorated and recently restored by Alain Anselm, and one of Anselm´s own virginals. This new recording presents both organ works and harpsichord works of Heinrich Scheidemann (c. 1596-1663). Chorales sung in the vernacular, the pillar of Lutheran Service, are the primary source of inspiration for Scheidemann´s organ music. In combining the simplicity of the original melody and the complexity of contrapuntal technique the organist-composer made the genre of chorale settings his own. Joseph Rassam plays on an organ built by Bertrand Cattiaux who draw his inspiration from the Netherlands and North German instruments of the 17th-century, as well as a historic two-manual harpsichord, built in 1650/55 by ´´CLF´´. The booklet includes excellent liner notes written by a musicologist, in both English and German.
Nearly 100 years after bursting onto Chicago´s music scene under the tutelage of Joe ´´King´´ Oliver, Louis Armstrong is recognized as one of the most influential artists of the twentieth century. A trumpet virtuoso, seductive crooner, and consummate entertainer, Armstrong laid the foundation for the future of jazz with his stylistic innovations, but his story would be incomplete without examining how he struggled in a society seething with brutally racist ideologies, laws, and practices. Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong´s New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers´s expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America. Louis Armstrong, Master of Modernism blends cultural history, musical scholarship, and personal accounts from Armstrong´s contemporaries to reveal his enduring contributions to jazz and popular music at a time when he and his bandmates couldn´t count on food or even a friendly face on their travels across the country. Thomas Brothers combines an intimate knowledge of Armstrong´s life with the boldness to examine his place in such a racially charged landscape. In vivid prose and with vibrant photographs, Brothers illuminates the life and work of the man many consider to be the greatest American musician of the twentieth century.
In January 1895 Henry James anticipates the opening of his first play, Guy Domville, in London. The production fails, and he returns, chastened and humiliated, to his writing desk. The result is a string of masterpieces, but they are produced at a high personal cost. In The Master Colm Tóibín captures the exquisite anguish of a man who circulated in the grand parlours and palazzos of Europe, who was astonishingly vibrant and alive in his art, and yet whose attempts at intimacy inevitably failed him and those he tried to love. It is a powerful account of the hazards of putting the life of the mind before affairs of the heart.
Als Ex-Soldat Freddie (Joaquin Phoenix) den charismatischen Lancaster Dodd (Philip Seymour Hoffman) kennenlernt, ändert sich sein Leben schlagartig. Bisher ertränkte der heimgekehrte Kriegsveteran seine innere Leere mit Alkohol und Frauen, aber durch Dodd findet Freddie wieder Halt im Leben: Der selbsternannte Philosoph hat eine eigene Glaubensgemeinschaft gegründet und wird von seinen Anhängern nur ´´The Master´´ genannt. Der labile Freddie ist fasziniert von seinen Lehren und steigt zu Dodds rechter Hand auf - scharf beobachtet von dessen berechnender und eiskalter Frau Peggy (Amy Adams). Doch bald entstehen bei Freddie Zweifel an den totalitären Methoden des ´´Masters´´. Aber Dodd wird seinen Schützling nicht so einfach gehen lassen - Zwischen Meister und Jünger entbrennt ein gefährliches Machtspiel.