Walking Bass Lines Building Friedland+Cd (Anglais) Broché – 1 mai 1995
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Une Walking bass est la technique la plus commune pour jouer de la basse jazz, mais elle est également utilisée dans la musique rock, blues, rockabilly, R & B, gospel, latino etc. Le terme walking est utilisé pour décrire le sentiment que le déplacement des notes sur le manche produit. L'objectif spécifique de cet ouvrage est de familiariser les bassistes avec les techniques utilisées pour construire des lignes de basse en walking et de leur faire prendre conscience de la façon dont le processus fonctionne. Grâce à l'utilisation du CD de 90 minutes inclus, les bassistes auront l'occasion de mettre leurs nouvelles connaissances directement à l'épreuve. Ce livre donne littéralement aux bassistes les outils dont ils ont besoin pour construire leurs propres lignes de basse qui sonnent.
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Unlike other books on walking bass lines I'd tried to learn from, this book got me walking over chord changes quickly and fluidly, and with a minimum amount of pain.
Friedland gives a brief overview of how to read notes on the electric bass, briefly discusses how to construct chords, and then launches into the clearest and most gradual explanation of how to walk over chord changes I've ever seen. He has a lot of "hands-on", play-along exercises at the end of each concept, and they're stripped of unecessary complexity so you can see the concepts clearly.
A major strength of this book is how you see results in your playing immediately, which encourages you to keep practicing. It's important for anyone learning something for the first time to see immediate progress in their ability, and Friedland has written this book to achieve just that.
The exercises get more and more difficult as you go along, but were never out of reach for me. The end of the book gives the chord changes to 10 jazz standards.
After working through this book, I knew enough to hold my own in a gigging fusion band with some ex-music teachers and university graduates in music.
Also, I found the concepts I learned in the this book made me a better rock and folk player, because I understood how to construct interesting bass lines under chords in any style -- all this was an outgrowth of my jazz knowledge gained from the book.
Anyone who writes that this book is "too easy" or "too basic" is actually complementing Friedland, because it takes a master to dissect a complex topic into something everyone can understand.
The book is divided into 2 sections. The Root-5th relationship is established and from there he sticks different approach tones in between. Chromatic, Dominant and Scale for 1 note approaches and a double chromatic approach tossed in.
The second half introduces 3rds and 7ths and the diatonic modes, applying them as scale fragments and arpeggios, and even some more advanced harmony - thinking of IIm7-V7 chords as one sound, indirect resolution approaches and longer chromatic tensions. Finally, it has plenty of "blank slate" standard chord progressions in the appendix to apply each technique as it is learned. It is also a good introduction to reading as all the exercises are quarter note values, except #1 - half notes.
All in all, highly recommended if you want to learn to create lines that make sense.
I play by ear so I got anxious when I opened the book...I can't read music and don't really care to. I know what notes the open strings are, as well as a few other scattered notes, but that's about it.
That said, I played the CD and went through a few of the exercises. I found it helpful to look at the book while the CD is playing...just to get a better handle on each progression. The book is really straightforward and isn't diluted by lengthy descriptions/instructions for each segment.
The progressions are taught in jazz (and are slow enough to be accommodating but not so slow that they're insulting). If you're looking to get better at jazz bass, this is a great book. It still can be helpful in other genres, since the basic premise is identifying logical note patterns--it's just handed to you on a jazz plate.
Even without the book, the CD alone is worth it. The piano and drums are on the right channel and the bass is on the left, so you can totally cut out the bass if you want to play undistracted. There are 55 tracks to learn from and build upon.
I'd say this is a must for anyone who is new to the bass, and I would think that even seasoned bass players could come away with a few new ideas from this book and CD.