Creating jazz bass lines jim stinnett pdf

 
    Contents
  1. 68 Best bass images in | Sheet music, Music score, Jazz standard
  2. Ed Friedland-Jazz Bass Book
  3. Bass Method Jim Stinnett Creating Jazz Bass Lines
  4. WALKING - Jim Stinnett - Creating Jazz Bass Lines.pdf

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Creating Jazz Bass Lines Jim Stinnett Pdf

Jim Stinnett - Creating Jazz Bass arersnaperstif.tk Report. Post on Oct Views. Category: Documents. 6 Downloads. prev. next. out of top related. Jim Stinnett - Creating Jazz Bass arersnaperstif.tk Home · Documents; Jim Stinnett - Creating Jazz Bass arersnaperstif.tk Published on Oct View Download 6. The turnaround leads back to the beginning. The chords here create a very powerful turnaround. The bass lines in the section are for you to learn, memorize, .

His influence on subsequent generations of jazz bassists can be considered a critical bridge between the acknowledged innovations of pre-bop bass players Jimmy Blanton and Oscar Pettiford and the iconic bass players of the s and 70s, like Scott LaFaro, Ron Carter and Stanley Clarke. It is my intention in this paper to demonstrate on myriad levels the veracity of this claim, while presenting a general overview of the career of Paul Chambers. The stage will be set with a short biography and a thorough discographical review. Through all of these explorations of the work of Paul Chambers will be threads leading to how he can genuinely be considered the Bird of the Bass. While neither of his parents were involved professionally in music, he grew up in a culturally enriched home and was raised with an appreciation for music and the arts. In fact, his namesake, Paul Lawrence Dunbar, was a prominent African American poet at the turn of the century, and one of the first African American poets to achieve national recognition as a literary artist. During this time in Pittsburgh Paul had the opportunity to engage in music lessons, at first on baritone sax and later on tuba. While the tragedy of leaving and then losing his mother must have taken a severe emotional toll on the teenaged Paul, the opportunities for him in Detroit proved to be fortuitous in terms of his future career. It was during this time that Chambers discovered a passion for the relatively new musical concepts of modern jazz, with its progenitors Charlie Parker, Dizzy Gillespie and Bud Powell figuring as the most direct influences on his concept of what modern jazz is all about. While many reports provide conflicting information, it is clear that by this time, late , Paul Chambers had started to explore playing the double bass. He was keenly interested in orchestral bass playing, the works of composers like Aaron Copland, Igor Stravinsky and especially Serge Koussevitsky. He opened up the field. Palmer , 29 By , Paul had transferred to another high school with an even more impressive reputation as a musical training ground for young players of all styles, Cass Technical High School. It was during his years at Cass Tech, from ages , that Paul starting seriously studying double bass while playing in jazz clubs at night.

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If your mailing address changes after you have submitted your graduation application, be sure to update us at graduation online. Keep in mind that if you are walking in Commencement, you will not receive your official diploma at the ceremony. Transfer Credits Can I find out how many transfer credits I am eligible for before I apply to the degree program?

If you are interested in applying to the Bachelor of Professional Studies degree program and would like an estimate of the amount of transfer credit you would receive, you can request an unofficial transfer evaluation by emailing a copy of your transcript s to the Berklee Online Transfer Team at transfer online. Be sure to include your name, major of interest, and any additional questions you may have. You can expect to receive your assessment within business days.

What should I do? The earlier you contact us with questions or concerns regarding your evaluation, the easier it will be for us to address any issues. Therefore, it is very important when you first receive your official transfer evaluation that you review the information carefully. If none of those exclusions apply, please fill out a Transfer Credit Equivalency Re-evaluation form for the courses you wish to have reconsidered.

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68 Best bass images in | Sheet music, Music score, Jazz standard

This maximum is for credit-bearing exams and undergraduate-level coursework completed externally. What is a credit deficiency and why do I need to make up credit? Credit deficiencies are caused by transferring a course that is less than three 3 credits to fulfill a three 3 credit Berklee Online requirement. Students with a credit deficiency will be short of the minimum number of credits required to graduate once they have completed their program requirements. In order to be eligible to graduate, you will need to make up the credits you are deficient in.

While the Transfer Team does their best to avoid giving students credit deficiencies, it is not always possible. You can make up the credits you are deficient in by completing additional Berklee Online coursework, by applying for prior learning credit, or by completing additional external coursework in the area in which you are deficient.

Note all external courses will first need to be approved by the Transfer Team. Can transfer credit fulfill prerequisites? It depends. Generally, transfer credit cannot be used to fulfill prerequisites unless we determine that the course you completed is a direct equivalent to one of the courses we offer at Berklee Online. He was [already] probably the most important bass player of that era. Palmer , 37 During this six-month period, PC gigged and recorded with artists at the top of the New York scene such as J.

Davis was intent during this period to assemble a regular group, one that would remain static over a long period and develop a rapport that was missing from his recent bands. For the next 8 years, Paul Chambers would enjoy the stability and notoriety of being the first call sideman of the most popular and powerful jazz leader of his day, Miles Davis.

From to , PC would appear all over the world and record more than 15 released LPs with Miles Davis, including some of the most critically and commercially successful jazz recordings of all time. From the mid s to the mid s, Paul would record and perform with many if not most of the major artists of the post bop era. While Chambers remained active though most of , his health and reliability had begun to decline due to his lifelong predilection for alcohol and more recent heroin use.

By the late s, PC was a shadow of his former self, with moments of brilliance often obscured by longer and longer periods of instability and inactivity. Discography In his book The Bass Tradition, bassist Todd Coolman postulates that Paul Chamber was the most recorded jazz bassist in the period between and With over recordings to his credit, most of which were undertaken during this period, there is a lot of evidence to support this claim.

Considering the breadth of jazz recording in the s and s, statistical confirmation of this statement is beyond the scope of this document. Suffice to say that Paul Chambers was involved in many of the most important jazz recordings of the mids through the early s, and is included on some of the most important, influential, groundbreaking and best-selling jazz releases of all time.

This was followed up just over a month later with a session with King Pleasure but under the musical direction of Quincy Jones on December 7th with a large group including trombonists JJ Johnson and Kai Winding, as well as tenor saxophonist Lucky Thompson and vocalists Jon Hendricks and Eddie Jefferson.

Recording for 10 different leaders shows the versatility of the young bassist with studio and live recording dates for artists ranging from Nat and Cannonball Adderley to trombonists Bennie Green, Jimmy Cleveland. Johnson and Kai Winding.

While nine separate sessions with Miles Davis dominated his calendar, including the notable May and October sessions that produced four LPs for Prestige, was also the year to see the first two sessions under the leadership of Paul Chambers himself. Among the 57! This by no means represents a diminishing of the significance of those sessions PC was involved in, as sessions that completed the Sketches of Spain LP for Miles Davis attest.

Ed Friedland-Jazz Bass Book

While leaders returning to PC for his reliable bass lines and solo voice may have been fewer than in previous years, they are still well-represented by artists like Hank Mobley, Lee Morgan, Art Pepper, Donald Byrd, J.

Whether walking or soloing, playing pizzicato or arco, Paul Chambers developed a technical approach to playing jazz on the double bass that allowed for an effective combination of a deep resonant timbre with a precise and clear attack. Therefore, an attribute shared by Chambers and Parker is clarity. Part of his identifiable sound is due to his commitment to playing in the lower left hand positions whenever possible.

Not only does this approach promote solid intonation and minimize movement on the fingerboard, stopping the strings near the head of the bass creates the longest string length possible. This allows more string mass to vibrate over a longer string length, creating a more complex, resonant sound and most effectively engaging the vibration of the entire instrument.

With arco playing, the length of note is mostly determined by the movement of the bow in the right band. There are also important elements of his right hand approach that are associated with his specific sound. Primary among these is the trained relaxation with which he approaches pizzicato jazz playing. Playing on Golden Spiral gut strings with no amplifier, PC never needed to introduce tension into his playing, as his setup of strings high off the fingerboard and defined approach produced enough sound to blend well with his sensitive accompanists.

This allowed Chambers to reserve a more aggressive approach to be used as an effect, most notably in his solos, where he digs in with his right hand to the point that distortion is introduced. Whether consciously or not, PC developed an approach whereby his right hand plucks the lower sounding strings closer to the end of the fingerboard and the higher sounding strings are plucked further up the fingerboard. While an analysis of Ray Brown lines might reveal complete measures of chord tones on all beats several times per chorus, either in arpeggios or groups of thirds, with sporadic half-step approach tones, a Paul Chambers bass line will most often include mostly chromatic lines, either ascending or descending, culminating with a whole or half step leading to the next down beat.

Another approach that sets PC apart is the degree to which his bass lines are both supportive and reactive to the soloist he is playing behind. This manifests in both the range, dynamic and chromatic density of his walking and in his choices to break a straight 4 beat per measure pattern to add melodic commentary. PC continues to play melodically through the end of the theme, at which point he reverts to 4 beats to the bar.

The D to Db in the fourth bar of the example implies a prolongation of the Bb7 with a chromatic resolution to the C and A, function as the 5th and 3rd pitches of the dominant chord, leading to the Bb7on the downbeat of the fifth bar of this example. In the second four after the 4 bars of drum solo the Bb7 chord is again prolonged into the last bar of the example, with the G7 chord represented by the last two notes, its fifth and tonic.

Charlie Parker was also a master at this kind of implied harmonic substitution.

Bass Method Jim Stinnett Creating Jazz Bass Lines

While he rarely used pitches breaking into thumb position ledger line A and above in double bass notation while he walked, he regularly took full advantage of the remaining two-octave range available to him. His decisions regarding range, while likely innate, showed his commitment to creating lines that kept the supporting role of the bass active and a crucial component of the sound of the ensemble.

Chuck Israels describes this phenomenon in Thinking in Jazz Berliner : Paul Chambers would sometimes find some notes in between the notes…putting four pitches in a line in which there was only room for three. For example, if he had to get from D to F and he had to play four notes in there and he happened to be going chromatically, he could go from a D to a flattened Eb to a sharpened Eb to and E to an F.

Whether playing pizzicato or arco, ballads or up-tempo arrangements, PC has been an improvising soloist of the highest order since his arrival on the scene in According to all accounts, he appears to have arrived in New York with most of his prowess in this regard already fully developed and mature well beyond his 19 years.

When these lines are ascending, he places accents on the off beats. Conversely, if the lines are descending, the accents fall on the beat.

The transition from classical arco playing to jazz phrasing is not as simple as it might sound. The bowings required for each style are contradictory, and PC created a model solution to this and other issues in going from classical training to jazz playing.

Most notably, Chambers approached playing swing eighth notes by bowing across the beats, with bow changes starting on off beats when notes needed to be slurred. This is contrary to an intuitive approach, but facilitates a smoother swing feel.

WALKING - Jim Stinnett - Creating Jazz Bass Lines.pdf

PC also had to make conscious choices about which notes in a written line or improvised solo should be slurred under a single bow and which notes should be rearticulated by changing bow direction, or even re-taking the bow in the same direction. One of these elements is that Chambers was very precise about the length of his notes while walking and playing in a 2-beat feel. As previously described, he used his left hand to stop each note, creating a spirited bounce effect regardless of the tempo, which helped provide rhythmic momentum and drive.

He also was very specific about where he placed his attack in relation to the beat, most commonly right in the middle of the beat. His choice to accent differently depending on direction mentioned above is linked to his highly personal concept of time and specifically how he approached a swing feel.

He also employed an astounding degree of specificity in how he played his solo eight notes ahead of and behind the beat on different beats within the bar.

The results show with an amazing level of consistency how PC placed his notes ahead of the beat on beats 1 and 3 and behind the beat on beats 2 and 4.

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