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Jim Stinnett - Creating Jazz Bass Report. Post on Oct Views. Category: Documents. 6 Downloads. prev. next. out of top related. Jim Stinnett - Creating Jazz Bass Home · Documents; Jim Stinnett - Creating Jazz Bass 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, .

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Jim Stinnett - Creating Jazz Bass - Download as PDF File .pdf), Text File .txt) or read online. Jim Stinnett - Creating Jazz - Download as PDF File .pdf) or read online. WALKING - Jim Stinnett - Creating Jazz Bass DownloadReport. Published on Sep View Download Facebook · Twitter · E-Mail .

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.

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Bass Method Jim Stinnett Creating Jazz Bass Lines

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?

Ed Friedland-Jazz Bass Book

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. Sometimes, we are not able to locate specific information for a course online and we are not able to determine an equivalency, but we are always happy to review additional material which will help us make that determination. No, credits completed at Berklee or through the prior learning process do not count towards the 60 transfer credit limit.

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.

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Jazz stinnett pdf creating lines bass jim

For these you will need to achieve a passing grade on the test to fulfill the prerequisite, otherwise you will need to complete the appropriate Berklee Online course. Can I transfer credits to Berklee Online after I have started the degree program?

Yes, you can.

Bass jim stinnett creating pdf jazz lines

To determine if the coursework you already completed or are considering taking is eligible to fulfill your remaining degree requirements, contact the Transfer Team at transfer online. I am a Berklee campus student. Can I transfer courses from Berklee Online to my campus-based program? For additional questions about transferring courses from Berklee Online to Berklee's campus programs please contact the campus transcript evaluator at transfercredits berklee.

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Berklee Online is regionally accredited by the New England Association of Schools and Colleges, the same association that accredits our main campus and other leading academic institutions such as Harvard University and MIT.

Our courses are transferable to other institutions, but it's up to the receiving institution to decide the number and types of courses that may transfer. We recommend getting a course pre-approved by an institution before enrolling.

Moreover, a recent study revealed that the average annual tuition at for-profit colleges is more than twice as expensive as Berklee Online. There is a slight resolution of the song with the last phrase returning to a familiar pattern 4 and a C pattern combination.

It has been my observation that many students actually use far too many shapes and patterns in their playing. This results in too little repetition and weakens the bass line. The goal is NOT to figure out numerous cool patterns, but rather to create a flow and shape to the entire song. Your bass line should be repetitive enough so the other musicians are comfortable knowing where you are going.

Stinnett lines creating bass jazz pdf jim

They can then build on your foundation. You, in turn, can use variation to move the song along and shape it. Creating Phrasing Here are eight different two-bar phrases played over the same chord changes. Follow the process outlined below to learn and hear the subtle beauty of creating phrasing. This is just to get the sound in your ear.

With repetition, you will become comfortable with the hand position and shapes of each phrase. Listen to how the movement from one phrase to the next creates a form-type phrasing.

This phrasing leads your ear. The overall phrasing takes on an entirely new feel. Work with this audio track and this movement until it feels natural. Because the phrase groups are now 4 bars long instead of 8 bars long, you will play through entire group of 2-bar phrases twice. You will play through the entire song 4 times. This track is actually a very good example of BAD phrasing. I normally do not like to use examples of what NOT to play, but in this case it is good to hear how quickly the movement from phrase to phrase happens.


This quick progression totally disrupts the flow of the song. Ultimately, your ear will tell you when to move from one groove to the next. You will choose combinations that takes your line to a different place, creating tension and resolution in your longer lines. Do not underestimate the power of repetition here.

With directed repetition, these simple shapes can become a part of your vocabulary to use at will. It is your job to mix, match, and combine the two-measure phrases to create longer phrases. Watch the previous video 3. If you find this difficult, go back and practice each pattern individually. Phrasing Techniques Here is a list of techniques I commonly use to create phrasing while playing a bossa bass line.

I think of my line with specific characteristics, one of the four listed below. I typically start with the simpliest sound. You can look back to the song Dindi and see this. Then at a chosen point I move to incorporate a new set of characteristics. This gives the song an impetus, or directions. I can then go back to my original concept, to bring the feel back home. Now that my song has two distinct areas of feel, I can now choose to spice up one the of sections by moving to using a new set of characteristics, or not.

Most great bassists do this sort of shaping naturally without even thinking about it. They just let their ears guide them. As a student we need to practice this phrase shaping to get the concept and sound in our ears. Here are four different sets of characteristics I commonly use when playing a Bossa Nova bass line: 1.

Creating Jazz Bass Lines: Jim stinnett: Books

By drawing your attention to these various aspects and isolating them in your practice, your ear will draw on them when you are playing for real. When the pressure is on, we always revert to default. During live playing conditions, we play those things we are comfortable playing.

To allow new techniques and concepts into our default menu, we must work to make these things comfortable in our fingers and ears. We do this by focused repetition in practice. There is no seniority in music. You have to make them part of your vocabulary by practicing them until they are comfortable. Transcribe the phrases you like, and turn them into practice exercises.

Exercise patience playing your Bossa bass lines. Take your time to add just the small bit of variation.