Ed Friedland

BLUES BASS, A GUIDE TO THE ESSENTIAL STYLES AND TECHNIQUES, Including 20 great songs, Ed Friedland. B.B. King, Stevie Ray Vaughan (Tommy Lee Shannon), Muddy Waters, Freddie King, Albert King, The Allman Brothers, Otis Rush, T-Bone Walker, Louis Jordan, e molti altri: Born Under a Bad Sign - Hideaway - Hoochie Coochie Man - Killing Floor - Pride and Joy - Sweet Home Chicago - The Thrill Is Gone e molte altre. CD TABLATURE

LIBRO METODO DI MUSICA BLUES PER BASSO, CON CD

SPARTITI PER BASSO CON : ACCORDI, PENTAGRAMMA E TABLATURE. 

Hal Leonard Bass Method Stylistic Supplement
Series: Bass Method
Softcover with CD - TAB
Author: Ed Friedland

The Hal Leonard Blues Bass Method is your complete guide to learning blues bass. This book and CD package uses classic blues songs and standards to teach you how to lay down your own solid blues bass lines. Learn to play by studying the songs of famous bluesmen such as B.B. King, Stevie Ray Vaughan (Tommy Lee Shannon), Muddy Waters, Freddie King, Albert King, The Allman Brothers, Otis Rush, T-Bone Walker, Louis Jordan, and many more. Learn actual riffs from blues classics including: Born Under a Bad Sign - Hideaway - Hoochie Coochie Man - Killing Floor - Pride and Joy - Sweet Home Chicago - The Thrill Is Gone , and more. 80 pages

Buon metodo per Basso di musica Blues, per imparare e migliorare senza annoiarsi.

It's important to remember the role of the bass in blues. You are the foundation, the pulse, and the glue that holds it together. The lines and information in this book are what you need to know to do the job the way people expect it to be done, but it's still up to you to approach this style with an effective attitude. The blues is not about the bass player being the center of attention (unless you're Singing too). The singer and soloists are the main focus, and it's best for you to leave the glory to them. Where we derive our greatest thrill in blues is the feeling we create when we lock in with the drums and make everyone play better than they ever imagined they could. It's the feeling of the energy coming back to you from the other band members and the audience. It's the satisfaction you get from knowing you played the style authentically and with feeling. Notice the word "feeling" comes up a lot. Well, the blues ain't nothin' but a feelin'-that's right! Ed Friedland has written many well-received instructional books for bass, including the Hal Leonard Electric Bass Method, Second Edition. He wrote for Bass Player Magazine from 1992 to 2005. He is currently Senior Editor of Guitar World's Bass Guitar Magazine. He has taught at Berklee College of Music, Arizona State University, and Boston College, as well as privately since 19S0. He has played with many great artists in jazz, rock, blues, theater, classical, Latin, country, and just about every style. His blues credentials include performances with Robert Junior Lockwood, Mighty Sam McClain, Robben Ford, Linda Hopkins, Johnny Adams, Paul Rishell, Annie Raines, Bruce Katz, Jim Kelly, David Maxwell, and Mike Williams, among others, as well as leading his own group, Lazy Ed & The Stratoloungers.

BASS METHOD

INTRODUCTION

About the CD

Equipment

THE BLUES SCALE

THE 12-BAR BLUES FORM

THE SHUFFLE RHYTHM

TURNAROUNDS

LAYING DOWN THE ROOT

BOX-SHAPE PATIERNS

Dyna Flow

Messin' with the Kid

BOOGIE LINES ..

Big Boss Man – Jimmy Reed

Kidney Stew – Big Joe Turner

SLOW BLUES

Stormy Monday – T-Bone Walker

RHUMBA BLUES

Mardis Gras in New Orleans

Crosscut Saw

INTROS

ENDINGS

STOPS, HITS, AND KICKS

ALTERNATE FORMS

My Babe – Willie Dixon

Key to the Highway – Big Bill Bronzy, Eric Clapton

I Hear You Knockin' – Lazy Lester

BLUES STANDARDS

Hideaway – Freddie King

I'm Tore Down – Freddie King

Born Under a Bad Sign – Albert King

Killing Floor – Howlin Wolf

Pride and Joy – Tommy Lee Shannon bassista di Stevie Ray Vaughan

Hoochie Coochie Man – Muddy Waters

The Thrill Is Gone - B.B. King

All Your love (I Miss loving) -Otis Rush

Farther up the Road

Sweet Home Chicago

THOUGHTS ON BLUES BASS PLAYING

ABOUT THE AUTHOR

JAZZ UPRIGHT BASS, Ed Friedland. BOOKLET WITH BASS TABLATURE DVD

DVD VIDEO DI MUSICA JAZZ, LATIN-JAZZ. 

SPARTITI PER BASSO CON: 

ACCORDI, PENTAGRAMMA, TABLATURE.

VIDEO DIDATTICO, STUDIO, TECNICA, 

DVD VIDEO LEZIONE PER BASSO 

Series: DVD
Publisher: Hal Leonard
Medium: DVD
Author: Ed Friedland

In this information-packed DVD, bassist Ed Friedland reveals the technical and stylistic details behind professional jazz upright performance. Through live band demonstrations and detailed, step-by-step analysis, Ed shows you how to: develop stylistic left and right-hand techniques for maximum tone and sustain; arrange scale and arpeggio patterns for greater range and efficiency whether walking or soloing; deal with typical live performance challenges – performance protocol, stock intros, endings, trading fours and more; play classic stylistic variations including Latin jazz, up-tempo tunes, the two-feel, ballads, 3/4 time and more. Ed's practical, direct teaching style offers easy-to-understand explanations and methodical demonstrations of each topic. The accompanying booklet includes notated versions of each example for added clarity.

EXPANDING WALKING BASS LINES.

LIBRO PER BASSO CON CD

Expanding Walking Bass Lines
BASS BUILDERS

Series: Bass Instruction
ormat: Softcover with CD
Author: Ed Friedland

A follow-up to Building Walking Bass Lines, this book approaches more advanced walking concepts, including model mapping, the two-feel, several 'must know changes,' and other important jazz bass lessons. CD includes a jazz trio for practicing standard tunes.

Inventory #HL 00695026
ISBN: 9780793545865
UPC: 073999950267
Width: 9.0"
Length: 12.0"
56 pages

- PRE-RECORDED JAZZ TRIO FOR PRACTING STANDARD TUNES
- SCALES TONES, CHROMATIC PASSING TONES AND NON-CHORD TONES
- INTERPRETATION OF CHORD SYMBOLS WITH TENSIONS
- PLAYING OVER MODAL TUNES
- PEDAL POINTS 
- EXPANDING THE ''TWO'' FEEL
- RHYTHM ESSENTIALS

Preface
In the first book of this method, Building Walking Bass Lines, we learned many of the basic skills needed to create good, solid lines from a set of chord changes. The techniques discussed were: finding the root motion, adding the fifth, approach techniques (chromatic, dominant and scale), scale wise motion, resolving to chord tones other than the root, arpeggiation, indirect resolution, and chromatic motion.
If you are not familiar with these concepts, I recommend you use Building Walking Bass Lines before attempting to work through the material in this book. It is crucial to your understanding to have a good foundation with the rudiments of walking. The information presented in this book will be most useful to those who have a firm grasp of these basic skills.

Goal Statement
This book will expand on your knowledge of the basics by focusing on some of the finer points of walking bass lines. You will be exposed to some practical concepts to help you become more functional in a jazz rhythm section. We will branch out from the "straight ahead" and learn to stretch the boundaries of tonality.
It is also a goal of this method to provide you with an opportunity to experience some "real world" situations and develop the skills to cope with them.

Acknowledgments
Thanks to my family. Sonia, LeeEllen and Aimee Friedland, and David Taylor. Thanks also to Jim Roberts Bat Bass Player Magazine, Larry Fishman of Fishman Transducers, Bill Brinkley, Michael Merrill, Tom Hamilton, Athena, Lu Ann, Ed Siegfried, Dave Flores, and everyone at Carvin, and GHS strings.

About the Author
Ed Friedland is a graduate of the High School of Music and Art in
New York City, and a former faculty member of Berklee College of
Music and Boston College. He is a frequent contributor to Bass
Player Magazine. His performance credits include Larry Coryell,
Michal Urbaniak, Robben Ford, Mike Metheny, Johnny Adams,
Linda Hopkins, Robert Junior Lockwood, Barrence Whitfield and the
Savages, Martha and the Vandellas, The Drifters, Brook Benton, the
Boston and Tokyo productions of Little Shop of Horrors, the Opera
company of Boston, and the Boston production of A Closer Walk with
Patsy Cline. Ed is involved in producing and arranging with Bass
Station Music. He has a M.Ed. from Cambridge College, Cambridge,
Massachusetts. He uses Carvin basses, GHS strings and Fishman
transducers. Ed resides in Tucson, Arizon. Photo: Jean Hangarter

Using the Audio
The audio portion of this method is of equal importance to the text, since learning to walk without the
opportunity to hear the lines is an incomplete experience. In view of the scarcity of clubs around the world
where you can go sit in and experiment, I have provided an alternative. However, if you have the opportunity
to play at a jam session, or do a jazz gig, by all means take it. There is no replacement for the actual experience
of playing in a live rhythm section. I hope you will get to play with players as great as the ones I hired for this recording, Brad Hatfield on piano and Jim Lattini on drums.
This method's audio uses a split-stereo mix with piano and drums on the left channel, and bass and drums on the right channel. This configuration will allow you to turn off the bass track and play with the piano and drums. It will also make it easier to hear the bass track when learning the lines by ear, and transcription.
The examples in the book marked with a CD.
icon have a number that corresponds to the number on the audio. The example number is given and then counted off with a click. The click is a two measure count off, two half notes, and three quarter notes, leaving beat four of measure two blank. For example: 1. .. 2 ... 1, 2, 3, ... (play).
There are many opportunities in the book to create your own lines. These are the examples with chord symbols and slashes without a specific written bass line. It is more common for the bass player to encounter this type of reading in the real world, so these examples are very important. The bass lines for these examples are not written in the book, so they provide an excellent opportunity to practice learning by ear. Go the extra mile and transcribe these bass lines. Writing music on paper is one of the best ways to improve your ability to read music. Remember, you can use any of the chord progressions presented to practice any technique learned. If you want to practice fingered triplets with a progression from another part of the book, go ahead.
The last section of the book, the Appendix, includes ten jazz progressions. The last three progressions have no chord changes written. These "mystery tunes" are included to provide you with the challenge of learning a song completely by ear, with no prior iMormation given. As difficult as this may seem, thousands of bassists do it all the time. "Faking" tunes is an important skill that bass players must have to survive in the real world. It is not my intention to have this book become a full-scale primer of all the background information one needs to develop this skill; that comes from years of experience. There are suggestions given to help you develop an awareness of the process, things to listen for, hints about form, but nothing concrete.
This process is more like sorcery than science.
This book will not guarantee your ability to swim when you're thrown into the deep end of the pool, but it may save you from drowning! Stick with it, give it time, and keep your ears open!

Table of Contents
Preface .
Goal Statement .
Acknowledgements .
About the Author .
Using the Audio .
Fine Tuning Your Time Feel .

Part One
Overview .
A Disclaimer .
Introducing Rhythms .
Eighth Note Triplets .
Rests .
Combining Rhythms and Rests .
Adding Rhythmic Embellishment .
More Practice with Skips ,
Skips with Dead Notes .
Lift-off Dead Notes ,
Putting It Together .
Using Triplets .
Even More Triplets .
Triplets with Dead Notes .
Expanding the "Two" Feel .

Part Two
Overview .
Targeting Non-chord Tones .
U sing Scale Tones as Targets .
U sing Chromatic Passing Tones as Targets .
Interpreting Chord Symbols with Tensions .
Playing Over Modal Tunes .
Create Your Own Modal Map .
Pedal Points .
A Listening Assignment .
Walking Open: The Art of Implied Harmony .
A Closing Word .

Appendix
U sing the Appendix .
Tune 1: ABAC form .
Tune 2: "Rhythm Changes" A section .
Tune 3: Several Key Centers in A section .
Tune 4: "Expanded Two Feel" .
Tune 5: Modal .
Tune 6: Bridge Modulations .
Tune 7: Repetitive A section .
Three Mystery Tunes .
Things to Consider .
Things You Should Know .
Things You Can Do .
Notation Legend .