FINGERBOARD HARMONY FOR BASS. Gary Willis, 100 esempi e esercizi; posizione della mano, e molto altro. Con diagrammi. CD
LIBRO METODO DI MUSICA.
SPARTITI PER BASSO CON:
ACCORDI, PENTAGRAMMA, DIAGRAMMA.
Per basso a 4 corde, 5 corde e 6 corde. Non ha la TABLATURE ma per quasi tutti gli esercizi c'è il disegno della tastiera che la sostituisce e è indicato il valore dell'intervallo armonico dalla fondamentale. Cosa molto utile per memorizzare modelli armonici e per una visualizzazione completa della tastiera.
FINGERBOARD HARMONY FOR BASS
Series: Bass Instruction
Format: Softcover Audio Online
Author: Gary Willis
A comprehensive source for learning the theory and geometry of the bass fingerboard by one of today's leading players and instructors. Includes: 99 audio examples and exercises, hand positions, key centers, the linear approach, and more! Audio features Gary Willis demonstrating 99 examples and exercises. It's accessed online for download or streaming and includes PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
Inventory #HL 00695043
ISBN: 9780793560431
UPC: 073999950434
Width: 9.0"
Length: 12.0"
72 pages
In high school I was always awful at math (I still am), but when the semester on geometry came around, I got straight As, Fortunately, for me, the bass fingerboard is a very consistently geometric instrument. From day one I've always associated any sound on the bass with its corresponding shape. For instance, a major third is a string and a fret away That shape (the diagonal line drawn between the two notes on the fingerboard) will result in a major third from any other note on the neck (as long as you've got a string and a fret left to recreate it). By contrast, a major third on a keyboard can be two white notes, two black notes, a white note then a black note, or a black note then a white note. The fingering combinations (shapes) required to play major thirds on any woodwind instrument are even more varied. My approach to fingerboard harmony has always been based on these symmetric shapes. There are two ways to create harmony on the bass. One way is to play chords. The design and tuning of the bass makes playing and studying chords a fairly inefficient process, even on a 6-string. The other way to create harmony on the bass is to playa series of notes (a line) that reinforce or compliment the sound of the chord. In just about every style of music you're going to need to create a line at some point. Hopefully, this book will give you a consistent way of looking at harmony on the neck so you can play these lines freely.
How to Use This Book
The exercises and examples in this book are cumulative. Each idea or concept is based on the previous exercise and example. I wouldn't recommend skipping too far ahead without making sure you can confidently perform ail the previous exercises. It's a very "hands-on" approach. While the exercises may seem easy to understand, be honest with yourself and make sure you can execute them with ease before you're tempted to move on. As with any new concept, it may take a while before this way of looking at harmony becomes "subconscious." At first, be very deliberate and "hyper-conscious" take the time to make sure both your hands and mind understand what's going on with each exercise. Eventually you'll be able to visualize harmony clearly anywhere on the neck
Gary Willis.
After more than a decade of co-leading Tribal Tech with guitarist Scott Henderson, and their eight CDs, GARY WILLIS has launched his solo career with the September I996 release of No Sweat. He has performed with Wayne Shorter, Allan Holdsworth, Hubert Laws,Joe Diorio, Robben Ford, and Wayne Johnson. A Texas native, Willis studied composition and improvisation at North Texas State University. After moving to Los Angeles in 1982 he became a course leader at Musicians Institute in Hollywood and later taught at California Institute of the Arts in Valencia, California. Since Willis' move to Colorado in 1993, he has become one of the instrument's leading educators, releasing three books and one video. In addition to this fingerboard harmony book, Hal Leonard will release his composition/solo book in 1997. He currently lives, writes, teaches, and mountain bikes (not necessarily in that order) with his wife Pamela and their two labrador retrievers, Buster and Jose, in Colorado Springs, Colorado.
Introduction
How to Use this Book
About the Author
Intervals
Interval Fads
Triads
Second Finger Position
Inversions
Seventh Chords
The Linear Approach
Passing Tones
Chord Tones Instead of Roots
The Minor Thirds Rule
Eighth Notes
Extensions
Review
Hand Positions
Second Finger Position
Fourth Finger Position
The Connection
Choosing a Key Center
Finding More than One Key
The "Three" Chord
The "Four" Chord
Minor
The "Two" Chord
The "Five" Chord
Shifting
Memorizing
Secondary Dominants
Three / Four
Other Chords
Putting It All Together
Special thanks to Mitch Sams, John Flitcraft and David Tyree for their help in the development of this book.
ISBN 0-7935-6043-8
HAL-LEONARD CORPORATION, 7777 W. BLUEMOUND RD. MILWAUKEE, WI 53213
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