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Berklee Practice Method: Get Your Band Together Bass Free FREE BERKLEE PRACTICE METHOD: GET YOUR BAND TOGETHER BASS PDF Rich Appleman,Richard Appleman,John Repucci,Berklee Faculty | 176 pages | 30 Mar 2001 | Hal Leonard Corporation | 9780634006500 | English | Milwaukee, United States The Best Sight Reading Books for Bass | Free Bass Transcriptions Berklee Pro Forum Lineup:. Berklee Lineup Welcome to TalkBass. Jan 4, 1. Feb 15, I get lots of questions about "what is taught in the Berklee Bass Department". I am going to post what is included in my Private Lesson Syllabus. And I will encourage our professors to do the same so that you can get a taste of how diverse our faculty is, but with a common thread of "fundamentals first". Feel free to comment in a thread you create. Thanks, Steve PS, I will say it a few times, just for emphasis! Jan 4, 2. This is a list of the ingredients that I use, and that are in constant development. The "core" ingredients have remained the same since high school, though. It's gotta eventually groove. Transcription, analysis, and performance of classic solos, in many styles and often from "non-bass" instruments. Theory, traditional and contemporary including modes, harmonic analysis, and application in various styles of music, which has to groove. Vertical and horizontal chromatic scales, and altered scales, and modes of melodic minor IF the student leans in a "jazz" way. Consistent Right Hand attack and alteration is also big part of it. We work on that a lot as most players tend to favor one finger or the other as a "starter". I favor all three. If the student uses a pick, we work on string crossing, attack evenness, and transcribe some Steve Swallow, Carol Kaye, Carles Benevent, or Dave Ellefson. For fretless, things slow way down and the fingering system becomes paramount, combined with critical listening. I have them practice in the dark, or with a blindfold to help improve their muscle memory for shifting, and they "HAND-EAR" coordination. A firm technical foundation is mandatory. I have taken "experienced" Berklee Practice Method: Get Your Band Together Bass and had to break down their left hand fingering and bowing, just to rebuild it because they wanted technical virtuosity in the style of Eddie Gomez, Ray Brown, Scott Lafaro. This requires efficient and systematic fingerings. Simandl, Nanny, Kreutzer, and Jim Stinnett books are some of my tools. Arco discipline is a must, long tones are a must. Berklee Practice Method: Get Your Band Together Bass teach thumb position early to get Berklee Practice Method: Get Your Band Together Bass student away from the traditional "upward motion fear". Ear Training. We work on hearing harmonic and root motion. I like to take songs of various forms and harmonic density and "drop the needle" in various points having the student hear where they are, all while keeping time and adjusting time to "find" Berklee Practice Method: Get Your Band Together Bass. This is a great "real world" technique. Learning the songs, tunes, lines, that will help the student master all of the above. I don't care what style it is as long as efficient technical principles are utilized. I look at it from the perspective that the same 12 notes and rhythms are used in ALL music, and therefore ALL music can be approached academically. ALL are worthy of study. Rhythm, Phrasing, Dynamics, Space, Tone, Relation to the Berklee Practice Method: Get Your Band Together Bass ahead or behind the beat and other criteria change. Artificial harmonics, Right Hand thumb-finger independence. The ultimate result being the ability to take a melody and a set of changes and perform as an unaccompanied piece. Reharmonization and chord substitutions are encouraged. I use a metronome or drum machine when it is helpful. And for maintaining consistency b. I prefer to focus more effort on a student's weaknesses to help create a Balanced Player. But, I let the student steer the ship some as well, working on what they want to improve for a percentage of the time. If a student does not meet my requirements or make the progress that we both want, I require them to then keep a practice log for several weeks. This is very revealing to both of us. Berklee Practice Method: Get Your Band Together Bass a student does not do Berklee Practice Method: Get Your Band Together Bass work, I give them a couple of chances to pick it up. If they don't, after 2 CTJ meetings some will know what that means I don't allow them to sign up for my course again. I have no hard feelings, and I do not hold grudges. If they say they have picked up their game, they can have an hour to prove it. If they do prove it, I will resume. I encourage student to record their practice, lessons, Berklee Practice Method: Get Your Band Together Bass above all, their playing. If I suggest a particular player for the student to listen to, and they don't know who it is, I require them to google everything they can, come back with 5 tunes from them, and tell me about that artists career. I am surprised at how many historical holes there are in many young players. I may apply in different proportions and through different means, but the content stays very consistent. Mewtwoberchupacervezayellowmiata and 4 others like this. Jan 4, 3. Oct 31, Boston, MA. I agree with everything that Steve said. The only thing I would add at this point is that I like to help a student learn how to practice all that great stuff. That takes place in part of some lessons or even an entire lesson. We practice together so the student gets started with me and begins to focus and move forward. Then he or she has a specific direction to go in while improving their weaknesses. Once there is progress a student can gain encouragement and begin to succeed toward mastery of certain things. Don't be overwhelmed by the huge amount of things to practice. Get the fundamentals rhythm, reading, ears etc. Rome wasn't built in a day. One solid, stone at a time. More later. He showed me how to practice and listen to detail. I was blessed to have his direction. Some of the topics I teach involve advanced Improvisation concepts. Here's a brief description of some areas where many students are lacking vocabulary. Use of symmetric, diminished scales and their relationship to dominant 7th chords. Use of symmetric, augmented hexatonic scales related to Coltrane's music. Two, three, four and six tonic systems, each splitting the octave equally and creating tonal centers through which one can improvise like going through a worm hole. Creating composite scales to navigate through any kind of chord, changes. I call it chain links. Basically connecting by step to the next chosen chord scale. Creating 12 tone rows using 4 note tropes in groups of 3 or 3 note tropes in groups of 4. Also voice crossing between the 2 whole tone scales. Intervalic approaches to improvisation, diatonic Berklee Practice Method: Get Your Band Together Bass non-diatonic. Building rhythmic motives and developing bass lines and solos from those motives. In the meantime listening is of the utmost importance. Transcribing either by simply playing along and picking things up by ear or writing down what you hear or ideally both. Written transcriptions are much more demanding as they involve notation. This is extremely beneficial in terms of learning to read music better and gaining a broader understanding of theory. Rhythmic notation can be quite complex and really help you learn to read rhythms. Many years after learning all of Ray Brown's bass lines and solos on We Get Requests with Oscar Peterson I helped a student transcribe all of the album I did most of the work it became clear that what sounded like a simple blues lick was in fact a sextuplet consisting of both 8th and 16th note triplets combined and plenty of syncopation. What an eye opener! And that as they say was just the tip of the iceberg! Jan 9, 4. Feb 17, One of the main goals I focus on in lessons is to teach the student to teach themselves- as Bruce said helping them learn how to practice- finding the best Berklee Practice Method: Get Your Band Together Bass for warming up or the most effective method for reading or transcribing, for example. It's a different prescription in each case, but in every case I aim to inspire, work on fundamentals that I hear are lacking, and find the groove. These methods, as our chairman Steve put it, are in constant development. I can only teach what I know, and fortunately very often in the lessons I am able to call upon my experiences and use material of the artists I'm playing with and or have worked with in the past. I am an eternal student myself and it is truly inspirational to work alongside so many great teachers and players, and also to learn from my students! Here are some general and specific concepts and methods I use in teaching: -Remember the three words that Ray Brown said: "Never Stop Practicing! What we teach in the Berklee Bass Department | Holiday Deals in Effect. Enjoy Sub-Netflix prices for ! Now is the time to learn bass from the best in the business. Featuring college professors, world-class educators and artists from top tier bands like Megadeth and Mr. Big, JamPlay has something Berklee Practice Method: Get Your Band Together Bass everyone.
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