Follow jazzbasslines on Twitter Constructing Walking Jazz Bass Lines Book II : Walking Bass Lines - Rhythm Changes in 12 Keys Upright Bass & Electric Bass Method 138 pages | -

Constructing Walking Jazz Bass Lines Book II  : Walking Bass Lines - Rhythm Changes in 12 Keys     Upright Bass & Electric Bass Method   138 pages

JAZZ BASS LINES UPRIGHT BASS ELECTRIC BASS walking bass lines CONSTRUCTING WALKING JAZZ BASS LINES

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Rhythm changes in 12 keys jazz bass lines walking bass lines ISBN9780982957028a


Rhythm changes in 12 keys jazz bass lines walking bass lines ISBN9780982957028b


Rhythm changes in 12 keys jazz bass lines walking bass lines ISBN9780982957028c


Rhythm changes in 12 keys jazz bass lines walking bass lines ISBN9780982957028d


Rhythm changes in 12 keys jazz bass lines walking bass lines ISBN9780982957028e



Rhythm changes in 12 keys jazz bass lines walking bass lines ISBN9780982957028f

Rhythm Changes in 12 Keys is Book II in the " Constructing 

Walking Jazz Bass Lines " series for the Double Bassist and Electric

Jazz Bassist.

Rhythm Changes in 12 Keys compliments Book I " The Blues in 

12 Keys " by following on with an in depth study of  " must know 

Jazz chord progressions for the aspiring Jazz Bassist.

Rhythm Changes in 12 Keys is a complete guide demonstrating the 

devices used to construct walking jazz bass lines in the jazz tradition.

   Part 1 of the book outlines and demonstrates the various 

techniques used by professional Jazz Bassists to provide forward 

motion and a strong harmonic and rhythmic foundation into bass 

lines.

   All exercises are designed to give the Double Bassist and Electric 

Bassist strong jazz bass lines in the bottom register of the instrument.

   An additional bonus for the Double Bassist,  Part 1 provides a 

complete study of Bb Rhythm Changes whilst in the first position. 

This is an excellent technical study for building strength, improving

intonation and being able to walk strong bass lines at increased 

tempos in the bottom register of the instrument.

   Part 2 expands on the lessons and techniques used in Part 1 

providing the aspiring Jazz Bassist with the previous devices used in

professional level bass lines in all 12 keys. Providing over 70 choruses 

of Rhythm  Changes in all 12 keys using the whole register of the 

instrument. In total there are over 100 choruses of Rhythm Changes

included in Part I and Part II of this book.

   There are many advanced principles applied in the following bass 

lines whilst never losing sight of the functioning principle of the bass

in the jazz idiom. To provide a strong foundation of rhythm and 

harmony for the music being played & providing support for the 

melody and or soloist.


TABLE OF CONTENTS


Part 1 Rhythm Changes ..............................................................

The AABA Form .......................................................................

The AABA Structure in Digital Form ........................................

Diatonic 7ths in the key of Bb major .................................. .......

The "2" feel  ................................................................................

Embellishing the "2" feel  ...........................................................

The Dominant 7th chord  ...........................................................

Chromatic approach from below  ...............................................

Chromatic approach from above  ................................................

Chromaticism and the walk up 

and the walk down  .....................................................................

Repeated notes and chromaticism  ..............................................

Harmonic anticipation and 

playing across the bar line  ..........................................................

Voice leading and 7th chords  .....................................................

Pedal points  ................................................................................

Tri-Tone substitution  .................................................................

Expanding on the use of Tri-Tone substitution ...........................

The Turnaround ...........................................................................

Turnarounds and the AABA Form .............................................

Rhythm Changes the "A" section progressions ...........................

Rhythm Changes the Bridge  ......................................................

Secondary Dominant Chords ......................................................

Rhythm Changes the Bridge chord substitutions ........................


Part 2  Rhythm Changes in 12 Keys  ....................................... 


Rhythm Changes in Bb ...........................................................

Rhythm Changes in B .............................................................

Rhythm Changes in C .............................................................

Rhythm Changes in Db ...........................................................

Rhythm Changes in D .............................................................

Rhythm Changes in Eb ...........................................................

Rhythm Changes in E .............................................................

Rhythm Changes in F ..............................................................

Rhythm Changes in Gb ...........................................................

Rhythm Changes in G .............................................................

Rhtyhm Changes in Ab ...........................................................

Rhythm Changes in A .............................................................


In Conclusion ..........................................................................

         

           RHYTHM CHANGES


Rhythm Changes like the " Blues " is an essential part of the Jazz 

musicians vocabulary.

The following chapters provide various insights into how the Rhythm 

Changes song form may be approached. 

  It is essential for the aspiring bassist to learn the following material

in all 12 keys as layed out in the following chapters. It is then 

advised that the student take the various lines and devices and build

their own bass lines by substituting various A section or B section

bass lines from the examples within. 

  Write the lines out on manuscript. 

This will enable the student to compose and hear their own bass 

melodies and to accelerate the process of becoming a Jazz Bassist in 

their own right. 

  It is essential for the Jazz Bassist to have a strong understanding

of the harmony of the music being played, a solid rhythmic 

foundation but most importantly to have  their own sound and 

identity. 


Enjoy the book. 


Customer Reviews

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Average Customer Review
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Most Helpful Customer Reviews

5.0 out of 5 stars Highly Recommended Jazz Bass SeriesApril 15, 2011
This review is from: Constructing Walking Jazz Bass Lines, Book 1: Walking Bass Lines- 
The Blues in 12 Keys Upright Bass and Electric Bass Method (Paperback)
Recommending both Book 1 (The Blues in 12 Keys) and Book 2 
(Rhythm Changes in 12 Keys) as a pair for building a firm foundation in 
learning how to play Jazz bass lines: 

The 12-bar blues and "Rhythm" changes (coming from "I Got Rhythm") 
are two of the fundamental building-block progressions in Jazz. Together, 
they form a basis for understanding much of Jazz. These progressions, or 
portions of them, are used again-and-again throughout the Jazz repertoire. 
Yet, it is nice that so many variations are given on the basic A-part of the 
Rhythm Changes progression, since that is the way it really gets played: 
not just the same lines repeated over-and-over. 

I am particularly pleased that all the examples are completely written-out 
note-for-note; whereas in many books by other authors, an example will 
be given in one key with the other keys being left up to the student to 
figure-out! I always found that to be extremely frustrating. 

Writing-out all the bass lines instead of just the chord symbols lets the 
student learn the actual melodic motion of bass lines in the way that 
they are really used. The use of scale-type phrases, chromatic lines, 
occasional wide interval leaps, and rhythmic variations 
(such as quarter-note triplets and dotted-eighth/sixteenth notes) ...in full 
context... really puts it all in proper perspective. It shows how those 
devices are actually used! That's the stuff people learn-from through 
specific examples! Then once the student becomes familiar with it all 
and gets the hang of it, he or she should be able to call on these ideas in 
increasingly improvisational and hence musical ways. 

The books will be very useful in learning these specifically important Jazz 
progressions in every key, which practically every Jazz teacher tells me I 
should do! Many years of Jazz music-theory training gives me enough 
insight to recognize that the given examples will be very useful tools in 
gaining a good grasp of the melodic nature of walking bass lines. 
Additionally, the appearance and lay-out are comfortable to look-at, 
which makes it all easier to read; and I like the Jazz fonts!

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