Section , the material here is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes.
This collection is for educational purposes only. Navigate this file via the table of contents in your browser,. The development of a repertoire is a much larger area of study than just the mastery of works prepared for performances and auditions however.
For the contemporary bassist, repertoire involves the intimate knowledge of a vast catalog of recordings and countless melodies, transcribed basslines, chord progressions, rhythms, and improvised solos. The history of the instrument, as well as the technique needed to perform modern music is accessed via these assimilations. In this way much of modern jazz repertoire is, initially, the recording or performance itself. This compilation began with transcriptions created for private double bass students at the Manhattan School of Music Precollege Jazz Division, and as a representation of the interests, experience levels, and demands of the program.
The project soon grew to incorporate pieces encountered in professional situations and those transcribed for personal use, becoming a working notebook of large and small excerpts used to study a variety of players and perforrmances. Many of the enclosed were transcribed and studied in tandem with students so as to compare our interpretations in successive weeks. The shared discoveries became highlights of our time together, demonstrating a mutual exploration of the double bass and the art of improvised music.
Each piece was chosen from a widely available and historically significant recording, one that was listened to and dissected repeatedly as the piece was developed. This process of listening and cultivating the strongest internal sound and rhythmic concept is paramount for all elements of double bass practice. In this way the repertoire forms an essential sound image at the core of a player's aesthetic, the larger discography evolving into a primary point of creative reference.
The contents here are grouped by categories into blues, melodies, basslines, and solos, although many include basslines of various lengths, and some contain all of the above. Transcriptions within each section are roughly sequenced from a beginning to advanced level.
While many of these pieces took several months to develop, some of the shorter excerpts portions of solos or basslines could be played and benefited from in a manner of hours. This addition of shorter, preliminary transcription excerpts was directly inspired by the Progressive Repertoire for the Double Bass series by George Vance, which has become an indispensable tool for fast-tracking technique.
The nature of short pieces united with manageable and repeated technical challenges facilitates an accelerated progress in fundamental areas. The inclusion of duets to be played by teacher and student is also a natural advantage to any method.
These transcriptions are not meant to necessarily be studied sequentially, the course of practice being left entirely to the needs and interests of the player.
The technique of playing jazz double bass is necessarily immersive, with students quickly moving beyond the instrument to develop their listening skills, theory, familiarity with the piano, aural skills, and, of course, the ability to construct walking basslines. Hence these examples include selected piano, horn, and drum transcriptions to encourage study and practice of these elements.
Importantly, this process should emphasize rhythmic practice away from the bass. These separate parts help demonstrate the fundamentally interactive nature of jazz improvisation, accepting that one part is created and best understood in relation to the other players in the group. Melodies and solos not originally played on the bass are often transposed into appropriate octaves to accommodate the instrument.
Some solos and arrangements have been altered further to create slightly more playable versions. Other works, while transcribed from given recording, have been adapted and arranged as double bass duets or trios. This text is offered to all those who wish to explore, develop, or correct its contents.
The material should be disseminated freely but for educational purposes only, and with all credit given to the relevant composers, performers, and bassists involved. It is a work in progress, one that will be updated in years to come so as to include the countless additional performances that deserve to be studied in detail. It is hoped that this text may inspire others to create similar collections of material relevant to their own personal growth, understanding that the undertaking of such an endeavor is vital for the development of the player.
Thank you to the young artists who have shared their energy and dedication to their instrument each week, and for inspiring all of their teachers to rise to the occasion.
Thank you to Linda May Han Oh for the privilege of letting me share her students during her tenure, and offering invaluable ideas on how best to support them. Thank you to Chris Rosenberg for leading the MSM precollege jazz program for so many years, and for providing the foundation needed to guide students, parents, and faculty toward their creative goals. Childhood Is Forever. Jazz pour dormir. Natural Reserve.
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