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MASTER CLASS & PRIVATE STUDY

Thursday, April 8th, 2010 3:35 PM

Private Instruction

--> as bassists in today's world of jazz we tend to get overlooked and under"listened". sad to say most of the blame lies within us. we have fallen into this lazy tendency of "o they're not listening anyway" and subject ourselves to the "stock" bass lines. the reason they're not listening friends is because we're not giving them anything to listen to. it's about our note choice, our sound, our harmonic choices, our rhythmic choices; if we investigate these options and apply them to our performances, we can achieve better results and explore more possibilities!
 
In the Private Studio, we work on a multitude of ways to ameliorate your performance in the practice room and on the gig.
 
--->We'll look at the necessary tools for achieving a good sound on your instrument,
--->Using the Piano as a tool for insight into structures of harmony on the bass; and to your advantage on the gig,
--->Using the Drums as a tool for insight into structures of rhythm on bass; and to your advantage on the gig,
--->Learning and retaining jazz standards,
--->Understanding and using the harmonic and rhythmic choices while accompanying a soloist.

Monday, March 29th, 2010 6:23 PM

Master Class Outline

FOCUS OF MASTERCLASS
 
A. BASS
 
    1. Sound
        a. achieving the best sound, with the least amount of work
 
        b. making every note audible whether playing short or long notes
           *when playing long notes, striving to have all the notes the same length
 
    2. Technique
        a. knowing every note of the bass
 
        b. ways to practice better technique
 
B. ENSEMBLE PLAYING
 
    1. Note Choice
        a. when playing with a group, finding the notes to expand the harmonic sound while still
            playing the changes.
 
        b. influencing the soloist with your notes
 
    2. Rhythmic Choice
        a. whether playing in odd meters or even, knowing what is the underlying rhythmic
            pattern and finding a bass line to correspond accordingly
 
        b. knowing how short & long notes effect the rhythm
 
    3. Listening & Responding
        a. learning and applying how to react to a soloist or accompanist while still being in the
            moment.
 
C. IMPROVISATION
 
    1. Melody
        a. using the melody to construct a good solo
 
    2. Singing
        a. using singing as another means of expression and as a way to practice learning tunes
 
 
D. COMPOSITION
 
    1. Harmonic & Rhythmic Structures
        a. finding what harmonic & rhythmic structures suit you
 
        b. finding and hearing and developing harmonic & rhythmic to play and compose
 
    2. Techniques
        a. using the piano first and conceiving simple motifs and then applying them to paper
 
        b. using written techniques first, conceiving simple motifs to apply to the piano

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