2015年1月16日星期五

101 Bass Tips: Stuff All the Pros Know and Use by Gary Willis




Paperback: 80 pages
Publisher: Hal Leonard (January 1, 2002)
Language: English
ISBN-10: 0634017470
ISBN-13: 
978-0634017476

(Bass Instruction). Ready to take your playing to the next level? Renowned bassist Gary Willis presents valuable how-to insight that bassists of all styles and levels can benefit from. The text, photos, music, diagrams and accompanying 64-track CD provide a terrific, easy-to-use resource for a variety of topics, including: techniques, improvising and soloing, equipment, practicing, ear training, performance, theory, and much more.

2014年7月16日星期三

Building Bass Lines By: Chuck Archard


























Number of Pages: 96
ISBN: 0882849212
WAPI (Tower ID): 112388336
Release Date: July 1, 1998

This book teaches everything you need to know to create great bass lines. An easy-to-use, step-by-step approach to basic theory is given as a foundation, and then the essential styles-and many styles within each style-are explored from the bass point of view. Learn how the bass fits into the group, the important bass techniques for each style and even what tempos to expect. Bass players, arrangers and composers alike will love the hundreds of tips and sample bass lines. A CD demonstrating all the examples and for playing along is available.

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2014年7月14日星期一

Hal Leonard Electric Bass Composite Method by Dan Dean



Hal Leonard Electric Bass Composite Method," by Dan Dean. Hal Leonard Publ., 1982, 1996, 144 pages, 3 CD's, 



This book is the master volume of the popular series by Hal Leonard, and contains all of books I, II, and III, from front cover to back. It is geared to the very beginner, and slowly builds up from exercises on each string, to playing a few tunes. After you have mastered 8th notes and dotted quarter notes in the first section, it's off to section 2 for a bit of theory, major scales, minor scales, 16th notes, slapping, and song play-alongs (check out the Punk tune!). Going down the home stretch in section 3, you find intervals, octaves, chord theory, more slap and pop, tips on using effects, and more tunes. The examples are presented in a very user-friendly manner, and the concepts are easy to troll through.

Before you go buy the book just because it has three compact discs, it should be noted that they each have 14:32, 17:16, and 14:12 minutes of playing time respectively, all of which would have comfortably fit on one CD. More importantly, Dean's arranging and production on the CD's are top notch. Some of the bass lines written in the book appear almost too simple at first, but become instantly brilliant when they are played with the musical examples. Last Chance, MP3 370k. This factor should make this book much more fun for the novice player that wants to get their feet wet in a pseudo-performing situation.

Each of the volumes are available separately, and it is advisable to teachers to start with Book 1 with their students. The only downfall is that if you're trying to teach sightreading, there is plenty of opportunity for the student to fall back on the tabbed examples. Another reason to start with Book I is that most beginners are not sure about how serious they are, and $9.95 (book/CD) is not as bad of a hit if they change their mind. With 48 pages and a CD, it will be easier for students to prove themselves before they go to bigger and better things, and you will both have a more reasonable goal. All that aside, if you are a self learner and want to save a few bucks, go straight for the Composite. 144 pages later, you'll have a nice foundation to build from.

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101 Blues Patterns for Bass Guitar by Larry McCabe

























This collection showcases a variety of bass patterns that can be applied to blues recordings and performances, even by the novice. Included among the 101 patterns are ten standard blues turn-arounds and ten standard blues endings that can be used in literally thousands of songs. In addition, the book provides several pages of valuable music theory and other information on blues progressions. In notation and tablature. The companion CD is in split-track play-along format with each bass played four times.

Product Details
•       Paperback: 40 pages
•       Publisher: Mel Bay Pubns (August 2, 1996)
•       Language: English
•       ISBN-13: 978-0786625598

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實戰電貝司


內容簡介

貝司全名為Bass guitar(低音吉他),是電聲樂隊(搖滾樂隊)中重要的、不可或缺的低音節奏樂器。這是一本特別的、和其他貝司教材不一樣的入門教程。書中包括各調音階位置及聯繫,各種節奏形態及練習,由淺入深的樂理和聲知識,詳細的演奏技巧,個性化炫技的Slap(擊勾)技術,同時還選用大量經典、流行的歌曲(樂曲)作為實踐練習,學為所用。




















零起點由淺入深循序漸進的教學系統
簡譜與四線譜對照易懂實用
海量練習曲幫你掌握所有貝司技術點和知識點
433條巨量練習示範音訊
獨一無二的貝司獨奏炫技曲

作者簡介
孫冠宇:瀋陽師範大學音樂學院貝司教師。
孫遜:湖南文藝出版社音樂圖書特約作者。先後出版《吉他彈唱許巍特輯》《吉他彈唱速成攻略》等多部專著。深受廣大讀者青睞。

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2014年7月11日星期五

超絕BASS地獄訓練所


ベース・マガジン 地獄のメカニカル・
トレーニング・フレーズ
史上最凶トレーニングで修行せよ!



[目錄]
第1章 左手強化
第2章 右手強化
第3章 節奏訓練
第4章 Tapping·練習
第5章 Slap·練習
第6章 應用短句練習
第7章 総合練習曲

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2014年6月4日星期三

Billy Sheehan 談貝司基礎


超級的慢速彈奏,也可以撥片,下撥,上挑,擊鉤多種方式,你打下堅實的基礎,才能成為日後優秀的貝斯手
一旦你遇見困難,停下來,解決它,然後再繼續學習,一個指頭彈四個音之後,接著用下一個指頭開始彈四個音的第一個音,就叫:指頭跳躍的問題。就是:One start another finger each time(怎麼翻譯啊,應該是:每次指頭都依次撥弦吧)。不能用一個指頭同時撥兩次弦,一個指頭撥完,下一個指頭馬上跟上
簡單到荒唐了,但是,這就是成為被貝斯手的基石,稍後音樂是另外的事情,現在就機械地練,弄四下的,一二三四,一二三四,有些人可能對時值不敏感,也不要緊,稍後再說它,現在就是撥弦,儘量均衡持續,也可以兩個指頭交替,有點複雜,每個彈八下,用節拍器。三指交替,指頭是奇數,撥弦是偶數,這就需要指頭依次上了,就用節拍器,比利彈了三十六年多了,至今還在這樣練習,並且一練就是幾個鐘頭。
這樣聽起來太簡單了,就一根弦一根弦地移動,目前別理左手,先把右手解決好,我們不理什麼和絃,音節,理論,就是機械地撥弦。就撥兩個弦,每一個撥弄八下,你越穩定,你越有希望成為優秀貝斯手。
右手食指撥一下琴弦吧,一撥,你的整個學琴生涯就開始了。你想得到一個音符,你就得扒拉一下,這聽起來很簡單,每個人都可以這樣做,要使音持續一致,最好是是用節拍器或者跟著唱片,錄音帶,播放機的音樂一起彈,比利也這樣練習,跟磁帶吧(我們這個時代可以跟著電腦)
老早以前,那貝斯下面還有一個小橫條粘在下面,就是琴體一弦下面的位置,你就把幾個手指靠在那裡,然後用拇指吧啦,你可以用一個指頭,兩個,三個,四個,五個彈都可以。也可以擊鉤,也可以撥片,想怎麼弄就怎麼弄。一個重要的事情是,為你的拇指找個支點,因為你要用力撥拉弦。
比利手上這個琴是可以主被動拾音器轉換的,有一個切換裝置,比利說越簡單越好,這個不解釋。他還是說了,裝置越多的設備,麻煩越多。主動的聲音比較猛,被動的較為溫暖柔和,你可以都感受一下,然後自己決定選什麼,比利把優略擺出來了,你自己做決定。
選一個被動的就是不用電池的,直接插外接電源就能幹活,因為你要是選主動的供電那種,演出時你會多一個分心,是不是我的電池出問題了?為了減低分心,就選不用電池的。
要把琴變成你的一部分,走哪裡都帶著,有時間就彈,選貝斯時,試一試,坐下來感覺一下,直到你認為適合你才決定買。即使是貝斯的長相,也影響你的情緒,信不信由你。
開始時盯住一個琴猛彈,不要換來換去的,一旦你認准了一個琴就一直幹下去,(比利幹雅馬哈二十年了),如果你發現你的寶貝有問題,別躲避,把問題解決掉再說,因為他見過一些學生遇見問題就回避了,這樣耽誤了很多時間,像Jaco那個天才一樣,他一輩子(很短36歲就結束了)就帶著一把琴這裡那裡的演出。
選一個貝斯,最少是四弦的,也有五六弦的,五弦就是比低音E還低的,是低B的,其實有一種誤解就是:五六弦的難彈,或者說是你是一個高手,因為你彈五六弦的。比利說那樣理解是不對的,他自己就是一個永遠彈四弦的傢伙。他也有一個六弦的,一旦你習慣了,也不是很彆扭,這樣說來,你就先做一個選擇,為什麼選貝斯很重要呐,一個原因就是你和她朝夕相處,你一定要喜歡她,不然你看到就煩,你根本就不想彈了,一點也不誇張,比利就見過有人因為琴不好看或彆扭就放棄了。

本文轉載于優酷張書彬,感謝