CHITARRA LAMPO

METHODS FOR BASS GUITAR

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10 - 11 - 12 - 13 - 14

2578 EXPANDING WALKING BASS LINES. CD

Euro 20,99

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EXPANDING WALKING BASS LINES.

LIBRO PER BASSO CON CD

Expanding Walking Bass Lines
BASS BUILDERS

Series: Bass Instruction
ormat: Softcover with CD
Author: Ed Friedland

A follow-up to Building Walking Bass Lines, this book approaches more advanced walking concepts, including model mapping, the two-feel, several 'must know changes,' and other important jazz bass lessons. CD includes a jazz trio for practicing standard tunes.

Inventory #HL 00695026
ISBN: 9780793545865
UPC: 073999950267
Width: 9.0"
Length: 12.0"
56 pages

- PRE-RECORDED JAZZ TRIO FOR PRACTING STANDARD TUNES
- SCALES TONES, CHROMATIC PASSING TONES AND NON-CHORD TONES
- INTERPRETATION OF CHORD SYMBOLS WITH TENSIONS
- PLAYING OVER MODAL TUNES
- PEDAL POINTS
- EXPANDING THE ''TWO'' FEEL
- RHYTHM ESSENTIALS

Preface
In the first book of this method, Building Walking Bass Lines, we learned many of the basic skills needed to create good, solid lines from a set of chord changes. The techniques discussed were: finding the root motion, adding the fifth, approach techniques (chromatic, dominant and scale), scale wise motion, resolving to chord tones other than the root, arpeggiation, indirect resolution, and chromatic motion.
If you are not familiar with these concepts, I recommend you use Building Walking Bass Lines before attempting to work through the material in this book. It is crucial to your understanding to have a good foundation with the rudiments of walking. The information presented in this book will be most useful to those who have a firm grasp of these basic skills.

Goal Statement
This book will expand on your knowledge of the basics by focusing on some of the finer points of walking bass lines. You will be exposed to some practical concepts to help you become more functional in a jazz rhythm section. We will branch out from the "straight ahead" and learn to stretch the boundaries of tonality.
It is also a goal of this method to provide you with an opportunity to experience some "real world" situations and develop the skills to cope with them.

Acknowledgments
Thanks to my family. Sonia, LeeEllen and Aimee Friedland, and David Taylor. Thanks also to Jim Roberts Bat Bass Player Magazine, Larry Fishman of Fishman Transducers, Bill Brinkley, Michael Merrill, Tom Hamilton, Athena, Lu Ann, Ed Siegfried, Dave Flores, and everyone at Carvin, and GHS strings.

About the Author
Ed Friedland is a graduate of the High School of Music and Art in
New York City, and a former faculty member of Berklee College of
Music and Boston College. He is a frequent contributor to Bass
Player Magazine. His performance credits include Larry Coryell,
Michal Urbaniak, Robben Ford, Mike Metheny, Johnny Adams,
Linda Hopkins, Robert Junior Lockwood, Barrence Whitfield and the
Savages, Martha and the Vandellas, The Drifters, Brook Benton, the
Boston and Tokyo productions of Little Shop of Horrors, the Opera
company of Boston, and the Boston production of A Closer Walk with
Patsy Cline. Ed is involved in producing and arranging with Bass
Station Music. He has a M.Ed. from Cambridge College, Cambridge,
Massachusetts. He uses Carvin basses, GHS strings and Fishman
transducers. Ed resides in Tucson, Arizon. Photo: Jean Hangarter

Using the Audio
The audio portion of this method is of equal importance to the text, since learning to walk without the
opportunity to hear the lines is an incomplete experience. In view of the scarcity of clubs around the world
where you can go sit in and experiment, I have provided an alternative. However, if you have the opportunity
to play at a jam session, or do a jazz gig, by all means take it. There is no replacement for the actual experience
of playing in a live rhythm section. I hope you will get to play with players as great as the ones I hired for this recording, Brad Hatfield on piano and Jim Lattini on drums.
This method's audio uses a split-stereo mix with piano and drums on the left channel, and bass and drums on the right channel. This configuration will allow you to turn off the bass track and play with the piano and drums. It will also make it easier to hear the bass track when learning the lines by ear, and transcription.
The examples in the book marked with a CD.
icon have a number that corresponds to the number on the audio. The example number is given and then counted off with a click. The click is a two measure count off, two half notes, and three quarter notes, leaving beat four of measure two blank. For example: 1. .. 2 ... 1, 2, 3, ... (play).
There are many opportunities in the book to create your own lines. These are the examples with chord symbols and slashes without a specific written bass line. It is more common for the bass player to encounter this type of reading in the real world, so these examples are very important. The bass lines for these examples are not written in the book, so they provide an excellent opportunity to practice learning by ear. Go the extra mile and transcribe these bass lines. Writing music on paper is one of the best ways to improve your ability to read music. Remember, you can use any of the chord progressions presented to practice any technique learned. If you want to practice fingered triplets with a progression from another part of the book, go ahead.
The last section of the book, the Appendix, includes ten jazz progressions. The last three progressions have no chord changes written. These "mystery tunes" are included to provide you with the challenge of learning a song completely by ear, with no prior iMormation given. As difficult as this may seem, thousands of bassists do it all the time. "Faking" tunes is an important skill that bass players must have to survive in the real world. It is not my intention to have this book become a full-scale primer of all the background information one needs to develop this skill; that comes from years of experience. There are suggestions given to help you develop an awareness of the process, things to listen for, hints about form, but nothing concrete.
This process is more like sorcery than science.
This book will not guarantee your ability to swim when you're thrown into the deep end of the pool, but it may save you from drowning! Stick with it, give it time, and keep your ears open!

Table of Contents
Preface .
Goal Statement .
Acknowledgements .
About the Author .
Using the Audio .
Fine Tuning Your Time Feel .

Part One
Overview .
A Disclaimer .
Introducing Rhythms .
Eighth Note Triplets .
Rests .
Combining Rhythms and Rests .
Adding Rhythmic Embellishment .
More Practice with Skips ,
Skips with Dead Notes .
Lift-off Dead Notes ,
Putting It Together .
Using Triplets .
Even More Triplets .
Triplets with Dead Notes .
Expanding the "Two" Feel .

Part Two
Overview .
Targeting Non-chord Tones .
U sing Scale Tones as Targets .
U sing Chromatic Passing Tones as Targets .
Interpreting Chord Symbols with Tensions .
Playing Over Modal Tunes .
Create Your Own Modal Map .
Pedal Points .
A Listening Assignment .
Walking Open: The Art of Implied Harmony .
A Closing Word .

Appendix
U sing the Appendix .
Tune 1: ABAC form .
Tune 2: "Rhythm Changes" A section .
Tune 3: Several Key Centers in A section .
Tune 4: "Expanded Two Feel" .
Tune 5: Modal .
Tune 6: Bridge Modulations .
Tune 7: Repetitive A section .
Three Mystery Tunes .
Things to Consider .
Things You Should Know .
Things You Can Do .
Notation Legend .

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1179 FAST FORWARD, CLASSIC METAL BASS. CD

Euro 20,00

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FAST FORWARD, CLASSIC METAL BASS. Nello stile dei Black Sabbath, Metallica, AC/DC. CD TAB.

Description
An exciting new series of 12 instrumental instruction books. Includes complete music for all riffs, licks, hints and tips, plus easy-to-follow instructions, tips and advice. Accompanying CD allows you to listen and play along to the matching audio tracks. Learn four great songs, building up your metal bass styles pattern by pattern and groove by groove. Includes the music of Metallica, AC/DC, Thin Lizzy and Black Sabbath.

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1180 FAST FORWARD, METAL BASS STYLES. CD

Euro 18,00

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FAST FORWARD, METAL BASS STYLES. Musica e basi per chitarra basso complete, in stile: Black Sabbath, AC/DC, Metallica, Guns N' Roses, Lizzy. CD TAB.

An exciting new series of 12 instrumental instruction books. Includes complete music for all riffs, licks, hints and tips, plus easy-to-follow instructions, tips and advice. Accompanying CD allows you to listen and play along to the matching audio tracks. Play authentic HM bass lines with this fantastic book and CD pack. Learn to play five great songs in different styles, discovering how bands such as Guns N' Roses, AC/DC and Metallica make their great sounds.

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1216 FINGERBOARD HARMONY FOR BASS. Gary Willis, CD

Euro 20,00

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FINGERBOARD HARMONY FOR BASS. Gary Willis, 100 esempi e esercizi; posizione della mano, e molto altro. Con diagrammi. CD

Series: Bass Instruction
Medium: Softcover with CD
Author: Gary Willis
A comprehensive source for learning the theory and geometry of the bass fingerboard by one of today's leading players and instructors. Audio features Gary Willis demonstrating 99 examples and exercises. 72 pages.

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4716 FRETLESS BASS, Brunell. CD TAB.

Euro 19,00

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FRETLESS BASS, Brunell. CD TAB.

A Hands-On Guide Including Fundamentals, Techniques, Grooves and Solos
Series: Bass Instruction
Softcover with CD - TAB
Author: Bunny Brunel
Author: Josquin des Pres

Grammy nominee and fretless bass pioneer Bunny Brunel teams up with bestselling author and session bass player Josquin des Prés to offer the first book/CD tutorial dedicated solely to the development of skills on the fretless bass. Covers: fingering and intonation exercises; vibrato, slides, double stops, sliding harmonics and other techniques; pop, funk, Latin and fusion styles; and much more - including two complete solos! The book features standard notation and tab, and the accompanying CD includes 71 helpful demonstration tracks. 40 pages

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2575 FUNK BASS. Liebman. CD TABLATURE

Euro 20,99

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FUNK BASS. Liebman. THE BEST SINGLE SOURCE FOR PLAYING FUNK AND SLAP-STYLE BASS. CD TABLATURE

LIBRO PER BASSO CON TABLATURE

Funk Bass

Series: Bass Instruction
Format: Softcover with CD - TAB
Artist: Jon Liebman

Critically acclaimed as the best single source for the techniques used to play funk and slap-style bass! Includes a foreword by John Patitucci and is endorsed by Rich Appleman of the Berklee College Of Music, Will Lee, Mark Egan, Stuart Hamm and many others! Features several photos and a special section on equipment and effects. A book for everyone - from beginners to advanced players! Includes a 58-minute audio accompaniment. CD TABLATURE

Inventory #HL 00699348
ISBN: 9780793516209
UPC: 073999993486
Width: 9.0"
Length: 12.0"
96 pages

INTRODUCTION
The goal of this book is to introduce the contemporary bassist to the funk style of playing. Many books of this type miss the point of what is required of a bass player. Being able to execute a bunch of fast funk licks may dazzle your friends and relatives, but it won't make your phone ring off the hook from contractors and record producers calling you with work. In the real world, you'll be hired according to how well you understand your role as a bass player and how well you do your job. This book will guide you toward those goals in a logical, step-by-step "real-world" approach.
Chapter I, A Word On Practicing, emphasizes the importance of proper practice habits. It includes discussions on metronomes, drum machines, live drummers, tape recorders, utilizing recordings, attending live concerts and maintaining a music notebook.
Chapter 2 begins illustrating the fundamentals of funk bass playing - how to "slap" and "pop." The emphasis here is on precision and proper execution. The exercises in this chapter are developed into some basic funk patterns in Chapter 3.
Chapter 4 introduces some stylistic elements, such as the "hammer-on," the "pull-off," the slide, the trill, the shake and the bend (no, it's not a dancing lesson!). These are the so-called "tricks of the trade" that will make your playing sound funkier.
The focus in Chapter 5 is on establishing a groove - the most important element of playing the bass. If you're going to get anything at all out of this book, get this: GROOVE IS EVERYTHING, AND EVERYTHING MUST GROOVE! I can't overemphasize the importance of this statement. It holds true for all musicians, but especially for the bass player and the drummer, because they're the ones that really lay down the time and make the music "feel" good.
Once you understand this concept and are comfortable (honestly!) with Chapters 2 through 5 of this book, feel free to have fun with the licks I have included in Chapter 6. They are intended to illustrate different possibilities of the funk style, help you develop your technique and give you ideas for creating your own funk lines. Remember, your job is to groove and support the band. These licks are to be used at your discretion as your taste and musicality dictate. They can work very well as fills within the groove or, of course, for your solos.
It is crucial to be able to play in an keys. Many students of funk bass can really "get down" in one or two keys, but are practically helpless when they have to play for a singer whose song is not in "E" or "A" but in some "weird" key. Because this is so important, I have made sure to include plenty of exercises and licks (and grooves!!!) in all twelve keys. Where other books simply suggest, "try these licks in a few different keys," I felt it was important enough to actually write them out. Of course, you are encouraged to transpose anything in this book into any or all twelve keys. It's good for you! It will help your reading, too.
What's more, the key of"a"is not the same as "J)l.," nor is "Fl" the same as "0," nor "B" the same as "0." By the time you get through this book, you'll be able to read and play in any key. Granted, certain keys (like "E" and "A") lend themselves to greater ease and facility on the bass, because of the nature and tuning of the instrument. Also, some keys may be harder to read, but easier to play in, and vice versa. When you come right down to it, there are no such things as "easy" or "hard" keys, only "familiar" keys and "unfamiliar" keys.
The Appendix, Your Equipment, provides an overview of the equipment common to funk bass players. It includes information on types of basses, strings, amplifiers, speakers and effects. It is intended to "de-mystify" the myriad of products available to musicians today, and offers insights into how to invest carefully in the proper tools that will best suit your needs.
At the end of this book I have included a Discography, which is by no means exhaustive, but offers a cross section of some of the greatest funk bassists in music today. It's important that you listen to as much of this music as possible so you understand just exactly what we're trying to do here. If you get a chance to see any of these guys live, don't you dare miss them!

Chapter 1
A Word On Practicing
"Practice doesn't make perfect. Perfect practice makes perfect."
- Vince Lombardi These words, by the late, internationally renowned coach of the Green Bay Packers, are profoundly true. Whether you're talking about music or football, Mr. Lombardi's philosophy still applies. Even if you spend eight hours a day in the woodshed, you could be wasting your time if you don't have proper practice habits. In this chapter, we'll look at what distinguishes "good" practicing from "bad" practicing, and how to make the most efficient use of the hours you spend honing your funk bass skills.
"Did you say bad practicing?" "Does it really exist?"
Absolutely! Do you ever just "wander" around the bass, aimlessly, playing lick after lick? Do you often find yourself charging ahead through bass lines and solos that you already can play inside out? When you practice a part, do you think only of the bass, without considering the interplay between you and the other musicians (the drummer, for one)? Do you practice without a metronome or a drum machine? Or in front of the TV? If you answered yes to any of these questions, you may be found guilty of "bad practicing" and could be subject to eternal banishment from all that's hip, and forced to tap your toes on "one" and "three" for the rest of your life!
When you practice, it's serious business. Create an environment that's conducive to study. Keep distractions out of sight.
Find a time when you won't be disturbed. Convince yourself that you're not hungry or thirsty, and get in the proper frame of mind.
My teacher used to have me keep a log of my practice sessions, which was a great help. Get a calendar, in which you'll record nothing but your practice schedules. Every day, take into account how many hours you're going to spend practicing and what you need to work on, then budget your time accordingly. Write down, for example, 30 minutes for scales and arpeggios, 20 minutes for sight-reading, etc. When the time alloted for each segment expires, move on to the next one, checking things off as you go. That way you're constantly chipping away at everything every day, and won't have to worry about three weeks going by without playing any Stu Hamm finger taps, or whatever else may be on your agenda.
At the end of the week, take a look at your calendar and see how much practicing you're actually doing, versus how much you think you're doing. The results may surprise you.
"Time is of the essence." I don't know who first uttered those words, but they couldn't hold more truth for bassists.
When you're practicing by yourself, always use a metronome, or, better yet, a drum machine. Remember: they're your friends! Concentrate not only on playing in time, but with a good time feel. A GREAT time feel. So what if you know the right changes to 40,000 tunes? Who cares if you can play eighty-bizillion sixteenth notes a minute, or have the "baddest" setup this side of Osaka. THE MOST IMPORTANT JOB YOU HAVE AS A BASS PLAYER IS TO GROOVE WITH A GREAT TIME FEEL. You may think you're playing in time, but the metronome and drum machine will keep you "honest," so use them.
Another way to work on your time feel is to get together with a good drummer and groove. For hours. Don't just fool around, though. Concentrate on "takin' care0' business." Oh, sure, you can still work on your solo chops, but spend most, if not all, of the time on the time. Pick several grooves that you want to work on, and practice them one at a time, over and over, without stopping. Be sure to play in all twelve keys, too. You may want to have your drummer friend program a few grooves into your drum machine, for you to practice with when you're by yourself.
So far, we've got three friends: a metronome, a drum machine and a real live warm body behind the drums. Let's add one more friend to our list: the tape recorder.
Back we go, once again, to the "honesty" category. You think you know what your playing sounds like? Try laying it down on tape and see (hear) if you're right. "Tape recorders don't lie." Recording your playing may reveal many flaws and bad habits of which you may not have been aware. It lets you really zero in on the attack and release of each note, as well as your sustain, intonation, time feel and overall sound. A tape recorder can be an invaluable practice tool.

ACKNOWLEDGMENTS
Sure, I'd like to take all the credit for writing this book. Truth is, though, I had help. A lot of people went out of their way to help me make this project (and it was a project!) move more smoothly, easily and efficiently. I'd like to take this opportunity to acknowledge these people's generosity.
Thanks to the musicians who took the time to talk with me, read my manuscript and actually come up with good things to say about my book:
- John Patitucci: I don't know where you found the time to hang out, John, but I sure do appreciate it. Even though I did have to sit and watch you rehearse your incredible band while waiting to talk to you, really, I didn't mind! Thanks for putting up with all the trans-global phone calls and faxes (what an age we live in!). Thanks for going so far out of your way to help me. Much luck and continued success to you.
- Rich Appleman: A true pedagogue! Thanks for your support and encouragement. Berklee is lucky to have you.
- Brian Bromberg: Glad the word finally got out about what a great player and writer you are. Hell, I've known that for years! Thanks, man.
- Bob Cranshaw: I admire your meticulous, no-nonsense, down-to-business approach. Thank you.
- Mark Egan: I didn't mind sitting through your rehearsal, either! Thanks.
- Stuart Hamm: I am truly honored to have been the one chosen to transcribe the music for your Hal Leonard book.
Throughout the ordeal, though, you quickly went from being my mentor to my tormentor! Seriously, I appreciate all the time we got to spend working together. Now let's go eat!
- Neil Jason: What can I say, Neil? You helped me make the phone company rich! Thanks for all your suggestions, and thanks for being a great guy!
- Will Lee: You sure are hard to get a hold of, but it was definitely worth the effort! Thank you!
Thanks to all my friends, "consultants" and experts in their respective fields:
- Alexis Sklarevski, Dale Titus and everyone at the Bass Institute of Technology, Hollywood, California
Don Coffman, Director of Jazz Bass at the University of Miami Schoor of Music, Coral Gables, Florida
- Tim Emmons and Todd Ferguson at the Dick Grove School of Music, Van Nuys, California
- Dennis Tini, Matt Michaels, Gary Leach and Dan Pliskow of the Jazz Studies Department at Wayne State University, Detroit
- Sid Beshkin: The world's foremost authority on print technology!
- Steve Carryer, Cliff Cohen and Tom Hollyer: three of the most amazing Macintosh wizards on the planet!
- "Dr. Jazz" of Dr. Jazz Operations, Oak Park, Michigan
- Mike "Friedbaum" Friedman. He's my "Mr. Drummer Friend" (see Chapter 1). Thanks for working out all those grooves with me, dude.
- Abe Laboriel: A great inspiration and a true gentleman (and what a bass player!). Thanks for your help and encouragement.
- Herb Mickman: Hey, Herb. Did you hear the one about...?
- Steve Shepard and everyone at Scorpion Systems Group (the "Sybil" people)
- The staff of the Specs Howard School of Broadcast Arts, Southfield, Michigan
- The staff of PM Productions, Southfield, Michigan
Thanks to my merciless proofreaders: Marty Liebman (yo, Bro!), Tom Profit and Rey Sanchez.
Thanks to John Cerullo, Joff Jones and everyone at Hal Leonard Publishing Corporation.
Thanks to Sammi and Josh.
Special thanks to Rey Sanchez (see merciless proofreaders, above). Actually, I don't know whether to thank him, or to blame him! If it weren't for Rey, it never would have occurred to me to write a book (thanks a lot!). That night in Bogota, Colombia - was it just a suggestion when you said, "Hey, man, you ought to write a book. A funk book. Yeah, that's it. A funk book," or was it a dare? Well anyway, here it is! Thanks for the huge hand you've had in my success - all the gigs, all the tours, all those times in the studio. Thanks for introducing me to Jaco. Thanks for your friendship. Where are we going, next?

TABLE OF CONTENTS
Notation Legend .
Foreword by John Patitucci .
Introduction .
Chapter I A Word on Practicing .
Chapter 2 Getting Started .
The Slapping Technique .
The Popping Technique : .
Chapter 3 Some Basic Funk Patterns .
Chapter 4 Style Elements .
The Hammer-on .
The Pull-off .
The Slide .
The Trill .
The Shake .
The Bend .
Chapter 5 Establishing a Groove: .
Chapter 6 Building a Vocabulary For Funk Soloing .
Epilogue .
Appendix: Your Equipment. .
Your Bass .
Your Strings ,
Your Amplifier and Speakers .
Your Effects ,
Discography .
Acknowledgments .
About the Author .
Endorsements .

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2576 FUNK FUSION BASS. Liebman. CD TAB.

Euro 21,00

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FUNK FUSION BASS. Liebman. This follow-up to Funk Bass studies the techniques and grooves of today's top funk/fusion bass players. It includes sections on mastering the two-finger technique, string crossing, style elements, establishing a groove, building a funk/fusion soloing vocabulary, and a CD with over 90 tracks to jam along with. Features a foreword written by Earth, Wind And Fire bassist Verdine White. CD TAB.

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6583 DICTIONARY OF BASS GROOVES, Sean Malone. 34 generi musicali: pop, rock, rhythm and blues, jazz, Afro-Cuban, Afro-Caribbean, country, blues, funk, ecc. CD TAB.

Euro 15,00

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DICTIONARY OF BASS GROOVES, Sean Malone. 34 generi musicali: pop, rock, rhythm and blues, jazz, Afro-Cuban, Afro-Caribbean, country, blues, funk, ecc. CD TAB.

Series: Bass Builders
Softcover with CD - TAB
Author: Sean Malone

This cool, comprehensive guide provides the history and essential bass lines for 34 different musical styles, including all varieties of pop and rock, rhythm and blues, jazz, Afro-Cuban, Afro-Caribbean, country, blues, funk and many others. The CD includes 34 full-band demo tracks. 72 pages

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2573 BASS METHOD COMPLETE EDITION 1, 2, 3. BY FRIEDLAND. 3CD TABLATURE

Euro 23,99

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BASS METHOD COMPLETE EDITION 1, 2, 3. BY FRIEDLAND. 3CD TABLATURE

Hal Leonard Bass Method - Complete Edition
The critically acclaimed Hal Leonard Electric Bass Method - Second Edition in a handy composite edition! Contains 3 books and 3 CDs for Levels 1, 2 and 3.

Inventory #HL 00695074
ISBN: 9780793563838
UPC: 073999950748
Width: 9.0"
Length: 12.0"
144 pages

HAL LEONARD

Books 1, 2 and 3 Bound Together in One Easy-to-Use Volume!
Series: Bass Method
BOOK W/CD - TAB
Author: Ed Friedland

The critically acclaimed Hal Leonard Electric Bass Method - Second Edition in a handy composite edition! Contains 3 books and 3 CDs for Levels 1, 2 and 3. 144 pages,

TUNING
TUNING TO THE CD
To tune your bass, adjust the tuning pegs. Tightening a peg will raise the pitch
of a string, loosening a peg will lower it.
On CO Track 1, each string is played four times. The first string you'll hear is
the G (1st) string. Check your string with the CD; if it sounds lower than the
recording, tighten the tuning peg until you get closer to the pitch on the CD. If
your string is higher, then loosen the peg. Once the G string is in tune, repeat
this process with the 0, A, and E strings (2, 3, and 4).

USING AN ELECTRONIC TUNER
Electronic tuners have become very affordable, so it's a good idea to have one.
There are generally two types available: a "bass" (or "guitar") tuner, which will
only read the open strings of your instrument, or a "chromatic" tuner, which
will read any pitch. Either will do the job. Plug your bass into the input of the
uner and play your open G string. The tuner will read the pitch and tell you if
he string is sharp (too high) or flat (too low). Adjust the tuning peg until the
tuner indicates you are in tune. Repeat the process with the 0, A, and E strings.

TUNING TO A KEYBOARD
Use the appropriate key on a piano/keyboard to check your open strings.

G 4th string
D 3rd string
A 2nd string
E 1st string

RELATIVE TUNING

Here's another way to tune your bass. It is less accurate, as it assumes that your starting string is in tune-and it is harder for
he ear to hear the low pitch of the bass as well as a tuner can-but this method works when there are no other alternatives.
It's also a good way to check your tuning.
• Start with your open G string. If there is an accurate G available, use it; otherwise, assume the G string is tuned to
the correct pitch.
• Play the 0 string at the 5th fret, and see if that note matches the open G. Tune the 0 string up or down until the
two notes match.
• Play the A string at the 5th fret; compare it to the open O. Tune the A string up or down until the two notes match.
• Play the E string at the 5th fret; compare it to the open A. Tune the E string up or down until the two notes match.
nut 5th fret
This is called relative tuning because the strings are tuned relative to one another.

BOOK 1

The Electric Bass
The Bass Amp
Tuning
Playing Positions
Musical Symbols
Right-Hand Technique
Fingerstyle
Pick Style
left-Hand Technique
The 1-2-4 Fingering System
Open-String Exercises
The Rake
Notes on the E String
Little Rock
Kinda Folky
More Notes on the E String
lookin' Sharp
The Shift
Notes on the A String
You Go, Slav
Repeat Sign
One More Time
Cattle Crossing
More Notes on the A String
The Finger Roll
Roll It
Rolly
12 -Bar Blues
A Little Heavy
Notes on the D String
Private Eye
Minor league
D-Lite
More Notes on the D String
Three-String Review
Crossin'Three
The Octave
Octa Gone
Notes on the G String
Gee Whiz
All Right
More Notes on the G String .
All Four One .
FiX .
More Octaves .
Octave Blues .
Ties .
Taiwan On .
3/4 Time & the Dotted Half Note .
Three's a Crowd .
Tell It. .
Changin' Times .
Rests .
Rock 'n' Rest .
D.C. al Fine .
Three Play .
Eighth Notes .
Movin' 8's .
Eight Ball .
Eighth Rests ,
Rok Gruv ,
Bop Bop ,
D.C. al Coda ,
Coda Pendant. .
Dee Dee .
Using a Metronome .
The Classic Rhythm .
Down Home .
Raitt On .
Minor's Tale .
A Classic Variation .
Classic Blues .
Petty Thief .
Third Posi~on .
3rd Watch .
Flying leap .
oand 3 .
Shifty .
Shift-Crazy Blues .
Stones-y .
Etude Brute .

BOOK 2
The Box Shape
E.A & B Box
Box Lunch
Box-E Blues
Movable Boxes
Your Move
Move It
Movie Star
5th Position
On the G String
Shift Practice
Shifty Henry
On the D String
Dee Gee
5-3-1
Dig It.
On the A String
Introducing Tablature
Tab Hunter
Pay the Tab
On the E String
Open/Closed
Da Blues
All Together Now
Swing lime
One Finger Per Fret
The Major Scale
Scale Sequence #1
Scale Sequence #2
Key Signatures
Universal Fingerings
Scale Sequence #3
Scale Sequence #4
Pasta Mon
D-Lish
A-Flat lire
Open E
G3
B-Flat Jump
The Classic Blues Line
Gee Blues
Aay, Blues! .
Low Down
Understanding Bass Lines
Syncopated Eighth Notes
Off Beat.
Funky Soul Groove
That '70s Thing
The Major Triad .
Tri Again
Funky Li'l Blues .
The Minor Scale .
Minor Scale Sequence .
Relative Minor and Major
House 0' Horror
Noir
Jazz Minor
Modulation
Minor Modulation .
Mod Crazy
Minor Triads
Bogey Man
Roots
Gypsy Swing
Room-ba with a View
Eighth-Note Triplets
The '50s
12/8 Time
Bumpin' .
The Shuffle Rhythm
Old Days
One- and Two-Measure Repeats
Bad Bone
Uptown Down
Classic Flat 7
Rollin' .
Go On

BOOK 3
The Chromatic Walkup
Open Up
Staccato
Double Up
Rez-Q.
Curtis
Kickin' It.
Sixteenth Notes
One Drop
Dada Dadat
Jog Wheel
Sixteenth Rests
Layin' Back
Nazz-T
Plutonic
Funky16th-Note Syncopation
Ookachu Wha?
Groove
Combo
Minor Glitch
Do It Now
Soul Groove
D-Troit
Seventh Chords
Floaty
Vanilla
L'il Thing
Funk lime
Little M
Shufflin'
Middle Man
On the Verge
Slides
Slippin' & Slidin'
Minor Pentatonic
Venture Forth
Deja View
Hammer-Ons & Pull-Offs
Hammer Head
X-Tender
Major Pentatonic
Just Like My Girl
N' awlins Beat
Playing Off Chord Symbols .
Just Roots .
Roots & 8ths .
Jumping Octaves .
Your Turn .
Adding the 5th .
Use the 5 .
5By8 .
Root-5-8 .
You Got It .
Chromatic Approach .
Chromatic R-5-8 .
It's Up to You .
Scale Approach .
Scale R-5-8 .
All Yours .
Dominant Approach .
Dominant to the 5th .
You Go, Hugo .
Using Triads to Create Bass Lines .
Walking Triads .
Walk This Way .
Simple Triads .
On Your Own .
Triads & Dotted Quarters .
Uh Huh .
Locking In to the Groove .
Groove Jam .
lime 2 Groove .
Slap Funk .
Slap This .
Pent Up .
The Pop .
Combining Slap and Pop .
Octave Slap .
Chromatic Octaves .
Gritty .
The Pressure Roll .
Dead Notes .
Dead End .
Keep It Together .
It's an Eyeful! .

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5180 HAL LEONARD BASS METHOD, For the Beginning Electric Bassist, Ed Friedland. CD DVD TAB.

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HAL LEONARD BASS METHOD, For the Beginning Electric Bassist, Ed Friedland. CD DVD TAB.

The Hal Leonard Bass Method is designed for anyone just learning to play electric bass. It is based on years of teaching bass students of all ages, and it also reflects some of the best bass teaching ideas from around the world. Play your favorite songs in no time! Includes: tuning, playing position, on-screen music notation, notes in first through third position, rhythms through eighth notes, fingerstyle and pick playing, 4/4 and 3/4 time, position shifting and box shapes, play-along examples and six full songs, and more! Stands alone or can be used along with the corresponding book of the same title. Running time: 68 minutes.

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