Download Free Basic Principles Of Double Bass Playing Book in PDF and EPUB Free Download. You can read online Basic Principles Of Double Bass Playing and write the review.

Music Theory for the Bass Player is a comprehensive and immediately applicable guide to making you a well-grounded groover, informed bandmate and all-around more creative musician. Included with this book are 89 videos that are incorporated in this ebook. This is a workbook, so have your bass and a pen ready to fill out the engaging Test Your Understanding questions! Have you always wanted to learn music theory but felt it was too overwhelming a task? Perhaps all the books seem to be geared toward pianists or classical players? Do you know lots of songs, but don't know how the chords are put together or how they work with the melody? If so, this is the book for you! • Starting with intervals as music's basic building blocks, you will explore scales and their modes, chords and the basics of harmony. • Packed with fretboard diagrams, musical examples and exercises, more than 180 pages of vital information are peppered with mind-bending quizzes, effective mnemonics, and compelling learning approaches. • Extensive and detailed photo demonstrations show why relaxed posture and optimized fingering are vital for good tone, timing and chops. • You can even work your way through the book without being able to read music (reading music is of course a vital skill, yet, the author believes it should not be tackled at the same time as the study of music theory, as they are different skills with a different practicing requirement. Reading becomes much easier once theory is mastered and learning theory on the fretboard using diagrams and patterns as illustrations, music theory is very accessible, immediately usable and fun. This is the definitive resource for the enthusiastic bassist! p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Helvetica} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Helvetica; min-height: 16.0px} This book and the 89 free videos stand on their own and form a thorough source for studying music theory for the bass player. If you'd like to take it a step further, the author also offers a corresponding 20 week course; this online course works with the materials in this book and practices music theory application in grooves, fills and solos. Information is on the author's blog.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Alexander Technique for Musicians is a unique guide for all musicians, providing a practical, informative approach to being a successful and comfortable performer. Perfect as an introduction to the Alexander Technique, or to supplement the reader's lessons, the book looks at daily and last-minute practice, breathing, performance and performance anxiety, teacher–pupil relationships, ensemble skills, and the application of the Alexander Technique to instrumental and vocal work. Complete with diagrams and photographs to aid the learning process, as well as step-by-step procedures and diary entries written by participating students, The Alexander Technique for Musicians gives tried-and-tested advice, drawn from the authors' twenty-plus years of experience working with musicians, providing an essential handbook for musicians seeking the most from themselves and their art.
The achievements of Giovanni Bottesini (1821-1889) as a solo performer on the double bass tower above those of any other player before or since. In fact it's hard to think of any other field of human endeavour where one person has gone so far beyond everybody else. For nearly fifty years he astonished and delighted audiences on four continents. This new biography The Paganini of the Double Bass: Bottesini in Britain tells the complete life story of this remarkable man. He visited Britain over twenty times and performed in around 800 concerts including thirteen lengthy national tours. His many appearances in London throughout the Victorian era took place in a changing musical scene, as rival opera companies went to war, and concert promoters experimented with different ways of presenting music to the public. Bottesini, almost uniquely, was an outstanding success at the most serious philharmonic concerts and the rowdiest popular events. He was particularly associated with the Proms. He appeared over 200 times between 1851 and 1887, and even shared conducting duties with Johann Strauss II for the 1867 season, but he did not quite live long enough to see the era of Henry Wood. Although this book covers Bottesini's career in Britain in most detail, it describes his entire life: how his company in Havana raised the standards of opera in America in the late 1840s how he had major conducting positions in Mexico, Paris, Barcelona, Cairo and Buenos Aires the story behind how he came to conduct the world premiere of Aida how the operas he composed met with success but never became established in the repertoire his pioneering role in introducing purely instrumental music to Italy how his constant gambling forced him to keep going back on the road with his double bass his relationships with Verdi, Rossini and the powerful publishing house of Ricordi his two wives, hardly mentioned in any previous study The inclusion of around 20 letters to his closest friend, most of them not in any previous book about Bottesini, allows us to see the great double bass player's life from his own perspective -- his domestic quarrels, his financial pressures and his professional rivalries. 280 pages Available from Amazon Based on almost 10000 references in contemporary periodicals, mainly in the UK, but also Italy, Germany, France, USA, Cuba, Russia, Hungary Many inaccurate dates and places from previous studies have been corrected All UK appearances listed Three major interviews with Bottesini from UK newspapers Over 70 contemporary reviews 27 pictures Many adverts and documents from the era The first ever chronological listing of his music for double bass sheds light on the development of his techniques Detailed index of all people, places and works mentioned
The Art of Double Bass Playing is the result of a collaboration between Warren Benfield, an outstanding bassist/teacher and James Seay Dean, Jr., Associate Professor of English at the University of Wisconsin-Parkside, a skilled writer/editor. Warren Benfield started his professional career in 1934 as the youngest member of the Minneapolis Symphony. Moving on to the St. Louis Symphony as principal bass and then to the Philadelphia Orchestra as co-principal bass, he joined the Chicago Symphony in 1949 where he remained until his retirement in 1987. Benfield has always been dedicated to teaching, and during his years with the Chicago Symphony Orchestra, he was on the faculties of Northwestern University and DePaul University. He has also given many master classes and lectures, including two in China. Since retiring, he is continuing to teach a few students at the American Conservatory and at Chicago's Merit School for underprivileged children, which focuses on the arts. Benfield's particular aim is to teach the approach of the double bass from a musical, as well as a technical standpoint.
Contents are: Twinkle, Twinkle, Little Star: Variations and Theme (Shinichi Suzuki) * Lightly Row (Folk Song) * Go Tell Aunt Rhody (Folk Song) * May Song (Folk Song) * Song of the Wind, (Folk Song) * O Come, Little Children (Folk Song) * Twinkle, Twinkle, Little Star Variations (Shinichi Suzuki) * LIghtly Row (Folk Song) * Go Tell Aunt Rhody (Folk Song) * Chatter with the Angels (Spiritual) * Song of the Wind (Folk Song) * May Song (Folk Song) * French Folk Song (Folk Song) * O Come, LIttle Children (Folk Song) * Lament (Bohemian Folk Song) * Perpetual Motion (Shinichi Suzuki) * Allegretto (Shinichi Suzuki) * Allegro (Shinichi Suzuki) * The Little Fiddle (German Folk Song).
Leopold Mozart's Treatise on the Fundamental Principles of Violin Playing was the major work of its period on the violin and comparable in importance to Quantz's treatise on the flute and P.E. Bach's on the piano. This translation by Editha Knocker was the first to appear in English and remains scholarly and eminently readable.
Teaching Violin, Viola, Cello, and Double Bass summarizes three centuries of string pedagogy treatises to create a comprehensive resource on methods and approaches to teaching all four bowed string instruments. Co-written by three performance and pedagogy experts, each specializing in different string instruments, this book is applicable to all levels of instruction. Essays on historical pedagogues are clearly structured to allow for easy comprehension of their philosophies, pedagogical practices, and unique contributions. This book concludes with a section on application through comparative analysis of the historical methods and approaches. With coverage from the eighteenth century to the present, this book will be invaluable for teachers and students of string pedagogy and general readers who wish to learn more about string pedagogy’s rich history, diverse content, and modern developments.