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Free Walking Bass Theory Book!

#21
Chris Doherty said:
Sorry to hear that about your dad. It's odd, but I actually knew a few classical musicians in uni who thought similarly though. Since their job tends to be just playing what's on the sheet infront of them (to a very high standard - i'm not trying to diminish that at all), theory outside of that just didn't seem that useful to them. It's a shame because they're missing out on so much! Not saying all classical guys are like that btw just funny you mentioned it and I knew a few.



Is that a typo in the book!? aha since posting this I've noticed a few small mistakes here and there in it. Maybe i'll start posting the rest of the chapters here one by one :p I do have a few half-written ones actually I might have a stab at. Glad you like it!
Click to expand...
Yes, the sheet reading does tend to be the medicine for them. Again, not to dismiss it but, I agree.
Great work that you’ve posted. Thank you for the help and taking the time.
 
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#25
@Chris Doherty
Excellent and practical work! I was able to take a minute this morning to read your Authors Note and Introduction. My initial reaction to it is, ‘wow, this could be really interesting stuff’! Just from that short excerpt that I read, it has me engaged and wanting more.
I can tell you that I will be reading this and I strongly encourage you to follow through with your project to the finish. I believe that what you are sharing is insightful and valuable.
At this point I am not a professional musician and merely a mediocre albeit, serious hobbyist. My interests in music combines blues, rock, jazz and funk in generally, that order. However, I believe that regardless of ones interest and focus, each genre from commercial jingles to classical compositions are valuable to know and understand for the sake of original creativity.
Finally, thank you for the work you have shared and I hope you are able to complete it. Good luck!
 
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#29
Chris Doherty said:
Sorry to hear that about your dad. It's odd, but I actually knew a few classical musicians in uni who thought similarly though. Since their job tends to be just playing what's on the sheet infront of them (to a very high standard - i'm not trying to diminish that at all), theory outside of that just didn't seem that useful to them. It's a shame because they're missing out on so much! Not saying all classical guys are like that btw just funny you mentioned it and I knew a few.



Is that a typo in the book!? aha since posting this I've noticed a few small mistakes here and there in it. Maybe i'll start posting the rest of the chapters here one by one :p I do have a few half-written ones actually I might have a stab at. Glad you like it!
Click to expand...

Yes, please continue. Your work has been very helpful for me as well.
 
#33
Chris Doherty said:
Hey guys, this is my first time posting here :hyper:, although I've been a regular visitor for about 10 years!

I'd just like to share with you all an unfinished music theory book that I began in 2013. I had planned to use it as part of a university project, but ended up taking different modules. It has since lay in the dark recesses of my laptop, until today, when I stumbled across all the Word documents whilst doing a clear out to save space.

It's certainly not a finished work, but after reading through it, I couldn't shake the feeling that it could be of use to someone who was looking to get into jazz, and in particular walking bass lines. I'll probably never get around to finishing it, which is why I'm sharing it as-is, but if you guys had any feedback I'd love to hear it.

Enjoy!

p.s. Obviously I don't give anybody permission to plagiarise my work, but feel free to share it around for educational purposes.
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Thank you for sharing your music theory book, Chris! I picked up electric bass late in life, have been playing for 2 years and I love a good walking bass line so I am focused on learning the hows.
 
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#35
Chris Doherty said:
if you guys had any feedback I'd love to hear it.
Click to expand...

First of all, I like your book/tutorial due to that "meat" = explanations(!), your brave approach of "complex" chords, etc...

Just a question.
I'm trying to figure out your chord notation on the last page.
What does M mean?
n.PNG
 
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