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Jazz Bass

finfrocka

finfrocka

Jul 12, 2005
269
245
St Charles Il
#1
Hey guys, I've been in college for 2 years and working on my third. After switching majors and minors I'm going to make one final switch. I'm currently majoring in exercise science and I'm about to switch my minor to music, particularly jazz. Once I finish the exercise science major I'm going to take more music classes to basically finish a double major.

Sorry about the small rant, I'm just excited to get started. Anyways I wanna get a head start in the jazz and performing portions and work on my jazz bass playing. Been a long time listener of vic and marcus, and a recent listener to mingus and miles. So my soloing is passable but my walking basslines are very weak. I bought the Ed Friedland building walking basslines and have worked my way through most of it. I'm gonna go through the whole thing over again to drill the concepts into my head further. But, I was wondering if I should give Fuqua's book a chance as well. Are there things in Fuqua''s book that are not in the Friedland book? Also, should I look at any other books to work on? Iv been contemplating on buying the real book as well and working through some of the tunes on there.

Also any advice or some insight as to what I should expect out of the classes that I am going to have to take would be very welcome.

Thanks guys.
 
#2
Some things worth doing. First, read your college's regulations pertaining to the music minor, and make sure that you have all of the requirements for getting in. Second, find somebody in the music department who you can talk to. Third, try to find a jazz combo that needs a bassist.

Also, there are multiple kinds of music majors such as performance and education, to choose from -- another reason to sit down and talk with somebody. Maybe you could do something with the exercise science plus music, in a therapy setting.
 
#5
Thanks for the suggestions. I hadn't considered any requirements that I would have to fulfill to get in. I plan to meet with an adviser some time this week to get it all worked out. I'm located at WIU. Are there typically background requirements such as being in the high school band?
 
#6
finfrocka said:
Thanks for the suggestions. I hadn't considered any requirements that I would have to fulfill to get in. I plan to meet with an adviser some time this week to get it all worked out. I'm located at WIU. Are there typically background requirements such as being in the high school band?
Click to expand...

There is typically an audition. In fact, jallenbass has a good idea, to take some lessons -- ideally from someone who has prepared students for college auditions. It could even be the bass teacher at your college. This will kill multiple birds with one stone, and you'd get a frank evaluation of where you stand.
 
#7
There are a number of different books that have good advice on common bass line building approaches, but I would also recommend transcribing bass lines just like people transcribe solos. Find a chart that you know the changes to (or can find in a Real Book) and then transcribe a bass line from Ray Brown or Jimmy Blanton. This will really help you to see how the notes they play relate to the chord progressions they play them over, which will allow you to build a repertoire of walk ideas for common progressions. It's like a free lesson from the greats!
 
#8
That audition is pretty nerve racking. I'll have to ask my adviser about that in my meeting. I wonder if the audition would be a composition they would give me to play or if I could choose my own. If I could choose my own I could probably do something from Jaco which I would imagine turn some heads for an audition. I suppose that I should have explained previously that I have background in music theory. For example I understand how chords are constructed and the major, minor, pentatonics, diminished, and augmented scales. I'm not perfect but pretty decent with the modes and understand things like over a C7, mixolydian would be an excellent choice for walking/soloing ideas

I just hope that a music background isn't required.
 
#9
Out of curiosity, I've looked up audition requirements for several jazz programs, because I was curious about whether I would have gotten into one. They usually involve:

* Walking bass line and soloing on a jazz standard of your choice.
* Scales.
* Sight-reading.

The audition basically takes the place of any specific background requirements.
 
#11
Which Miles? If it's 80's Miles that's worlds apart from 50's Miles. You should probably try to expand your jazz collection. However, I'll let someone else tell you what are the "definitive" records to have.

One of the most important things to realize is that all the rules are just theory. The important thing is not to play scales, not chord tones, but just to play what you hear.

Transcription is very important. It will be a drag at first. It will get better. Transcribing something you like serves mainly 2 purposes. First, you have your favorite solo/line/whatever on paper, and you can study what about it you like. Second, perhaps more importantly, you're training your ear to translate sound into notes.

I suggest Rufus Reid's book, "The Evolving Bassist".
 
#12
Beginner Bass said:
Which Miles? If it's 80's Miles that's worlds apart from 50's Miles. You should probably try to expand your jazz collection. However, I'll let someone else tell you what are the "definitive" records to have.

One of the most important things to realize is that all the rules are just theory. The important thing is not to play scales, not chord tones, but just to play what you hear.

Transcription is very important. It will be a drag at first. It will get better. Transcribing something you like serves mainly 2 purposes. First, you have your favorite solo/line/whatever on paper, and you can study what about it you like. Second, perhaps more importantly, you're training your ear to translate sound into notes.

I suggest Rufus Reid's book, "The Evolving Bassist".
Click to expand...

I've been listening to Kind of Blue, and I haven't been writing out the things that i've learned but I have been working on Fables of Faubus by Mingus, I do need to expand my tunes though.
 
#13
I just wanted to comment. I made almost the EXACT SAME switch. I went from Exercise science to musical theater performance. With a large concentration in music theory!! Now I play bass for shows more than I'm in them. Best of luck!
 
#14
Exemonium said:
I just wanted to comment. I made almost the EXACT SAME switch. I went from Exercise science to musical theater performance. With a large concentration in music theory!! Now I play bass for shows more than I'm in them. Best of luck!
Click to expand...

I'm actually keeping exercise science though. Assuming I can get in I'm going to minor in music first and then complete the rest of the classes for a double major, once i get my bachelors in E.S.

I just hope that the audition isn't going to be intense and have super high standards. I'm not sure how much I can cram into my brain before I actually have to go and perform. Becoming a good sight reader takes time..
 
#15
Why are you doing this? Now?

It seems like a good idea but doesn't seem like you're ready, especially since sight reading is a time acquired skill. Nothing you can really bone up on in a few weeks, just hundreds of hours of practice to make it second nature.

I suggest you not do a music minor and get to work in your major field. Then take the time to become an expert (on your own and with an instructor) (from fDeck):

* Walking bass line and soloing on a jazz standard of your choice.
* Scales.
* Sight-reading.

A music minor won't get you a teaching job or a gig. Will cost you thousands in tuition that won't seem to be able to boot strap you into a paying gig. You can do it on your own and work in your major field at the same time, earning some cash to pay for it all.

Good luck.

Here's a link I suggest you study: So you want to be a music major?
 
#17
finfrocka said:
But, I was wondering if I should give Fuqua's book a chance as well.
Click to expand...
Well, here's an excerpt from an e-mail I got recently.
I just started learning to play some jazz about 6 months ago and your post on really learning a song and your book are definitely "where it's at" and gave me enough of a start to find some guys to play with on a regular basis. I keep getting invited back, so I must be off to a decent start

I would say that the thing that is different about my book is that there is not so much emphasis on vocabulary (here are some notes that will work with this chord) and more emphasis on putting your ear in charge of note choice (here's how to build a line with intent, by hearing the notes you want to play).
 
#18
Ed Fuqua said:
Well, here's an excerpt from an e-mail I got recently.
I just started learning to play some jazz about 6 months ago and your post on really learning a song and your book are definitely "where it's at" and gave me enough of a start to find some guys to play with on a regular basis. I keep getting invited back, so I must be off to a decent start

I would say that the thing that is different about my book is that there is not so much emphasis on vocabulary (here are some notes that will work with this chord) and more emphasis on putting your ear in charge of note choice (here's how to build a line with intent, by hearing the notes you want to play).
Click to expand...

I'll definitely have to check your book out then. Thanks for sharing lol. I was wondering if you were gonna pop in and say something.
 

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