Acclaimed bass player, educator and jazz fusion recording artist Joe Hubbard has just released his fifth self-published book entitled, How to Practice with Maximum Efficiency! This book will change the way you look at practicing a musical instrument forever.
Consisting of 61 different concepts or ‘practice hacks’, Hubbard takes you on a journey of musical self-discovery, debunking many myths along the way, as well as demystifying the essential steps necessary to becoming a proficient and competent musician.
Rhythmic Displacement is a concept based on being able to hear and perform rhythmic patterns starting on different subdivisions of the beat. The new superimposed rhythm creates an interesting illusion with the lines you are playing, which in turn creates tension. This lesson is aimed at giving you usable ideas for improvising walking bass lines using the concept of Rhythmic Displacement. Learning to switch from one concept to another while improvising can be quite challenging!
Lincoln Goines is one of the foremost experts on Brazilian bass grooves.
Geographically, Brazilian bass grooves come from the South American country of Brazil. Like jazz, the rhythms of Brazilian musical styles are heavily influenced by African rhythms.
Brazilian music is vast in its complexity and history. To understand this music in an authentic manner can take years to master, so this lesson only serves an introductory launching pad and to enable you to understand the ‘essence’ of these grooves as applied to jazz and popular music.
This book contains 50 Essential Jazz Funk Lines for improvisation enabling you to produce lines in the style of Hadrien Feraud, Jeff Berlin, Jaco Pastorius, John Patitucci and Matt Garrison. Musical concepts contained within these lines include Pentatonics, Triad Pairs, Coltrane 3-Tonic Systems (Giant Steps changes), Tri-Chord Patterns, Chromaticism, Intervallics and much, much more! Also included is an in-depth breakdown on how to apply these lines over different chord changes.
This is What You’ll Get:
PDF E-Book (tablature included)
50 MP3 Tracks with Joe Hubbard playing each example at both slow to faster tempos
Minor II V I progressions are a challenge to perfect compared to its sister progression in major tonalities. It is also the gateway to really getting inside of jazz standards because you need an equal ability to play over both major and minor chord sequences and the backbone of this vernacular is found within II V I progressions.
A very cool methodology to apply to your arsenal when tackling II V I progressions in minor, is to convert each chord to a different melodic minor scale; or you could think of it as superimposing Min(maj7) chords over the II-7(b5), the V7(b9) and of course the I minor triad is a Min(maj7) derivative already.