ILBS-201 is intended to provide intermediate and advanced bass students with the opportunity to closely study the style, technique, and writing of the legendary Jaco Pastorius. The semester will begin with early Jaco recordings, his first solo record, Weather Report, Joni Mitchell, and others. Students will have the opportunity to listen, analyze, and play songs, bass lines, and solos from each phase. The semester will progress with mid and then later recordings, always focusing on the more influential and monumental pieces. Video footage from both YouTube and Jaco's own instructional videos will be included. Students will develop grooves and compositions in Jaco's style.
The Music of Paul Chambers is a bass playing lab. This course is a study of the style of Paul Chambers's jazz bass performance. Through listening and analysis, practice, and performance, students will gain an understanding of the characteristics of the bass lines and solos that are the epitome of jazz bass. Often called The Bird of the Bass, Paul Chambers's playing is the cornerstone of countless classic recordings from the bebop era.
This course is intended to provide further study and advancement for students who have completed ILBS-110, Electric Bass for Non-Bass Principals. The course will begin with refining and developing technique and sound on the electric bass. Exercises involving arpeggios, scales, intervals, etc. are utilized to further develop fretboard knowledge and awareness. Four-part chords, scales, and modes will be introduced and used in bass line application. In addition, students will also learn basic slapping technique. Each week the bass line to a song will be learned and performed along with the recorded song.
A continuation of ILBS-111 and ILBS-112. Material presented will advance the concepts taught in those labs. The focus will be on out-of-class preparation of written examples as well as in-class sight-reading at an advanced level.
This course will examine the bass styles of James Jamerson, Carol Kaye, Jerry Jemmott, Chuck Rainey, Willie Weeks, Tommy Cogbill, Bob Babbitt, and David Hood, the bassists for Motown and Atlantic records during the 1960s and 1970s. Students will learn to play the original bass parts to hit songs from this music period. Students will then learn to create and play bass parts using this stylistic vocabulary/rhythm section technique over chord progressions in this style. Emphasis on tone and rhythmic feel will also be covered.
The student will study style, interpretation, and creativity, via performance of transcriptions and études from various artists in the metal style. Weekly lessons will consist of harmonic, rhythmic, and technical aspects of metal bass playing. Topics will include playing in odd meters, tapping, finger style, energy level, attitude, picking, slap, alternate tunings, and focus on economy of motion.
Continuation of ILBS-121. Instrumental lab for bass principals emphasizing the construction and performance of bass lines through standard chord progressions, using more demanding styles and approaches.
Continuation of ILBS-221. Instrumental lab for bass principals emphasizing the construction and performance of bass lines through standard chord progressions, using more demanding styles and approaches.
Development of the ability to grasp and maintain a tempo. Exercises including metronome games to improve accuracy and steady time while developing suppleness and flexibility to meet the wide array of rhythm section challenges found in contemporary, live, and studio environments.
A bass lab designed to develop familiarity and performance skills in the pop repertoire. Bass lines to a number of classic pop tunes will be learned, and the ability to transpose these lines to several other keys will be developed. Students will learn harmonic sequences that are frequently used in pop music styles, and will also develop interactive and communication skills by teaching new songs to the class.
A general overview and application of different types of knowledge applied to five- and six-string bass, including but not limited to different muting techniques, two- and three-octave scales, arpeggios, intervals, reading in positions, and also discussions on various neck widths, string closeness, pick-up placement, and bolt-on necks versus neck-through basses.
Development of working knowledge of funk styles for bass, including grooves, reading syncopated rhythms, developing a good sound with thumb slapping and popping, and importance of drum/bass concepts in contemporary rock and commercial styles.