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04.11.2011., petak

BASS GUITAR PLAYING TECHNIQUES - BASS GUITAR


Bass guitar playing techniques - Free jazz sheet music trumpet.



Bass Guitar Playing Techniques





bass guitar playing techniques






    bass guitar
  • The bass guitar (also called electric bass, or simply bass; , as in "base") is a stringed instrument played primarily with the fingers or thumb (either by plucking, slapping, popping, tapping, or thumping), or by using a plectrum.

  • the guitar with six strings that has the lowest pitch

  • Bass Guitar is a UK-based music magazine established around 2003 and continuing to the present day (see www.bassguitarmagazine.com). The magazine was originally a bi-monthly publication until 2009 when it became monthly. The magazine includes interviews, features, album and gear reviews.





    techniques
  • A skillful or efficient way of doing or achieving something

  • (technique) proficiency: skillfulness in the command of fundamentals deriving from practice and familiarity; "practice greatly improves proficiency"

  • Skill or ability in a particular field

  • The gameplay of the Pokemon series of role-playing video games involves the capture and training of a variety of fictional creatures called "Pokemon" and using them to battle other trainers.

  • A way of carrying out a particular task, esp. the execution or performance of an artistic work or a scientific procedure

  • (technique) a practical method or art applied to some particular task





    playing
  • acting: the performance of a part or role in a drama

  • Engage in (a game or activity) for enjoyment

  • Amuse oneself by engaging in imaginative pretense

  • Engage in activity for enjoyment and recreation rather than a serious or practical purpose

  • the act of playing a musical instrument

  • the action of taking part in a game or sport or other recreation











Blow Your speakers




Blow Your speakers





The history of Marshall Amplifiers has become a source of great fascination and interest over three decades. In 30 years of manufacturing we have made a vast number of different models using many materials and techniques. People like Jimmy Page, Jimi Hendrix, Pete Townshend of the Who, Tony Iommi, Eric Clapton, Jeff Beck, Ritchie Blackmore are just a few of the many Marshall Amps users.

Documentation from those Marshall amps early years is virtually non-existent. The pressure to build amplifiers was so great that detailed record keeping was impossible. This pressure also created anomalies in the products themselves as component and minor cosmetic changes could be phased in at any time where supplies ran out but production had to continue. The following information is a rough guide to the major changes in the most popular Marshall models since 1962.

Jim Marshall made his first amp back in 62 in order for the bass guitarists to be as loud as the drummer. This was mainly for Rock music and musicians as the drummers simply played louder than that of say a jazz drummer. In fact Jim was a drummer and I'm sure he wanted to be able to hear what they were playing. He had a music store in England and sold Fender amps. His favorite was the 59' Bassman (which is actually a great sounding guitar amp). The problem as Jim found it was these amps where too expensive.

He decided to make them as inexpensive as possible by limiting the 'features'. This ended up being an amp with a single speaker impedance, and very similar controls as found on the Bassman. The JTM45 was the first Marshall amp. It had 25 watts of power and a different sound than that of the Fender Bassman mainly because different output tubes where used, the KT66. It had a softer sound than that of the Bassman. Later the KT66 was replaced with the EL34 which further changed the sound of Marshalls. By adopting the EL34 meant different output transformers where used.

In the beginning Marshall Amps a number of amps where designed, each to be used for a different purpose: PA (Public Address), Organ, Bass and Guitar. The JTM 45 was often used with two column type speaker cabinets for PA systems. Later when the 100 watt Marshalls where developed, many variations of the amp were used for particular purposes. The PA versions had an extra 12AX7 to allow for extra input channels. They also added two more output tubes (EL34) and larger output transformers. The early Marshall amps didn't yet have a Master Volume control. For the bass amps usually the only difference was an added capacitor placed on one of the inputs that would filter out some of the high frequencies. It was the Bluesbreaker amp or Model 1962 combo amp which really put Marshall on the map. This amp was used by Eric Clapton in the legendary John Mayall Bluesbreakers.

The master volume actually came into being around 1975. With a master volume control you could overdrive the preamp tubes to get a more distorted sound without blowing down the walls. The sound wasn't like Eddie Van Halen but more of a bluesy fuzz sound. The only way to get a great distorted guitar tone was to turn up the amp to overdrive the output tubes and speakers. Celestion Speakers where used in most of these amps. They would of course vary depending upon the type of application. The Guitar amps use them in a number of different configurations, ie. 2 x 12" open backed cabinet to 8 x 12" speakers in a closed back cabinet.












ByrdLand




ByrdLand





Charlie Byrd: Byrdland 1966
High Flying with the trio, quartet & quintet

1. Meditation (Gimbel-Mendonca-Jobin) 3'15
2. Girl (Lennon-McCartney) 1'52
3. Samba de Orpheus (Bonfa) 4'40
4. I'll Be Around (Wilnder) 3'43
5. Work Song (Adderly-Brown) 2'52
B-side
6. Blues For China (Byrd-Macero) 5'37
7. Arabesque (Mancini) 2'03
8. Theme From Mr. Lucky (Mancini) 3'
9. It's So Peaceful In The Country (Wilder) 1'50
10. Manha de Carnaval (Bonfa) 3'
11. Tomorrow Belongs To Me (Ebb-Kander) 2'51

Charlie Byrd amplified classical guitar
Hal Posey trumpet
Teo Macero saxophone, producer
Joe Byrd bass
Bill Reichenbach drums

Cover art: John Berg
CBS 62958 - Published 1966
Bought the LP 18.4.1968 24 mk

This was my 4th jazz LP, bought it in 1968, and it was just because of the guitar.
There wasn't many jazz guitarists at that time:
Kenny Burrell, Wes Montgomery, Jim Hall, Herb Ellis and Barnie Kessel.

The playing technique of Byrd is a bit different form the other jazz guitarists. He played with his fingertips - the classical style and the sound of the guitar wasn't the sound of electric guitar.

Charlie Byrd (1925-1999) had success in the early 60's when he was on the Bossa Nova wave, when it was discovered by the American jazz musicians, specially Stan Getz who recorded the million seller album Jazz Samba (1963) and later
Getz - Guilberto (which I bouth later the same year).
Today this sounds very main stream entertainment, not jazz at all.

There's one interesting name in the list of the musicians: Teo Macero is playing saxophone! - He was the producer who worked with Miles Davis in Columbia in the 60's and 70's. Unfortunately he doesn't play any solo here, It would have been very interesting to hear him play something.









bass guitar playing techniques







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