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Richard Appleman, Danny Morris – Bass Performance 101

Name: Richard Appleman, Danny Morris - Bass Performance 101
SKU: b929541c7de1
Availability: InStock
Rating: 4.36 (9 reviews)

Rated 4.36 out of 5 based on 31 customer ratings

Original price was: $1,250.00.Current price is: $250.00.

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In Bass Performance 101, you’ll learn to create and perform your own unique bass lines in a variety of different styles.

SKU: b929541c7de1 Category: Music Tags: Bass Performance 101, Danny Morris, Danny Morris - Bass Performance 101, Richard Appleman

Description
Reviews (9)

Bass Performance 101

The bass not only holds the band together rhythmically, but is also a crucial component to the overall sound and direction of the music. In Bass Performance 101, you’ll learn to create and perform your own unique bass lines in a variety of different styles. Throughout the course you’ll focus on four key areas of performance: time, tonality, timbre, and taste, and learn how to use theory to generate ideas that you can apply directly to your bass lines.

You will also study the techniques and unique playing styles of bass masters across many different genres, including Roger Waters, Paul McCartney, Carol Kaye, James Jamerson, Chuck Rainey, Pino Palladino, Paul Chambers, Dave Holland, Stanley Clarke, Ray Brown, and Charles Mingus. Additional study topics include pentatonic, blues, major, and minor scales; diatonic harmony; ostinato bass lines; groove and time feel; and compositional techniques, such as tritones, pedal points, and double stops.

By the end of the course, you will be able to:

Apply major, minor, blues, and pentatonic scales and their modes to your bass lines
Play accurately in time
Improve the timbre or sound quality of your playing
Demonstrate enhanced tonality, and know what note to play when
Perform with your own unique style

Syllabus

Lesson 1 Half Steps

Lesson 2 Blues and Pentatonic Scales

Lesson 3 Major Scale

Lesson 4 Diatonic Triads

Lesson 5 Time, Rhythm, and Groove

Lesson 6 Midterm Project

Lesson 7 Minor Scales and Their Triads

Lesson 8 Diatonic Harmony

Lesson 9 Ostinato Bass Lines

Lesson 10 Compositional Techniques

Lesson 11 Articulations and Great Bass Lines

Lesson 12 Final Project

Requirements

Prerequisites and Course-Specific Requirements

Students should be able to:

Perform simple bass lines on their instrument with adequate sound production
Play their instrument in tune
Play bass lines for at least two songs of different styles
Have physical capabilities on the instrument necessary to record weekly homework assignments
Read bass tablature or traditional notation

Required Textbook(s)

None required

Students are required to record video for assignments. You can use your smartphone, digital camera, or webcam to do this. If you do not already have a preferred video software, you can use the built-in recorder tool within your assignment post. You can play the backing track through your speakers as you record and the microphone will pick up both the bass and the track as you play along

Hardware Requirements

Electric or acoustic bass
Audio interface (and XLR microphone if using acoustic bass) recommended
A printer is recommended, so that you can print out music examples used in the course

General Course Requirements

Below are the minimum requirements to access the course environment and participate in live chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course.

Mac Users

OS X 10.10 Yosemite or higher

PC Users

Windows 7 or higher

All Users

Latest version of Google Chrome
Zoom meeting software (available in the course when joining your first chat)
Webcam
Speakers or headphones
External or internal Microphone
Broadband Internet connection

Instructors

Richard Appleman

Author & Instructor

Rich Appleman is chair emeritus of the Bass Department at Berklee College of Music. He is responsible for adding the electric bass to the Berklee curriculum, with the help of Steve Swallow, John Repucci, and John Neves. Rich has performed with Lionel Hampton, Sweets Edison, Jon Scofield, the Boston Pops, Marvin Hamlisch, Gregory Hines, Bernadette Peters, and Rosemary Clooney. He is the founding bassist of the Fringe, with whom he has three recordings. Rich has performed in the theater with Eartha Kitt, Mickey Rooney, and Rex Harrison, and played in the Broadway pit orchestra for Cats, Les Miserables, Miss Saigon, Peter Pan, Secret Garden, Annie Get Your Gun, and 42nd Street.

Rich is the author of Reading Contemporary Electric Rhythms, Chord Studies for the Electric Bass with Joe Viola, Berklee Practice Method, and Berklee Jazz Bass with Whit Browne and Bruce Gertz. He is a columnist for Bass Player magazine and an active member of the International Society of Bassists. Rich played tuba and acoustic bass in the US Navy from 1964-1968 and graduated summa cum laude from Berklee College of Music, with a degree in music education, in 1972.

Danny Morris

Author & Instructor

Danny “Mo” Morris is a professor in the Bass department at Berklee College of Music, and has worked with students since 1988. Danny is known for his muted tone, warm personality, and ability to work with all levels of students. “My mission is really to teach students how to develop their individuality in terms of their rhythmic concept and their tonal concept, what notes to play and when,” he says. “There’s a consequence to every note you play. And even when you don’t play, such as when there’s a rest, there’s a consequence, because when the bass comes in, it’s going to be huge.”

Danny teaches courses on artistry and professional development at Berklee’s Boston campus. He is the faculty ambassador to the Berklee Valencia campus. In the 1980s, Danny was the bassist for the James Montgomery Blues Band and the Jon Pousette-Dart Band.

“I absolutely love teaching,” he says. “It’s intriguing to work with the language of music and the art of playing and developing songs for live performance. I’m proud to have taught so many students who are having successful music careers and families. That’s the most satisfying aspect of my job.”