FRETBOARD ALCHEMY FOR 4, 5, AND 6-STRING BASS

FRETBOARD ALCHEMY FOR 4, 5, AND 6-STRING BASS
Fretboard Alchemy For 4, 5, And 6-String Bass is a no nonsense comprehensive study of scales, modes, chords, arpeggios, extended fingerings, diagonal fingerings, functional harmony, theory and more. Ever wonder how to play a Phrygian Dominant? It's there on page 26. How about the 4th mode of the Melodic Minor? Page 17 in all of its glory. I have stripped away all the fluff associated with scale theory and brought it into the new century with style. All examples are presented in both standard notation and fretboard diagrams.
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Our PriceUS$20.00
CodeIND012
Weight 1
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Scott Hubbell has written the definitive book on extended and diagonal fingerings. If you are serious about being a player then the concepts presented here are a must. This book will change the way you look at your bass. The change will come quickly, and it will be noticeable. The concepts in this book will challenge the way you have approached the bass and open up new options for everything that you play. You will 'see' the fretboard in a new light, and your creativity will soar. I remember the day in 1980 that I discovered the concept of extended and diagonal fingerings. It came in the form of a challenge: 'play a two octave major scale without shifting positions!' On my trusty 4 string. I could not see it. I could not think 'out of the box.' The day that the answer hit me was an epiphany. I remember it clearly because from that moment on, my playing was forever changed. For the first time the fretboard opened up to me. As I experimented with the concept, new and exciting musical ideas began to surface. My self-imposed limitations began to disappear. I became less of a bass player and more of a musician. As I took the techniques past scales and modes and into arpeggios, I found it easy to reach the upper chord extensions. My playing became more sophisticated, more melodic, and more musical. Before I found extended and diagonal fingerings, I approached the bass vertically. I stayed in one position, and I played one finger per fret. I based my lines off of the major scale or blues scale. My lines were old and predictable. I knew certain scales and modes in certain positions on the neck. The neck was divided up into areas that were reserved for a particular key, lick, or pattern. There was not the fluidity of a piano or a saxophone. Extended and diagonal fingering changed all that. Many of the great players use it. Some books have hinted at it. Scott Hubbell has defined it. Now you can own it. - Michael Dimin

Michael Dimin is a respected bassist, educator, author, composer, and clinician. His book The Chordal Approach, is considered by many to be THE book on chord theory and harmony. His beautiful arrangements and stellar playing can be heard on his debut release, Big Droppins.
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