SAMPLES FROM THIS TITLE
The samples are in pdf format and require Adobe Acrobat Reader to be installed.UPDATE: The audio (MP3) files are now available for download upon completing your purchase. The download is a large zip file, approximately 55MB and is best downloaded using a high speed internet connection. On your order confirmation, you will be provided with a link to click on so you can download MP3 files. The link will be located at the top of your order confirmation.
The Four-Fret Concept is a unique title, written by Robert Riegler. It provides 99 examples of improvising over the fundamental 2-5-1 Jazz progression. The structure of each study is well explained to start, then each example is dissected, analyzed and explained in detail. Examples are presented in standard notation, TAB, and are also included in the MP3 files that accompany the title. 72 pages and 17 MP3 files.
PREFACE FROM THE TITLE
To learn to solo and improvise as easily and headache-free as possible is the basic idea of this bass book. It is meant to give the beginning and advanced electric bassist access to jazz improvisation in the smoothest possible way.
Certain prerequisite skills are assumed:
Basically, this book addresses electric bassists who can accompany the odd standard (and thus are acquainted with the jazz idiom in at least a vague fashion) but cringe at the prospect of having to solo (not to mention symptoms such as cardiac arrhythmia, circulatory insufficiency and profuse sweating).
The basic harmonic structure of the present exercises is supplied by the ubiquitous II-V-I progression, a pattern found in many jazz standards, which shall consequently lie at the core of our improvisational attention. The Four-Fret System fingering technique, whose strength lies in the visual recognition of its patterns, is explained and showcased in 99 of my favorite licks (or "lines"). Kurt Erlmoser analyses the structural level of the improvisations and thus provides an in-depth understanding of the process.
Obviously, the exercises are meant to cater to the theoretical and technical skills of the student. However, the actual goal should be absorbing the information and generating lines of your own.
As with all theory (in music), the aim has to be to ultimately ingest it, then forget about it and proceed to that magical place that every musicians strives for: the next bar! Just kidding.
Have fun, and with as little headache as possible.