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Playing the Changes: Bass: A Linear Approach to Improvising, by Paul Del Nero
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(Berklee Labs). Create more expressive solos with this book/CD pack, which presents a unique improvisation strategy based on ear training and a linear interpretation of note relationships. Comprehensive, step-by-step instruction will guide you as you: develop an expectation of sound; master the movement of notes over modes and harmonies; become comfortable improvising over jazz standards; create your own chord pads to use as you practice recognizing the tendencies of pitches within chord progressions.
- Sales Rank: #849156 in Books
- Brand: Hal Leonard
- Published on: 2006-01-01
- Released on: 2006-01-01
- Original language: English
- Number of items: 1
- Dimensions: 12.00" h x .32" w x 9.00" l, .95 pounds
- Binding: Sheet music
- 112 pages
- 106 Pages
- Author: Paul Del Nero
- Softcover with CD
- Dimensions 12 x 9
Most helpful customer reviews
4 of 4 people found the following review helpful.
Great book as everything from Berklee music
By Marco Antonio Carneiro Batista
Its been a long time since I put my eyes in a book so well organized. The exercises are great and make you fully understand the concepts. I recommend it for all of you that want to learn how to create good bass lines and to improvise.
4 of 4 people found the following review helpful.
This book changed everything!
By maxthebassplayer
This book has helped me become a better soloist almost overnight. It is a lot of fun to work through and the results are immediate and remarkable. This is the best jazz bass solo book I have seen yet.
7 of 10 people found the following review helpful.
Overly complicated approach to soloing?
By The Ideator
I am self-taught in improvisation and consider myself fairly well-versed in learning independently. I'm also a teacher for a living in multiple disciplines.
I took an online course in improvisation, and have read several books on the subject. I can improvise over changes although I'm not an expert on how to do it over all chord changes out there. So, I bought this book to get a new perspective.
I found the following useful about the book-- it gives you an easy way of learning all the modes. The author shows you how to conceptualize scales as two, four-note cells called tetra chords. This approach was phenomenal.
However, I think the book has a number of weaknesses for the person who is trying to advance in their knowledge of improvisation through self-study. They have you identify pitch centers in a chord progression. Not key centers, but pitch centers, defined as notes that are common to all chords in a progression. This pitch center is your reference point for the starting note of the mode you are playing. So for the entire song, you are playing modes of a single pitch center.
It was easy to determine which modes you play over various parts of the song Tune Up and Blue Bossa. But for the later tunes, the author didn't explain how he got from the chord progression to the modes. Early in the book, he advocated taking all the chords in the pitch center, listing their chord tones, and then assembling all the chord tones in ascending order, creating a mode. I didn't find this worked for the later songs like Valse Hot and others.
Also, I found he often combined chords into one tonal (key) center in ways that I'm not used to seeing. For example, the progression Abmaj7 Cm7 F7 Bbm7 Eb7 Abmaj7, to me would suggest Ab major key center over the Ab major chord, a Bb Major tonal center over the Cm7 F7 (an incomplete II V I) and then back to Ab tonal center with the BbM7 Eb7 Abmaj7 (a II V 1 progression in Ab). Instead, he defined Abmaj7 and Cm7 as one tonal center, and F7, Bbmin7 Eb7 and Abmaj7 as another.
At this point, I found I couldn't get through the book any longer - apparently there is some foundational knowledge he is assuming or left out of this pedagogy (can you tell I'm a teacher for a living?). Perhaps both perspectives are right -- mine and his, but I found the lack of explanation of how he got from the progression to the modes confusing. I went back to my old way of doing it -- looking for II V's and playing their tonal center while respecting their tension notes over the various chords.
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