Is vast and varied. There are many styles: salsa, calypso, samba, bossa nova, reggae, etc. Its percussive, rhythmic element came to Cuba from Africa, while its harmonic. Rows: BASS AND CHORD BUTTON CHART. 1st Row—Counter Basses. 2nd Row—Fundamental Basses. 3rd Row—Major Chords (M). 4th Row—Minor.

Improve your skills (theory, dexterity, ear training, etc.) using these free resources. Below is our growing collection of lessons several artists and authors have contributed, all available for download at no cost. A big thanks to everyone who makes this possible. If you have something you would like to contribute or share, please. You get full credit, plus the opportunity to assist your brothers and sisters in bass. NEWEST LESSONS ADDED: BASS TIPS BY BASSBOOKS.COM & JAIME DAVID VAZQUEZ Jaime demonstrates how to tap the clave while grooving the bossa nova. Jaime shares an easy exercise he learned from Joe Satriani.

Jaime shows how playing scales can be turned into an effective exercise for practicing 16th-note synchopation. Jaime shows how the notes may be the same but the playing is not. Jaime defines for you exactly what 'enharmonics' are. Jaime explains how first learning a song's melody on your bass is key to developing great basslines and solos. Jaime explains a simple way to better understand the often elusive 6th chord. Jaime introduces the concept of the Slur, a series of notes following a single pluck. Jaime spells out how multiple endings are annotated in written music.

Jaime explains grace notes in their various applications. Jaime shows how notes played with special emphasis add rhythm and expression to music. Jaime introduces the technique of damping strings with the plucking hand. Jaime looks at this expressive effect, but warns, if you are playing a fretless instrument, this is NOT a mask for poor intonation! Jaime explains the rapid repetition of one or two notes we call tremolo. Jaime explores the very expressive technique of bending and releasing strings. Jaime explains what we do when the notes we need extend beyond the staff.

Jaime lays out a basic introduction to the notes of the bass clef. Jaime offers several common alternatives to EADG you can use to support your technique and change tonal colors.

Jaime shows how to add to your harmonic options by raising a chord's lowest note up an octave: in Inversion. Jaime examines how to build and use Suspended Chords, which can add tension and release to your progressions. The Minor Sound: Jaime explains the intervals of the natural minor scale. Sounds are colors. Here's a look at how notes and the intervals between them create a specific effect. Just as important as the notes you play, the spaces between them -- the rests -- give shape and feeling to your music. When we're talking about playing a shuffle feel, all we have to do is think about the subdivision of the basic pulse into groups of three, called triplets.

A seventh chord is the combination of a triad and an interval of a seventh. Jaime David Vazquez will teach you seven types of seventh chords. A seventh chord is the combination of a triad and an interval of a seventh. Jaime David Vazquez will teach you seven types of seventh chords. The basic chords are known as triads. They are created with a root, third, and fifth. There are four kinds of triads and they are found in the Major (or diatonic) scale.

What is a double-stop? A double-stop is when you play two notes at the same time.

You can play a double-stop on adjacent strings or on nonadjacent string. When we're playing our basses, there are a lot of techniques that we can use, but there are two basic techniques that are very useful for grooving and soloing. These techniques are the hammer-on and the pull-off. For every scale and mode there are a variety of shapes on the fingerboard. Shapes are patterns and is very important to know and understand every shape and their fingering.

Barring is a common technique where one finger lays flat and press down across two or more strings in the same fret. This technique is very good for the concept of economy of motion. Welcome to the last part of the series of Bass Tips for Mastering The Double Thumb Technique. During the past few months we were dedicated to work with the right hand and the left hand for developing the sound and the application of the technique with the basic rhythmic figures. Finally, I have to say that there are a lot of possibilities for the application of the technique, so feel free to experiment and try all these ideas. Welcome to the last part of the series of Bass Tips for Mastering The Double Thumb Technique. During the past few months we were dedicated to work with the right hand and the left hand for developing the sound and the application of the technique with the basic rhythmic figures. Finally, I have to say that there are a lot of possibilities for the application of the technique, so feel free to experiment and try all these ideas. Welcome to the second part of the series of Bass Tips for Mastering The Double Thumb Technique.

Last time, We were dedicated to work with the right hand, developing the sound and the application of the technique with the basic rhythmic figures. This time we will focus on the left hand. Do YOU wanna play the double thumb technique like Victor Wooten and Marcus Miller? Well, here I have some basic and easy to understand exercises for developing an accurate performance of the popular technique. The pedal tone also known as pedal note and pedal point is when you play a stationary or fixed single note(root/bass note) over chord changes.

This form of playing is used in all styles of music to create tension. All swing music is not written in 4/4 time, sometimes it is written in 3/4 time. Some examples of famous jazz standards in 3/4 time include 'Bluesette' and 'Footprints'.

New Super Mario Bros Wii Iso For Dolphin Download. When you are playing swing, you must know the '2 feel' interpretation. This style of playing is very used in jazz standards. So, go ahead!

Let's swing with a '2 feel'. What I'm talking about is to play a chord and then play a phrase, a melody, a riff, a motive, a lick, etc., using the chord tones, the scales and the modes.

Of course, you can add the chromaticism and all the techniques that you want to use. The possibilities are endless. Do you want to play out of the box? Issues with the fretboard? Problems with your fingering? You can work it out by using the slide techniques. A very good way to practice your string skipping technique is by warming up with the scales and modes.

Because you will get used to the application of the technique in a very practical way. The possibilities are endless. If you are a jazz or a blues bass player you must know the blues composite scale.

The possibilities of the scale are amazing, it doesn't matter if you're grooving or soloing. The scale sounds great and it will give you a lot of colors and flavor to your bass licks, fills, grooves, etc. Get your bass and check it out!

Welcome to Bass Tips! A riff is a short melodic or rhythmic phrase that it is repeated. A riff can be a chord pattern too.

You can use a riff for an accompaniment and for soloing, especially the one that it is repeated in improvisation. Riffing is a very common approach for solos. It can be applied to all styles of music. When you are improvising, a good way to create and establish a vocabulary is by adapting the melodies, phrases, etc., to all scales and modes. For that, you must take into account the intervals, the sequence of the notes and the amount of notes of the scale or mode.

You will notice that there is a pattern to follow in the process of adaptation. If you are a bass player who likes to do bass solos and you are into jazz improvisation, you must know that the Bebop Scale, also known as the Bebop Dominant Scale, is essential to define the jazz sound in your playing. It has been used by jazz musicians like Charlie Parker, Joe Pass, Bud Powell, etc. There are other Bebop Scales, these scales are the Bebop Major, Bebop Minor, etc.

But the Bebop Dominant Scale is the most common. Let's find out! NEWEST LESSONS ADDED: MIKE OVERLY This collection of lessons contributed by, author of, it's, and the, &. GRAMMY® nominated music educator Mike Overly, author of explains how to practice the basic building blocks of rhythm: the 1-2 ratio is one beat divided into two counting parts. GRAMMY® nominated music educator Mike Overly, author of explores a new layer of complexity in following repeat signs. GRAMMY® nominated music educator Mike Overly, author of explains how to practice the basic building blocks of rhythm: the 1-1 ratio has one beat to one counting part.

In this video lesson,, GRAMMY® nominated music educator and author of, shows you how to apply the Z Angle to efficiently play two-octave scales on a 4 string bass. In this useful presentation, GRAMMY® nominated music educator Mike Overly, author of explores the parts of the popular song form. These include: the intro, verse, pre-chorus, chorus, interlude, bridge, vamp, solo, coda and Ad Libitum. In this great lesson,, GRAMMY® nominated music educator and author of, presents the major scale and its relative natural minor scale, clarifies the major pentatonic scale and minor pentatonic scale, and reveals the minor pentatonic scale's relation to the minor hexatonic scale.

In this video lesson, GRAMMY® nominated music educator Mike Overly, author of presents 13 iconic bass riffs used in the songs of Eric Clapton, James Brown, Herbie Hancock, SRV, Elvis, Ray Charles, Miles Davis, Albert King and others. Teaching Bass at Home, GRAMMY® nominated music educator and author of suggests that before your child asks you to teach them to play bass, be sure to read this article so you know what to say and do., GRAMMY®-nominated music educator and author of introduces you to the essential elements of reading Staff Notation in the Bass Clef.

Although studying is considered a legitimate scientific nowadays, it is still a very young one. In the early 1970s, a psychologist named J. Guilford was one of the first academic researchers who dared to conduct a study of creativity.

One of Guilford’s most famous studies was the nine-dot puzzle. He challenged research subjects to connect all nine dots using just four straight lines without lifting their pencils from the page. Today many people are familiar with this puzzle and its solution. In the 1970s, however, very few were even aware of its existence, even though it had been around for almost a century.

If you have tried solving this puzzle, you can confirm that your first attempts usually involve sketching lines inside the imaginary square. The correct solution, however, requires you to draw lines that extend beyond the area defined by the dots. At the first stages, all the participants in Guilford’s original study censored their own thinking by limiting the possible solutions to those within the imaginary square (even those who eventually solved the puzzle).

Even though they weren’t instructed to restrain themselves from considering such a solution, they were unable to “see” the white space beyond the square’s boundaries. Only 20 percent managed to break out of the illusory confinement and continue their lines in the white space surrounding the dots. The symmetry, the beautiful simplicity of the solution, and the fact that 80 percent of the participants were effectively blinded by the boundaries of the square led Guilford and the readers of his books to leap to the sweeping conclusion that creativity requires you to go outside the box.

The idea went viral (via 1970s-era media and word of mouth, of course). Overnight, it seemed that creativity gurus everywhere were teaching managers how to think outside the box. Consultants in the 1970s and 1980s even used this puzzle when making sales pitches to prospective clients. Because the solution is, in hindsight, deceptively simple, clients tended to admit they should have thought of it themselves. Because they hadn’t, they were obviously not as creative or smart as they had previously thought, and needed to call in creative experts.

Or so their consultants would have them believe. The nine-dot puzzle and the phrase “thinking outside the box” became metaphors for creativity and spread like wildfire in, management, psychology, the creative arts, engineering, and personal improvement circles. There seemed to be no end to the insights that could be offered under the banner of thinking outside the box.

Speakers, trainers, training program developers, organizational consultants, and university professors all had much to say about the vast benefits of outside-the-box thinking. It was an appealing and apparently convincing message. Indeed, the concept enjoyed such strong popularity and intuitive appeal that no one bothered to check the facts. No one, that is, before two different research —Clarke Burnham with Kenneth Davis, and Joseph Alba with Robert Weisberg—ran another experiment using the same puzzle but a different research procedure. Both teams followed the same protocol of dividing participants into two groups. The first group was given the same instructions as the participants in Guilford’s experiment.

The second group was told that the solution required the lines to be drawn outside the imaginary box bordering the dot array. In other words, the “trick” was revealed in advance. Would you like to guess the percentage of the participants in the second group who solved the puzzle correctly? Most people assume that 60 percent to 90 percent of the group given the clue would solve the puzzle easily. In fact, only a meager 25 percent did. What’s more, in statistical terms, this 5 percent improvement over the subjects of Guilford’s original study is insignificant. In other words, the difference could easily be due to what statisticians call sampling error.

Let’s look a little more closely at these surprising results. Solving this problem requires people to literally think outside the box. Yet participants’ performance was not improved even when they were given specific instructions to do so. That is, direct and explicit instructions to think outside the box did not help.

That this advice is useless when actually trying to solve a problem involving a real box should effectively have killed off the much widely disseminated—and therefore, much more dangerous—metaphor that out-of-the-box thinking spurs creativity. After all, with one simple yet brilliant experiment, researchers had proven that the conceptual link between thinking outside the box and creativity was a myth. Of course, in real life you won’t find boxes. But you will find numerous situations where a creative breakthrough is staring you in the face. They are much more common than you probably think.

*From Copyright 2014 Drew Boyd. There are many theories of creativity. What the latest experiment proves is not that creativity lacks any association to thinking outside-the-box, but that such is not conditioned by acquired knowledge, i.e., environmental concerns.

For example, there have been some theories such as those of Schopenhauer (see his remarks about Genius) and Freud (see his remarks about Sublimation) that propose creativity is something more like a capacity provided by nature rather than one acquired or learned from the environment. Rather than disproving the myth, in other words, the experiment might instead offer evidence that creativity is an ability that one is born with, or born lacking, hence why information from the environment didn't impact the results at all. It's an interesting experiment, but the author's conclusion cannot possibly follow from the results of it. I conduct soft skills training and outbound training for Corporates and individuals. To enhance creativity we motivate the participants to approach the problems from variety of vantage points. Even repeatedly checking the boundary conditions we are able to come up with variety of ways of solving the problem. This is akin to checking the walls of the box.

Looking inside the box for additional information, additional resources also helps. Looking at the box from bird's eye view triggers some different creative solutions.

Let us not get tied down to the mechanics but free ourselves to find the solution. I will give an example. You are playing football with family and friends at a distant ground and someone gets bruised badly. No first aid kit is available. Your priority is to get the person to a hospital ( at a distance of 2 hours ). The wound is bleeding and needs to be kept clean and bacteria free till the person reaches the hospital.

Ab Tutor Control 6 Crack Download. What will you do? Think of a solution. It is quite close to you. With all due respect, Professor Boyd, your argument is not at all compelling. It seems that you are taking the 'thinking outside the box' (TOTB) metaphor much more literally than it is intended (or, at least, as I and may others infer). Let me point out a few false and/or negligent statements that you make: 1. To refer to TOTB as 'dangerous' is naive, at best.

I, personally, have seen the positive, tranformative effects of not only the 9-dots exercise, but also the occasional use of the term to remind individuals after-the-fact about the value of thinking differently. The experiment you refer to doesn't even come close to proving what you suggest that it does. To use the term 'proving' in an argument like this is laughable. In real life, you absolutely WILL find boxes.that is, if you understand what the term 'box' refers to.

Here, the term is not literal; rather, it refers to a mindset, a perspective, a belief, or an assumption. It is precisely how the human mind works. We all think in boxes all the time. The 'sin,' if you will, is not in thinking inside of a box.but the neglect to readily switch from one box to another, nimbly (see Alan Iny's new book, 'Thinking in New Boxes').

A different -- and very healthy, positive, and productive -- way to think about TOTB is to understand that it merely represents an insight that can remind an individual to consciously become aware of limiting assumptions. And, upon such awareness, to open ones mind and imagination to actively explore new possibilities beyond the obvious or initial answer. If you don't regard this as valid contribution to creativity, then I suggest you consider spending a bit more time outside of that 'box' that you've presented here.

I couldn't have said it any better. TOTB is a beautiful skill to have. We are born into multiple boxes that are created upon social agreements (e.g. Illustrated by the hermeneutic circle) but the ones who dare to think outside of what is considered as social or scientific correct (all the boxes together) are the minds whom are absolute free and open towards new moralities, paradigms, innovations and creativity in general. Saying that TOTB is a negative thing is a very conservative statement and someone who has such a belief is scared of change, scared of diversity and scared of anything that is abstract and out of order.

I'm all about TOTB and the best way to TOTB is to fully understand the box in the first place and why some people are scared of TOTB hence also lacking the ability to do so. Fold the paper so all the dots ovelap. Use four lines to connect four dots. Hold the folded paper up to the light.all dots connected; Thinking outside The Box. For that matter, you could fold the paper until all the dots overlapped and you would not need to waste any pencil lead; Thinking outside The Box.

Use a very wide pencil lead or charcoal block for that matter, connect all the dots in one fell swoop; Thinking outside The Box. Forego a pencil altogether and use a bucket of paint to create a huge blot over all the dots; Thinking outside The Box.

Question the dots and why they need to be connected in the first place; Thinking outside The Box. Erase the dots; they are a distraction to Thinking outside The Box. Create your own dots and lines in any fashion you desire; Thinking outside The Box. People that say, it's a misguided idea,, do not know how to think outside the box, I can look /listen/ at anything an tell you how to fix it. I play chess with my pc, an beat it all the time, and the reasoning is I do not think logically, like the pc does.

It has a set of rules that it was programed with an you were in college, I do not play by the rules, I can play without the queen.Also when you go the a school that teaches how to think about something, that is all you know how to do.I have had engineers come to my deck, hand me a set of blueprints, because that was the way they were taught. They are never taught to look at it, in there mind to see it working. What I do is show them how wrong they are, an ask them what tool in the world can cut a square hole inside the middle of two long tubes.

They can not think outside the box, that they were taught to do. If was going to tell you about an airplane the TR-3B, it travels a little bit under light speed, an it uses nuclear fusion, which turns into plasma an powers the craft, that was built outside the box.

An if you do not believe me type it into your search engine, you can also look it up at the library of congress under new patients. You my brother, do not have the inkling of understanding to think outside the box. That's why you are a psychologist an nothing more.