By Chuck Sher, Marc Johnson

The one publication particularly designed to assist bass avid gamers how one can create appealing solos. contains 2 CDs of Marc Johnson (bassist with invoice Evans, Stan Getz, etc.) enjoying every one workout and lots of transcriptions of what Marc performs at the CDs. additionally contains transcribed solos via Eddie Gomez, John Patitucci, Jimmy Haslip and others.

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Extra resources for Concepts for Bass Soloing

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H. Yuan 2004: 140–151 on aesthetic principles of Chinese dance). hese are crucial points to take into consideration in the current attempt at making sense of musical concepts that describe or refer to Chinese music. 5 Chinese music and Chinese language: a case of pas de deux From an evolutionary perspective, hompson (2009: 39) made the conclusion that “language and music might have emerged at the same time as two distinct signal systems, or one system might have developed as an outgrowth of the other system, or a precursor to both systems – a ‘musilanguage’ – might have developed and then later diverged into two separate systems” (see Darwin 1871; Lerdahl and Jackendof 1983; Pinker 1997; Jusczyk 1997; Masataka 2008a and 2008b, and Bannan 2012 for similar and representative views from the same perspective).

He situation gets even more interesting when examining the sememe shou in the context of the compound word, shou wan 手腕 lit. ‘hand wrist’. his compound word is actually semantically polysemous, with one of its senses (shou wan1) adhering to its literal, referential meaning, which has to do with the corresponding body part, the ‘wrist’. Shou in the sense of shou wan1 appears to have lost its meaning altogether, since the other sememe, wan 腕, already suiciently refers to the corresponding body part (the wrist) without requiring any semantic contribution from shou.

Shou no longer refers only to the hand but also, the entire hand from the wrist down, in this particular lexical environment. he situation gets even more interesting when examining the sememe shou in the context of the compound word, shou wan 手腕 lit. ‘hand wrist’. his compound word is actually semantically polysemous, with one of its senses (shou wan1) adhering to its literal, referential meaning, which has to do with the corresponding body part, the ‘wrist’. Shou in the sense of shou wan1 appears to have lost its meaning altogether, since the other sememe, wan 腕, already suiciently refers to the corresponding body part (the wrist) without requiring any semantic contribution from shou.

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