The Certificate in Performance (Bass) is a four-quarter, 60 credit-unit curriculum that provides a broad foundation in

contemporary electric bass playing skills, musical knowledge, and performing experience. The program starts with a
proven system of intensive technical training and applied performance taught by a world-class teaching staff of
professional bassists. The unique approach equips you to handle any style from funk to rock, jazz, R&B and more,
unlocking your unique style of playing and putting you on the path toward your professional and creative goals.

GENERAL REQUIREMENTS
Degree requirements vary by instrument and include some or all of the following courses. See each emphasis for
details on specific requirements.

All course descriptions include course number, title, number of credit units per quarter (multiply by number of required
quarters for total credit amount), prerequisites (where applicable), description of content, and contact hours per
week.

MAJOR AREA (All Instruments)

Private Lesson
Weekly instrument lesson with an instructor who guides the student in developing technique, musicianship and style
in support of core curricular goals. The instructor and student jointly determine a specific course of study depending
on student needs, strengths and experience. One private lesson hour per week per quarter.

Live Performance Workshops 1-4

Students perform regularly throughout the program in a variety of styles and settings. Minimum requirement of ten
performances per quarter. One ensemble hour per week per quarter.

Blues
Classic Rock
Country Rock
Modern Rock
Hard Rock
Metal
Classic R&B
Punk
Contemporary R&B
Hip-Hop
Fusion
Funk
Reggae
Latin
Billboard Hot 100

*LPW offerings vary by quarter; check current course schedule for availability

MUSICIANSHIP (Requirements vary by instrument)

Harmony and Theory 1

Students perform regularly throughout the program in a variety of styles and settings (see section on Live Playing
Workshops for overview of workshop offerings). Minimum requirement of ten performances per quarter. One
ensemble hour per week per quarter.

Harmony and Theory 2

A continuation of the study of musical notation and diatonic structures, including rhythmic values, time signatures,
natural minor scales and key signatures, harmonized minor scales diatonic seventh chords, and key centers. One
lecture hour and one lab hour per week for one quarter.
Harmony and Theory 3
Variations on diatonic structures. Topics include pentatonic scales and blues, inverted, extended and non-standard
chord types, chord symbols and modes. One lecture hour and one lab hour per week for one quarter.

Harmony and Theory 4

Non-diatonic melody and harmony. Topics include variations in minor-key harmony and melody, modal interchange,
secondary dominants, diatonic substitution and modulation. One lecture hour and one lab hour per week for one
quarter.

Ear Training 1
An introduction to Ear Training as it applies to popular music. Areas of focus include matching pitch, major scale
melodies, and melodic intervals in the context of examples drawn from contemporary popular music. One lecture
hour and one lab hour per week for one quarter.

Ear Training 2
Topics include meter and rhythm, eighth-note phrases, sightsinging, transcribing melody and rhythm on the staff,
harmonic intervals, triad qualities, and diatonic major chord progressions. One lecture hour and one lab hour per
week for one quarter.

Ear Training 3
Concentrates on the recognition and transcription of diatonic minor-key melodies and chord progressions. One
lecture hour and one lab hour per week for one quarter.

Ear Training 4
Sixteenth-note rhythmic phrases plus variations in minor-key melody and harmony. One lecture hour and one lab
hour per week for one quarter.

MAJOR AREA

Private Lesson
Twelve credit units required (two per quarter). See General Requirements for course descriptions.

Live Performance Workshops 1-4

Six credit units required (one per quarter). See General Requirements for course descriptions.

Playing Techniques 1
Covers techniques for finger style bass playing, including correct posture, hand positioning, finger independence,
picking, and muting. All techniques are trained through extensive exercises. One lecture hour plus one lab hour per
week for one quarter.

Playing Techniques 2
Covers techniques for slap-style bass playing, including thumb/pluck technique, muting, articulation and rhythmic
variations and embellishment. All techniques are trained through extensive exercises. One lecture hour plus one lab
hour per week for one quarter.

Playing Techniques 3
Class applies the techniques developed in Playing Techniques 1-2 to fundamental styles and grooves, including
straight eighth-note rock, straight and swing sixteenth-note funk, standard shuffles, and 4/4-meter swing. One lecture
hour plus one lab hour per week for one quarter.

Playing Techniques 4
A continuation of Playing Techniques 3 with concentration on styles and grooves, including 3/4 rock, 3/4 swing, odd-
meter grooves, standard Brazilian grooves, sixteenth-note funk and standard Afro-Cuban grooves. One lecture hour
plus one lab hour per week for one quarter.

Fretboard Basics 1
Trains students to break the diatonic scale into smaller components (modal patterns, intervals and triads) and directly
relate this information to the electric bass fretboard. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 2
Trains students to break the harmonized major, minor, harmonic minor and melodic minor scales into their
fundamental components, including triads and diatonic seventh chords and directly relate this information to the
electric bass fretboard. One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 3
Course expands diatonic harmonic components to a wider range of notes, neck area, fingerings and hand positions,
including simple intervals, diatonic triads and seventh chords, including inversions over the entire length of the neck.
One lecture hour plus one lab hour per week for one quarter.

Fretboard Basics 4
Expands fingerings taught in Fretboard Basics 3 to cover chromatic harmony. One lecture hour plus one lab hour per
week for one quarter.

Fretboard Improvisation 1
Concentrates on the study of modes and modal playing, major II-V-Is and building a melodic vocabulary through the
analysis of solos by Miles Davis, Sonny Rollins and Cannonball Adderly. One lecture hour plus one lab hour per week
for one quarter.

Fretboard Improvisation 2
A continuation of Fretboard Improvisation 1, including a concentrated study of minor tonality, soloing over static
dominant chords, and continued development of a melodic vocabulary through the analysis of solos. One lecture
hour plus one lab hour per week for one quarter.

Reading 1
Introduces the novice reader to the basic elements of music reading in bass clef, including rhythmic subdivisions,
pitch identification, position playing on all four strings and scale forms. Students perform in solo and ensemble
settings. One lecture hour plus one lab hour per week for one quarter.

Reading 2
A continuation of Reading 1. Introduces the bassist to more advanced elements of music reading, including triplet
subdivisions, flat-key pitch identification, ties, dynamic markings, chord symbols and basic chart reading. One lecture
hour plus one lab hour per week for one quarter.

Reading 3
Class covers advanced levels of chart reading through the extensive use of detailed transcriptions in a wide range of
styles, including rock, funk, pop and contemporary instrumental. Concentration is on rhythmic accuracy, pitch
recognition and song form. One lecture hour plus one lab hour per week for one quarter.

Reading 4
A continuation of Reading 3. One lecture hour plus one lab hour per week for one quarter.

Rhythm Section Workshop 1

An introduction to ensemble performance with concentration on listening, dynamics, awareness of song form, and
basic chart reading as well as practical performing techniques, such as giving and following cues, instrument setup,
sound, and stage presence. Students perform each week and develop fundamental technical approaches to a variety
of popular styles while gaining live experience. Two lecture-ensemble hours per week for one quarter.
Rhythm Section Workshop 2
A continuation of Rhythm Section Workshop 1, with a concentration on learning practical performing techniques in a
variety of grooves and styles, including shuffles, sixteenth-note grooves, ballads and walking basslines. Two lecture-
ensemble hours per week for one quarter.

Rhythm Section Workshop 3

Emphasizes the fundamental rhythm section textures of various popular styles and the skills necessary for playing
them. Concentration on handling variations in typical song form, improving chart-reading skills, and taking a
leadership role within the group. Two lecture-ensemble hours per week for one quarter.

Rhythm Section Workshop 4

A continuation of Rhythm Section Workshop 3, with concentration on performing ballads, half-time-feel grooves,
double-timefeel grooves, bass intros and changing meters. Two lecture-ensemble hours per week for one quarter.

Bass Studio Recording 1

Development of the bassist as a studio musician in the digital recording environment. Students create, perform and
record bass lines for prerecorded curriculum-related tracks under the direction of a bass instructor-producer. As a
final project, students compile a CD of their recorded performances to use as a demo of their playing abilities. One
private recording session hour per week for one quarter.

Bass Studio Recording 2

Continuation of Bass Recording 1. One private recording session hour per week for one quarter.

MUSICIANSHIP

Harmony and Theory 1-4

Six credit units required (one and one-half per quarter). See General Requirements for course description.

Ear Training 1-4

Nine credit units required (one and one-half per quarter). See General Requirements for course description.

ELECTIVES

20th Century Jazz Bass I

20th Century Jazz Bass II
Melodic Duets for Electric Bass
Music Minus One for Bass
Blues Bass
Progressive Rock Bass
R&B/Funk Bass
Beatles Basslines
Classic Metal Basslines
Contemporary Metal Basslines
Jaco Pastorius Basslines
Les Claypool Basslines
Red Hot Chili Peppers Basslines
Walking Basslines
Bass and Drum Workshop
James Brown Rhythm Section
Rhythm Reading Workout
Afro-Cuban Bass
Brazilian Bass
Fretless Bass
Jazz Bass
Slap Bass
Advanced Bass RSW 1
Advanced Bass RSW 2
Motown Bass I
Motown Bass 2
Contemporary Improvisation
Modal Improvisation
Private Upright Lessons
Led Zeppelin Basslines

Syllabus
Applied Commercial Music: Bass Guitar
Syllabus Sections

COURSE REQUIREMENTS

READINGS

COURSE SUBJECTS

STUDENT LEARNING OUTCOMES/LEARNING OBJECTIVES

Publish Date

08/18/2011 17:11:18

Applied Commercial Music: Bass Guitar

MUSP-1204

Fall 2011
08/22/2011 - 12/11/2011

Course Information

Section 001
Laboratory

Joshua Zarbo
jzarbo@austincc.edu

Office Hours

MW
14:00 - 15:00
Northridge Campus

COURSE REQUIREMENTS
COURSE FORMAT:

Private lesson between instructor and student.

MATERIALS: Bass, instruction book/handouts, instrument cable (1/4), metronome, tuner, folder, paper, pen

STUDENT REQUIREMENTS/GRADING POLICY:

Attend lessons regularly and on time* 25%

Prepared for class with necessary materials 25%

Class participation 25%

Practice/Learn assigned lesson material 25%

*Missing three classes will result in the final course grade being lowered by a full letter. Missing five
classes will result in the student being assigned a failing grade for course. Being more than 15 minutes late
to class equals an absence. NO EXCEPTIONS.

NOTICE:

Please keep cell phones turned off during ENTIRE lesson. Do not attempt to answer your phone during
lesson time.

POLICIES:

The instructor has the right to forfeit the lesson if the student does not show up within the first 15 minutes of the
lesson. (The only exception is when prior arrangements have been made between the student and the instructor)

Makeup lessons for an EXCUSED ABSENCEmay be given onlyif notice of an EXCUSEDabsence is submitted
prior to the day of the lesson and onlyif a suitable makeup time can be arranged.

Students may not receive full credit for assignments turned in late.

Failure to attend class regularly willresult in a lower grade.

Withdrawal from this class is the responsibility of the student, not the instructor.

An incomplete may be given to a student under extremely special circumstances. If you feel this is necessary
you must discuss the issue with the instructor no less than three weeks prior to the end of the semester.

(From Student Handbook) Acts prohibited by the College for which discipline may be administered include
scholastic dishonesty, including but not limited to cheating on an exam or quiz, plagiarizing, and unauthorized
collaboration with another in preparing outside work. Academic work submitted by students shall be the result of their
thought, research, or self-expression. Academic work is defined as, but not limited to tests, quizzes, whether taken
electronically or on paper; projects, either individual or group: classroom presentations and homework.

(From Student Handbook) Each ACC campus offers support services for students with documented physical of
psychological disabilities. Students with disabilities must request reasonable accommodations through the Office for
Students with Disabilities on the campus where they expect to take the majority of their classes. Students are
encouraged to do this three weeks before the start of the semester.

READINGS
Learn assigned lesson material and be able to show progress during lessons.

COURSE SUBJECTS
COURSE DESCRIPTION (via ACC catalog):

Private instruction in individual instruments.

STUDENT LEARNING OUTCOMES/LEARNING

OBJECTIVES

COURSE OBJECTIVE:

To improve your talent and skills as a bassist, rhythm section member and musician. The course curriculum will
concentrate on technique, sight-reading, ear training and music theory. The purpose of the curriculum is to expand
your knowledge as a bassist and allow you to adapt and excel in a variety of musical settings.

LEARNING OUTCOMES:

The student will develop a further appreciation of the bass guitar and should improve as a musician. However, the
degree to which the student excels in the class will depend greatly on how much effort the student puts into the
assigned lesson material. If ample effort is given, the student should expect to see great improvement in all aspects
of the course curriculum.

Lesson 1: Basic Octaves Technique

The Roots of Slap Bass

Basic Octaves Technique

Rock vs. R&B Technique

Player of the Week (Louis Johnson)

Phrasing and Feel (Louis Johnson)

Bass Line and Improvisation

Lesson 2: Thumb Technique

Focus on the Thumb

Developing a Practice Routine

Player of the Week (Larry Graham)

Phrasing and Feel (Larry Graham)

Bass Line and Improvisation

Lesson 3: Popping Technique

Focus on Popping

Basses 4,5,6 String

Player of the Week (Janice Johnson)

Phrasing and Feel (Janice Johnson)

Bass Line and Improvisation

Lesson 4: Hammer-ons

Hammer-ons

Time and the Role of the Bass Player

Player oftThe Week (Aaron Mills)

Phrasing and Feel (Aaron Mills)

Bass Line and Improvisation

Lesson 5: Pull-offs

Pull-offs

Amps & Speakers

Player of the Week (Stanley Clarke)

 Phrasing and Feel (Stanley Clarke)

Bass Line and Improvisation

Lesson 6: Combining Basic Techniques

Combining Techniques

SoundEQ

Player of the Week (Marcus Miller)

Phrasing and Feel (Marcus Miller)

Bass Line and Improvisation

Lesson 7: Adding Syncopation

Syncopation & Rhythmic Depth

EffectsTraditional & Modern

Player of the Week (Alphonso Johnson)

Phrasing and Feel (Alphonso Johnson)

Bass Line and Improvisation

Lesson 8: Groove Construction

Groove Construction

Strings, Straps, & Equipment

Player of the Week (Freddie Washington)

Phrasing and Feel (Freddie Washington)

Bass Line and Improvisation

Lesson 9: Sliding and Phrasing Elements

Sliding & Phrasing

 Studio vs. Live Sound & Playing

Player of the Week (Doug Wimbish)

Phrasing and Feel (Doug Wimbish)

Bass Line and Improvisation

Lesson 10: Double Stops

Double Stops

Playing Pain & Hand Problems

Player of the Week (Nate Phillips)

Phrasing and Feel (Nate Phillips)

Bass Line and Improvisation

Lesson 11: Putting It All Together

Combining All Techniques

Building Confidence

Player of the Week (Victor Wooten)

Phrasing and Feel (Victor Wooten)

Bass Line and Improvisation

Lesson 12: Making Your Lines Stand Out

Remember Why We Play

Creating Standout Bass Lines

Great Slap Solos

Ready to Enroll?

Yes, I'm ready to enroll

 I'm interested and have a few questions

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Slap Bass
Authors: Lenny Stallworth, Anthony Vitti

OVERVIEW

SYLLABUS

REQUIREMENTS

Popularized by such groups as Sly and the Family Stone, Graham Central Station, and the
Brothers Johnson, slap bass lines were an infectious trademark of many 1970s funk hits.
Since then, slap bass has become an essential part of playing electric bass; typically used as
a phrasing element and a way of getting a different texture and sound. In Slap Bass, you will
 learn the fundamentals of playing slap (from traditional to advanced modern techniques),
and learn to construct your own slap lines over original songs. The course begins with a
focus on developing proper right- and left-hand technique, including basic octaves, thumb,
popping, pull-offs, and hammer-ons. You will then explore advanced phrasing elements such
as slides, double stops and bass line improvisation. The ability to play slap bass is essential
to a modern bass player, and this course will show you how to incorporate this important
style into your own playing. This course is perfect for existing slap bass players, as well as
for developing players. Slap Bass will take you from the very beginning techniques of
producing sound and quickly have you playing classic lines that employ those fundamental
techniques. You will progress at your own pace and skill level, and be challenged as an
individual.

You will also study the bass lines and history of some of the great slap bass players,
including Louis Johnson, Larry Graham, Janice Johnson, Aaron Mills, Stanley Clarke, Marcus
Miller, Alphonso Johnson, Freddie Washington, Doug Wimbush, Nate Phillips, and Victor
Wooten. By the end of the course, you will have a solid foundation in traditional slap bass
technique, the skills to play the vast majority of classic slap bass lines, and the technique to
approach most modern styles of slap bass, including applying them to your own playing.

By the end of the course, you will be able to:

apply basic octaves slap technique to your playing

apply thumbing technique to your playing

apply popping technique to your playing

play pull-offs and hammer-ons effectively

further develop your time and feel

develop a good slap bass sound

incorporate double stops and slides in your playing

construct original slap bass lines

School Information

Financial Aid
 Scholarship Program

Search Online Courses

Slap Bass
Authors: Lenny Stallworth, Anthony Vitti

OVERVIEW

SYLLABUS

REQUIREMENTS

Prerequisites

Student should have the following:

basic ability to read music (notes or TAB)

ability to play traditional (finger style) "classic" songs on the instrument (no previous
slap experience is necessary)

physical capabilities on the instrument and computer to allow them to download and
record homework

ability to play their instrument in tune

a basic understanding of triads and seventh chord types (major, minor, Maj7, min7,
Dom7, etc.)

a basic understanding of scales and diatonic modes (major, minor, pentatonic,

Dorian, Phrygian, etc.)

Textbook
None required.

SOFTWARE REQUIREMENTS

PC Web browser: Firefox 3.0 or higher, Internet Explorer 7 or higher

Macintosh Web browser: Firefox 3.0 or higher, Safari 3.0 or higher

Flash Player: current version

QuickTime Player: current version

Acrobat Reader: current version

A basic audio recording tool that will allow you to record yourself playing along with a
background track and save the recording in MP3 format. You will have a tool to use for this
purpose inside the learning environment. Alternatively, you can use software like Audacity
or a digital audio workstation (DAW).

A program for decompressing zip compacted files, such as the Windows extraction
wizard or Stuffit Expander by Aladdin, available as a free download at www.stuffit.com

HARDWARE REQUIREMENTS: PC USERS

Windows XP, Vista, or higher

Intel Pentium or higher

1 GB RAM

500 MB hard drive space recommended

Sound card