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Building a Solid Improvisational Concept Part 3 by Igor Saavedra

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Hi my friends, it’s great to be writing for you on this very first 2012 issue. I hope you had great holidays and that you are prepared to work and to improve on your musicality.  I can tell you that I’m already studying new things because I’ve got a lot to learn!

On the previous articles we’ve already covered the Philosophical, “Quantum Physics” and Poetical and Lyrical aspects of improvisation. So on the very last part of this “Trilogy on Improvisation” we’ll be covering the Esthetical and Psychological aspects, which in my opinion will close the circle for the main aspects of improvisation that have nothing to do with topics like scales, technique, chords, licks, chops, etc.

How the Esthetical aspect works on Improvisation

I’d like to introduce you to the subject of Esthetics.

– First of all you have the Esthetical Object, which is the idea of what you want to do or create.

– Then you have the Esthetical Result, which doesn’t necessary belongs to its’ creator, and mainly belongs to the audience.

– So as you can see in Esthetics you have what is called a Double Reality; from the point of view of the creator, the more the Esthetical Result reflects what it was for the Esthetical Object, the more the creator increases his/her sensation of Beauty from his/her creation; this specific sensation can only be achieved by the creator… so that’s great for us as improvising beings, isn’t it?

– Finally…. I suggest never forgetting to consider that “What has been made… has beauty on itself”.

What is beautiful or ugly is obviously something very subjective… and when it comes to music this gets even more critical, but there are indeed some objective aspects in Esthetics that I suggest you should also consider.

If you have studied a little bit about Esthetics I think you’ll agree with me that this concept is closely related with another concept, which is Proportion. The concept of proportion at the same time is closely related with mathematics and with another very important concept, which is Equilibrium, or most commonly said, “Balance”.

Think a little bit about how these concepts relate themselves with the Improvisational context and you’ll end up finding a lot of connections. To make it short I’ll suggest some tips about what to do or not to do when you are improvising so as to be able to walk within the ranges of Proportion and Equilibrium.

Always consider the length of the solo… don’t exaggerate! How many times have you heard a musical piece that is 3 minutes long and one of the Solos is 20 minutes long! Not everybody is Charlie Parker or Keith Jarret, so those are not good examples to validate extremely long Solos. Exceptions will just confirm the rule. If you cross that fine line you can transform what could have been a beautiful solo into an ugly, heavy, boring and disgusting “self gratification” speech.

Don’t exaggerate with the length and the amount of chops and licks… Don’t play them in any moment of your Solo just “because.” Know when and how to play them so as to relate them with the climaxes or “sub climaxes” of your Solo; usually those are the right moments for them.

Same with dynamics… Build dynamics carefully, increase the volume just when needed, don’t play “flat”… people usually play loud all the way… you must leave some room so as to be able to grow on dynamics while the Solo starts to grow on intensity… obviously again there are some exceptions to this so called “rule”.

Balance the speed of your playing… know when to play fast and don’t do it all the time. Don’t use this amazing musical resource to show that you are fast and skilled as this is the most unmusical thing to do… speed up when the musical tension asks for it and follow your ear and your feelings.

Don’t be too Diatonic or too Odd… again, know when to go into each different texture. In general terms I’d recommend going odd when the musical tension increases.

– As you can see, a combination of odd notes, fast runs, intricate chops and loud volume will surely contain a bunch of energy and tension, and you can obviously imagine what will happen with the opposite situation. You can make use of all these elements in order to achieve the different tension states you are looking for. Finally remember that the whole musical speech is exactly about that!

What about the Psychological aspects in relation with improvisation…?

It’s important to say that this specific aspect is closely related with the Stage and the Audience, because when you improvise at home in your room or studio the psychological reality is quite different.

– Attract the attention of the audience! Have you seen those TV Jazz Festivals where the TV Director knows nothing about Jazz and the Keyboard player is improvising amazing notes and chords while the TV Director is showing the Saxophonist or the Guitar player instead? Well, he is showing and broadcasting the guy who calls out the most attention in terms of rating, and many times the attitude of some musicians who aren’t even improvising is so great that they call everybody’s attention! That’s what you have to do… “Increase your stage rating” or nobody will pay enough attention to your Solo. I’m not meaning that you jump all around the stage like those Glam Rock Bands of the eighties, or do any kind of crazy things on stage. I’m a very relaxed guy on stage and sometimes kind of nerdy – hahaha… but we are talking here about subtle ways of keeping the audience with you.

– Being shy on stage is something you don’t want… you have to leave that home. “On Stage you can maybe express Tenderness, but not Shyness”. Play with Confidence, the audience has to Believe that you indeed know and trust what you are doing; that is called Scenic Magic!

– Talking about shyness… you also have to have a personality strong enough to respectfully but clearly communicate to any of the musicians in your band to lower the volume if they are too loud or to get “unbusy” if they are overplaying and jeopardizing your improvisation… so “Take full control of your Solo!”

“Play” with your fellow musicians… and when I say “Play” I mean the verb in the extended sense of its meaning! For example listen to what they are playing while you improvise and answer or copy their ideas, and they should do the same with you so as to sometimes help boost your improvisation, (just listen to Chick Corea while any member of his band is improvising). That also applies to the audience… so “Play” with them too. Choose specific people and get in visual contact with them; usually go for the one who looks more interested in what you are doing, that guy will increase his/her interest if you get in contact and you send your energy back. The good news is that this guy’s going to act like an antenna sending, broadcasting and spreading the energy to the rest of the audience…

– Show the band and the audience that you are somehow happy to be there and not quite the opposite… happiness is contagious and takes the best energy of the people who surrounds you…

Well my friends, as you could see on this trilogy there are many aspects of improvisation that are really important, even though they have nothing to do with the theoretical aspects like scales, technique, chords, licks, chops, etc. Consider them as equally important… I’m basing this advice on more than 20 years of playing music and improvising on stage and learning through the process…

I’m traveling all the way from Chile to perform at NAMM 2012! I have four different appearances including Markbass, La Bella and Nordstrand booths as well as coverage from Bass Musician magazine! So stay tuned from lots of NAMM coverage soon!

I wish you all the best for this 2012… see you in the next issue!

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Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

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Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)…

Flemish Master Pieter Bruegel the Elder probably had many things in mind when painting his Hunters in the Snow in oil on oak wood in 1565. This masterpiece tells plenty of little stories about winterly pastimes and precarious livelihoods in the Early Modern Age. What Bruegel presumably did not have in mind was that this painting would, several centuries later, become one of the most popular ones in fine arts globally, displayed in a permanent exhibition at Kunsthistorisches Museum (Museum of Fine Arts) Vienna. The painting’s popularity was lately taken to a different level as it was replicated by hand to design an exclusive BITE bass.

An international art collector and bass player who regularly visits Vienna to immerse himself in the wonderworld of Kunsthistorisches’ Bruegel Hall asked BITE to replicate the painting on a bass body. BITE Guitars, an Austrian premium manufacturer exporting most of their basses to the US, has become renowned for colorful artwork basses, offering a range of manual and digital techniques. The firm’s art director Peter, a trained scenic painter of Oscar and Palme d’Or rank, specializes in photo-realistic reproductions. He also painted the bass for Robbie Williams’ 2023 world tour by faithfully replicating Robbie’s own stage design onto the tour bass.

Peter copied the Bruegel motif onto the bass body in minute detail, little twigs even by one-hair-brush. Positioning the rectangular image section on the body shape proved to be a special challege that he met by repositioning little elements, a bird here, a horse and cart there.

It all came together in a memorable video shooting in front of the original painting in the Museum’s Bruegel Hall: venerable fine arts, premium handicraft and groovy jazz tunes.

View video at the museum: www.youtube.com/shorts/2evdqfR6gUE

What’s the conclusion of BITE’s client, our Vienna, art and bass lover? “It’s a magical bass! When I touch the strings, I feel warm inside.”

Specs highlights:
Bass model: BITE Evening Star, the proprietary BITE premium model with inward curved horns
Pickups: 2 x BITE 1000 millivolt passive split-coils (PP)
Neck: roasted maple neck and roasted flamed maple fretboard

Price tag incl. insured door-to-door express shipping:
New York: 4726 USD
London: 3645 GBP
Berlin: 4965 EUR

Full specs available at bite.guitars/old-master-bass/

Bruegel Hall at Kunsthistorisches Museum Vienna: 
khm.at/en/visit/collections/picture-gallery/the-best-of-bruegel-only-in-vienna/

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Interview With Bassist Ciara Moser

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Interview With Bassist Ciara Moser

Bassist Ciara Moser…

Ciara and I sat down for this interview a few months after the launch of her debut album, “Blind. So what?”

Blind since birth, she is a powerhouse of talent; she is not only a professional bassist, but also composes music, and is a producer and educator. I am just blown away by her talent and perseverance.

Join me as we hear about Ciara’s musical journey, the details of her album, how she gets her sound, and her plans for the future.

Visit online:

www.ciara-moser.com 
IG @ moserciara
FB @ ciara.moser

Photos by Manuela Haeussler

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New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

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New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar…

Black Ice Enterprises introduces Black Ice Boost and Black Ice Distort, small, battery-free devices that can be easily installed in a bass or guitar.

Black Ice Boost offers two selectable stages of up to 7 dB of boost, broadly concentrated in the midrange frequencies to add humbucker-like qualities to Strat®, Tele® and other types of single-coil pickups. Black Ice Distort is an overdrive module that can be configured to offer anything from slight overdrive to distortion. Both models are compatible with all passive guitar pickups and electronics (they’re not compatible with battery-powered active pickups).

Black Ice Boost (SRP: $119.95; MAP, $79.95) can be installed using several wiring options, including a simple “stealth” install that utilizes a single push-pull pot, and a dual-switch option that allows users to select between two different levels of boost. For those using the boost along with Black Ice Distort, a second push-pull pot or switch can be used to select a clean or distorted boost.

The Black Ice Boost module is approximately 2/3 the size of a 9-volt battery, and can be easily installed in most instruments with no routing or permanent modifications required. The tone of the instrument remains completely unaffected when the boost is bypassed.

In addition to use with popular single-coil pickups, Black Ice Boost can also be used with other pickup types. Use it to fatten up a P-90 style pickup, or add girth to a low-wind humbucker. Jazz Bass® players can use the additional midrange content provided by Black Ice Boost to produce a sound that’s reminiscent of a P-Bass® or soapbar-type pickup. Black Ice Boost is not recommended for use with high-output humbuckers and other dark-sounding pickups.

Black Ice Distort (SRP: $27.95; MAP, $21.95) is an overdrive module that can be configured for just a touch of grit, or a more aggressive grind, all the way to a 1960’s-flavored fuzz. While its battery-free circuit will never replace the more refined sound of a well-designed pedal, it provides handy, there-when-you-need-it access to a variety of fun old-school flavors, and is a great way to add additional textures to an already overdriven amp or pedal. Bass players will especially dig its raw dirty grind.

Like Black Ice Boost, the sugar-cube-sized Black Ice Distort provides a lifetime of tone with no maintenance or power source required. A variety of wiring options are included that let you activate the Distort via a switch or push-pull pot, or by easily converting your guitar’s tone control into a control for the Black Ice Distort circuit. It can be used in conjunction with the Black Ice Boost for a wide variety of useful tones.

Black Ice Boost and Black Ice Distort are now shipping.

Visit online at www.blackiceoverdrive.com

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @loritabassworks @meridian_guitars @alpherinstruments @phdbassguitars @mgbassguitars @mauriziouberbasses @utreraguitars @sugi_guitars @branco_luthier @blasiusguitars

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New Gear:  D’Addario’s New Humidipak

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New Gear:  D’Addario’s New Humidipak

D’Addario’s New Humidipak Absorb Protects Instruments Against Excess Moisture…

Utilizing two-way humidity control technology, D’Addario’s new Humidipak Absorb protects against damage to wooden instruments in environments with too much humidity. 

Humidipak Absorb allows players to safely return an instrument and case to the ideal relative humidity level. Using Boveda’s patented two-way humidity control technology, Absorb automatically soaks up excess moisture at a safe rate, re-establishing the right humidity level and eliminating the guesswork of revitalizing your instrument. 

Like all the Humidipaks before, using Humidipak Absorb is easy—there’s no dripping sponges or manual adjustments. All players need to do is put the humidification packets in the included pouches and place them in the instrument case, close the lid, and relax. The instrument and case will remain at the optimal 45-50% relative humidity level for 2-6 months. 

D’Addario’s other Humidipaks, Restore and Maintain, are still available for those who need to increase and sustain the humidity around their instrument. 

To learn more about Humidipak Absorb, visit ddar.io/absorb-pr 

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