Site Map
- Lessons Overview
- Technique
- TEC101: Plucking Hand Movable Anchor Concept, Part 1: Introduction/Basics
- TEC102: Plucking Hand Movable Anchor Concept, Part 2: Evolution Of Concept And The Floating Thumb Technique
- TEC103: Plucking Hand Alternation And Basic Permutation Exercises
- TEC104: Fretting Hand Technique And Basic Permutation Exercises
- TEC105: Mastering Right & Left Hand Technique: Cross String Permutation Exercises
- TEC106: Mastering Right & Left Hand Technique: Reverse Cross String Permutation Exercises
- TEC151: Developing Speed & Dexterity Using Tempo Doubling Exercises
- TEC201: Slap Bass Basics Part 1: The Slap/Thump
- TEC202: Slap Bass Basics Part 2: Adding The Pop
- TEC203: Slap Bass Basics Part 3: Hammer-Ons & Pull-Offs
- TEC204: Slap Bass Basics Part 4: Muted/Ghost Notes
- TEC231: Developing Hybrid Slap Techniques, Part 1: 2, 3, and 4 Note Combinations
- TEC232: Developing Hybrid Slap Techniques, Part 2: Incorporating Hammer-Ons
- TEC301: Sweep Arpeggio Technique, Part 1: Intro/Triad Forms
- TEC302: Sweep Arpeggio Technique, Part 2: 7th Chord Forms
- TEC303: Sweep Arpeggio Technique, Part 3: Harmonizing The Major Scale
- Ear Training
- ETR101: The Importance Of Ear Training
- ETR102: Ear Training With Your Bass Part 1: Internalizing Ascending/Descending Sequences
- ETR103: Ear Training With Your Bass Part 2: Internalizing Individual Pitches & Intervals
- ETR104: Ear Training With Your Bass Part 3: Internalizing Multi-Note Combinations & Phrases
- Applied Harmony & Theory
- AHT101: Interval And Location Exercises, Part 1
- AHT102: Interval And Location Exercises, Part 2
- AHT103: Interval And Location Exercises, Part 3
- AHT110: Learning The Fingerboard Using Octave-Based Exercises
- AHT121: "3 Plus 1" Exercises: Creating Bass Fills Using The Modes Of The Major Scale
- AHT131: Diagonal Modal Form Application, Part 1
- AHT132: Diagonal Modal Form Application, Part 2
- AHT133: Diagonal Modal Form Application, Part 3
- AHT140: Sequencing Exercises, Part 1
- AHT150: Intervallic Exercises, Part 1
- AHT201: The Modes Of The Major Scale Part 1:Intro/Construction
- AHT211: Harmonization Of The Major Scale Part 1: Intro &Triad Application
- AHT212: Harmonization Of The Major Scale Part 2: 7th Chords Application
- AHT301: Major Scale Modal Fingerings: 3 Notes Per String - 4 String Bass
- AHT302: Harmonized Arpeggio Forms: 7th Chords - 4 String Bass
- AHT303: 7th Chord Arpeggio Inversion Forms - 4 String Bass
- AHT304: 7th Chord Forms: 3 & 4 Strings Wide - All Basses
- AHT305: Triad Chord Forms: 3 & 4 Strings Wide - All Basses
- AHT306: Major Scale Modal Fingerings: 3 Notes Per String - 5 String Bass
- AHT307: Harmonized Arpeggio Forms: 7th Chords - 5 String Bass
- AHT308: 7th Chord Arpeggio Inversion Forms - 5 String Bass
- AHT309: Major Scale Modal Fingerings: 3 Notes Per String - 6 String Bass
- AHT310: Harmonized Arpeggio Forms: 7th Chords - 6 String Bass
- Improvisation
- IMP101: Improvisational Objectives & Strategies For Bass Players
- IMP102: Modal Improvisation Part 1: Application Over Maj7 Chords Using Ionian
- IMP103: Modal Improvisation Part 2: Application Over Maj7 Chords Using Lydian
- IMP104: Modal Improvisation Part 3: Application Over Min7 Chords Using Dorian
- IMP105: Modal Improvisation Part 4: Application Over Dom7 Chords Using Mixolydian
- IMP106: Modal Improvisation Part 5: Application Over Dom7 Chords Using Lydian Dominant
- IMP121: Chordal Improvisation Part 1: Intro & Min7 Chord Application
- IMP122: Chordal Improvisation Part 2: Maj7 Chord Application
- IMP123: Chordal Improvisation Part 3: Dom7 Chord Application
- IMP130: Tips & Suggestions For Improving Your Improvisational Skills
- IMP161: Improvising Over ii-V-I's Using Chromatic Descending Arpeggio Forms
- IMP162: Improvising Over ii-V-I's Using Minor Pentatonic Scales
- Style Studies
- STS131: Walking Bass Method, Part 1: Introduction/Arpeggio Forms
- STS132: Walking Bass Method, Part 2: 2 Feel Over Static Chords Using Roots/5ths
- STS133: Walking Bass Method, Part 3: 2 Feel Using 3rds/7ths
- STS134: Walking Bass Method, Part 4: Using 2 Feel Over Chord Progressions
- STS135: Walking Bass Method, Part 5: 4 Feel Walking Lines Using Chord Tone Permutations
- STS136: Walking Bass Method, Part 6: Constructing Lines Using Scale Tones
- STS137: Walking Bass Method, Part 7: Using Scale Tone Walking Lines To Play Through Progressions
- STS138: Walking Bass Method, Part 8: Introducing Chromaticisms
- STS139: Walking Bass Method, Part 9: Weak Beat/Strong Beat Concept & Incorporating Dynamics
- STS140: Walking Bass Method, Part 10: Making Static Chord Walking Lines More Interesting
- Groove & Time Keeping
- Reading
- MusicDojo Overview
- BI105 - Jazz Improvisation 1
- Lesson 1: Introduction to Scales and Chords
- Lesson 2: Intervallic Definitions
- Lesson 3: Modifying Major Scale Intervals
- Lesson 4: Modes Defined
- Lesson 5: The Harmonization of the Major Scale
- Lesson 6: Chord Forms and Arpeggio Forms
- Lesson 7: Improvising Over Static Chords with Chord Tones (Part 1)
- Lesson 8: Improvising Over Static Chords with Chord Tones (Part 2)
- Lesson 9: Playing Over Changes Introduced
- Lesson 10: Matching Scales to Chords
- Lesson 11: ii-V-I's Introduced
- Lesson 12: ii-V-I's (Continued)
- Lesson 13: Minor ii-V-i's Introduced
- Lesson 14: Minor ii-V-i's (Continued)
- Lesson 15: Jazz Blues Progressions
- Lesson 16: Jazz Blues (Continued)
- Lesson 17: The Importance of Melody
- Lesson 18: Scale Substitutions, Introduced
- Lesson 19: Scale Substitutions, Continued
- Lesson 20: Scale Substitutions, Continued: The Melodic Minor Scale
- BI205 - Jazz Improvisation 2
- Lesson 1: Review of Level 1: Concepts and Applications
- Lesson 2: The Melodic Minor Scale and its Application
- Lesson 3: Melodic Minor Derived Modes and Analysis
- Lesson 4: Harmonizing the Melodic Minor Scale
- Lesson 5: Implied Harmony and the Altered V Chord
- Lesson 6: Melodic Minor Arpeggio Forms and Alternative Chord Forms
- Lesson 7: Chordal Improvisation: Minor 7 Chord
- Lesson 8: Chordal Improvisation: Major 7 Chords
- Lesson 9: Chordal Improvisation: Dominant 7 Chords
- Lesson 10: More Chordal Improvisation with Dominant 7 Chords
- Lesson 11: Using Pentatonics
- Lesson 12: More Pentatonics
- Lesson 13: Minor Pentatonics, Altered Chords, and the ii-V-I
- Lesson 14: Triad Based Improvisation Introduced: Major Triad Forms
- Lesson 15: Triad Based Improvisation: Minor Triad Forms
- Lesson 16: Diminished and Wholetone Scale Applications
- Lesson 17: Taking an Inventory of Ideas and Application over Larger Progressions
- Lesson 18: Sus, Dominant Sus, and Altered Dominant Sus Chords
- Lesson 19: Improving Phrasing, and Basic Analysis of Tunes
- Lesson 20: Analysis, Continued
- BI110 - Walking Bass 1
- Lesson 1: Intro To Walking Bass Lines
- Lesson 2: Writing 2 Feel Bass Lines
- Lesson 3: Playing 2 Feel Walking Lines Using Triads
- Lesson 4: Writing 4 Feel Bass Lines
- Lesson 5: Improvising Triad Walking Lines in 4 Feel
- Lesson 6: Adding the 7th and Writing 7th Chord Lines
- Lesson 7: Improvising 7th Chord Lines in 4 Feel
- Lesson 8: Chord Tone Permutations
- Lesson 9: Improvising Using Permutations
- Lesson 10: 2 Feel/4 Feel Transitions
- Lesson 11: Tune #1 with Example Lines
- Lesson 13: Tune #2 with Example Lines
- Lesson 14: Tune #2 (Continued)
- Lesson 15: Tune #3 with Example Lines
- Lesson 16: Tune #3 (Continued)
- Lesson 17: Tune #4 with Example Lines
- Lesson 18: Tune #4 (Continued)
- Lesson 19: Tune #5 with Example Lines
- Lesson 20: Tune #5 (Continued)
- BI210 - Walking Bass 2
- Lesson 1: Review of Level 1 Concepts
- Lesson 2: The Use of Scale Tones in Walking Lines
- Lesson 3: Scale Tones, Continued (Modal Applications)
- Lesson 4: Scale Tone Walking Lines Over Multiple Chords
- Lesson 5: Walking Lines Over Multiple Chords, Continued
- Lesson 6: Using Ghost Notes and ‘Dead’ Notes
- Lesson 7: Extensions and Alterations
- Lesson 8: Practice Tune #1
- Lesson 9: Practice Tune #2
- Lesson 10: Practice Tune #3
- Lesson 11: The Chromatic Approach
- Lesson 12: The Chromatic Approach, Continued
- Lesson 13: Common Chromatic Movements; Practice Tune #4
- Lesson 14: Practice Tune #5
- Lesson 15: Odd Time Signatures, Introduced
- Lesson 16: Maintaining Contour with Chord Tones
- Lesson 17: Practice Tune #6
- Lesson 18: Practice Tune #7
- Lesson 19: Introduction to Latin
- Lesson 20: Recap and Practice Tune #8
- BT101 - Mastering Technique
- Lesson 1: Intro To Technique and the Plucking Hand
- Lesson 2: Plucking Hand Alternation and Permutation Exercises
- Lesson 3: One Finger Per Fret Permutations (Continued)
- Lesson 4: One Finger Per Fret Permutations (Continued)
- Lesson 5: One Finger Per Fret Permutations (Continued)
- Lesson 6: Permutations with String Crossing
- Lesson 7: Planning a Practice Regimen
- Lesson 8: 3 Note Per String Approaches and Musical Forms
- Lesson 9: Subgrouping
- Lesson 10: String Skipping in a Single Position
- Lesson 11: Fretting Hand Specifics
- Lesson 12: 4 Note Transitions Between Strings
- Lesson 13: 6 Note Transitions Between Strings
- Lesson 14: Progressive Sequences
- Lesson 15: Doubling and Tripling
- Lesson 16: Practice Tactics and Octave Fingerings
- Lesson 17: Octaves (Continued)
- Lesson 18: More String Crossing
- Lesson 19: String Crossing (Continued)
- Lesson 20: More String Skipping
- BT130 - Tapping 1
- Lesson 1: Introduction and Demonstration of the Tapping Style
- Lesson 2: Definition of Basic Essential Techniques
- Lesson 3: Left Hand Hammer-on Exercises
- Lesson 4: Combining Hammer-ons and Pull-offs
- Lesson 5: Adding the Plucking Hand
- Lesson 6: Plucking Hand Tapping, Continued
- Lesson 7: Permutations and 3 Note Per String Fingerings 1
- Lesson 8: Permutations and 3 Note Per String Fingerings 2
- Lesson 9: Permutations and 3 Note Per String Fingerings 3
- Lesson 10: Permutations and 3 Note Per String Fingerings 4
- Lesson 11: Putting Both Hands Together
- Lesson 12: Exercises Using Scales and Modes
- Lesson 13: Tapping Scales, continued
- Lesson 15: Tapping Intervallic Forms
- Lesson 16: Incorporating Right and Left Hand Independence
- Lesson 17: Right and Left Hand Independence, Continued
- Lesson 18: Tapping Chords
- Lesson 19: Groove Playing Integrating Syncopation
- Lesson 20: Stacking Parts and Creating Harmony
- Bonus Content Overview
- Clinics
- CLN101 - CMS Nashville Conference (Part 1) - Oct 5, 2012
- CLN102 - CMS Nashville Conference (Part 2) - Oct 5, 2012
- CLN103 - CMS Nashville Conference (Part 3) - Oct 5, 2012
- CLN104 - CMS Nashville Conference (Part 4) - Oct 5, 2012
- CLN105 - CMS Nashville Conference (Part 5) - Oct 5, 2012
- CLN111: WMC Bass Clinic (P1) - Aug 25, 2012
- CLN112: WMC Bass Clinic (P2) - Aug 25, 2012
- CLN113: WMC Bass Clinic (P3) - Aug 25, 2012
- CLN114 - WMC Bass Clinic (P4) - Aug 25, 2012
- CLN115 - WMC Bass Clinic (P5) - Aug 25, 2012
- CLN116 - WMC Bass Clinic (P6) - Aug 25, 2012
- Performances
- PER101 - The Adam Nitti Band: The Renaissance Man/Rebirth
- PER102 - The Adam Nitti Band: Yin & Yang
- PER121 - Tom Hemby Band: Afro Funk
- PER122 - Tom Hemby Band: Twisted Traffic
- PER123 - Tom Hemby Band: Santa Cruz
- PER124 - Tom Hemby Band: What Was
- PER125 - Tom Hemby Band: Greasy G
- PER126 - Tom Hemby Band: Puddin'
- PER127 - Tom Hemby Band: Teen Town
- PER132 - Tom Hemby Band: Greasy G
- PER134 - Tom Hemby Band: Because We Ended As Lovers
- PER135 - Tom Hemby Band: Stoopid
- PER136 - Tom Hemby Band: Puddin
- PER137 - Tom Hemby Band: Jubilation
- Select Free Video Below
