Click here to view the embedded video.

By popular demand – A series of slap bass lessons covering the basic techniques plus some general playing tips

This lesson will continue with the concepts from lesson 4 and cover the basic “funk/rock scale” – the minor pentatonic scale and trills in addition to thumb slap, pop/pluck, left hand slap and hammerons.

Download iPod friendly m4v version here

Here the intro of this wonderful song.

Tablature

Click here to view the embedded video.

Hey

Here’s a quick lesson specifically for beginners.  It’s the bass line for One Love by Bob Marley.

Click here to view the embedded video.

If you have any questions don’t hesitate to use the contact form on my how to play bass website.

Here’s the second part of the lesson on how to play the bass line to Sir Duke by Stevie Wonder/Nathan Watts.

This video covers just the great riff!  (What a riff!)

Click here to view the embedded video.

If you have any questions don’t hesitate to head over to my how to play bass website and use the contact form.

Click here to view the embedded video.

A quick lick recorded acoustic with my laptop crappy mic:-)
Im playing my old cheap Maison electro acoustic bass

A lick/run with a lot of slides only using notes from the E minor dorian scale.
A minor version of yesterday’s Major lick
I also show a E minor 7 voicing with harmonics -  from bottom up it is
E (root) – open E string
D  (minor seventh) – 5 fret D string
G  (minor third) – 5 fret G string

Download original quicktime movie here

Click here to view the embedded video.

A quick lick recorded acoustic with my laptop crappy mic:-)
Im playing my old cheap Maison electro acoustic bass
A lick/run with a lot of slides only using notes from the E major scale.
I also show a E maj9 chord voicing – from bottom up it is
E (root) – open E string
B (fifth) – 14th fret A string
F# (ninth) – 16th fret D string
G# (third) – 13th fret G string

Download original quicktime movie here

Click here to view the embedded video.

By popular demand – A series of slap bass lessons covering the basic techniques plus some general playing tips
This lesson will continue with the concepts from lesson 3 and cover the right hand pluck/pop in addition to basic thumb slap, left hand slap and hammerons.

Download iPod friendly mv4 here

Click here to view the embedded video.

By popular demand – A series of slap bass lessons covering the basic techniques plus some general playing tips
This lesson will continue the concepts from lesson 2 and cover basic slap with the thumb and left hand slap and hammerons.

Download iPod friendly m4v version here

This is a video on something that I call “lyrical motivic development.” Check it out.

Click here to view the embedded video.

It’s important to stress the fact that no, you don’t have to be actually singing the lyrical content as you play it. You merely use the lyrics as a guide to what you end up playing, and that way it becomes easier to “hear” what you are going to improvise.

Hope you enjoy.

Click here to view the embedded video.

There are many rake notes, harmonics, hammerons. For tabs mail me on mcrtchan@mail.ru. Have a nice playing! )) (St. Petersburg, Neva-river)

Click here to view the embedded video.

Key G-minor. Tempo – 120 bpm. For tabs mail me on mcrtchan@mail.ru.
Have a nice playing! ))

Click here to view the embedded video.

Anthony Crawford gives examples on how to tap out chords on the bass.

Twitter: http://twitter.com/crawfordbass

Facebook: http://www.facebook.com/pages/Anthony-Crawford/162765698121?ref=search

Myspace: http://www.myspace.com/anthonycrawford

Here’s a lesson on How To Play Bass to Smooth Criminal by Michael Jackson.  It’s been requested lots of times – so I thought it was time to feature it.  If you have any questions then head over to my how to play bass website and use the comments form.

Click here to view the embedded video.

Click here to view the embedded video.

Anthony Crawford gives examples on how to tap out scales on bass

Twitter: http://twitter.com/crawfordbass

Facebook: http://www.facebook.com/pages/Anthony-Crawford/162765698121?ref=search

Myspace: http://www.myspace.com/anthonycrawford

Click here to view the embedded video.

Anthony Crawford gives examples on how to tap out single notes bass

Twitter: http://twitter.com/crawfordbass

Facebook: http://www.facebook.com/pages/Anthony-Crawford/162765698121?ref=search

Myspace: http://www.myspace.com/anthonycrawford

Hey
Here’s a lesson on how to play the bass line to Parklife by Blur.  This is a good one for beginners to get under their belt – as it’s pretty straightforward – and learning it will help improve both their abilities and their confidence.

If you have any queries don’t hesitate to head over to my how to play bass website and use the comments form.

Click here to view the embedded video.

Click here to view the embedded video.

Anthony Crawford gives examples on how to tap out single notes on bass

Twitter: http://twitter.com/crawfordbass

Facebook: http://www.facebook.com/pages/Anthony-Crawford/162765698121?ref=search

Myspace: http://www.myspace.com/anthonycrawford

By popular demand – A series of slap bass lessons covering the basic techniques plus some general playing tips
This lesson will continue the concepts from lesson 1 and cover basic slap with the thumb, ghosted notes, muting and offbeat basslines

Download iPod friendly version HERE

Groove #01

Chords: C – G – Am – F

Scale: C major

Transcription

Click here to view the embedded video.

By popular demand I’m starting a series of slap bass lessons covering the basic techniques.
This lesson will cover basic slap with the thumb, ghosted notes, muting, hammerons and plucking/popping.

Click here to view the embedded video.

Download iPOd friendly video (m4v format)

Click here to view the embedded video.

E maj scale in 4th steps over 2 octaves

Click here to view the embedded video.

This is a short bass line I wrote based on a Db9 chord, which is based on the Db mixolydian mode, with a touch of Db blues scale thrown in too. The subdivision is 16th notes, the metronome is clicking on 2 and 4.
Check out my other lessons, articles and videos at www.playbassnow.com, a wonderful website devoted to helping you become a better bassist.

If you have any questions or comments, feel free to leave them here.

Time is not happening here:
(snap fingers on 2 and 4)
Time is happening here:
(chest)
Listen to the music that you love. What does it do? It moves you. It causes you to sway, it causes you to dance, it takes
you on a journey from the beginning of the song until the last note. And if you find yourself humming the tune on your
walk home from the show, it’s still going on.

Time happens in here (chest) and out here (the air). It’s not here (taps foot) or here (bobs head). These are external expressions of an inner dialogue your heart has with the music. If someone steps on your toe the pulse of the music isn’t diminished and the time doesn’t stop. I watched a Carol Kaye video years ago where she said you must “pat your foot” to keep time. For me, the pulse I feel inside is a hundred times stronger than any toe tapping I could ever do. I feel the time like a little tap in my chest when I play.

When I was younger I played with a drummer everyone said was great. I had a hard time playing with him, and at that point in my
development I thought I was right about where the time was all the time. I thought he was guilty of the most heinous of crimes- he had Bad Time. So instead of loosening up and finding middle ground with him, I stomped the floor with my foot to try and show him where the time was.

My first gig almost 2 years after an accident that put me in a wheelchair I was having trouble because I couldn’t stomp my foot. All my talk about feeling the time came down to having the faith in myself that I had good time, and that it was inside me and wasn’t dependent on any external force or sound. I decided on stage that night, the night I left the hospital after almost 2 years, to let myself feel the time where it lived- inside me. Twenty years later I feel a kind of closeness and intimacy with other musicians when we are feeling the time like this, together.

If you walk in on a room of musicians playing, mid-song, you pretty much immediately find the pulse or the heartbeat of what
they’re doing, right? There’s a saying that time is like a river. Walk for five miles and the river is still there for
you to dip your toes in. You walk in that room and the pulse is right there in front of you, plain as day and real as the nose
on your face, the second you feel it.
For me the point of having the metronome click 2 and 4 is so that I am responsible for more of the time, and by doing so I have to
be able to internalize and feel the time, as opposed to needing some external source for it. Have the metronome click every second
bar. Every fourth bar. The pulse is still happening at the same time.
It sounds difficult: put the metronome so it clicks at 40 beats per minute.
40 is 80, is 160. To me the distance between two clicks is like a clothes line. If I hang a red shirt at exactly half the distance
between beginning and end, I have subdivided, visually, the distance. I hang a red shirt halfway between the red shirt and the
beginning of the line, and another red shirt between the original shirt and the end of the line, I have visually divided the
line into four equal parts.

The goal is not to try and anticipate the click, or try and catch it as it happens, or guess when it will happen. The point is to
free yourself from the click and simply *let time happen*.
We’re all human. The best musicians have some “drift” in their playing. With good internalized time, when you become aware of
the drift, you merely “tighten up” or “loosen”, and you will usually drop right back into the click. Try this as an exercise the
next time you practice with a metronome:

Set the click for 40bpm. After listening for a few clicks, to get a feel where the subdivisions are, find the pulse halfway between
the clicks.
If each click is a whole note (4 beats), play a C major scale in half notes over the click, so that for every click you will
play 2 notes. Be calm and allow yourself the leeway for making “mistakes”. This is a learning process. Everything that helps you
on the road to developing this sense is not a mistake, it’s an opportunity to learn and grow as a musician.
So, you feel the subdivisions between the clicks. You’re playing confidently, you’re at one with the metronome. You notice you’ve
played a note just before the click. Without panicking, let your pulse out like a fishing line on a pole. Loosen up so that
you will naturally hit a bit later next time. You learn to intuit the amount of give or take when you’re early or late, but
it’s a beautiful feeling to really get inside the time, and feel that next beat, when you’re *right there* with the click.

Now, the metronome is not your bandmate. Just as everyone has a different sense of humour, musicians will have differences of opinion
on where the pulse is. Music is a collaborative art. A beautiful dance between musicians that the audience gets to observe and
hopefully be moved by. On the bandstand it doesn’t really matter who is “right”. It matters that the musicians feel the pulse
together and tell the story of the song. Sometimes you’re right, and sometimes you just have to find a way to make it work.

The goal is to make it work, no matter what. All the practice at home is just rehearsal for your performance. It’s a lifelong
process, a journey where you develop a relationship with music and musicians.

Having good internalized time is the ability to subdivide pieces of time without needing an external indicator.
When my internalized time feels shaky, I tend to feel the need to fill my lines with extra notes and finger sounds, so I have
an external representation of the time. For example, in between playing the normal parts of my bass line I will feel like I have to
play something in the spaces to audibly subdivide the beat. I became aware of this when I was 18 and was in the recording studio
for the first time. The producer, who is a great bass player, brought my attention to the fact I was adding auduble clicks and hits
without playing notes. In a live situation, such as a duo gig with a guitar player, I will sometimes choose to add some audible
subdivisions for effect. But generally, you want to avoid these things. And back to the point of this lesson- playing audible
non pitch subdivisions do nothing to help your sense of internalized time.

It takes a certain amount of confidence and faith in your sense of internalized time
to LET GO and allow time to happen all by itself.
But it’s a very rewarding and exciting point in a musician’s progress when they realize they don’t have to worry about the
time when they’re playing, that they

just

play.
When you listen to your favourite music try and listen for the real pulse within the music. It’s not beat-by-beat. It’s in broader
feelings. When I listen to drummer Elvin Jones with the John Coltrane Quartet, from the 60s, I hear big broad swinging triplets
that go over the bar lines and give me a feeling of floating over the music. Check out Live At The Village Vanguard, A Love Supreme,
Crescent, Live In Seattle etc. The drumming of a musician like Elvin Jones has influenced the way I think about and approach all
types of music, not in a narrow stylistic way, but through the philosophical ideas of playing the song, playing the music, and so
on.

For me it’s all about making a connection with the music, the musicians, and the audience.
I hope some of this can help you look at the job of playing bass in an expanded way. We have the best job in the world!

If you have any questions, comments, or would like to discuss anything, please email paul@paulvienneau.com or comment here on
the board.
Thanks!

I’m preparing a video to go with this and my first lesson, Metronome Practice 1.

Part 8 in a beginners journey into learning to play the upright/double bass
Learning and trying to share/teach my experiences too:-)

Jazz lick over two chords:

Bmaj7 = B major scale
Gmaj7 = G major scale

Tablature

Click here to view the embedded video.

This is for the slightly more advanced bass players out there looking to expand their theoretical horizons. This is the second video in a series on the often misunderstood concept of chord scales (check out the first video here). No, this won’t make you an amazing bass player, but it should give you some food for thought.

Click here to view the embedded video.

Here’s a “Chord Scale Primer” with instructions for constructing basic diatonic chord scales and a list of all 7 diatonic chord scales in C major, as well as a page listing the 5 Secondary Dominant chord scales.

http://adamneely.files.wordpress.com/2010/07/chordscale-primer.pdf

http://adamneely.files.wordpress.com/2010/07/secondary-dominant-chord-scales.pdf

Enjoy!

This is for the slightly more advanced bass players out there looking to expand their theoretical horizons. This is the first video in a series on the often misunderstood concept of chord scales. No, this won’t make you an amazing bass player, but it should give you some food for thought.

Click here to view the embedded video.

Here’s a “Chord Scale Primer” with instructions for constructing basic diatonic chord scales and a list of all 7 diatonic chord scales in C major.

http://adamneely.files.wordpress.com/2010/07/chordscale-primer.pdf

Enjoy!

Third part:

Improvisation over C7 chords (C E G Bb) with two scales:

- C myxolydian mode = C D E F G A Bb C

- C Lydian b7 mode = C D E F# G A Bb C

www.bassebruno.com

Click here to view the embedded video.

Click here to view the embedded video.

Here’s a lesson on how to play the bass line to the verse and chorus section to the Dire Straits songs Money For Nothing.  (I think Sting played the bass on it, as well as sang on it – but I’m not totally sure).

Click here to view the embedded video.

If you have any questions head over to my how to play bass website and use the comments form.

Here are some elements about creating a bass line.

Choose a scale, choose a rhythm pattern and go!!

http://img156.imageshack.us/img156/1526/compowork01.jpg

Click here to view the embedded video.

From my fusion “practice” band “4 Elements” reherseal:
2 new bass solos over Stanley Clarke’s Quiet afternoon and Jeff Beck’s Cause we ended as lovers:

Tetrachord priciples as introduced in my lesson “Practicing the Major scale – tips and tetrachords”
A series of scale/mode  exercises – continueing with the minor tetrachord scale.

The minor tetrachord is a four note scale that can be played with 4 different patterns/fingerings, you should practice them all.

Pattern formula is whole step, half step, whole step.
Here is Pattern 1,  4 notes on 1 string,

A method/series to learn the modes and common scales by dividing an eight note scale into 2 four note scales (the brain has an easier time remembering 1234 1234 than 12345678) You only need to learn 4 different tetrachords to be able to play all 7 modes : Ionian Major, Dorian minor, Phrygian minor, Lydian, Mixolydian Major, Aolian minor, Locrian half diminished.

Playlist with Four different fingerings for a minor tetrachord:

First all patterns played in sequence, then one by one:

Playlist with Four different fingerings for playing a One octave Dorian Minor  scale (a C Dorian minor scale is contructed of two minor tetrachords, the C minor and the D minor tetrachord)

Go to previous lesson on Major tetrachords HERE

Hey

Here’s a tutorial on how to play the bass line to Sir Duke.  Part 1 covers the basic verse, the pre-chorus and the chorus.

Click here to view the embedded video.

If you have any questions head over to my how to play bass website and use the contact form to send me an email.

Tetrachord scale principles as introduced in my lesson “Practicing the Major scale – tips and tetrachords”
A series of scale/mode  exercises – beginning with the Major tetrachord scale.

The Major tetrachord is a four note scale that can be played with 4 different patterns/fingerings, you should practice them all.  Pattern formula is whole step, whole step, half step.

And when you have learned the Major tetrachord scale you can easily play the Major scale (see video #6 to 13 in the video playlist)

This is a a method/series to learn the modes and common scales by dividing an eight note scale into 2 four note scales (the brain has an easier time remembering 1234 1234 than 12345678).

You only need to learn 4 different tetrachords to be able to play all 7 modes : Ionian Major, Dorian minor, Phrygian minor, Lydian, Mixolydian Major, Aolian minor, Locrian half diminished.

Playlist with Four different fingerings for a Major tetrachord:
First all patterns played in sequence, then one by one:

Playlist with Four different fingerings for playing a One octave (Ionian) Major  scale (a C Major scale is contructed of two Major tetrachords, the C Major and the D Major tetrachord)
and four different fingerings for playing a Two octave (Ionian) Major scale

And you can download the Major tetrachord shape with 4 different fingering options below
And go to the next lesson HERE

Jeff Berlin, an amazing American electric bassist who I have been listening to for 30 years, says metronomes are not effective in developing a strong time feel, and that they are a gimmick, like slapping and tapping (his opinion, not mine).
I understand his point, if taken to the absolute end: a metronome alone will not make you a better bass player.

What the metronome will do as a tool in your musical study and practice, however, is help you develop a better internalized time feel .

Let me be honest here. I learned to play by playing along with records and cassettes. I used a metronome much less than I played along with albums. By doing this I got to “play with” some of my favorite drummers, like David Garibaldi, Paul Brochu(of UZEB fame), Neil Peart, Phil Gould, Carlton Barrett, and many others. Playing along with anything that keeps steady time will help you develop this sense of time. I will talk more about internalized time in my next article.

For now, here is a very good technique for using the metronome to help develop a “swing feeling“.
When I say swing feeling I’m not talking about the literal “hokey” Dixie Land swing. I’m talking about a certain lightness of playing that all the great musicians I know possess. When I have my students use a metronome to practice scales I have them use this technique:

Set the metronome to click on 2 and 4. So, if you are counting out loud, the metronome will sound when you say “2” and “4“. You could set it to click every quarter note(on 1,2,3 and 4), but that way you are being “given” every beat by the metronome. When you start off with just 2 and 4, it reinforces the swing feeling. In most types of music the emphasis is on beats 2 and 4. The rock and roll backbeat is one example. The reggae “one drop”, if counted in half time happens on 2 and 4. In jazz, the drummer while playing the ride cymbal will close the hi-hat on beats 2 and 4 because he is telling us the song has a swing feel.

So it can be said that beats 2 and 4 are the heartbeat, or pulse of most music.

When you have to be responsible for playing beats 1 and 3 without an audible click, you start to feel these beats, which is an important first step in developing a strong sense of internalized time. Of course for starting out, use a slower tempo so that you can play everything comfortably, and move the speed up a few clicks as you progress. Walk before you run.

If you were playing a C major scale, with the clicks on 2 and 4, this is what it would look like, using the notes with an asterix as the notes that sound on 2 and 4:

C    *D* E   *F* G   *A* B    *C*

At first this may feel wrong or foreign. Soon though, you will begin to feel this subtle accenting, and your playing will start to swing a little more.As I come to grips with recording video with my laptop I will record a video lesson demonstrating this technique, and different ways to use to it.

One difference you may start to notice is in your walking bass lines. Instead of having a bass line that doesn’t seem to propel the song, or help inspire the soloist, this subtle pulse will begin to hrlp you take a more important role in the music as an active contributor to the overall feel.

Bass is a wonderful instrument. I’ve been playing for over 30 years now. I hope the information I’ll be sharing in these articles and videos will serve to inspire you to see the real beauty that lies in our instrument. As bassists we are the heartbeat of the music.

If you have any questions or would like something specific covered, please leave a comment.

Thanks, it’s an honour to get to contribute to this fantastic web site.

Paul Vienneau/  Halifax, Canada

paul@paulvienneau.com

www.youtube.com/user/paulvienneau

Hopefully you’ve had a chance to dig into Visualizing the Groove Part 1 .  Again, just to be clear, the concept of using the ruler as a visual representation of time is borrowed from one of Anthony Wellington’s lessons on Victor Wooten’s Groove Workshop DVD. I’m a huge fan of the way that Anthony explains things.

In this post I’m going to use standard notation and one note ;  “A”. You can use any note that you like.

I’ve included two handwritten examples showing how standard notation looks compared to the yardstick concept.

I would suggest getting a paper and a pencil (with a good eraser) and start experimenting!

One “trick” when reading standard notation is to not get overwhelmed by a bunch of notes.  See the beats first. As you become comfortable with how each subdivision feels it will become easier and easier.

Groove Concepts 1:

• The first four systems show different permutations of beat 1.  Play through each one as needed until you’re comfortable.
• The second four systems utilize each of those same permutations on beat one and in other places within the bar.  Play each one until you feel comfortable.

Here are some audio examples in the same order as they are in on the pdf. [audio:http://sonofabass.com/blog/wp-content/uploads/2010/06/grooves.mp3|titles=audio examples]

I’m sure that you’ve heard how important it is to grasp concepts behind the licks you learn. This makes it much easier to create your own grooves. In this case, let’s take a look at visualizing groove. Well, in this post we’re really just exploring time a little bit. Nothing fancy, no polyrhythms  or anything like that. Just the “simple” stuff that you encounter on paying gigs. ;- )  The aim here is to become comfortable enough to feel and acknowledge – visualize if you will – any subdivision of a beat at any given time. Trust me… what may even seem “boring” to some at first will become more and more fun, and challenging as you explore the possibilities.

Before I continue; let me acknowledge that the way that I am going to begin explaining this comes from one of Anthony Wellington’s lessons on Victor Wooten’s Groove Workshop DVD.  I thought that it was brilliant how he explained this concept using a diagram that he called the “Yardstick of Time and Groove”.

Remember that the goal is to become comfortable with each subdivision so that you can acknowledge it without thinking about it. This is a great way to visualize rhythm and can also serve as sort of a primer for learner how to read standard notation. (DO NOT BELIEVE THE HYPE – You should learn to read music if you don’t already.  If you’re going to be any kind of serious musician you are going to be able to open more doors if you can read – Period.)

Anthony uses a diagram that looks like a ruler for this exercise. (please forgive my pitiful artwork)

• Set your drum machine to a medium tempo.
• Use a pencil with a good eraser or a white board because you’re going to make a ‘tick mark’ underneath each line where you want to play a note. Any note will do.
• You don’t have to keep writing tick marks once you become comfortable.  Just feel.

1. 1. Play each down beat individually until you are completely comfortable. That could mean for four bars you may just play beat 3 of the bar until it becomes comfortable. I know that they are just down beats but be honest with yourself.  And play them short (the equivalent of a 16^th note)

1. 2. Play each up beat individually ….

*It’s ok to just hang onto one sub-division until you just know how it sounds. For instance, if you have trouble feeling the “and of beat three”, just loop the one bar pattern and play only on the “and of beat three” until it becomes second nature.  Remember – writing your name didn’t come automatically –you had to practice writing it one letter at a time.

1. 3. Play the “e” of each beat individually.  Are you detecting a pattern? Same rules as 1 and 2 apply here.
2. 4. Play the “a” of each beat individually….
3. 5. Play through this one bar pattern and displace the note that you play each time until you come full circle and then do that in retrograde!

Example:  (the bold indicates what subdivision is played)

II: 1 e+a  2 e+a 3 e+a 4e+a :II

II: 1 e+a  2 e+a 3 e+a 4e+a :II

II: 1 e+a  2 e+a 3 e+a 4e+a :II

II: 1 e+a 2 e+a 3 e+a 4e+a :II

II: 1 e+a  2 e+a 3 e+a 4e+a :II etc….

6. Then, in retrograde: rest until you hit the ‘a’ of beat four, the ‘and’ of beat four, the ‘e’ of beat four, the downbeat of beat four, the ‘a’ of beat three….

example 1 (the video/audio are out of sync)

Click here to view the embedded video.

Gmaj scale exercise in triads over 2 octaves (african feel)

First part:

Improvisation over C maj7 chords (C E G B) with two scales:

- C major scale = C D E F G A B C

- C lydian mode = C D E F# G A B C

www.bassebruno.com

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Noodling with my MXR bass octave deluxe pedal with a little talk about what I usually play when improvising over a minor tonality. I’m playing a Fender Precision 70′s bass with flatwound strings I’m “babysitting” for a friend.
Regarding “fret noise”:
Its the acoustic sound of the bass strings you hear getting picked up by the microphone, im playing with a very low volume on the amp, hence the string noise

This is the second in a two part series on developing safe technique (check out the first part here). Here’s a YouTube lesson of  me explaining how to approach developing a safe and effective right hand technique.

Click here to view the embedded video.

Here’s a list of the basic ideas behind the neutral position that I explain in the video.

1. The shoulder holds up the arm.

2. The elbow is above the bass (don’t drop it behind the bass).

3. The forearm can rest against the bass for shoulder support.

4. The fingers of the right hand are curved and relaxed.

5. The wrist is straight and relaxed.

6. The thumb is to the left of the first finger, and should only pivot side to side, not in front of the bass (this causes a bent, tense wrist).

Like anything related to technique, it takes a while to truly adapt your playing to a new physical concept because you invariably have to unlearn old habits. Don’t worry so much if you find something awkward when you’re first trying it – it’s bound to feel different because your body hasn’t become accustomed to the new movements. The best thing is just to be body aware – know where your body is tense and figure out how to relax muscles that don’t need to be tense. This is what the neutral position idea aims to do.

Click here to view the embedded video.

Click here to view the embedded video.

I was inspired by the Marcus video available on Youtube, “Scoop”.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Nice fingerstyle 16th notes groove with dead notes, slides, legato and rake. FOR TABS mail me at mcrtchan@mail.ru

Here’s Part 2 of The Masterblaster Tutorial

Click here to view the embedded video.

If you’ve got any questions head over to my how to play bass website and use the comments form.

Click here to view the embedded video.

In this lesson, we discuss the fundamentals of how to hold the bass in a comfortable position and we begin to develop the foundations of left hand technique (shifting, vibrato, position work).

To hold the bass, make sure that the end pin is adjusted according to height. The nut (under the “peg box”) should be about eye-level in playing position. The bass leans into the pelvic bone and is angled slightly; not enough to cause the bass to tip, but not stood completely straight up. The position should be comfortable for the player. The player should be able to lean over the bass and touch the end of the fingerboard with relative ease.

The left hand fingering system is slightly different than that of the electric bass. A 1-2-4 method (index, middle, pinky) is used instead of the “finger per fret” rule. Remember to keep the left hand relaxed and in a “C” shape to help keep the fingers perpendicular to the strings. Think of your arched hand as making a tunnel that a car driving up the strings could go through!

Practice sliding the hand up and down the fingerboard while keeping the elbow up and not slouched on the bass. This practice (ski jumps) will help you get the feeling of vibrato and shifting. Stay loose and do not tense up!

In the next lesson we will cover the right hand basic techniques; Arco and Pizzacato on the Do

Click here to view the embedded video.

Do you still remember all the different modes?

Here is another example with almost all of them within one tune, in 6/8 groove

Hi,

I’m workin’ on Rampage, here is the first groove, slow version included.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Another fast doublethumb groove in G based on minor pentatonic

Click here to view the embedded video.

Having fun with my new MXR El Grande Bazz Fuzz and the classic Zappa track with the great Tom Fowler on bass.

Click here to view the embedded video.

A lick for fretless bass inspired by Steve Bailey, with chords and artificial harmonics

Download tablature

Click here to view the embedded video.

Another fingerstyle groove with lefthand muting, rake, open strings, slides, blues notes.
Mail me at mcrtchan@mail.ru and i send you Tabs for this video

Click here to view the embedded video.

Checking out my new MXR bass envelope follower

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This third lick inspired by Gary Willis uses a A minor pentatonic, with palm mute and dead notes

Download tablature

Here’s Part 1 of a tutorial on how to play the bass line to Master Blaster by Stevie Wonder.  Part 1 covers the intro and the verse – I started on the chorus but ran out of time.  I’ll try and include that section in Part 2.  Which is due in a week or so.

Click here to view the embedded video.

If you have any comments please hop over to my how to play bass website and use the contact form.

Click here to view the embedded video.

Click here to view the embedded video.

Episode #7 of a beginners journey into the world of playing the upright / double bass.
In this video I talk about left hand technique, and about practicing scales and arpeggios.
Forgive me for using the term “fretboard”, it should of course be “fingerboard” , old habits die hard:-)

Here is the first groove of this tune. Marcus plays some variations every time, but I think this version is close to the original version.

You can find some details on the second video.

Click here to view the embedded video.

Click here to view the embedded video.

In this lesson I talk about practicing scales in a musical way using different intervals, arpeggios and fingerings. Im also introducing a new way (for me) to look at the Major scale formula which we normally view as 7 different steps (8 if you count the octave):
G A B C D E F# (G)
Whole step (G to A), whole step (A to B), half step (B to C), whole step (C to D), whole step (D to E), whole step (E to F#) and half step (F# to G)

Instead we divide it into 2 parts – so we get two four note scales (called tetrachords) – identical patterns where the first (called the lower Major tetrachord) G A B C:
Whole step (G to A), whole step (A to B), half step (B to C)

And the second (called the upper Major tetrachord) D E F# G
Whole step (D to E), whole step (E to F#) and half step (F# to G).
The beauty of it is that it is easier to remember 2 x 4 notes than 8 notes in a sequence, its easier to get an overview of the fretboard when you condense the scale into smaller scale units.

More info on tetrachords HERE and on www.notreble.com there are some good articles too,  HERE

And you can download the Major tetrachord shape with 4 different fingering options below

Here is the first groove of this song. I was inspired by the Marcus version on his DVD called “Master of all trades” (you can find this version on youtube, he plays only with the bass, no backing band).

Click here to view the embedded video.

Click here to view the embedded video.

Hey

Here’s a two parter on how to play she’s not there by Santana.  Cool song, cool bass line.

Click here to view the embedded video.

Click here to view the embedded video.

If you any questions jump over to my how to play bass website and use the contact form.

Hey

Here’s a quick lesson on how to play bass line to Tush by ZZ Top.  This is a BEGINNER’S lesson – for beginners to the bass this is a good song to learn.  It’s not too complex with the fretting hand, and the plucking hand delivers a nice constant shuffle rhythm.

Click here to view the embedded video.

If you have any questions you can head over to my how to play bass website and use the contact form to ask away.

Paul

Click here to view the embedded video.

Slow version included.

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Hi,

here is a tapping lick mixing sixteenth notes and triplet notes, creating interesting rythm I think.

Slow version and details included.

Click here to view the embedded video.

Click here to view the embedded video.

Slap Groove in E with fairly advanced Double-Thumb/Pluck technique.
Get the tab here:

Get the tab here:

Casimer

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The third in my “Cool Funk lines to play” from myself. This one is a slap and pop lesson, aimed at students with slap and pop experience. If you are a beginner, check out my beginner slap and pop lessons!

Oh, and thankyou for all the positive messages you have all left on my other vids, here on playbassnow.com!

http://www.Dmanlamius.com

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This time with my “practice” fusion band 4 Elements (the name itself says “fusion” ha ha )

Jamming over John Scofield’s I’ll take Les – the main part is a 2 chord vamp Dm7 G7 – perfect for bluesy pentatonic playing

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Chords are

| Am7 | G7 | FMaj7 | FMaj7 Bm7b5 |

You can play the A minor aolian/A minor pentatonic scale

or see it as

C Major ionian / C Major pentatonic

Favorites also inlude E minor pentatonic (great sound)

Here is a groove employing the double thumb fill.

The slow version is included.

Click here to view the embedded video.

Click here to view the embedded video.

Chapter 6 in a beginners journey into learning the upright/double bass

Click here to view the embedded video.

Slow Slapfunk lick with some of my „alternative doublethumb“ technique (see more details of this technique under  http://www.youtube.com/watch?v=M09ryv8mQPw )

hammer on, pull off, triplets etc.

Click here to view the embedded video.

Get the tab at this link: http://dl.dropbox.com/u/6490588/BL10.jpg

Another Jaco inspired line, utilizing 16th notes and muted notes. I created this as an exercise for practicing string crossing and even 16th note playing. Another thing to note is that the thumb on my right hand shifts resting position as I play on the higher strings, this is a good way of muting unwanted low notes when playing on the D and G.

Again some Graham Central Station covers from the band CosmoFunk’s reherseal room , preparing for our very first gig in end of May

Click here to view the embedded video.

Click here to view the embedded video.

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Tapping lick in E minor, inspired by Victor Wooten and Stuart Hamm.

Transcription

A great funky bassplayer from my home country Denmark – We just have to support the the local troops;-)

BASSIDA aka IDA FUNKHOUSER aka Ida Kristine Nielsen!
Sings, raps and play bass!!

First solo album out now: “Marmelade”.
The music is a mix of old school funk, hiphop and ear catching soul.
-With a lot of Bass in it
Ida is also the bass player of ZAP MAMA and have been playing all instruments, writing and producing music in different bands for years.

Here Bassida shows how to play her bass line to her funky track Marmelade

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

A continuation of the theme from previous video (Minor 7 chord improvisation with scale substitution ) , how to improvise over a D minor 7chord, this time using the pentatonic scales contained in the C major scale or any of the modes derived from it – look below

C major ionian and/or C major pentatonic
Dm dorian and/or D minor pentatonic (of course)
Em phrygian and/or E minor pentatonic
F major lydian and/or F major pentatonic
G mixolydian and/or G major pentatonic
Am aolian and/or A minor pentatonic
Bm locrian

These all contain the same notes, but you target the notes differently by cheating the brain to see new patterns

Click here to view the embedded video.

A tapping lick inspired by Billy Sheehan

Download transcription

Hey everyone

Here’s a lesson for you beginners out there – this one looks at how to play the bass line to Teenage Dirtbag by Wheatus.  This is a fun tune for beginners and it’s not too hard.

Click here to view the embedded video.

If you have any questions for me, the quickest way is to use the comments form on my how to play bass website.  See ya next time.

Here is a groove inspired by Jean-Luc Gastaldello, french bass player who wrote a book called “Le Step”.

The second video tries to give details about the different techniques I used to play that groove, the third video is the slow version of the groove.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Hey

This lesson covers how to play the bass line to Should I stay Or Should I Go by The Clash.

Click here to view the embedded video.

If you have any questions for me, head over to my how to play bass website and use the contact form.

Paul

Click here to view the embedded video.

Click here to view the embedded video.

A practical theory lesson on how i approach improvising over a static m7 chord groove. In jazz, funk and rock, if a solo section consists of a static m7 chord, most often the Dorian minor scale is used (1, 2, b3, 4 , 5, 6, b7). The dorian minor scale is built on the 2nd step of the Major scale.
In this example the D dorian minor scale is 2nd step (or mode) of the C Major scale – or in other words it IS a C major scale just starting on the 2nd step/degree.
So on any given minor7 chord we can improvise a Major scale a whole step below.
ie if we play over a Em7 chord , we can play a D Major scale

Hey all, thought I’d post a technique lesson.  Here is the YouTube video of me explaining how to approach developing a safe and effective left hand technique.

Click here to view the embedded video.

Here are the basic ideas behind the neutral position that I cover in the video. These are all things that happen when you flip the forearm 180 degrees.

1. The shoulder holds up the arm, and allows all the rest of the arm to relax and go limp.

2. The elbow is most relaxed when it is bent at moderate angle.

3. The wrist is relaxed, flexible and straight.

4. The joints of all the fingers are curved, and the finger tips are all on the same horizontal plane

5. The thumb is to the left of the index finger and is roughly perpendicular to the second finger segment.

Remember! Dedicated lessons with an experienced private teacher is the best way of learning technique. A teacher will be able to correct nuances in your technique that you yourself won’t be aware of while you’re playing and really force you to unlearn bad habits. No matter how advanced you are, there is always room for improvement in your physical approach to the instrument.

Hey everyone

Here’s a bass lesson for all you beginners and intermediates out there.  This is the great bass line to Soul Man by Duck Dunn, performed by Sam and Dave.  The main thing about this one is to learn the riff and then play it consistently and with some groove throughout the tune.

Click here to view the embedded video.

If you have any comments or questions don’t hesitate to head over to my how to play bass website and use the comments form.

Paul

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Just another groove with my new “baby”….

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Slap lick in E minor.

I use E minor pentatonic

Transcription

Click here to view the embedded video.

Chapter 5 in a beginners journey to learning the Double/Upright bass
Playing to a Jamey Aebersold jazz playalong Vol. 11 Herbie Hancock, the track “Maiden voyage”.
Im trying to get my bearings with the open D string and the D octave harmonic on the G string – Its good to navigate with open strings as safety fallbacks.
Im playing in tune more than 60% of the time;-)
Recorded direct from the piezo pickup

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Jazz lick with chromatismes over a Em7 chords (E G B D)

Transcription

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Slap Lick over E7 Chord.

Sometimes its harder to play at lower BPM. Im still practicing this one.

Transcription

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Small instrument – fat sound

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The inspiration from this groove came partly from listening to Opus Pocus by Jaco and partly from the Beatles track Day Tripper. In Opus Pocus, Jaco uses some cool muted notes in the funky section of the song that influenced the muted note rake before the walk-up from F# through G and G#. The notes in the main riff are roughly based on the Day Tripper guitar riff. There’s a few variations in there where I chuck in some extra muted notes and some quick triplets at the end. Enjoy!

Click here to view the embedded video.

For beginners and maybe a reminder for the rest uf us;-)

Getting to know the fretboard of the bass guitar using target notes and arpeggios.

I use simple major and minor triads in the examples – root , third and fifth

Click here to view the embedded video.

Slap Lick with E-Minor Pentatonic Scale.

Transcription

Click here to view the embedded video.

Transcription

Click here to view the embedded video.

Funky pattern using  dead notes. This is achieved by muting the open A string a lot

Played on my new Fender American Standard Precision I love it!

Click here to view the embedded video.

This lick is a II-V-I in C major   (Dm7 – G7 – Cmaj7)

You can use C major scale with some chromatismes.

Download score

www.bassebruno.com

Another Step bass groove of my composition. Slow version coming soon.

Click here to view the embedded video.

1st video with explanations and slow tempo:

Click here to view the embedded video.

Click here to view the embedded video.

Fingerstyle Dead Note Groove with A-Minor Pentatonic.

This is part of a intermediate/advanced series on getting the most out of the that trusty workhorse of contemporary improvisation, the minor pentatonic scale. Click here to check out the first lesson, and here to check out the second lesson.

Building on top of what we did with the diatonic 3rds to G Minor Pentatonic, we can keep going at it with these non-linear sequences by creating patterns built on diatonic 4ths and 5ths. These are the most “intervallically active” patterns yet, and are physically the most demanding to play.

Check out what I mean by at this here.

Click here to view the embedded video.

Here is a pdf with a lot of ideas for practicing these sequences.

When practicing these, especially the diatonic 5ths, go slowly, play lightly and above all don’t tense up your fretting hand. Remember the list of all the different parameters you can control when phrasing these sequences from last lesson. Try not do what everybody does (myself included!) and just go on autopilot sixteenths (or whatever the subdivision is).

Happy Sequencing!

-Adam

Click here to view the embedded video.

Fingerstyle Dead Note Groove with A-Minor Pentatonic Scale and Major Sixth.

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A short jazz lick using G# diminished scale:  G# A# B C# D E F G G#

Download lick

www.bassebruno.com

Click here to view the embedded video.

A lick of the day “Classic”.

Like in the good old days: Korg Pandora px4d, webcam, bad lighting, hum and noise from line input, the original camera angle….:-)

iPod m4v

Flash flv

Click here to view the embedded video.

Chapter 4 of a beginners journey into learning to play the double bass.
Topics in this part 1/2: Stiil trying to play in tune, thumbposition, harmonics…
Correction: In the video Im referring to a Cassius, my bad! It should double bass player/teacher/youtuber Bassius and not Cassius, sorry.
You can download the trancription of etude i play in the start here

Click here to view the embedded video.

This is part of a intermediate/advanced series on getting the most out of the that trusty workhorse of contemporary improvisation, the minor pentatonic scale. Click here to check out the first lesson.

The second type of pattern we can explore falls under the catch-all title of “non-linear sequence.” Instead of taking consecutive pitches from the scale, we’ll look at other grouping of pitches to move up and down. The first grouping we’ll look at are diatonic 3rds.

Here’s the video of me showing what I mean by that.

Click here to view the embedded video.

Here’s a pdf showcasing some of the ideas I talk about in the video. You need to be a member of playbass.com to see it, so be sure and sign up!

You might notice that this list (and what I cover in the video) is hardly exhaustive as far as what rhythmic concepts are available to us for phrasing these patterns. Here are just some of the parameters we can control and mix/match…

* Pattern direction (ascending, descending)
* Note duration (sixteenth note, triplet, etc)
* Rests, and rest duration
* Repeating 1 or more (or all) notes
* Interpolating other rhythms (throwing in a sixteenth triplet in a sixteenth note pattern, for example
* Doubling note values
* Starting patterns on different syncopations
* etc, etc

You can imagine, there’s a lot to go through! My intention with this isn’t to be exhaustive, however, rather it’s to get you all thinking about new and interesting ways to use the pentatonic scale beyond the clichéd licks that you already might know.

If you have any questions, don’t hesitate to contact me on YouTube PM. Happy sequencing!

-Adam

So for a lot of people, the minor pentatonic scale is the “default” sound for improvisation over a wide range of genres. It’s easy to understand, easy to implement, and if the situation calls for that sound, it’s impossible to play a wrong-sounding note if you stick to notes in the scale. No wonder rock guitarists love it so much!

In fact, it’s too perfect. Intermediate improvisers will often just let there fingers fly up and down the scale without much thought into how to get the most intervallic and rhythmic interest out of those five notes, and then assume that there isn’t anything else to the scale.

One way we can remedy this is by creating patterned material from the scale that doesn’t rely wholly on ascending and descending the scale at your fingers whim (I know I’ve been guilty of this a LOT). The first of these techniques we’ll talk about is called linear sequencing.

Check out what I’m talking about with this YouTube lesson.

Click here to view the embedded video.

Hope you enjoy it! Here’s a pdf full of the sorts of ideas that were covered in the video so you can see how these rhythmic concepts are notated. You need to be a member of playbass.com to see it…so be sure and sign up!

Remember to practice the physical pattern all up and down the neck, and be sure to be familiar with as many different ways to shift positions as possible (you don’t want to get locked into one position and then run out of room). This will take a while to get fluid, but it’s worth it. Then try experimenting with the rhythmic displacements and odd phrases, first slowly and “out of time,” then sped up. Remember to practice these displacements both ascending and descending. I’ve found that starting at quarter note equals 60 is a good benchmark for starting out with a new concept. Don’t feel like you need to practice things as fast as I played them in the video at first – I’ve spent quite a bit of time in the shed, ha. Practicing things slowly is the key to getting them under your fingers and really into your playing.

If you have any questions, don’t hesitate to contact me on YouTube PM. Happy sequencing!

-Adam

Click here to view the embedded video.

To improve your own soloing it´s helpful not to listen only to other bass players, but to good solos on any kind of instrument. One of my personal favorites is this piano solo from Kenny Kirkland on „La belle dame sans regrets“ from Sting (Mercury falling). Extraordinary choice of notes and rhythm. In some notes i am not sure. Sorry, no transcription (am to bad in that, at that level…). But this example is only meant to encourage you, to not only check out  bass-solos…..

Hi

Here’s the latest tutorial video for beginners.  This is a bit of grunge for ya – Smells Like Teen Spirit by Nirvana.

Click here to view the embedded video.

If you’ve got any questions or comments head over to my how to play bass website and use the contact form.

Click here to view the embedded video.

Click here to view the embedded video.

Poor audio, camera mic only – forgot to check audio settings when shooting:-(

My experiences after getting my first double bass lesson – Thanks to my teacher – bassplayer Bo Stief for setting the record (and me) straight

Talk about posture, stand, more on playing in tune with help from harmonics, intro to the the thumb position

iPod m4v part 1

iPod m4v part 2

Flash flv part 1

Flash flv part 2

Click here to view the embedded video.

From beginner to beginners double bass lesson;-)
A funky bass line using the E Blues scale
E (1)
G (b3)
A (4)
A#/Bb (b5)
B (5)
D (b7)
Also added chromatic note D# between D and E.

Cant help myself even if should practice with the bow
Forgive the rhythmic irregularities – got carried away, but didnt want to do another “perfect” take – after all its IS a journey im on, so mistakes should be included. I also mention ghosted notes on beat 2 and 4, but in the bassline im actually ghosting beat 3 – Hmmm, “great” explanation Thomas!!

Quicktime mov

Flash flv

Click here to view the embedded video.

„Guajira“ is a cuban rhythm quite similar to the rumba. Its origin is from the canarian islands (Spain), and so „white music“. Mixing with the black influences from african slaves in Cuba the rythm developed to the so called „son“. Guillermo Portabales is a typical composer of guajira songs (just check them out on youtube, f.e. http://www.youtube.com/watch?v=Dat8FA6z45Y&feature=related )

Click here to view the embedded video.

Well, starting to play the double bass , is like beeing an infant again, only beeing able to crawl:-D
A few tips ( from a beginner to other beginners ) on playing in tune on the doublebass in the “half position”

Quicktime original

I want YOU to post a comment where YOU are analyzing a simple song with these tools, a video comment would be nice:-)

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Lecture about the foundation of the music we know – the major scale ; its use and why its such a good idea to learn.

Whole thing is almost 30 minutes but ive divided it into three parts, first today – so hang in there;-)

We are “harmonizing” the major scale – building a chord an each step of the scale and numbering them as we move along (this is also known as the “Nashville number system” used by the studio musicians fro writing down songs)
Also an introduction to learning to analyze the most common chords and progressions in songs, so we can learn tunes faster and transpose them easily too .

For further written explanation revisit this lesson on playing bass lines over triads

Click here to view the embedded video.

Funky jam based on John Scofield’s Chank, improvising on Dm, D7, Dalt, D everything:-)

Hey

Here’s a quick step by step beginners lesson on playing the bass line to Pick Up the Pieces by The Average White band.

Click here to view the embedded video.

If you have any questions for me please head over to my how to play bass website and use the contact form.

Paul

Click here to view the embedded video.

Impromptu basssolo in the rehearseal room over  the solo section of Jeff Beck’s “Cause we ended as Lovers”, inspired by the great Tal Wilkenfeld bass solos.
Chords are Cm7, AbMaj7, Fm7 and G7alt
I play F dorian and pentatonic, C aolian and pentatonic, Eb Ionian and pentatonic  on the first 3 chords and G7 altered and diminished scales over the G7alt

A maybe too detailed explanation of the pentatonic scale;-)
Its in two parts

The 5 positions for the pentatonic scale.

The A minor or C Major pentatonic scale, they share the same notes, so you can look at the 5 notes A C D E G , either as steps of the A minor pentatonic scale:

A = root (1)
C = minor third (b3)
D = fourth (4) E = fifth (5)
G = minor seventh (b7)

Or as steps of the C Major pentatonic scale:

C = root (1)
D = second (2)
E = third (3)
G = fifth (5)
A = sixth (6)

Click here to view the embedded video.

iPod m4v (original)

Flash flv

Click here to view the embedded video.

iPod m4v (original)

Flash flv

Ive attached an image of the 5 positions as 5 colored “boxes”

(Click the image for full size)

Hey everyone

In this video for beginners I’ll walk you through how to play La Grange by ZZ Top.

Click here to view the embedded video.

As always if you have any questions head over to my how to play bass website and use the comments form to drop me an email.

Paul

Click here to view the embedded video.

This is a fast house groove moving between Esus+F#7, will keep your right hand busy…

Another step groove using this special right hand tapping.

Click here to view the embedded video.

slow close-up for the right hand tapping technique

Click here to view the embedded video.

Click here to view the embedded video.

Hello again. Apologies for not posting any videos in ages. This is the latest installment in my harmonic tutorial series.

The basic concept is playing a note and an artificial harmonic simulataneously to create a massive interval. The note is plucked with the thumb, and the harmonic is played using the “steve bailey” style (see my video on artifical harmonics for more information).

In fact, this is one of Steve Baileys harmonic techniques. Here is a link to a youtube video of him (and victor wooten) giving an example of the technique in action. Skip to 2.30.

Because the intervals are so big (triple octave), if you’re using a laptop you may need to plug in some external speakers to hear the bass part properly.

Click here to view the embedded video.

Emulating a P-bass only using neck pickup on the Sandberg California jj bass.

I now give online One on one lessons at: www.ashburymusichall.com

Quicktime original

iPod  .m4v

Flash flv

Another sneak peak into the rehearsal room with Cosmofunk, where we are getting some songs together for our first gig.

Graham Central Station’s Release yourself:

Click here to view the embedded video.

Tower of Power’s Come on with it:

Click here to view the embedded video.

Tower of Power’s What is hip:

Click here to view the embedded video.

Tavares Bad Times:

Click here to view the embedded video.

Click here to view the embedded video.

A more beginner friendly shuffle blues bassline with fill. The third in this series of quickly recorded licks i did one morning.

Just recorded straight into Quicktime player with macbook webcam from Sandberg bass California JJ to Tc electronic rh450 amp to Apogee soundcard.

New Fender Nickel-plated steel roundwound strings, gauge 45 -105.

Its a mono recording but unfortunately saved as stereo recording, so you will only hear one side, i told you its was quick.

I will from time to time do these “low quality” recordings when i dont have patience or time for HD, audio and videoediting.

I now give online One on one lessons at: www.ashburymusichall.com

Quicktime original

Flash flv

Click here to view the embedded video.

Hey everyone, check out this video on getting some great tone out of this 400 watt 5lb amp called the Headlite from SWR. I endorse SWR and am thrilled about this sound!

Click here to view the embedded video.

Quick and dirty Bluesy lick with chords tutorial.
Three bars of D7 then one bar of C7
Just recorded straight into Quicktime player with  macbook webcam from Sandberg bass California JJ to Tc electronic rh450 amp to Apogee soundcard.
New Fender Nickel-plated steel roundwound strings, gauge 45 -105
Its a mono recording but unfortunately saved as stereo recording, so you will only hear one side, i told you its was quick.
I will from time to time do these “low quality” recordings when i dont have patience or time for HD, audio and videoediting.

I now give online One on one lessons at:

http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Quicktime original

Flash flv

Click here to view the embedded video.

Here i am using a alternative technique for doublethumb lines. In principle ist the same purpose: to slap sixteenth notes on one string. The only difference is, that you play the  upcoming movement of you hand with your index finger and not again with the thumb. For additional pops you use the middle finger.

For my taste the sound of the upcoming index finger notes is more satisfying than playing all notes with the thumb. Check it out and let me know your opinion.

At the end of the video you will see that the king of pop still lives on in the heart of so many children….

Click here to view the embedded video.

Quick and dirty slap and doublethumb lick tutorial.
Notes are strictly from the E minor pentatonic scale (E, G , A,  B, D ), but im actually only using E, B and G in the lick (but in different octaves)

Just straight into Quicktime player with  macbook webcam from Sandberg bass California JJ to Tc electronic rh450 amp to Apogee soundcard.
New Fender Nickel-plated steel roundwound strings, gauge 45 -105
Its a mono recording but unfortunately saved as stereo recording, so you will only hear one side, i told you its was quick.
I will from time to time do these “low quality” recordings when i dont have patience or time for HD, audio and videoediting.

I now give online One on one lessons at:
http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Quicktime original

Flash flv

Want the transcription + TAB for this bass lick?

ok, here is the step bass technique in a groove context.

This one concentrates on the right hand technique, but you can also hear the left hand percussions as well as  the strumming right hand on the 2nd part of the groove.
Strumming consists in sweeping a string with all the fingers of the right hand, begginning with the small finger (the 4th), then the 3rd, 2d and 1st.
Right hand slide tries to imitate a out of tune drum.

Voici un groove qui emploie le glissé main droite ainsi que du strumming. La première partie est purement “step”, la deuxième est plutôt “slap”. On m’a demandé du step en contexte de groove, le voici, même si toutes les techniques ne sont pas employées dans ce dernier, ça donne quand même une idée non?

Click here to view the embedded video.

Click here to view the embedded video.

A combination of Victor Wooten style left hand slap, John Entwhistle style “typewriter” tapping and Jaco Pastorius style percussive fretboard slide slaps. Talk about (con)fusion:-D

Im playing a Sandberg California JM bass “Masterpiece editon” im trying out.

I now give online One on one lessons at:

http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

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Hi

In this lesson we’re going to look at learning the bass line to I Can’t Stand Up For Falling Down, the version featuring Bruce Thomas on bass.

Due to YouTube’s length restrictions this is a two parter….

Here’s Part 1:

Click here to view the embedded video.

Here’s Part 2

Click here to view the embedded video.

As always if you have any comments or questions head over to my how to play bass website and use the contact form.

Paul

Click here to view the embedded video.

The hammeron slap technique (Laboriel, Wooten…) im working on. Some compression is used to even out the volume between normal thumb slap and hammer on slap.
I now give online One on one lessons at:

http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

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Just a sneak peak into the rehearsal room with Cosmofunk, where we are getting some songs together for our first gig.

Sly Stone’s Organize:

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James Brown’s Cold Sweat:

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The Temptations Sweet Gypsy Jane:

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Graham Central Station’s The Jam:

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Hey

Another video lesson for all you beginners out there:

Click here to view the embedded video.

As always if you have any comments head over to my how to play bass website and use the comments form.

Paul

Click here to view the embedded video.

Independence or independency? I have no idea, sorry for my lousy english, but you ´ll understand what i mean….

Sorry also for some distortion in the low notes.

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Fingerstyle groove with lefthand muting, rake, open strings, slides, blues notes (3b, 3 )…Key of E-minor. Tempo 120 bmp. I used minor pentatonic with adding 3b, 3, 6 (G, G#, C#)

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During the groove i use palm muting on all strings  - I put my righthand on strings in between bridge and bridge pick-up and play only with my thumb. Then i rake with thumb on A and D- strings and add some left hand muting to it.  Tempo 110 bpm. Key of  D-minor.

Click here to view the embedded video.

Click here to view the embedded video.

This lick is a mixture of major pentatonic, mixolydian and blues scale – in other words just a bluesy lick;-)

But most important its number 300!

That also means that there is a “videospack_201-300 ” in the making;-)

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I now give online “One on one” lessons: http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Want the transcription + TAB for this bass lick?

Click here to view the embedded video.

Funky bass groove with muted (dead) notes in Am.  It used thumb, index and middle fingers,  vibrato on 7b (note G on d string)

Click here to view the embedded video.

In this second lesson, we have the roots, fifth and octave.

The chords are Cmaj7 – Am7 – Dm7 – G7

www.bassebruno.com

Click here to view the embedded video.

A simple walking bass with root and fifth.

The chords are Cmaj7 – Am7 – Dm7 – G7

www.bassebruno.com

Hey

Here’s a video tutorial on how to play the bass line to Baggy Trousers by Madness.  This is a good tune for Beginners to pick up…it’s not too complex, but there’s some nice lines in the song.  Here’s the video:

Click here to view the embedded video.

If you’ve got any questions or comments then please head over to my how to play bass website and use the comments form on the website!

Watch the special right hand technique.

I try to play a percussive pattern.

Later we will play a real bass groove using this particular technique.

Click here to view the embedded video.

The notes on the video are:

G – C – A – D

Always the same pattern, start at a slow tempo (60bpm), then increase your speed and try to reach 100bpm.

It’s a warm-up exercice.

Click here to view the embedded video.

Hey everyone

Here’s a video tutorial on how to play the bass to Cover Me by Bruce Springsteen.  This is a good tune for beginners to pick up – it’s pretty easy.  Once you’ve got the basic lines down, try playing around with some different rhythms and some different runs – this tune really lends itself to that kind of experimentation….

Here’s the vid:

Click here to view the embedded video.

If you’ve got any questions head over to my how to play bass website and email me.

Click here to view the embedded video.

Dorian Slaplick with doublethumb and Miller style tab….

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An example of getting out of the root note box when improvising fills and solos.

Our trusted pentatonic scale – the Major pentatonic (1, 2, 3, 5, 6) is used for more advanced sinister purposes:

Even if you are playing over a Cm7 chord,  STOP thinking dorian and minor pentatonic from the root C, but  think MAJOR and major pentatonic starting on Bb (the b7 of Cm7).

And another way of looking at it :

Cm7 is the second (llm) step/mode of the Bb major scale (l) – so the notes are the same , we just emphasize other scale steps – most important we DONT emphasize the root C

For this fill im using only notes from the Bb Major pentatonic scale to make it even simpler and most bassplayers have that scale in their fingers allready

Totally different patterns will appear on your fretboard , when you think in other scale degrees than the root, and you will make up new hipper lines

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I now give online “One on one” lessons: http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Want the transcription + TAB for this bass lick?

Click here to view the embedded video.

The slow version is WRONG (sometimes its hard to dissect yourself) – so  ive include a transcription / tab:-)

Mostly blues scale with added major third (its more a chromatic passing note here) – the last part of the four bar pattern is mostly notes from the dorian minor scale.
A good stamina exercise too.

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I now give online “One on one” lessons: http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Click here to view the embedded video.

Here are some bass lines from a few Big Sir songs. If you are unfamiliar with Big Sir, you may recognize the bass player as Juan Alderete from The Mars Volta. If that still doesn’t ring a bell, I urge you to check out both groups and buy all their music.

I’ve selected four great bass lines that display Juan’s great facility on the fretless bass (I hope I’m doing him justice!). His lines are lyrical and very groovy. You can dance to and sing these bass lines easily. They support the tune, the vocals, and are quite catchy. That is melodicism my friends.

If you are just starting on the fretless, these lines are simple enough for you grasp and to help you develop some of your own ideas, while being melodic. I’ve always felt that the fretless has to be somewhat melodic in order to showcase its distinct tone, otherwise, you might as well use a fretted.

Seeing as these are all fretless bass lines, the hardest part is going to be the intonation. You may want to practice these on fretted first to get the fingerings and proper tuning in your head. This way you won’t develop any bad habits if you attempt the fretless right away. That being said, if you feel confident or if you are already experienced on the fretless, then by all means, go for it.

Click here to view the embedded video.

First an Emaj9 voicing i shamelessly stole from a Bobby Vega youtube video, followed by a B major pentatonic lick (fits EMaj7) – The B Major pentatonic scale consists of the notes B C# D# F# G# which translates to the 5th, 6th, Maj7th, 9th and 3rd step in the E major scale, a nice jazzy/lyric note selection. So when playing over any Major7 chord (EMaj7 in this example), try and play a major pentatonic scale starting on the 5th step (B major pentatonic scale in this example). Lastly im trying to play the chord with “false” harmonics, by using my left hand thumb to lightly touch the string an octave above the last fretted notes and pich the harmonic with a finger (phew, thats hard to put in words, better just look how its done)

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I now give online “One on one” lessons: http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Hi

Here’s another Band In A Box screencast.  If you’re learning licks and riffs – like some of Thomas’s great licks! – you should be learning them in every key and in every quality of chord (eg major, minor, major 7, dom 7, min 7, min 7 flat 5 etc).  This screencast shows you how easy it is to set up a backing track using Band IN A Box that will go through the Cycle of 5ths and give you rhythmic and chordal accompaniment as you go round the cycle (great for subliminal ear training!)

Click here to view the embedded video.

If you have any questions or comments head over to my how to play bass website and use the contact form to send me an email.

Hi

Band In A Box is a great tool to help you practice.  Here’s a Screencast Tutorial which shows you how to use it to generate fresh sight reading etudes at the touch of a couple of buttons (if you’re reading music you should have a constant ‘diet’ of fresh material to work with).

Click here to view the embedded video.

Just for the record I have no affiliation with PG Music who make band in a box – I just think it’s a great program for bass players to use to practice with.

If you have any questions don’t hesitate to head over to my how to play bass website and use the contact form to email me.

Click here to view the embedded video.

In a nice typical Salsa tune you will never miss a break part, where a very rhythmical theme is played by the piano and/or the brass section. To give them more power, the bass often doubles them like in this example.

Check out the scale at the end, which is called harmonic minor and very often used in Latin+Salsa music.

In this case in F#:

(F#-G#-A-B-C#-D-F-F#). Half tone steps between II-III, V-VI, and VII-VIII, and one and a half tone (!) between VI-VII.

Click here to view the embedded video.

Fast doublethumb groove in G# based on minor pentatonic with 3th added.

Click here to view the embedded video.

Remember that many of my old bass playalongs are back on YouTube, so please  subscribe to them (again) HERE

Click here to view the embedded video.

A quick break down of the main sections

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In this second lesson on 6 string bass, we will explore the highs with a little melody in A major.

The chords are: A / D / A / E7

www.bassebruno.com

Click here to view the embedded video.

In this first lesson, a groove with chords in F major.

You will notice that the groove is dampen by the palm of the right hand.

The chords are: F maj7 / Bb maj7 / F maj7 / C7

www.bassebruno.com

Click here to view the embedded video.

Bass groove in G#.  There are many muted notes and rake.  It is used minor pentatonic with added 3, 6, 5b.

Click here to view the embedded video.

Funky shuffled bassline

(bass tuned to D – played as in E)

Click here to view the embedded video.

Step bass!!

This term was invented by a French bass player, Jean-Luc Gastaldello.
The step technique includes the main techniques of  slap with different percussive techniques.
These movements are used by masters such as Abraham Laboriel or Victor Wooten.
Step Bass includes about ten different movements for right hand/left hand.

This video is just an example, lessons will follow soon!!

Click here to view the embedded video.

Can be played over Cm, Cm7, Cm6 . First part is mostly C blues scale (with the 6th added )and second part uses the C diminished chord arpeggiated (contains the 1, b3 , b5 and 6 – all the cool blues notes)

On the tuner display of the RH450 amp you can see the note names – very convenient
Tempo is 111 bpm

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Since Jaco brought the bass from the last into the first row here and then we have the possibility to play the theme of a song with our bass, or at least to double it together with another instrument.

In Latin music this happens often that the bass plays the same line along with the piano or the brass section.

This example mixes up latin feel with funky style….

Click here to view the embedded video.

Well, i see that some of my old playalongs are back on youtube;-)

Click here to view the embedded video.

(There is a drum track at the end of the lesson for you to jam along to.)

Learning Bass made easy!

Click here to view the embedded video.

Bass groove over chord progression Bm-Em or B7-E7  (I-IV, Im-IVm).

Bass tuned in D  (1-F, 2-C, 3-G, 4-D) !!!

Click here to view the embedded video.

Slap groove in B.

Click here to view the embedded video.

Click here to view the embedded video.

A D7 chord (1,3,5,b7) note based lick with emphasis on the 3rd (F#) in both octaves. You can also look at it as playing selected notes from the D mixolydian scale (1, 2, 3, 4, 5, 6, b7).

You can download the backing track here

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I’ve attached a few videos below that go into detail on how to begin plucking with your thrumb and two or three additional digits.  Practice ideas and muting methods are included.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Feel free to ask any questions.

Hey everyone

Here’s another lesson for beginners.  It’s the Madness tune IT MUST BE LOVE.  It’s a good tune to pick up – there’s some interesting rhythms going on, some 3:4 bars, and just a good fun tune to play along to.

Due to YouTube’s length restrictions this one is a two parter.  Here’s Part 1:

Click here to view the embedded video.

And here’s Part 2:

Click here to view the embedded video.

As always if you have any comments or questions then head over to my how to play bass website and use the comments form to send me an email.

Click here to view the embedded video.

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Want the transcription + TAB for this bass lick?

Hi

Here’s a quick lesson on how to play the bass line to Play That Funky Music by Wild Cherry.  This isn’t the exact line that’s played on the record – especially in the riff section – this is what’s evolved in playing it week in week out with my band.  But it works and it’s a fun tune to playalong to….

Here’s the lesson:

Click here to view the embedded video.

If you’ve got any questions head over to my how to play bass website and use the Contact form.

Click here to view the embedded video.

Sorry for the lame vid. quality

Hey

Here’s another beginner’s lesson on Sting’s bass line to BRING ON THE NIGHT.  This is a cool tune to learn becauseit will help you with your rhythmic development.  The bass line to the verse is always on the off beat.  And the Chorus is a nice little 16th note figure.

Here’s the Lesson:

Click here to view the embedded video.

If you have any comments feel free to head over to my how to play bass website – which is aimed at beginners and intermediate players – and send me an email via the comments page.

Hello!  Ok, here is a vid from me that covers playing with a pick, but with an exercise in there as well.  I hope you benefit from it!

Click here to view the embedded video.

Free Bass lessons from me!

Hey

Here’s another video song lesson for all you beginners.  This is Sting’s bass line on BED’S TOO BIG WITHOUT YOU  from the Regatta Da Blanc album.  It’s pretty straightforward – but watch out for the rhythms, neither the verse and the chorus start on the downbeat.

My advice is to learn the parts and then playalong with the record and focus on delivering the lines consistently and with good feeling through the tune.  When you get to play in a band you’ll find that there are songs you have to play that have lines you’ve got to deliver, so you may as well start preparing for that now!

Here’s the video:

Click here to view the embedded video.

As always, if you have any questions head over to my how to play bass website and use the comments form to send me an email.

Enjoy

Paul

Click here to view the embedded video.

Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

Click here to view the embedded video.

A little vacation lick in A minor, with my cheap SX bass, wiring gone bad during travel, so its only the bridge pickup that is functioning, but masking it with Korg px4d autowah;-) The fast run is just an descending blues scale

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Want the transcription + TAB for this bass lick?

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The Locrian mode has the formula 1, b2, b3, 4, b5, b6, b7. Its tonic chord is a m7b5.(Bm7b5 in the Key of C).

Click here to view the embedded video.

Last night I lost a friend and ‘low-end’ comrade, Dewey Tucker.

The talented 24-year old bass player — a member of the Kev Choice Ensemble as well as bassist for The Coup — shared the stage with Chico Debarge, Lauren Hill, Martin Luther and many other musicians.

Tucker was shot multiple times last night on Interstate 80, according CHP He was heading to a rehearsal.

This may be a bit “off topic” but check out some of his vids on youtube. There’s somethign to learn there. What I have learned is that life is short. Be grateful for every moment.

Peace,

B

Hi

Here’s a quick video tutorial on how to play Time Is Tight – the original was played by Duck Dunn and of course the artist was Booker T and The MGs.

Click here to view the embedded video.

This tune is a good discipline for beginners – because the bass line is doubled by the guitar and/or the organ you have to deliver it consistently throughout the tune.  So learn the line, and then play along with the original and try and cop some of Duck’s energy and groove.

If you have any questions or comments please head over to my how to play bass website and use the contact form.

Click here to view the embedded video.

Slap bass piece based around specific slap techniques. The double thumb/pluck is the hardest technique for the right hand. This is where you strike through the the A string with your thumb, pluck back up through the string, like a pick, and then in quick succession pluck the G string with your index and middle finger. There’s a slowed down, close-up of the right hand at the end of the video. Happy Slapping!

Here’s the 1st in a series of free Deliberate Practice tutorials applied to bass guitar topics so that people can see how Deliberate Practice can be applied.

This tutorial is based on two bars of STUCK IN THE MIDDLE WITH YOU that one of my Membership Ezine readers was having trouble with.  And the tutorial walks through a way to get these bars absolutely nailed – and you can apply this method to just about any bass line or piece of music that you want to learn.

You can download the Tutorial by right clicking here:

Tutorial 1

Click here to view the embedded video.

Another exercise for building right hand stamina – aaand left hand stamina too for that matter:-D

Keep those 16ths pumpin’!

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The aim of “BassLab” is helping the bassplayer in the creative process of a bass line.

“BassLab” features a complete exercise played with real instruments (not MIDI or VST). The first part shows an example of bass line, then you will have only the other instruments for creating your own riff.

You can download the track without the main bass line on:

http://www.guidoponzini.eu/basslab/lab1nobasscompressed.mp3
Hope this will be usefull. I plan to create more BassLab episodes.

Please, vote and comment.

Thank you
Guido Ponzini
http://www.youtube.com/ghigo85
http://www.guidoponzini.eu

……….

BassLab Ep.1 – “Surfin with Log Drums”
Written by Guido Ponzini

Guido Ponzini:
. fretless bass (main line)
. 8strings bass (melody and rhythmic fills)
. log drums

Click here to view the embedded video.

This kind of bouncy bassline can be quite tricky with the pattern of an 8th note (root) followed by two 16ths (octave)

You can hear that kind of  ” umdidi, umdidi, umdidi “  on the Rod Stewart classic “Do you think im sexy”, bassline played by Phil Chen

RH450 settings are the same as on L290, but ive added some chorus to the track  in Garageband

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Want the transcription + TAB for this bass lick?

Click here to view the embedded video.

Jeff Berlin has a great passion for classical music and Bach in particular.  Here is a lick inspired by Bach and Berlin’s playing, in C harmonic minor.

C harmonic minor = C D Eb F G Ab B C

Click here to view the embedded video.

Happy new year!

Click here to view the embedded video.

A relatively simple bassline using only notes from the E minor pentatonic scale – E G A B D.

Im experimenting with my new audio and video setup:

A Creative Vado HD 3rd generation pocket dv cam for video. Not enough light in this shoot, will be better in next video:)

And for audio; a TC electronic RH450 amp direct output into a Apogee Duet soundcard into Garage band (mac)

On the Jazz Bass Im favoring the bridge pickup and rolling back on the tone control (Jaco style setting)

RH450 amp settings for this lick:

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This exercise is designed to give you a basic understanding of superimposed rhythms known as polyrhythms.

The triplet is the most common polyrhythm- we hear it all the time. So, this exercise is using triplets to illustrate how polyrhythms work.

This particular exercise gives us a 3:2 polyrthythm or 2:3 depending on how you want to feel it. You can also apply this rhythmic application to melodies, solos, lines, and other scales or arpeggios.

If you really want to pursue polyrhythms, tunes like “Eulogy” by Tool or “Frame by Frame” by King Crimson feature some really cool polyrhythmic stuff. However, the undisputed masters of polyrhythms are probably Igor Stravinsky or Frank Zappa.

If the instructions in the video are not clear, leave a comment, to which I will reply.

Click here to view the embedded video.

I’m just playing through this intro for you.

I start by playing it up to speed,
then slowly,
then just the chord shapes (in sequence, this the first step, i just wanted you to hear it first),
then at a medium tempo,
then up to speed.

Coordinate those left hand fingers into getting the chord shapes before adding the melodies in between the changes.

For the right hand, I’m switching between a traditional two finger picking technique and a more guitar player like finger picking, utilizing the thumb,  index and middle fingers. I’m not sure if Tal uses that fingerpicking, but it came instinctually to me.

\This is a great sounding bass part; gorgeous line.
Take your time with it, take it real slow.

Its fun to play when you’ve got it up to speed.  Hope you find this helpful. If you need any clarification, just leave a comment!

Simlarily, I looked at some of Tal’s fingerings for this intro from her performance on Australian TV, which is floating around YouTube for sure. After figuring out the other chords using a Tascam, I watched the video again and verified that these are the shapes she uses.

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In the Wachowski brothers film ‘The Matrix’ there’s a key scene in the first third of the movie where Keanu Reeves character is offered two pills.  If he takes the blue pill nothing changes for him and life will carry on as before.  If he takes the red pill however he will learn the truth, the answer to the question: What is the matrix?

Blue Pill. Or Red Pill.  It’s a decision that will change his life for ever.

What’s The Film “The Matrix’  Got To Do With Learning How To Play The Bass?

It’s to do with whether you want to take the red pill or the blue pill.  The red pill represents the truth.  And most guys out there want to get better at the bass.  Hell, if you asked them they’d probably say that they don’t just want to get better, they want to get great.

Only the way that most bassists go about trying to get great is the equivalent of taking the blue pill.  They buy into some of the courses out there that proclaim: You can learn how to play the bass in 81 days.  Or: Slap like a master in just 30 days.

What Happens Once The 30 Days, Or 81 Days, Or However Many Days Are Up?

What happens is this.  They wake up on day 82, or day 31, and they find that they’re maybe a little bit better than they were on Day 1.  But only a marginal amount.  And so they do one of two things.  They give up in frustration.  Or they toss away the course that obviously doesn’t work and they go looking for another one.

Why Don’t These Courses Work?

Here’s a personal belief of mine: you can’t teach someone to be great at ANYTHING in 30 days.  Or 81 days.  That’s just not enough time to accumulate mastery.  If you believe the greatness meme making the rounds you need somewhere in the region of 10,000 hours of disciplined practice to make you great.

Let’s say you could manage 10 hours a day, every single day, for 81 days.  You’ll not have managed a tenth of that 10,000 hours that it’s generally considered that you need to put in.  And let’s be ruthlessly honest, the kind of person who buys a ‘blue pill’ product is not going to practice for 10 hours every single day.

And you know what, it doesn’t actually matter how good or bad these courses are – anyone taking them is simply not going to achieve the result that’s being sold because the time frame is wayyyyyy too short.

Let’s look at this statement:  ‘Slap Like A Master in 30 Days.’

This is a classic ‘blue pill’ product.  If you ask informed bass players to name some great slapping bass players you’ll probably end up with these names.  Victor Wooten.  Marcus Miller.  Stanley Clarke.  Flea.  Larry Graham.

Let’s take Victor Wooten – who can definitely slap like a master – because I know some of his biographical details.  Victor first started getting serious attention as a great bassist around the early 90s.  At which time he was around 25.

It’s well documented that Vic started learning to play bass aged 3.  And was playing professionally soon after, by the time he was 7 or 8.  The important point here is that by the time he began to generate critical acclaim he’d been playing and practicing for 20 years or so.

Not 30 days.  Or 81 days. 20 years of practice actually gives us around 7300 days to play with, give or take a few hundred.

So no course – no matter how brilliantly designed or put together – is possibly going to be able to reduce those 7000 days into just 30.  Or 81.  Or even 500.

What’s The Alternative?  What’s The Red Pill Approach?

The ‘red pill’ approach is simply this: the truth.

Here’s what acoustic bass player and jazz educator Todd Coolman tells prospective students they need if they’re going to have a small chance at success: ‘…a great work ethic, strong self-discipline, talent, great potential, good training, the ability to network and a lot of luck.’

Wow.  The truth’s kind of scary right?  Here’s another piece of truth.

There’s no magic pill that will make you good.  At the bass or anything.  I’ve said this before in other articles – but it bears repeating – if you scratch the skin of somebody considered ‘really talented’ at their chosen discipline what you’ll find is that they’re not ‘talented’ because they were born with a gift that you or I don’t posess.

No, their talent is simply a function of hard work over time.

And scientific studies are being conducted that back this up – AND refute the myth that people are either born talented at something.  Or they’re not.

I Don’t Want To Be Great.  I Just Want To Get Better.  What Can I Do?

To get better at the bass – whether you aspire to be ‘great’ or ‘talented’ or merely ‘good’ – what you need to do is have a focused practice system that will ensure that you make constant and consistent improvements in your playing.

The only system I know that does that is called Deliberate Practice.  Before you click on the link though I want to tell you that how good you eventually get by applying Deliberate Practice in your bass playing is down to YOU, down to how much focused and deliberate practice you put in over the upcoming months and years.

Deliberate Practice is definitely a ‘red pill’ product.  The question you have to ask yourself is: Do you want to know the truth?

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I’ve just finished – and released – a course called Deliberate Practice as it applies to bass playing. This article will give you an overview of what to expect from the Deliberate Practice course.  But first, we’ll start by looking at what Deliberate Practice isn’t.

What Deliberate Practice Isn’t

Deliberate Practice isn’t a blue pill product.  There are no promises along the lines of: If you try this for 10 days (or 30 days, or 81 days) then you’ll develop monster chops.

Deliberate Practice isn’t a pre-written, one-size-fits-all practice routine that you can take out of a box and start using and see immediate results.

Deliberate Practice isn’t some hocus-pocus system that I’ve developed – it’s based on a detailed study of violinists at the Berlin Conservatory of Music by Dr. Anders Ericsson that took place in the mid 90s.

So What Is Deliberate Practice?

Deliberate Practice is a system, that anyone of any ability level can use as the backbone of their practice routine.  And the system is designed so that if you follow it rigourously – and adopt its principles – then your bass playing will improve.

And continue to improve.  Not just for a week.  Or a month.  But for however long you use Deliberate Practice to structure your regular practice sessions.

If I Use Deliberate Practice How Good Will I Actually Get?

You’ll get better – that’s a given from using the system.  How far you’ll actually go – how good you’ll actually end up – will depend on you.  And specifically, it will depend on how much practice time you’re prepared to put in.

There’s a train of thought that says to get to be world-class you need to put in approximately 10,000 hours of dedicated practice.  If you practice 3 hours a day, every single day, it will take you 10 years to rack up those 10, 000 hours.

There are very few of us that have the discipline or the motivation or the sheer bloody mindedness to clock up 10,000 hours.  But using Deliberate Practice WILL help you get better, and more importantly you’ll experience constant and consistent improvement.

And you’ll also understand why some people stop making improvements despite regular practice and utter the dreaded words: “Hey man, I’m on the plateau.”

So How Exactly Does Deliberate Practice Work?

The key to constant and consistent improvement is making sure that your daily practice is always challenging, and that you’re always working on exercises and material that are stretching you as a player.

If you practice material you can already play then you’ve drifted into your Comfort Zone – and you won’t make any progress no matter how much practice time you put in.

I Want To Be  A Rock Bass Player, Or A Reggae Bass Player, Or A Funk Bass Player.  Does Deliberate Practice Still Apply?

It doesn’t matter what type of music you want to play, Deliberate Practice works by aligning your short, medium and long-term musical goals to a graduated series of exercises that will eventually allow you to achieve those goals (although by then you will have undoubtedly developed a new set of goals).

And it works for rock, pop, punk, reggae, jazz, funk, fusion, death metal, classical – any type of music you want to master.

So If I Start Using Deliberate Practice, Will I Still Need A Teacher?

If you’re a beginner, or intermediate player the answer is yes.  Having a teacher means you don’t have to re-invent the wheel.  You can take your goals to a teacher and get his or her assistance in building your Deliberate Practice oriented Practice Schedule.

If you are a more advanced player you should still use Deliberate Practice.  But there’s a fair chance that you’ll be able to build a practice schedule without a teacher’s help.

How Will I Know I’m Getting Better?

One of the Principles of Deliberate Practice is making everything that’s part of your practice routine measurable. By keeping a detailed practice journal (whether real or virtual) you’ll be able to measure your progress merely by glancing at your journal.  You’ll be able to see that you’re playing exercises and bass lines at tempos NOW that were difficult or impossible only a few weeks previously.

By making EVERYTHING measurable you really will be able to see this constant and consistent improvement.  Though please note, it doesn’t happen overnight. But over time you will see a clear improvement in your ability levels.

Why Deliberate Practice Is Important

Few of us get the opportunity to go and study the bass guitar at places like Berklee College of Music – whether it’s because of time, or money or location.  So we have to teach ourselves – or find a good, local teacher.  When I was in my mid 20s I had a burning desire to get better at the bass.

So I took lessons with one of the most renowned teachers in the UK at the time.  And I practiced my butt off – 6 hour practice days sometimes.  8 hour practice days a few times.  I even got dumped by one girlfriend because I wouldn’t go to a party with her because I was practicing.

And though I was getting fractionally better – the improvements in my playing just weren’t correlating to how much time (and money!) I was spending.  I figured that if I kept at it it would click into place.

Only it never did.  And with the benefit of hindsight I can tell you it was because the ‘course’ I was following was pretty random, and not designed using the principles of Deliberate Practice.  And the new material and exercises presented to me were not challenging my playing, or taking me out of my Comfort Zone.

And eventually I got frustrated.  And stopped taking lessons.

The Laws Of Physics

If I could send something back in time, the Deliberate Practice muli-media course that I’m working on would be it.  I’d send it back to myself just before I started taking lessons with that guy – who I call the Arch Guru of Scales – and I’d give myself a precious gift. A gift of knowledge.  Knowledge on how a practice schedule needs to be built so that you’re always improving.

The laws of physics dictate that I can’t send something back in time to myself.  So all I can do is the next best thing – make sure I get this course out there so all you bass playing guys and girls who want to get better can do.  So that you’ll have a system that will help you get from Beginner to Intermediate.  Or intermediate to advanced. Or wherever you want to go on your bass playing journey.

It’s the only system I’ve ever come across that allows you to do it.  And that’s why it’s so important.

If you want to find out more about Deliberate Practice, then click on the Deliberate Practice link.

Click here to view the embedded video.

Mixolydian scale G7: G-A-B-C-D-E-F-G  (Merry mixolydian christmas to all the bass-freaks out there….)

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This is a little insight view of my piece “Raindrop”, that you can watch here: http://www.youtube.com/watch?v=HEClHl_yGmo

1. The complete exercise: execution of the entire exercise inspired by “Raindrop”

2. The first part: this is based on A(E) and G(D), played with artificial harmonics.

3. The second part: it is a melody based on the same two bichord of the first part, adding a F-E passage on the first (A-E) and a chromatic passage between E and D on the second one (G-D).

4. The third part: playing with left hand a root in G, I put some rhythmical ghost notes with the right hand (same thing of the first lesson that you can find on my profile: http://www.youtube.com/ghigo85 ). Then I use harmonics between the fifth and seventh frets on G and D strings, sliding them

5. The fourth part: it’s a very simple melody based on the same bichords built on fifth: A(E), G(D), F(C), D(A) – A(E), G(D), D(A) ::||

6. Harmonics: a brief summary about harmonics: artificial harmonics, natural harmonics and how to slide them.

Hope you will enjoy this little insight view/lesson.

Please, rate, comment, post suggestions

Thank you for your support, more pieces and lessons coming soon

Guido

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Just a quick rendition of the xmas hymn Silent Night played with almost only one finger on the D and G string while occasionally plucking some root notes on E and A string.

Merry X-mas from Marlowedk and Carolina (the “backing waver”)

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Continuing with the theme from L288, we play 16th notes with muted notes in the same manner a funk rhythm guitarist would do it; playing all 16ths but muting some. Listen to bassist TM Stevens, he is a master of this style.
Right hand picks 1212 1212 1212 etc

Key is C, notes used are C,  Bb, F , F#, G

Play without stop for a few minutes;-)

Quicktime original

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Hey

Here’s another tune for Beginners to learn how to play.  IT’s Bob Babbitt’s bass line to Tears of A Clown by Smokey Robinson.  There are basically two parts to the tune, the verse and the pre-chorus/chorus.  And these parts then repeat.

So watch the video – make notes if you have to and learn this great tune. (One note – this song is in the key of Db, and has a C FLAT in the lines – this is the same note as B, and correct musical theory is to call the note C Flat…)

Here’s the video…

Click here to view the embedded video.

If you’ve got any comments don’t hesitate to head over to my how to play bass website and use the comments form.

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Ive started to practice fingerstyle in the same way that i play with a pick – playing all the 16ths available without stop. Its quite challenging stamina-wise -try and do it without stop for just 2 minutes…

This exercise is based on the C minor blues scale (1, b3, 4, b5, 5, b7) and ive included the transcription with tablature – consider it as a small Christmas present:)

Try and play the rhythm just on one note/one string too – example in the pdf – its even harder than playing the line itself!

Quicktime original

iPod mp4 version

Flash flv version