Learn Bass .. In this lesson you will learn a common major triad pattern. Often when playing with a guitar or keyboard player you can follow the chords they. Teach yourself how to play bass guitar with our award winning easy lessons for beginners, designed and used by professional bass guitar teachers and. bass guitar, sound good and have a great time is only a lesson or two away! I have been playing and teaching music professionally for many years and.
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Bass Guitar Lesson - Rock Bass - Beginner to Pro in 4 Weeks - Free download as PDF File .pdf) or read online for free. (mister –guitar). occupation. I call it “short user manual for bass”. with help of this book you will not lose lot of time on inappropriate ronaldweinland.infouction Hi. PDF Drive is your search engine for PDF files. As of today we have 78,, eBooks for you to download for free. No annoying ads, no download limits, enjoy .
Any mistakes in the presentation of this material are entirely due to oversight s by the author. If any come to your attention, please let me know and I'll correct them in future editions. Taken from the Rock Bass web site http: Lesson II Day Lesson III Day Lesson IV Day Lesson V Day
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Video Sample. Description Specification Reviews Details Teach yourself how to play bass with our easy bass guitar lessons for beginners. Teach yourself: How to play beginner bass notes and beginner bass scales used in popular bass lines and bass licks All the fundamental techniques of bass playing including how to play bass with a pick or fingers and how to play using alternate picking, slides and hammer-ons How to read bass music for beginners and how to read bass tab for beginners Bass theory for reading key signatures, time signatures, intervals, sharps and flats, ties, rests, triplets and syncopation How to tune bass Bass tips and bass tricks that every player should know when learning bass guitar Shortcuts for how to learn bass fast by getting the most from bass practice sessions Contains everything you need to know to learn to play the bass today.
Features include: Progressive step-by-step easy beginners bass guitar lessons written by a professional bass teacher Full color photos and diagrams Easy-to-read bass music for beginners, accompanying guitar chords and easy bass tabs for beginners 61 bass exercises, bass riffs, bass arpeggios and popular easy bass songs for beginners in classic rock styles Diagrams showing all notes on the bass guitar fretboard Beginner bass lessons have never been this easy for anyone who wants to learn how to play the bass guitar, fast.
Customers reviews Write your own review. Customer Reviews 1 Item s Show 10 20 50 per page. Customers reviews summary. Write Your Own Review How do you rate this product? Submit Review. Your Recently Viewed Products. Learn To Play Music Blog. These two basic patterns will be ones that you use over and over again. A natural minor - use the same fingering pattern as described above for the E natural m scale, just start the pattern on the A note, E string, 5th fret.
Play a G nat m scale. An F nat m scale. A question arises. Where should I start? On the bass, as in life, the word 'should' always brings with it certain expectations. My answer is you 'should' start the scale wherever you most would like to play it.
I would make my decision dependent on how each scale would sound in context with other musicians. Since you're probably not playing with other musicians right now - play it starting off on both F notes, 1st fret, E string and 8th fret, A string. These fingerings are good examples of 'positional' fingering patterns which you'll learn more about several pages in the future. Try them. They'll take you away from using open strings and develop a little extra strength in your wrist and fingers. The word 'position' is used to label with a number a unique placement in a structure or a sequence or to label a unique place occupied by a note in a scale.
The word 'positional' simply means placed, set in place or in a place as is a sequence of notes that is played in the same way regardless of where on the fret board the sequence is played. Play other natural minor scales and some major scales. Move all over the fret board as you begin each scale on a new note.
Name the scale in your mind as you play. This is a good basic warm up. Play a bunch of minor scales with the unflatted 6th in them. Try to discover a new, comfortable, fingering sequence.
Positions 1st 2nd 3rd 4th 5th 6th 7th 8th. The minor used in 1 2 b3 4 5 6 b7 8 much Rock music. These scales seem deceptively simple but, please, fiddle around with them for a while.
Even though they vary by only a note or two these particular tiny variations are important. Hear how different they sound? This is good ear training. Adding one or more parts to a given part. The art of combining melodies. These two scales, the Major and the Minor, are the most important for you to understand at this time. They are the building blocks of 95 to 98 percent of all the rock music that you will play.
I don't give you a million scales to practice because that can get boring. I try to show you some basic fingering patterns and also explain concepts. From these you may derive choices of notes to play. Pentatonic Scales I guess this is as good a place as any to mention the Pentatonic scale. Penta meaning five. Tonic meaning tones. Five tones or notes. A five note scale.
There are many pentatonic scales possible but the ones most often used in Rock are the major pentatonic and the minor pentatonic. The major pentatonic is comprised of the 1st, 2nd, 3rd, 5th and 6th positions of the major scale.
The minor pentatonic is comprised of the 1st, b3rd, 4th, 5th and b7th positions of the major scale, since, as I mentioned six pages ago, we are using the major scale as a basic reference point and defining the minor pentatonic scale in terms of the major. See the minor used in much Rock music, two pages ago. They are very often chosen on a practical, improve-the-fingering basis because they eliminate the half-step intervals of their respective full scales.
Makes it easier to work the strings and the fret board. Also, harmonically, each of the pentatonic notes is strongly individualistic and has little tendency to resolve to another note, ie.: They create a desire to hear another note, to feel a resolution of vague tension. Why don't you play a few pentatonics using more or less the fingering patterns that you've already learned, that is, the fingering patterns minus a few fingers or positions. The major pentatonic can be used as a shortened version of a major scale and is therefore very useful for bass playing since you would rarely want to play all the notes in a scale and the minor pentatonic can similarly serve to replace any of the different minor scales.
This capability to replace any of the different minor scales is very interesting: This single five note scale is incredibly useful! One fascinating use of pentatonics is the mixing of same root or tonic major and minor pentatonic scales! This is usually done while playing within a dominant 7th scheme more on 7th chords in about fifteen or sixteen pages. By switching back and forth between a major and a minor pentatonic - while playing in the same area of the neck - you can create highly unusual, unique, improvised note sequences which enhance the spirit of rock music!
This takes a lot of experimentation but is well worth the effort! Do try this. There are a lot of things you can do with pentatonic scales. Like using them as substitutes for other scales, chord-based bass note sequences and modes. However, many of these harmonic ideas lie well beyond the scope of this beginning bass booklet nice alliteration!
You can delve into them by reading more advanced music theory sometime in the future. As you can probably feel, pentatonics are an area that millions of Rock musicians are very fond of. This is definitely one topic you would do well to come back to after finishing this booklet. Make a note of this somewhere. End of day 7. Lesson III - Chord basics and connecting notes. So, again, where is this leading?
To chords. Why chords? Because the rest of the music structures that you'll be playing within, played by guitar players and piano players, even horn players, but not drummers, will be made up of chords. Singers will be singing notes to fit into the chord structures. Lead players guitar, harmonica, flute players All this stuff in previous pages leads to the following ideas:.
Chords are groups of three or more pitches. Three notes, exactly, sounded together, are triads also, chords ; triads are chords. But not all chords are triads. Triad means three. Many chords have four or five notes or positions in them. Two note 'chords' are not defined as chords; they are called diads and sometimes, double stops.
A Chord, as defined above, is created by grouping together three or more notes played at about the same time. But, what notes? Well, basic major chords are made up of the 1st position and the 3rd position and the 5th position notes in the scale. This is the definition of a major chord. What notes are in a C major chord? C, E and G. Play them on your bass one after the other in sequence - a 'chord-based bass note sequence'. I use this rather long but very explicit term to indicate that you are playing separate notes, not playing all the notes together as a guitar player might when playing a chord.
This term also means that you will play the notes which, by definition of the specific chord mentioned, make up that chord. Play them, the notes C, E and G, in two or more locations. Starting with the C note on the E string, 8th fret and with the C note on the A string, 3rd fret. How about the C note on the D string, l0th fret?
What notes are they in an E major chord? Play them on your bass as chord- based bass note sequences in several locations. Pick a few other chords, maybe D major and G major and Bb major. Name the positions of each scale in your mind as you play them, ie.: Basic minor chords are made up of the 1st position and the flatted 3rd position and the 5th position notes of the major scale or, more simply put, the 1st, 3rd which is the flatted 3rd of the major scale and 5th positions of the minor scale.
More on formulas which describe how to form chords several pages from now. What notes are in an A minor chord? A, C and E. Play them on your bass as a chord- based bass note sequence. Name them in your mind. What notes are in a C minor chord?
Play them on your bass as a chord-based bass note sequence. Find a couple of different locations. Pick a few other minor chords, maybe F minor and Bb minor and D minor. We are just dropping mention that it's a major. When someone plays a chord or says that we're in the key of.
You won't be floundering. If someone plays a C chord, you'll know that the notes, C, E and G 1st position, 3rd position and 5th position are the basic notes that you can use in different combinations and sequences to play along with the C chord. When the C chord is changed to an F chord, you'll know that to play along with the F chord you just have to find an F note on your bass and play the 1st, 3rd and 5th positions of the F scale, and follow the chord changes as they happen.
For example if the chord changes to an Em E minor you'll just play the 1st, 3rd and 5th positions of the E minor scale, 1st, b3rd, 5th of the E major scale , etc. Often the 1st, 5th and the octave will be the most important positions notes for you to play. As you play by following the chord changes you'll note that sometimes the same notes appear in different chords. This can make your note decisions easier and we will cover this idea in more depth later.
Connecting Notes You'll sometimes use 'connecting notes' to get from one chord-based bass note sequence to another. Much of the time the notes that are in the scale that you're using are the easiest to use as connecting notes. You'll pick connecting notes up as you go along and learn to feel where they might be inserted in the sequences of notes you end up playing. They add flair and style to your playing and take you a little beyond the basics. A notes which may be in the scale being used but do not appear in the particular chord structures or chords being played or.
B notes which are not in the scale being used and, as such, do not appear to have any relation to the music structure. However, in the sense that connecting notes are useful for bridging different chord-based bass note sequences or even keys, they always serve a relational function. Another term that you may hear which has the same meaning as 'connecting notes' is 'passing tones. Some people can even play a seemingly haphazard mixture of notes in the scale and notes out of the scale, only resolving see the next definition the overall sound or feeling of the notes with the chords being played the music structure at the last second or the last couple of notes in the melodic passage or the melodic-rhythmic passage in the case of most bass playing.
This is not explicitly related to the topic of connecting notes. Theoretically it is more advanced and complicated and is for your consideration a year from now. Usually, 'concord' as contrasted with 'discord. These are a good examples of how you can further and sometimes more deeply understand musical ideas with the aid of a dictionary of musical terms see the Appendix - Carl Fischer publications. How do you use connecting notes? Just about any way that sounds okay and not dissonant, unless dissonance is what you want at that moment.
Just use them to make the bass line s flow smoothly. The repetitious emphasis of one sound among several. Between two sequential short vertical lines crossing the five parallel lines the staff on which notes are written.
Chromatic Scales 'Chromatic' scales: I mention this in tandem with ideas about connecting notes because 'chromatic' scales can be used to fill in the empty spaces between scales, within scales or between chord-based sequences of bass notes by just helping you to get around easier, to be 'connecting' one sequence of notes with another. They're like connecting notes in a sense but, by definition, they are scales and therefore have a defined structure or sequence in contrast with connecting notes which do not.
Actually you can start almost anywhere in the twelve half-steps, depending on where in the music you're placing the chromatic section and what notes are nearby.
Play two or three fully chromatic scales. Try some with the b2nd, 2nd, b3rd and b6th left out. You'll have to do a little sliding with one of your fretting fingers most likely your index finger here and there. Try using a chromatic segment two or three chromatic notes to connect sequences of chord-based bass notes. F and F are the chromatic connecting notes between the C and Em chord-based bass note sequences.
That last sentence was a tough one! Reread it slowly and play around on your bass and concoct a few more of these chromatically connected chord-based bass note patterns.
Then from the second chord structure back to the first. Not all chord-based bass note sequences connect easily using chromatic connecting notes. Find some that do. Try three and four chord-based bass note sequences and some chromatic connecting notes.
Maybe from A natural minor to C natural minor to F back to A nat m with some chromatic connecting notes between each. Choose some others on your own. And try using minors with the unflatted 6th positions. Chromatic scales are very cool sounding. Segments of chromatic scales are used a lot in Jazz and Funk. Syncopation Often chromatic notes are 'syncopated' or played on the upbeat, jumping a half-beat ahead of the count by suddenly switching the emphasis and timing of your notes from the downbeats to the upbeats.
Play some of your notes on the upbeats or between the downbeats using the ideas in the paragraphs above about 'chromatic scales.
Work at it repeatedly until you can do it fairly fluidly. If you need to, take an extra day. This skill will add excitement to your playing! For example, try playing these segments of a chromatic scale: Then repeat, starting with the C on the downbeat but play the rest of the notes on upbeats or between the downbeats.
Then alternate them. This exercise will help you get the hang of playing on upbeats. In Rock bass, playing the note on the upbeat rather than the downbeat. This causes the beat to sound 'quicker' and adds a little extra excitement! See 'Counting' on the third or fourth page. The half-beats between the beats that you count 1, 2, 3, 4. Try playing a few chromatic scale segments in several keys, say, C and Bb and A and Eb.
Play the positions 1, 3, 4, b5, 5, 6, b7, 7. Then syncopate the 3rd to the 7th position notes, 3, 4, b5, 5, 6, b7, 7, and repeat. Kind of a warm up. Then switch to playing notes in those keys that are chord-based. Say, first the notes in each chord in the sequence of this chord progression in the key of C - C, Em, Dm and G use a few connecting notes.
For example, play the notes C, E, G the 1st, 3rd and 5th positions in a C major chord , then the notes E, G and B the 1st, minor 3rd and 5th positions in an Em chord , then the notes D, F and A the 1st , minor 3rd and 5th positions in a Dm chord and then the notes G, B and D the 1st , 3rd and 5th positions in a G major chord.
After you've played these four sets of three notes this would be an example of 'playing through the chord changes' play them again and this time add chromatic connecting notes between the 5th position of each chord-based three bass note sequence and the 1st position of the next three note sequence. And connect the 5th position of the Dm chord, the note, A, to the 1st position of the G major chord by playing the note, G. Or play the two notes, A and G , repeating the note, A, in keeping with our convention of playing two chromatic connecting notes between the chord-based bass note sequences.
And then, play two chromatic connecting notes what notes would they be? This is a good example of what I mean by using connecting notes as well as using chromatic notes. Instead of dealing with notes' names you could also understand this by thinking in terms of positions. If you really want to go nuts, you could try syncopating the chromatic notes.
Of course to do this would require you to set up some kind of rhythm. See the earlier section on 'Counting. Another mix up: Then add some chromatic connecting notes to those chord-based bass note sequences. What a trip! If you can learn to do this you're doing great!
How are they related? By harmonic structure. That is, each of the chords has concordant what's the definition of 'concord'? But simple. Try to figure out similar material in the keys of, say, D and F. I'm asking a little more of you here. I'm asking that you move your fingering patterns around to other places on the fret board. I'm also asking you to move groups of fingerings around to other places on the fret board.
I'm asking you to transpose. This might be difficult the first time but persevere. It'll expand your musical mind. Inversions Definition: Better reread this one slowly and multiple times. Mull it over. Instead of any music theory about inversions I'd just like to give an example and some numbers.
Play separately on your bass, for example, the three notes of a D chord: D, F and A. Play the D note with your middle finger on the fifth fret on the A string. Play the F note with your first finger on the fourth fret on the D string. And play the A note with your pinky on the seventh fret of the D string. This is an extremely common fingering pattern which may easily be moved higher, lower or across the fret board.
This is most desirable because you don't have to keep searching your mind for the correct notes to play in any given situation, you can just rely on fingering patterns which you've already learned and which are easily transposable all over the fingerboard.
It's possible simply because you're not using any open strings, which, in general, is a good idea. So, you've played the D, F and A notes as above, the 1st, 3rd and 5th positions of the D major scale. Play them a half dozen times using the pattern above. Of course, forwards and backwards. Now, instead of playing the F and A notes where you've just played them, in your next sequence of three notes, play the D as above but now play the F note with your first finger on the second fret of the E string and then play the note, A, with your pinky finger on the fifth fret of the E string.
Repeat this pattern a few times switching the D note fingering to your pinky. This second pattern is, for bass players, an 'inversion' of the first pattern. You've inverted both notes, F and A, 3rd and 5th positions, having played "upper notes lower," see definition, last page. Play the two patterns back to back. Play this a half-dozen times.
Play the variation D, F , A, F. Move these 'positional fingerings' to several other locations on your fret board. Numbers In the first pattern, the notes D, F and A are the 1st, the 3rd and the 5th positions of the Dmaj scale. That is, usually we visualize the positions as going upwards to higher notes. In an 'inversion,' as bass players, we often but not always visualize the notes as lower than the 1st position or tonic note. In going downwards, inversions, we count down: A third up F is a sixth down also F but an octave lower.
To reach the inverted A note, how many down must you count since the usual A note, the 5th position, up, is counted up as 5? How is this inversions useful? Well, inversions extend your range and choices of notes that you can play and once you get the hang of regular upward moving fingering patterns and then inversions, you won't bother counting any more, you'll just know the 'positional fingerings'.
Very important idea!! Also, inversions help you to play lower notes. It's your job as a bassist to generally play the lowest notes possible, to be the support of the music in the ranges above the bass. The bass holds up the band. Positional Fingering We must make a distinction between the musical use of the words, 'position' and 'positional'. The word, 'position', means to label with a number a unique placement in a structure or a sequence, a place occupied by a note in a scale ' and 'positional,' means 'placed, set in place or in a place' as with a sequence of notes that are played in the same way regardless of where on the fret board they are played.
By this latter term, 'positional,' I mean 'positional fingering'. Positional fingering is what bass playing is all about. I cannot emphasize this enough. Inversions are just other forms of positional fingering. You'll notice that almost all positionally fingered patterns can be played within a fret 'box' of four to six frets and usually on only three strings at a time within that box. Of course once you reach this point, it'll become clear to you that it's time to abandon using open strings for the most part.
Why don't you review the previous information now. Play around on your bass with these ideas and fingering patterns. There are some additional things: These are learned by feel.
Or maybe, mechanically, by repetition. Also, you will become infected by the Rock musician's eternal Quest for Tone! Tone in this context is how a note sounds. It's produced by combinations of all the techniques that you pick up by practicing as well as listening to songs as they're played on CDs or the radio, by trying suggestions that are given to you by other players, by trying different effects which can be obtained from both effects devices as well as by the manipulations of the strings by the fingers of both of your hands as you play see the techniques in the Appendix.
Of course tone is also created by turning the knobs on your amplifier. This is where you begin to improve your sounds and create your own style s. I won't go any further into music theory or technique because this stuff is up to you - what you like or dislike, who begins to influence you musically and what directions you want to go in. All that I present in these basic lessons is designed to bring you to the point where you can know some basics and actually know what you're doing while conversing with and playing with other musicians.
I might add that knowing this stuff will help you if you decide to switch instruments, too. All this scale and chord stuff is used by everyone on all other musical instruments.
Information that helps. When playing notes in an upward or ascending direction, when you get to the 7th, play the major 7th in major scales - in minor scales, of course, play the minor 7th and when playing notes in a downwards or descending direction, when you get to the 7th which will be more quickly than when playing in an upwards direction , play a minor 7th even when you are playing within a major scale or chord - it just sounds better!
Of course if you're playing within a minor chord framework, you'll also use the minor 7th position note when playing in a descending direction. Lesson V - more on chords. This information is a l i t t l e more advanced. While you're learning this next lesson please continue practicing things like:.
Use at least the first two fingers if plucking. Try alternating your thumb with your plucking fingers. Build up some speed.
Use down and up strokes if you're using a pick. They are the same for bass. More on chords. Why do you need to learn more about chords when a bass player doesn't play chords? At least not in the sense that a guitar or organ or piano player plays chords, by striking three or more notes simultaneously or very close to simultaneously. Well, what do you do when the organ player or guitar player says she's playing a minor 9th chord?
Or a diminished chord? Or a major 7th? Or a 7th flat 5th? Or an 11th? Or shock! The answer is: You can do that! With a bass! And by using one or another of the techniques in the Appendix and by choosing which bass notes to play to emphasize one feeling or another in the overall music structure you can create moods and emotion in the music!
You can be gross or be very subtle. Bass has a lot more going for it than just thumping along with the drummer's kick drum which is, of course, always a very good idea no matter how cool your playing gets.
This is a very important Rock basic, this coordinating with the drummer's kick drum, one which you ought not ever forget. In the Rock musician's eternal 'Quest for Tone' it also means loosely the bass or treble sound, the texture or scratchiness or smoothness and roundness of the note, the 'punchy-ness'. So, if someone is playing, say, a C chord and changing to an F and a G, you have a pretty good idea what to do, right?
Let's say that the guitar player says, "Let's put an A minor 9th in here. Well, you know, the A tonic note can never be wrong. So you start with that. Then you know the 5th E sounds good most of the time so you throw that in. So far so good. Sounds good! But a little simple. So you question your knowledge base in your mind: So you know where the minor 3rd is because you know that you just flat the major third.
Now you've got three good notes! But what else can you do? Well you now have the chance to learn from reading the info below that 1 any minor 9th chord has a minor 7th a flatted major 7th in it. So you think - the major 7th, a G still talking about the A min 9th here and flat it to the G note, maybe higher than the tonic note or lower than the tonic an inversion , a lower G note two frets lower than the tonic.
But what's this 9th??? Well, a 9th is the next whole-step beyond the octave, the 8th, in this case, the B note, one whole-step above the octave A note. An inversion of that is the B note just two notes two half-steps above the tonic. Remember, in our major and minor scales? We had the 1st, 2nd, 3rd, 4th, 5th, 6th, 7th, and 8th or octave? Well now, we extend beyond that to include the 9th, l0th, 11th, 12th and 13th. The 9th, as we saw above, is two half-steps or a whole-step above the octave.
Its inversion is the 2nd. Play the 9th and 2nd positions in each scale, the A natural minor and A major. I mean play the scales and add the 9th. When you play the 9th, immediately play the 2nd. As for fingering, since you're using fingering patterns as you learned from previous pages to play the scales, just expand the use of the 'box', the grouping of frettings within four or five frets vertically, to include notes on the next highest string.
If you're already using the highest string, then move your tonic note, the 1st position, to the next lower string but higher up on the neck. Or try using an inversion. Discover just where these new positions are relative to the pattern s you already know. The l0th which is not really used in chord nomenclature very often because of the powerful harmonics of the 3rd - the third overpowers the l0th so we don't usually add a l0th to a chord , the l0th is four half-steps or two whole-steps above the octave 8 th.
Its inversion is, of course, the 3rd. You can see a pattern developing here. The 11th is five half-steps above the octave and is the octave of the 4th. Play the scales and add the 9th and 11th. After playing the 9th play the 2nd and after playing the 11th play the 4th.
The 12th isn't used, again, as in the case of the 3rd and the l0th because of the power of and powerful harmonics of the 5th. The 12th and 5th are inversions of each other. The 13th is equivalent to the unflatted 6th but an octave higher. If you've come this far, you probably have a firm grasp of where on the fret board, of what part of that 'box' pattern you learned.
Play both scales and add the 9th, 11th and 13th and each of their lower octaves, the 2nd, 4th and 6th. In the natural minor scale use a flatted 6th and a flatted 13th in keeping with the definition of natural minor scales.
In the major scale, the melodic minor scale and our 'Rock minor' back eighteen or twenty pages ago , use the unflatted 6th. The above info is useful of course.
It's also an example of how to play notes which go with the extended chord structure s that the other musicians are using. Here are some tab diagrams or charts for the 9th, 10th, 11th, 12th and 13th positions. The fretting fingers horizontally across the fingerboard stay within 4 frets vertically except for the two highest positions, the 12th and 13th.
Since the 10th and 12th are rarely used except as connecting notes you only have to go out of the box for one note, the 13th. Please say the names of each of these notes as you play them. You could sing them, too, as you play, an octave or two higher. D 7 to 9 — slide up 3rd finger A D 7 to 5 — slide down 1st finger A Don't worry about the lower notes for now. Right now, this is about the 9th, 10th, 11th, 12th and 13th positions which are higher than the notes in the scale in the first octave.
At that time, we received our payments in cash - and there was a plenty of it. Back in , we had a gig in some high-expensive seaside hotel resort on Adriatic Sea.
Hotel had two stages one at which my band had engagement, in open garden next to seaside, and another small one in hotels casino. Two guys with acoustic guitars played there. Guy played guitar in a way that when he starts you do not want it to stop ever. Just have in mind that all musicians talk at least two languages one mother tongue, and another international which is called music or playing music. Music does not recognize nations, or borders, or politics, or religion. When you are musician you can easily talk with people all over the world, without using a single word.
How wonderful is it? So, my band and these two guys became friends. And this guy Ill call him Mr. And I showed him. What he basically did is that he changed my self- taught, and wrong way of playing. My fingering and positions I used were not really the best. I was able to read chords and phrases, but this saved me a lot of work later.
When I think about that today, I cannot precisely recall how I played instrument before this fine tiny tabular user manual. So, if you are on wrong way, as I used to be, or you are beginner, with help of this book you will not lose lot of time on inappropriate learning, and practicing, and my mission with this book will be completely accomplished.
Reasons why this book is great 1-When you read all of this, and go through these exercises, you will be able to go to the next levels of learning your instrument. It is similar like driving you actually do not think all the time where is throttle or brake pedal, or how to switch gears, or what steering wheel does.
These activities become high- trained automated operations. You do not think about these you simply KNOW them. More about this book Intention of this book is to show you correct fingering and positions on your instrument, and to get you practice. You will learn your instrument fingerboard very well, and, at any time, you will know exactly where your hand is, and where are notes that you want to play.
In other words, at any time, you will understand your instrument. Understanding your instrument is main goal of this book, and main goal for me. Also, I hope, if playing your instrument was just hobby for you, and you were close to give it up, you will not quit, but keep on going. And maybe, being a musician will become your next occupation just like it was my, for 21 years. If I would know that in five years from now, this book of mine, will somehow produce new colleague professional musician, I would already be happy right now, in advance.
So good luck, and dont give up. I guess, I will repeat this few more times in this book until the end be patient, do not give up easily. When you get over all of it, actually you will see, it is not that hard at all. In fact, it was quite easy.
Chapter 1 - General terms O. In this book I will talk about two, lets say, types of bass guitars: four-string guitar with strings G, D, A, and E , and five-string bass guitar everything is the same, but it has one more thick string which is low B string.
I played five string electric bass guitar most of my professional career as a musician.
If you think about purchasing your very first guitar, even if you are on budget, I would suggest you to take five-string guitar into your consideration. If the money is not issue, I recommend you to take look onto Music Man bass guitars, my favorite instruments.
From my professional perspective, these are one of the best serial produced guitars on the market. These are excellent for live gigs, and in studio recording as well. Hands are, well, hands. Left one and right one. Guitar pick, if you decide to use it I recommend some really big and hard ones. In rare situations, I use Dunlop 2mm nylon, but as I already said I rarely use guitar picks. I prefer fingers of my right hand.
If you decide to use guitar pick anyway, my advice would be to try different types and sizes, and choose the one you like most. The same is for right hand. Most of time, I use index finger, middle finger and third finger ring finger for picking strings with. In some rare situations, I use right thumb, for slapping technique for example. But that is not my favorite technique; so honestly, I do not use it much. Strings are steel, or other metal strings on your guitar that produce sound while vibrating.
Strings are stretched in between bridge at the bottom of guitar, and nut at the top of guitar neck. We press strings all over the neck fingerboard to produce sound. Strings will be marked with their standard respective notes G thin , D, A, and E thick one on four-string electric bass , and low B on five-string electric bass guitar. Actually, it is much easier for playing - you have two octaves at any given position, plus, you have low D note, and all up to low B.
From the other hand, six- string bass from my point of view, which is being bass player in nightclub band is not way to go.
Six-string bass in my opinion is handy for, I call it, -guitar players that somehow always wanted to play bass but never got it in good way. Im kidding, of course, - anyhow, - I am pretty sure that your first instrument will not be 6-string bass, so, if at some point you decide to switch onto 6 string guitar you will be able to extend positions and fingering in that direction. You will see, everything is actually easy, logical, and repetitive. Remember these three words easy, logical, and repetitive.
I use. Fingerboard or fretboard is plate with brass frets on the front part of your instrument, practically it is guitars neck. Illustrations included in this book are parts of fingerboard.
Frets are marked with numbers. Open strings are marked with zero 0 fret. It is also called nut. So nut is marked with number zero 0 , first fret with number one 1 , and so on. Number marks are on the right side of drawing.
On the left are notes marked with capital letters in boxes. These markings match notes for the five-string bass guitar. So, it is corresponding note on given fret on fingerboard on low-B string. Positions are referred to positions of left hand on guitar neck.
I will explain them in general, and I will explain every position separately. Positions are the main part of this short book. Fingering is referred to the way you use your left hand fingers while playing. Specific note within specific position is played exclusively with certain finger. Not the other one. Please, pay your full attention to this. Do not try using different fingering because at start it looks easier.
It is not. You will make a huge mistake. If you are self-taught musician, as I am, there is possibility that you use wrong fingering. If it is the case you will have to invest some extra time to repair this wrong way of playing, just like I did it, but benefits are justifying this investment of your time. You will set your hand and fingering correctly, and at the end, you will be able to play whatever you play in easy and correct way.
Tempo should be considered as speed you play music. I suggest you to use metronome for setting up tempo while practicing. You can use mechanical metronome or electric device, or you can even find one online. When it is set to tempo, it will click times in one minute, which means one click every half of second.
My first hit on Google search for metronome online was free website with nice and usable metronome, easy to set, and easy for use. I would suggest you to try that as well, if you do not have some kind of external device. Note could be defined as sound itself. When we play some articulated sound on our instrument, we say that we played some note. Also, term note is used for sign in musical notation.
On our instrument, we actually play 12 chromatic notes. After all twelve notes, - thirteenth note has the same name as the first one. For example, on four string bass guitar, on our E-string, first note open string , is note E.
Also, on 12th fret on E string, we have note E. Difference in between two of these is that note E on 12th fret has exactly double frequency from the first one. We say it is one octave higher. In some countries, there are slight differences in marking for example, in Germany, note B is marked with H. So, if you have some exercise, or musical writing with H marking, it is B note or chord.
And if you have B note in same exercise or song it is lower B - Bb B flat. So, just dont be confused. Bass guitar tuning.
Nowadays, almost all musicians have guitar tuner. It is small electric device with analog or digital display. Almost all the models can tune guitars and bass guitars. These are affordable and handy. Especially, modern amplifiers do have guitar-tuner out so even when you mute amplifier, for example in pause in between songs on live gig, you still can use tuner, if you notice that your instrument went out from tune.
Back in days when I started learning, we had musical tuning fork metal fork which produces note A Hz frequency when hit, and leaned on instrument resonator box. When first electronic tuners became available on market, these were pretty expensive at that time. Anyhow, standard tuning for four stringed bass is first string is tuned at note G G2. Second string is tuned at note D D2 , third note is tuned at note A A1. Its frequency is 55Hz. Remember the Hz frequency?
And finally, fourth string is tuned at note E E1. For five string bass guitar, standard tuning is the same, and fifth string is tuned at note B B0. For so called tenor tuning on five string bass, we have one thin string below G string C string C3.
For six string bass guitar, we have all six strings starting on C, up to low B.