studybass bass lessons: bass technique

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studybass » bass lessons » bass technique about bass technique Perspectives and thoughts on bass technique. open string muting Keeping open strings quiet is a challenge. These exercises help you get those open strings under control. the flying fingers problem Keeping your fingers close to the strings is a struggle for most people. Let's fix it! beginning melodic sequences A great way to build facility is by practicing repeated patterns through scales and chords. breaking bad habits Fixing those nasty bass playing habits you've developed. holding the bass Properly supporting and balancing the bass guitar. plucking Basic bass plucking technique with pics and video. fretting Essential bass fretting technique with pics and video. string crossing Exercises for developing plucking and string muting coordination. pick vs fingers Some thoughts on whether to use a pick or your fingers. legato and staccato Two distinct ways of articulating notes. More bass lessons and tools are being added all of the time. Subscribe to the StudyBass RSS feed to be notified about new bass lessons. Or, follow studybass on Twitter: ©2003-2013 studybass - all rights reserved Copying, ripping, or distributing studybass content, in whole or in part, is strictly prohibited. studybass and studybass.com are trademarks of Leading Tone Media, LLC terms of service - privacy policy BASS LESSONS: BASS TECHNIQUE

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Essential Techniques for bass guitar. Compilation of online exercises

Transcript of studybass bass lessons: bass technique

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studybass » bass lessons » bass techniqueabout bass techniquePerspectives and thoughts on bass technique.

open string mutingKeeping open strings quiet is a challenge. These exercises help you get those open strings under control.

the flying fingers problemKeeping your fingers close to the strings is a struggle for most people. Let's fix it!

beginning melodic sequencesA great way to build facility is by practicing repeated patterns through scales and chords.

breaking bad habitsFixing those nasty bass playing habits you've developed.

holding the bassProperly supporting and balancing the bass guitar.

pluckingBasic bass plucking technique with pics and video.

frettingEssential bass fretting technique with pics and video.

string crossingExercises for developing plucking and string muting coordination.

pick vs fingersSome thoughts on whether to use a pick or your fingers.

legato and staccatoTwo distinct ways of articulating notes.

More bass lessons and tools are being added all of the time.Subscribe to the StudyBass RSS feed to be notified about new bass lessons.

Or, follow studybass on Twitter:

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BASS LESSONS: BASS TECHNIQUE

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lesson exercises quiz songs

By Andrew Pouska

studybass » bass lessons » bass technique » about bass technique

Lesson Block #2: Basic Bass Technique : : next lesson »

Technique Is About AdaptingNo one was physically born to play bass (or any instrument but voice for that matter). As a bass player you are adaptingyour hands and body to this musical instrument. A musical instrument is designed the way it is because of 1) the soundit needs to create, coupled with 2) the average human body in mind. The technique to play it lies somewhere in‐between the two.

In my opinion, there is no single, correct way of playing the bass — only better and worse ways. Rigidly thinking there isonly one way to play the bass can really stunt you as a bassist and crush the development of an original voice. Justbecause something works for one bassist doesn’t make it so for all of them.

Results of Bass TechniqueWhile there are no “correct” ways of playing the bass guitar, what does exist are correct results of playing the bassguitar. It needs to sound and feel good. How you accomplish those results is up to you. If you find a way to achievethose results by throwing rocks at your bass, more power to you! (Maybe practice that with someone else’s bass first.)

Thinking about the results end of things gives you creative freedom to experiment. Try things your own way. Try thingsthe way other successful bassists before you have.

Why do so many great bass players sound so different from one another? The most revered bassists rarely sound exactlylike any other bassist you can point to. If you examine the bass technique of many of the greatest bass players, you willsee each has a different approach than the other. Often times he or she has a wildly different approach. And, it is oftenthis different approach that brought about his or her greatness or uniqueness.

If you look more closely at these great bassists you will notice there are a lot of common results from all of theirdifferent bass techniques. It is these results we need to pay attention to and figure out various ways to accomplishthem — whether we copy the techniques of other bassists, or blaze our own path.

Studying bass technique is about examining the better and worse ways of producing good bass‐playing results.

Be DeliberateYou should deliberately choose the bass techniques you use for the results they produce. A big mistake, especially forthe self‐taught, is to choose what comes easiest. The path of least resistance doesn’t always work so well. Some resultsare going to be hard to achieve. You’re going to have to work at it. When people listen to you play they don’t care howeasy it is for you. They only care about the results of your bass playing. Does it sound good? That is what shoulddetermine the bass techniques you use.

The Goals of Bass TechniqueIn my opinion, these are the 4 main bass technique goals from which good bass technique will flow:

Goal #1: Avoiding Injury and Musician Health ProblemsThe most important goal of your bass technique is to avoid injuring your hands, back, ears, or anything else that mayarrest your ability to play bass. You want to play bass for the rest of your life. Your bass technique must support thisgoal or you are doomed to a very short career.

Goal #2: Clarity and Good ToneEach note you play should ring clearly with a full, pleasing tone. That means:

No unwanted buzzingNo unintentional muffled, or muted, notesNo unwelcome open strings ringing in the backgroundNo unintentional harmonics, andNo other accidentally produced extraneous noises

It is quite a tall order, but you have to learn to control all of these aspects of the bass guitar. Notice I say unintentionala lot here. These are all valid sounds the bass guitar can make. Make sure you are making them intentionally.

Goal #3: Efficiency/EconomyI tell students all the time I want them to be lazy when they play. You should use the least amount of effort possible to

ABOUT BASS TECHNIQUE

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produce the desired results. This will help you play more quickly, more accurately, and more comfortably for longerperiods of time.

Early on this is difficult. Your attention is divided and you’re just trying so hard to play something. With time andpractice, things will become more and more effortless. But, you must develop a relaxed technique by consciouslyworking on and thinking about it. You need to make a habit of being relaxed. It takes work to not work so much!

Goal #4: AccuracyYou need to develop accuracy with where you place your fingers, your tone, and your rhythm. It’s important to knowexactly what is about to come out of your fingers. If you don’t know what to expect from your playing, you will lackconfidence as you play. That lack of confidence will translate into some shaky bass playing.

Accuracy comes from a lot of patient, mindful practice. Early in your playing you will have a lot of problems withconsistency. Time and experience are your greatest teachers.

About the Bass Technique LessonsAs I said earlier, there are better and worse ways of accomplishing all of these goals and results I’ve outlined. In theforthcoming bass technique lessons, I will show you ways I approach accomplishing these bass‐playing goals and results.I’ve taught these techniques to hundreds of bass students with much success. Mainly, it is the logic behind each basstechnique I want to convey. I don’t want you to take my word that these are the ways to play bass. They aren’t. Theyare just some ways that work pretty well for me and might for you. Apply and practice the techniques one‐by‐one andsee if you experience the difference and effectiveness of each approach. If it works for you, use it. But, never stoplooking for better ways! I highly encourage you to hunt high and low for different bass playing approaches and basstechniques. The bass guitar is only 50 years old or so. There are many things to be discovered. Practice a lot and alwayskeep an open mind.

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lesson exercises quiz songs

By Andrew Pouska

studybass » bass lessons » bass technique » beginning melodic sequences

Lesson Block #22: Slops or Chops

In music, a SEQUENCE is a series of short, repeated musical patterns. These patterns usually move up or down a scale.

There are HARMONIC SEQUENCES (repeated harmonic patterns) and MELODIC SEQUENCES (repeated melodic patterns).

By repeated we mean they have the same underlying structure while being played off of different notes.

For example, in the key of C major C‐D‐E and D‐E‐F have the same structure: step‐step‐step. Even though the intervalsare a little different (Whole‐step/Whole‐step vs. Whole‐step/Half‐step), our ear percieves them as similar within thatkey.

Melodic sequences are an excellent technique builder, and you should make them part of your daily practice routine.Let me explain melodic sequences.

How Melodic Sequences WorkTo play a melodic sequence you take a short melodic phrase and play it off of each note of a scale or chord pattern.

For example, your melodic phrase could simply walk up the first 3 notes of the major scale‐‐Root, 2, 3. Then, play thesame ascending three‐note melody on each note of the major scale. e.g.

R 2 32 3 43 4 54 5 65 6 76 7 8etc.

You can (and should) play the sequence descending as well. Just reverse the numbers:

8 7 67 6 56 5 4etc.

If going down confuses you, you're not alone. It trips up everyone at first. Don't skip it.

Watch the Melodic Sequence Animation

Sometimes it helps to visualize the pattern. Here's an interactive animation of thesequence. Beneath the diagram there are buttons some of you miss. Click the play arrowto begin the animation. Don't forget you can make it full‐screen (rightmost button). And,you can change the speed with the hourglass button. There's also a left‐handed option foryou southpaws.

What Melodic Sequences Do for YouPlaying sequence patterns helps you in many ways. The first benefit you will see is your

fingers learn to move in new ways.

You are also forced to think about the underlying scale or chord in a new way. Early on, people have a hard time playinga scale starting from somewhere other than the root. That's going to hold you back. A lot of music doesn't start off ofthe root. Melodic sequences will make you start to think about the pattern more deeply and gain a betterunderstanding of the pattern's structure.

Most importantly, you will start to hear the underlying pattern better. I encourage you to hum or sing the patterns asyou play them. This will strengthen your ear and its connection to the fretboard and the scale/chord on which you areworking.

The stronger your connection to these musical patterns of scales and chords is, the more you will be able to express

BEGINNING MELODIC SEQUENCES

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your musical thoughts.

You probably won't play these complete sequence patterns in a bassline. That would sound like an exercise. Instead,bits and pieces of it will come out. They become part of your musical vocabulary.

Remember this:Just as you don't start saying words you've never learned before, you will never play something you haven't practicedbefore.

You might play something new, but somehow the elements on which it is based were practiced at some point.

The more ways you work on something, the more ways you'll be able to use it. Sequences can add a lot to your musicalvocabulary.

Endless PossibilitiesThere are many possible melodies you can turn into sequences. In the exercises for this lesson, I will show you some ofthe most popular major scale sequences people play on all instruments. But, use your imagination and create your ownideas and exercises. Short patterns‐‐2, 3 or 4 notes‐‐often work best.

You don't have to limit yourself to the major scale either. Try any other scale you know. Try chord patterns. The fewernotes in a pattern, however, makes sequences too short. But, anything is worthwhile to try.

Make sure you play these in different keys all over the fretboard. Don't only play them in G like the examples.

Speed It Up (...a Little)Your last concern should be speed. But, as you gain confidence with any sequence, slowly build up the tempo. Don'tforget to play legato! If your playing sounds choppy, you're going too fast.

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Bass Exercise #1: Your First SequenceIn this first sequence I want to try to make the pattern easy and obvious for you. I'm giving you a rest between eachmelodic pattern. Take your time to work through it. Don't miss any notes. Use the right fingers. NOTICE: I've added onenote above the one‐octave major scale, and one note below. This makes the sequence turn around and finish moremusically.

Bass Exercise #2: R23 Sequence in TripletsThis is the same sequence as the first exercise, but without the rest. Without pausing is how you really want to play it.It makes your musical mind work faster.

Bass Exercise #3: R234 SequenceHere is a 4‐note melodic pattern similar to the first two sequences.

Bass Exercise #4: Playing ThirdsThis is one of the most common sequences people learn. We call it "playing thirds" because you are playing major andminor thirds throughout. Basically, you are skipping a note of the scale each time. Listen to the bass part during theguitar solo on Rush's Tom Sawyer. You will hear parts of this sequence. At some point, Geddy Lee practiced this and itcame out.

Bass Exercise #5: R32R SequenceThis is essentially a combination of the R23 exercise and skipping thirds. See what melodic patterns you can come upwith, and play them as a sequence.

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By Andrew Pouska

studybass » bass lessons » bass technique » legato and staccato

Lesson Block #2: Basic Bass Technique : : next lesson »

One of the earliest technique issues bass players have to focus on is developing control over the length and sustain ofthe notes they play. In music, the Italian terms legato and staccato indicate how much silence is to be left betweennotes played one after another.

The point of this bass technique lesson is to firstly understand the concept of legato vs. staccato notes, and secondlyto focus on and develop these articulations in your playing.

What is Legato? What is Staccato?The term LEGATO (pronounced "leh‐gaw‐toe") means connected, or joined, notes. That means there is no perceivablesilence between two notes played one after another. To remember legato means connected, think your leg isconnected to your body.

The term STACCATO (pronounced "stuh‐caw‐toe") means detached, or separated, notes. Staccato notes have space, orsilence, between them. There are different degrees of staccato notes. Staccato notes can range from short to veryshort (staccatissimo). To remember what staccato means, associate it with to stop.

Notes of any rhythm can be played legato or staccato. Legato and staccato simply refer to whether or not a note'slength runs into the next note being played. It has nothing to do with the start of a note. It's about the duration of thenote.

Playing and Practicing with a Legato Bass SoundIt takes a good bit of attention to gain control over these two ways of articulating notes on the bass. Most beginningbassists, without realizing, play leaving a lot of space between the notes. This comes from releasing notes beforeplaying the next one. Releasing a note prematurely is easier to do since it requires less stretching in the fretting hand.To play legato you must sustain a note right up until the next note sounds. It doesn’t matter if it’s on the same stringor on different strings.

To play legato, don’t let go of a note until right when the next one starts.

Being able to play notes legato is essential. You will have a fuller bass tone and beefier overall sound. Uncontrolledstaccato notes sounds sloppy and weak.You should practice all scales and chord patterns legato. Don’t allow any spacebetween the notes. I know it seems a little harder at first, but you’ll appreciate the results. Focus on sustaining thenotes. Practice slowly so that you can hear whether you’re picking up your fingers too soon. It’s less obvious when youplay faster. If stretching is an issue, remember you can play on the higher frets (maybe between the 7th and 12th frets)where they are spaced more closely. Then, slowly work your way down to the lower frets (1st through 5th frets). Yourhands will get more limber. Stretching seems impossible at first. Eventually you’ll be able to stretch and relax at thesame time.

Developing a Staccato Bass SoundA lot of bass playing uses staccato notes of varying degrees. Like everything, this needs to be a controlled, intentionalsound.

As a musician, an essential thing to realize is that rhythm and feel not only come from where notes begin, but wherethey end. When you play staccato notes, you are shortening their duration creating various rhythmic effects. Anexcellent example of staccato notes everyone has heard is in the main bass part of Another One Bites the Dust byQueen (John Deacon playing bass). The first 3 notes are quarter notes played staccato. If you play them legato, thewhole bass groove is destroyed.

How Do You Play Staccato Notes?To make a note staccato, you have to stop the string from ringing. Lightly touching a string usually stops it. You’ll findyou can completely stop a string from ringing when you touch it in more than one spot along its length. If you touch avibrating string in only one spot, you risk getting a harmonic. Harmonics are bell‐like tones that ring along certain pointsof a string. (We’ll discuss bass harmonics later.)

You can use either hand to stop the ringing note, or both. What you use will depend on what you are playing.

With your plucking hand you can touch the ringing string with one of your plucking fingers. Hopefully you are using analternating plucking technique. You can use either finger to stop the string. Try to keep your alternate plucking

LEGATO AND STACCATO

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consistent. If you use a pick, you need to use the heel of your hand to stop the string.

In your fretting hand you can release a note off the fretboard while never letting go of the string. That is, your fingershould not come off the string. Let your fretting hand lightly touch the strings to keep them silent.

This all takes consistent, conscious practice.

How Are Legato and Staccato Notes Notated in Music?When you see written music the notes are assumed legato unless otherwise specified.Staccato notes are indicated with a dot above or below the notehead. (Dots to the rightof a notehead mean something else. Don’t get confused!)

Sometimes, to point out the importance of holding out a note, a tenuto mark is writtenabove or below a note. Tenuto indicates hold for the note’s full length. It is a horizontalline written above or below the notehead.

Some of you may wonder why you can't simply notate a staccato note with a really shortrhythm like a 16th or 32nd note. First, you want to think of this as a feel type thing rather than a specific rhythm.Secondly, the staccato mark is written much more cleanly and is easier to read.

In SummaryPlaying legato and staccato notes is a very important concept to understand and master. Though it’s subtle tobeginners, it has a huge impact on your overall sound. Listen to some recordings and pay attention to the length ofeach note. Ask yourself whether they’re playing legato or staccato. How does it lend to the overall sound of thebassline? Play some basslines you already know. Try playing them legato. Try them staccato. Does it change the soundof the bassline?

You’ll discover most basslines use a variety of legato and staccato notes throughout. And, you’ll hear that it has a lot todo with the overall effectiveness of the bassline.

Here are some legato and staccato bassline examples and exercises so you better understand the concept.

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lesson exercises quiz songs

By Andrew Pouska

studybass » bass lessons » bass technique » string crossing

Lesson Block #2: Basic Bass Technique : : next lesson block »

Developing Bass String Crossing SkillsOne technical skill you will always need on bass is to be able to cleanly jump from one string to any other string. Goingfrom one string to a neighboring string is not too challenging. But, when you have to skip one or more strings, you mayfind muting and accuracy challenging.

Your aim is to develop control over your bass plucking technique. By control I am talking about:

rhythmic accuracytonal consistencydynamic balance (volume) between different plucking fingersdynamic balance between stringsstring muting technique between both hands

To work on this practice the string crossing exercises. They can be played as fast or slow as you want. Aim for accuracybefore speed. If it sounds sloppy slowly, it will sound sloppy at faster tempos, too.

Some Tips on String Crossing Technique...Students have a tendency to rush the rhythm of the note prior to the string skip. Probably so they have more time toget to the other string. Try to pay attention to that. Use a metronome!

Try to get an even tone between your different plucking fingers. You don't want one finger sounding much differentthan the others (or at least you want control over it if you do).

Try to keep the volume even on each string and between strings. Sometimes your bass strings and setup can create anuneven response between the strings. If you are struggling with this, try another bass to see if it's you or your bass.

Remember, to get a clear sound you need to allow just one string to ring at a time. Both hands help mute the strings.When you pluck follow through and land on the string below. Use your plucking hand thumb to mute the E‐string. Ifyou're using my ring‐finger technique, mute the A‐string with it whenever you play the G‐string. Or, mute with thewandering thumb technique. Finally, use your fretting hand to mute the strings by letting it lightly touch/rest on thestrings above the string you are playing. (Remember, above in pitch.)

Getting all of this down doesn't happen overnight. Take your time with these exercises.

Expanding the String Crossing ExercisesIf you have a 5‐ or 6‐string bass, expand the exercises to include all your strings.

You can alter these exercises by applying any rhythm you want. You can also try groups of 3 notes, or 4, or 5. How about1 note per string? Or, 1 note on the main string and 3 on the others. Challenge yourself. There are limitless possibilitiesand permutations.

I know these exercises are boring, but they help a lot. To play them cleany is not as easy as it sounds. Do them for afew minutes a day and you'll see a difference.

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STRING CROSSING

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