Connect with us

Latest

Ear-Hand Coordination

Published

on

It’s possible that many of the people reading this have found themselves in a position where they’ve had to play a song that they’ve never heard without the benefit of a chart.

When I was 15 years old, I used to stay out until all hours of the night (yes… ALL hours) playing in a local jazz club with a well-established piano player in the area. His name was Eddie Abrams and his band was called the Red Port Review. Red Port like the wine, of which he regularly consumed a great deal. In fact, by the time I joined the band he had moved on to White Port. Maybe too many headaches, I don’t know.

As a kid I was exposed to a lot of music. My mom, when she was a child, was a big fan of the popular music of the 40’s and 50’s. Since she didn’t have a piano in her formative years, she would have to learn the songs by ear from listening to the radio, and then remember them until the next day, when she would go to school and have access to a piano. Needless to say, her ears were, and still are, scary.

A lot of what she learned, she passed along to me. And some of that repertoire was part of Eddie’s set. All of it, stylistically, fell into the category of “standards”. Even though I though I knew an awful lot for a 15 year-old kid, I found out quickly that I was going to be challenged on that gig. Eddie didn’t call the names, or the keys, or the tempos, or the feels of any of the songs. I sometimes wondered if maybe his hands just played and his mind caught up with them. Like his hands were doing the same thing to his mind, that he was doing to me. At any rate, I had to learn to hear on my feet. And I did.

I like to call it ‘Ear-hand’ coordination. I didn’t even know I was developing it until one time, on a wedding gig, I was playing with one hand and talking on the phone with the other (Off the side of the stage during a “continuous” ballad where no one could see me). Not professional, I know, but the audience couldn’t see me, and the band members were friends. The piano player played some hip substitute changes and without realizing it, I played them with him. When I turned around to react and say, “nice changes…those were hip”, I saw him and the bandleader laughing. They were apparently testing me. Nice… They thought it was some kind of freakish thing. It was second nature to me.

This is when something useful happened in my head. So many people ask me how I can do that kind of thing. Many of them can’t imagine how I do it, like it’s magic. People accuse me of having perfect pitch, which I do not. I came to the realization, through some of these conversations, that some people haven’t realized that music is not random. Not only is it not random… western music is typically VERY PREDICTABLE in terms of it’s harmonic and melodic content, which is what we as bassists are mainly concerned with in that kind of situation. If a c chord suddenly becomes a C7 chord, the chances of the next chord being an Fsomething are pretty good. There’s also a good chance it would be a B chord of some type, or more of C7. In most situations there are predictable likelihoods at the very least. Often, a song can lead you through it on it’s own if you listen carefully enough.

The point of all of this is that the only wrong way to get through a situation like that is to give up or get nervous. The main thing is to have an opinion! If you don’t know what the next chord is, listen and form an opinion in your ear. It might be wrong, but not having an opinion means not playing anything. And that’s useless.

If you’ve had any experience with Victor Wooten, you may have heard him talk about “A right note always being a half step away.” For bassists this is almost true without qualification. Obviously, there is only one right note to play for a written chord. If the chord is a C major chord, you need to be playing C to be accurate. BUT, if the chord you’re coming off of is an E7, and you think you’re going to A, and you play an A, you’ve just changed the C major chord to an A min7 chord, and that beats the heck out of playing nothing.

Can you hear the difference between a Cmaj7 and a Cmin7? Try this. Play all the white notes in one octave on a keyboard. Now change one. Do you hear the difference? I’ve never known anyone who didn’t. If you can hear this, you can hear a Cmaj turn to a C7. If you can hear that, you can hear a lot more. The trick is to identify it and remember it.

I hope this was useful. I could write volumes on the subject, and probably will. But for now, ponder this. And if you have an opportunity, play some jazz with some close friends and make them play tunes you don’t know. Ask them to tell you the form and play through it once for you to listen… in time so you can feel the harmonic rhythm. Then just go. Don’t be nervous. You’re only getting better which is all you can ask of yourself. You will be surprised, I guarantee you.

Bass Videos

Interview With K3 Sisters Band

Published

on

Interview With K3 Sisters Band

K3 Sisters Band Interview…

It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.

Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music,  music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.

Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.

Here is the K3 Sisters Band!

Photo, Bruce Ray Productions

Follow Online:

k3sistersband.com/
TikTok
YouTube
Instagram
Facebook 

Continue Reading

Bass Player Health

What is a Pinched Nerve? with Dr. Randy Kertz

Published

on

Dr Randal Kertz - Bass Player Health - Oct 2022

What is a Pinched Nerve?

In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.

Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!

The Bassist’s Complete Guide to Injury Management, Prevention & Better Health

View More Bass Health Articles

Continue Reading

Latest

This Week’s Top 10 Basses on Instagram

Published

on

TOP 10 Basses of the week

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

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @colibriguitars @adamovicbasses @brooksbassguitars @lecomptebass @mgbassguitars @mauriziouberbasses @jcrluthier @biarnel @officialibanezguitars @chris_seldon_guitars

View More Bass Gear News

Continue Reading

Gear News

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Published

on

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
 
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.

Product Specification-

Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg

For more info please visit www.ashdownmusic.com

Continue Reading

Gear News

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary

Published

on

30th Anniversary Limited Edition SansAmp Bass Driver DI

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…

The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.

This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.

The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.

It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.

Anticipated Availability:  May/June 2024

For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/

Continue Reading

SUBSCRIBE NOW

Facebook

Trending