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The Importance Of Ear Training: Part 2, Putting it Into Practice

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Welcome back, folks! In this article, we will continue where we left off in our ear training pursuits! Last time around I talked about the importance of ear training and the impact it can have on your musicianship. In this article, I would like to address some very elementary approaches to putting this into practice. If you are just starting to get serious about pursuing this vital skill, these exercises will help you to learn how to teach yourself, using some very simple principles.

There are many methods and practices you can use to improve your ear training. But if you have never really dug into this before, I would recommend some basic philosophical guidelines that you can apply to your practice routine, no matter how elementary. For starters, here is a simple approach that utilizes the patterns you already know on your bass:

Start by taking inventory of every pattern or shape-based component that you have learned in the past or are working on now. Examples of these might be scales, modes, or arpeggios. If it is a static pattern that you have played repeatedly up and down the neck, then it can be used here.

Even if you only know a one octave major or pentatonic scale, you can start to work on effective ear training. Starting with the simplest forms you have under your belt, reframe your practice perspective for each so that you are focusing on the ear training element more so than dexterity. Remember; the goal is to get away from our visual dependence on the fingerboard, moving closer to a dependence on our ears.

Once you have taken inventory of your patterns, you are going to start with the simplest forms, relearning each form in 3 stages, using a combination singing/playing approach:

Stage 1: Internalizing the sound of the complete shape
Stage 2: Internalizing the sounds of the individual notes within the shape
Stage 3: Internalizing the sounds of phrases created from the shape

 

Keep this in mind:You really haven’t learned a pattern or form until you can demonstrate mastery in each of these 3 stages of ear training!Until that point, you are just exercising muscle memory and not much else. Now remember, this will take a little getting used to at first, so don’t bite off more than you can chew right away. Consider only working on one or two different forms for each practice session.

To begin work on this, we are going to first employ a musical component that you are probably already very familiar with: the major scale.

The Major Scale: Meet Your New Ear Training Instructor

Most of us are already familiar with the major scale. Even if you don’t know how to play it on the bass yet, you’ve without a doubt heard it in action countless times whenever you have listened to music. We have come to recognize its sound and character in such contexts as nursery rhymes, tv commercials, birthday songs, and even Mary Poppins’ signature melodies!

Here’s what it looks like on a staff, along with a typical fingering used to play it in a single octave. This example is a C major scale, since it begins on the note, ‘C’. [See: cmajscale above]

This scale pattern, as is the case with any pattern on the bass, is movable, meaning that it can be transposed simply by moving your fretting hand to a different starting location. For example, if you wanted to play an A major scale, instead, you would move your fretting hand’s 2nd finger to the 5th fret, E string (which is the note, ‘A’) and play the pattern from there: [See: amajscale above]

This is one of the prime benefits that comes from playing a symmetrically-tuned stringed instrument, such as the bass. Once you learn a scale pattern or other pattern on the fingerboard, you don’t have to learn any other versions because the shape is the same regardless of what note you start from. However, it’s a 2 edged sword, because this same benefit ends up being the very crutch that we can come to lean on. Because it’s so easy to learn and memorize patterns, we often get stuck in playing from a pattern-based approach, which in the end doesn’t sound musical at all. Why? Because it doesn’t require any inspiration or spontaneity to run patterns up and down the fingerboard. (For more of my ‘preaching’ against the evils of a visually dependent approach to playing bass, make sure to go back and read my last article: “The Importance Of Ear Training, Part 1.”)Okay. Hopefully by now you have ‘seen the light’ and are now on board with me in our crusade to improve our ear training and ultimately our expressiveness on our instruments.Now let’s get to work!

Using our major scale pattern, we are going to approach ear training using the 3 stage method mentioned earlier, applied specifically to the major scale’s notes and intervals:

Stage 1: Internalizing the sound of the complete shape
Stage 2: Internalizing the sounds of the individual notes within the shape
Stage 3: Internalizing the sounds of phrases created from the shape

(This method can subsequently be used to ear train any other type of scale, phrase, arpeggio, or musical pattern that incorporates notes separated by sequential intervals. More on this in a moment…)

Ok, at this point I’ll bet some of you out there may already be thinking that you know this simple major scale backwards and forwards already, but I challenge you to prove it! I maintain that we don’t know ANY shape on the bass until we can make the connection between hearing an idea in our head and spontaneously playing it on our instrument without any errors… Remember those scatting references I was making in my last article? Well, that is the direction we are going to head in, but before we dive in, you better put your singing hat on!

Use “The Voice”, Luke!
(please excuse poorly executed Star Wars reference…)

That’s right; we are going to use our voices to work on this stuff. Don’t be bashful, embarrassed, or concerned. Unless you are truly tone deaf, you don’t have any excuse for not being able to do this, so pretend I’m right there with you nagging you until you pull this off!

Stage 1: Internalizing the sound of the complete shapea) Keeping things simple here, we are going to use our trusty old C major scale pattern to work through each stage. After getting your fretting hand into position at the 3rd fret, A string, then play the scale, first in an ascending and then descending fashion. Play it over and over again until you are familiar with its sound.(For the purpose of disciplining your accuracy in timing, I recommend playing all these exercises to a metronome or drum machine.)

b) Now, sing the scale while you play it, first ascending through the entire octave and then descending. Don’t be bashful… Sing out loud nice and strong, loud enough so that you can hear your voice at least as loud as your bass is. Match the pitch of your voice to each individual pitch in the scale. Go slowly and sing as precisely as you can, using a simple syllable such as “LA”, or “DA”, or “DO”. Play at a tempo slow enough so that you can adequately evaluate your accuracy. After you are able to do this over and over again without error, then move onto part c). Otherwise, continue working through the scale while singing until you have truly internalized and learned the sound of the scale in your head. See how we’re transferring our focus from the pattern on the fingerboard to our ears???

c) Now it’s time test yourself. Play the root of the scale, ‘C’ and then sing it. Only play the root. Now try singing the complete scale ascending and descending without your bass. Practice by only playing the root on your bass, followed by singing the entire scale over and over again until it is second nature. If you can do this successfully, then you have conquered stage 1!


Stage 2: Internalizing the sounds of the individual notes within the shapeNow we are going to learn and internalize the sounds of each individual scale degree. This might seem like an easy challenge on the surface, but keep in mind that you want to be able to hear and play any interval in any random fashion, having only the root of the scale as a reference.a) We start this stage by singing and playing each of the intervals in sequence, which should be easy if you made it through stage 1. Continuing using our C major scale example, we are going to work each scale degree individually. Start by playing and singing the root of the scale. Then, without playing your bass, try and sing the 2nd degree of the scale. Hold that pitch with your voice, and while you are singing it, play the 2nd degree of the scale on your bass. The 2 pitches should be the same. If you are right on the money, great job! If not, do NOT stop singing or stop letting the bass note ring… Instead, keep playing the 2nd on your bass while you actively ‘tune’ your voice to match the correct pitch. It’s just like tuning your bass to external source, only in this case it is like your voice is the bass.

b) Repeat part a) for each of the scale degrees in order, going from root to octave, and then back down from octave to the root. Remember to first sing the root before each interval as a way to ‘reinitialize’ your ears. Also don’t forget to first sing each interval without your bass, and then use your bass to check your pitch. Continue doing this until you can successfully sing each individual pitch in sequence without your bass. Effectively, the order you will sing and play in will be this:

root-2nd, root-3rd, root-4th, root-5th, root-6th, root-7th, root-octave

Then you will descend the same way:

root-octave, root-7th, root-6th, root-5th, root-4th, root-3rd, root-2nd

c) Now randomize the order of each sung interval. Before each attempt, sing and play the root to once again ‘reinitialize’ your ears. For example, instead of starting with the 2nd scale degree, you might start with the 5th, and then return to the root before moving to the next interval. You want these to be chosen in a non-sequential order. This will add a level of difficulty to the exercise that you may not have experienced before in any of your ear training practice. If you can effectively match your playing and singing of any interval taken randomly from the 7 scale tones without any mistakes, then you have mastered stage 2!

Be sure to join me next time around for Part 3 of the ear training series. We’ll cover Stage 3 in detail and also talk about the continuation of your ear training studies. In the meantime, have fun and practice diligently!

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This Week’s Top 10 Basses on Instagram

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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 @zonguitars @shukerbassguitars @bite.guitars @adamovicbasses @mayonesguitars @bassbros.uk @capursoguitars @overwaterbasses @saitiasguitars @ramabass.ok

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New Gear: Elrick Bass Guitars Headless Series

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New Gear: Elrick Bass Guitars Headless Series

New from Elrick Bass Guitars, Headless Series added to Custom Lineup…

Elrick Bass Guitars is excited to announce the addition of a headless option on hand-carved series bass guitars. Initially previewed on the 2023 Gold Series SLC MkII bass of prolific solo bass practitioner and educator Steve Lawson, a headless bass option is now available to all. According the Elrick, “The excitement surrounding Steve’s MkII SLC bass at 2024 NAMM confirmed that the time is right to add a headless option to our extensive range of custom options.” To date, Elrick instruments have only been offered with traditional headstock construction but, in response to market demand, custom features will now include a headless option in 4-, 5- and 6-string models.

Headless bass guitars share these features with the traditional headstock series:

24 frets + zero fret
exotic wood top
hand-rubbed oil finish
2-way adjustable truss rod
custom Bartolini pickups
custom Bartolini 3-band preamp
fully shielded control cavity
Hipshot bridge
Dunlop Straploks
Elrick Fundamental strings

The headless option can now be selected when submitting custom order requests via the form on elrick.com, contacting the Elrick Sales Office directly, or working with your favorite Elrick dealer.

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Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

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Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)

Bruegel Masterpiece (1565) Inspires BITE Masterpiece (2023)…

Flemish Master Pieter Bruegel the Elder probably had many things in mind when painting his Hunters in the Snow in oil on oak wood in 1565. This masterpiece tells plenty of little stories about winterly pastimes and precarious livelihoods in the Early Modern Age. What Bruegel presumably did not have in mind was that this painting would, several centuries later, become one of the most popular ones in fine arts globally, displayed in a permanent exhibition at Kunsthistorisches Museum (Museum of Fine Arts) Vienna. The painting’s popularity was lately taken to a different level as it was replicated by hand to design an exclusive BITE bass.

An international art collector and bass player who regularly visits Vienna to immerse himself in the wonderworld of Kunsthistorisches’ Bruegel Hall asked BITE to replicate the painting on a bass body. BITE Guitars, an Austrian premium manufacturer exporting most of their basses to the US, has become renowned for colorful artwork basses, offering a range of manual and digital techniques. The firm’s art director Peter, a trained scenic painter of Oscar and Palme d’Or rank, specializes in photo-realistic reproductions. He also painted the bass for Robbie Williams’ 2023 world tour by faithfully replicating Robbie’s own stage design onto the tour bass.

Peter copied the Bruegel motif onto the bass body in minute detail, little twigs even by one-hair-brush. Positioning the rectangular image section on the body shape proved to be a special challege that he met by repositioning little elements, a bird here, a horse and cart there.

It all came together in a memorable video shooting in front of the original painting in the Museum’s Bruegel Hall: venerable fine arts, premium handicraft and groovy jazz tunes.

View video at the museum: www.youtube.com/shorts/2evdqfR6gUE

What’s the conclusion of BITE’s client, our Vienna, art and bass lover? “It’s a magical bass! When I touch the strings, I feel warm inside.”

Specs highlights:
Bass model: BITE Evening Star, the proprietary BITE premium model with inward curved horns
Pickups: 2 x BITE 1000 millivolt passive split-coils (PP)
Neck: roasted maple neck and roasted flamed maple fretboard

Price tag incl. insured door-to-door express shipping:
New York: 4726 USD
London: 3645 GBP
Berlin: 4965 EUR

Full specs available at bite.guitars/old-master-bass/

Bruegel Hall at Kunsthistorisches Museum Vienna: 
khm.at/en/visit/collections/picture-gallery/the-best-of-bruegel-only-in-vienna/

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Interview With Bassist Ciara Moser

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Interview With Bassist Ciara Moser

Bassist Ciara Moser…

Ciara and I sat down for this interview a few months after the launch of her debut album, “Blind. So what?”

Blind since birth, she is a powerhouse of talent; she is not only a professional bassist, but also composes music, and is a producer and educator. I am just blown away by her talent and perseverance.

Join me as we hear about Ciara’s musical journey, the details of her album, how she gets her sound, and her plans for the future.

Visit online:

www.ciara-moser.com 
IG @ moserciara
FB @ ciara.moser

Photos by Manuela Haeussler

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New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

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New Gear: Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar

Black Ice Boost and Distort, Battery-Free Modules for Bass and Guitar…

Black Ice Enterprises introduces Black Ice Boost and Black Ice Distort, small, battery-free devices that can be easily installed in a bass or guitar.

Black Ice Boost offers two selectable stages of up to 7 dB of boost, broadly concentrated in the midrange frequencies to add humbucker-like qualities to Strat®, Tele® and other types of single-coil pickups. Black Ice Distort is an overdrive module that can be configured to offer anything from slight overdrive to distortion. Both models are compatible with all passive guitar pickups and electronics (they’re not compatible with battery-powered active pickups).

Black Ice Boost (SRP: $119.95; MAP, $79.95) can be installed using several wiring options, including a simple “stealth” install that utilizes a single push-pull pot, and a dual-switch option that allows users to select between two different levels of boost. For those using the boost along with Black Ice Distort, a second push-pull pot or switch can be used to select a clean or distorted boost.

The Black Ice Boost module is approximately 2/3 the size of a 9-volt battery, and can be easily installed in most instruments with no routing or permanent modifications required. The tone of the instrument remains completely unaffected when the boost is bypassed.

In addition to use with popular single-coil pickups, Black Ice Boost can also be used with other pickup types. Use it to fatten up a P-90 style pickup, or add girth to a low-wind humbucker. Jazz Bass® players can use the additional midrange content provided by Black Ice Boost to produce a sound that’s reminiscent of a P-Bass® or soapbar-type pickup. Black Ice Boost is not recommended for use with high-output humbuckers and other dark-sounding pickups.

Black Ice Distort (SRP: $27.95; MAP, $21.95) is an overdrive module that can be configured for just a touch of grit, or a more aggressive grind, all the way to a 1960’s-flavored fuzz. While its battery-free circuit will never replace the more refined sound of a well-designed pedal, it provides handy, there-when-you-need-it access to a variety of fun old-school flavors, and is a great way to add additional textures to an already overdriven amp or pedal. Bass players will especially dig its raw dirty grind.

Like Black Ice Boost, the sugar-cube-sized Black Ice Distort provides a lifetime of tone with no maintenance or power source required. A variety of wiring options are included that let you activate the Distort via a switch or push-pull pot, or by easily converting your guitar’s tone control into a control for the Black Ice Distort circuit. It can be used in conjunction with the Black Ice Boost for a wide variety of useful tones.

Black Ice Boost and Black Ice Distort are now shipping.

Visit online at www.blackiceoverdrive.com

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