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The Importance of Ear Training: Part 3, Internalizing the Sounds of Phrases Created from the Shape
Hello again, and welcome back to the 3rd installment of my ear training series! I hope that you have been practicing diligently since the last installment… If you have, I’ll trust that you have progressed in leaps and bounds in making the vital connection between your ears and your hands.
This time around, I will be covering in further detail stage 3 of the 3 stage ear training process outlined in part 2 of this series:
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
If you’re just now tuning into this series, I recommend you take the time to first study parts 1 and 2 so you can get up to speed. Now, let’s get to work!
Stage 3: Internalizing the sounds of phrases created from the shape
As you might have already guessed, this is the most challenging of the 3 steps. Now instead of dealing with ear training scale degrees individually, we are going to cluster random groups of scale degrees together. This adds another level of difficulty because your internalization of the scale is dependent on your ability to hear, sing, and see random combinations of these tones on the bass without stumbling. This is also the step that exercises the most musical application of ear training, because mastery requires that you have the scale internalized to the point that you are able to hear and see phrases spontaneously that are completely derived from melody and not patterns. Completion of this step also signifies that you have digested this shape to the point of not having to think about making music with it on the gig or in the shed… Its sound flows from you naturally without need for mental analysis or forcing of patterns. This flow is what underlines a musician’s ability to effectively communicate through their instrument, regardless of it that instrument is a bass, guitar, violin, trumpet, or voice.
Recall that at the end of part 2, we focused on internalizing the sounds of each individual interval within a shape, specifically in a single octave of a major scale. Using that example, we were able to subsequently focus on ear training seven specific intervals:
root-2nd (major 2nd)
root-3rd (major 3rd)
root-4th (perfect 4th)
root-5th (perfect 5th)
root-6th (major 6th)
root-7th (major 7th)
root-octave (perfect octave)
Using these same intervals, we now will move to the next level by incorporating a new level of randomness in combination. The goal now will be to be able to naturally hear (and likewise, play accurately) complete phrases on your bass consisting of multiple notes and intervals. In keeping with an approach that progresses in difficulty, we want to start simple and then build from there. Once again, we will rely on the trusty major scale to demonstrate stage 3.
a) Start with random 2 note combinations. As with the prior stages, we will begin each drill with singing and playing the root of the scale to get oriented. After singing and playing the root, then attempt to sing randomized 2 note phrases. (The only difference between this approach and the one outlined at the end of part 2 is that for this example, you will not begin each 2 note combination from only the root. For example, you could sing the 2nd degree followed by the 5th degree, or the 6th scale degree followed by the 3rd.) After singing, then check your performance by playing that same 2 note combination on the bass. If you nailed it, then try another one, such as 3rd to 6th, or 7th to 2nd, octave to 5th, 4th to 6th, etc, etc. If you were not successful the first time, then sing the first note on its own, and check pitch on the bass before moving to the next note in the phrase. Use the same correction and ‘voice tuning’ tactics you used in stages 1 and 2.
Note: Obviously, if we were to change the scale or musical component used for ear training using these methods, the qualities of the intervals would change accordingly. You will need to keep this in mind as you progress outside of the major scale. Ultimately, within the scope and range of a single octave, you would need to be intimately familiar with ALL of the twelve chromatic intervals between the root and the octave:
minor 2nd
major 2nd
minor 3rd
major 3rd
perfect 4th
augmented 4th/diminished 5th
perfect 5th
augmented 5th/minor 6th
major 6th/diminished 7th
minor 7th
major 7th
perfect octave
b) Once you have gotten good at the 2 note combinations, then move onto 3 and 4 note groupings. By now, you should have the practice and training methods down. You are simply building on the concepts presented in steps 1 and 2, working at mastering more and more complex passages that you can simultaneously hear and play. In this exercise, you are still going to focus on just a purely linear approach. In other words, you don’t need to concern yourself as much with making great music with these combinations of notes. The more specific goal here is to build your pitch memory so that you know instantaneously the sounds of each interval within the octave you are working in.
c) When you can sing and play these larger groupings from part b) effectively, then you can graduate to longer, more musical phrases. This is where the ear training progress you have made will really manifest itself in your playing. It will especially make a huge difference in your improvisational and melodic abilities. For this part of the exercise, I really want you to try and focus on playing bass as melodically as a singer would sing. Try to think more about singing and playing ideas that are more conversational in nature. Use rhythm and dynamics as significantly as the actual melody notes that you choose. Sing with the same dynamics that you are spontaneously hearing. Make a real connection with your bass, so that it feels like a true extension of your mind. This is a place that is challenging to get to at first, but the payoffs are huge and rewarding once you can learn to walk into that “zone”.
As you may have already guessed, part c) is not something that is going to be mastered overnight. It represents the culmination of all of the key principles we’ve discussed so far, as they apply to your real-world ability to communicate on the bass. Although the exercise’s approach can be summed up in a single paragraph, its depth and implication speaks volumes. For most of us, this level of intimacy and communication that we seek through our music will be a lifelong pursuit. If you really are dedicated to finding this ‘precious zone,’ the importance of immersing yourself in as much music as possible can not be underestimated.
Other ear training methods and resources
Although I really believe this 3 stage process will help you considerably with your ear training, I highly recommend that you experience other methods, as well. Not only will other approaches open up your mind and your ears, it will keep you from becoming bored with a singular approach. I’ve always had better practice shed experiences whenever I’ve felt like I could enjoy more variety in my routine…
Transcription – Once you can navigate basic intervals effectively on your bass, try seeing if you can transcribe a melody or bassline from a song or musical phrase that you like. This will ultimately be a 2 step process: First, you will do your best to accurately learn and memorize the part on your bass just like the recording. For the next step, take the time to write it out on a staff so you can see the ‘shape’ and contour of the line. If you can’t read music yet, no problem. You will still get the benefits from having to associate what you hear with how it will look on your bass. (Incidentally, transcribing is a great way to help improve your reading, as well.) The fantastic thing about transcribing is that it forces you to figure out and internalize phrases on your bass that you normally would not have come up with on your own. This is absolutely fantastic for your ear training because it takes you out of your comfort zone and helps you to develop new muscle memory. As with any sound, progressive approach, start with very simple lines and phrases and build up your skills from there. In fact, since most recorded bass lines in full ensemble settings are somewhat challenging to hear in full detail, I would recommend starting with vocal melodies or sax melodies since they will be easier to make out. Furthermore, learning to phrase like a horn player or vocalist will make you an even more creative and melodic bassist.
Phrase dictation – If you have the ability to spend some practice time with another player, try playing the phrase dictation game. Without looking at the other player’s fingerboard, have him or her play a short phrase on their instrument 3 times in a row. Each time they play the phrase, sing it out loud so that you are able to memorize its pitches and movement. Then, try to play the phrase back on your bass. It’s okay if you have to stumble a little bit at first to find the pitches. After you think you have the phrase down, play it back to your musical partner and have them verify your accuracy. This is a really fun way to practice, and it will make a HUGE difference in your playing.
Melody-referenced interval recognition – Obviously, your ability to recognize intervals will help you in many aspects of your musicianship. Some players learn relative pitch by associating each possible interval with the first two notes of a popular song. For example, the first 2 notes of “When The Saints Go Marching In” form a major 3rd. Likewise, the first 2 notes of the popular cartoon, “The Simpsons” opening theme form a diminished 5th/augmented 4th. There is a neat free online ear training program that’s used specifically for associating intervals to songs. You can check it out at www.trainear.com.
Finally, I’d be remiss if I didn’t offer a shameless plug for my own online contribution, MusicDojo. MusicDojo is an interactive, online music school that offers a curriculum for bass players that includes intensive ear training courses, in addition to courses covering improvisation, music theory, styles, sightreading, and technique. Find out what’s currently being offered at: www.musicdojo.com.
Well, that brings us to the close of this series. I hope these lessons have opened your eyes (and ears) to a fresh philosophy and new approach to connecting the auditory with the visual. It is my sincere hope that the time you spend becoming more intimately connected to your bass will result in you attaining a completely new level in your musicianship and bring you even more joy when you play!
As always, practice hard, and play every note like it is your last.
Until next time,
Adam Nitti
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
Check out our top 10 favorite basses on Instagram this week…
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
