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Contrary Motion: Adam Nitti Technique Series
Welcome back!
As you have heard me preach incessantly before, I believe that a dependence on patterns and shapes in lieu of solid ear-training on the bass is a dead end street. In my observation, it seems the biggest problem that plagues most bass and other stringed instrument is that they play more with their eyes than their ears. For this reason, years ago I essentially redefined my use of patterns in the scope of my own studies and with my students, using them primarily as introductory muscle-memory development exercises that would ultimately be used for ear-training. The idea is that the more time you can spend making the unfamiliar become familiar on your bass, the more power you will have in your ability to spontaneously play what you hear first in your head. The challenge in development then becomes the act of creating and practicing ear training exercises that can be internalized. True internalization means there is no need for any sort of translation process or lag time when you go to express yourself on your bass spontaneously.
To really develop this, you have to spend a lot of time working on phrases that are not yet familiar to you. Of course, the more musical the ideas that you are working on, the better. I really enjoy taking the time to hash out new phrasing ideas on the bass that outline a particular harmonic concept or strategy. In order to work on this, I’ve utilized everything from academic components such as arpeggios and scale fragments, to pure geometric or symmetric shapes on the fingerboard, to hybrid combinations of purely random shapes. One example of a concept that I have successfully applied in my own playing is what I refer to as ‘contrary motion’.
Contrary motion refers to the idea that you are incorporating the alternation of both ascending and descending movements within the context of a musical phrase or exercise. Its unique character and effectiveness comes from the fact that it allows phrases to take on a shape that both rises and falls, and this is especially interesting for the listener. For those of you interested in developing your ear training and improvisational skills, you will quickly learn that an approach like this can take ordinary (and often boring) symmetric pattern exercises and make them sound much more musical. It is a strategy that also helps to promote melodicism and will even better your technical ability.
Intervallic and sequencing exercises are both great examples of approaches that can be used to apply contrary motion exercises. For example, a typical example of how you might play a G major scale in intervallic 3rds in a single octave would look like this: [See example above]
As you can see, this exercise is based on the idea that you are playing intervallic 3rds in an ascending direction, played from each degree of the G major scale. When you get to the top of the octave, you then play descending 3rds from each scale degree as you head back towards the root.
Now, here is an example of how you might use contrary motion applied to the same scale, using intervallic 3rds: [See example 2 above]
Notice that in example 2, you are actually playing only descending intervallic 3rds as you ascend through the octave. Once you get to the top of the octave, you then play ascending intervallic 3rds as you descend towards the root. That contrast in direction between the shape and direction you are headed is what constitutes the contrary motion.
I put together a handful of contrary motion exercises that you can work on and also use to inspire your own new ideas. A few of exercises are based on very common scale and arpeggio forms, but of course the possibilities are limitless. I have included a couple that will hopefully stretch your ears and your hands a bit… In addition to exploring how you might apply this to scales and arpeggios, try creating hybrid approaches that blend different contrary motion phrases together and that move across the entire range of your bass.
Exercise 1
Exercise 1 applies the contrary motion concept to a 2 octave major triad arpeggio. It breaks the arpeggio down into 2 note segments which are played in a descending fashion as the arpeggio ascends, and in an ascending fashion when the arpeggio descends. This is a fantastic approach to use if you want to cover a large range in a small amount of time.
Exercise 2 uses 4 note sequenced scale fragments in C major. They are played in a descending fashion as the scale pattern ascends, and in an ascending fashion when the scale descends. Notice that this is not a purely sequenced scale form… It integrates some skips and jumps in between each 4 note sequenced fragment. It is a great sounding example and is an approach that I use frequently in my own lines.
Exercise 3
Exercise 3 is simply an A minor pentatonic scale played in 3 note sequences. Here is a fantastic way to take a simple and familiar pattern and make it sound MUCH more interesting by integrating contrary motion.
Exercise 4
Exercise 4 is a much more dissonant sounding exercise based on b5 intervals in contrary motion. It’s a bit of a technical challenge, so take your time and play with as much accuracy as possible!
Exercise 5
Exercise 5 is a sinister-sounding exercise based on major and minor triad combinations. It is an example of an approach that is based on fingerboard geometry more than anything else. Once you get it under your fingers and in your ears, see if you can successfully use pieces of it in your improvisational approaches to add some extra dark color!
Once again, these are just a few very simple examples to get you started, and you will want to experiment regularly to find new and exciting ways to use contrary motion in your practice and performance applications. Strive to secure practice time to work on shapes and sounds that are completely new to you, so that you will learn to hear these less-familiar ideas naturally over time. Remember: There is no DIFFICULT… just the UNFAMILIAR!
Until next time, have fun practicing!
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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
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Gear News
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
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Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary
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/
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