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Review – Music School Online

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Review - Music School Online

Review – Music School Online

Music School Online, a site that has it all for anyone from a beginner, intermediate, or advanced level, and not just bass! While this review will be focused mainly on the bass learning portion of the site, there are also courses for piano, guitar, voice, drums, rhythm section, and music theory with access of more than 400 video tutorials for all instruments combined. MSO kids is directed at the younger ones, getting them started in music and perking that interest.

Learning with Music School Online is based entirely off of your schedule. For the bass lessons, they are  categorized as new, all tutorials, beginner, intermediate, advanced, tool kit and access to resources, giving you the skills you need to become the best musician you can be.

Each lesson is categorized with a lesson title, which can be a song, rhythm section exercise or toolkit. Lesson focus describes what the lesson is based on. This can be items such as a certain technique, groove, using pedals, chord progressions, triads, arpeggios, scales, patterns, rhythms, and more. If the lesson is based off of a song title, this is under the Song Title section and the artist is listed under the artist section. Skill level can be beginner, intermediate, or advanced. Genre describes the type of music, which lessons cover different genres including country, rock, pop, urban, reggae.

Videos are clear and concise showing a different angles of the bass videos are clear and concise showing a different angles of the bass, depending on the lesson being covered, and the majority of bass lessons come with pdf’s to go along with the lesson you are currently studying.

There are also free resources like chord books, drum charts, guitar and bass tab, MSO kids, music theory resources, play- alongs, and sheet music.

All bass lessons are given by Antar Goodwin and for some lessons he is accompanied by Dylan Wissing on drums. Antar has been teaching bass lessons for 15 years and has performed for such artists as Sting, Patty Smythe, 9 Days, X Factor USAís Khaya Cohen, Matisyahu, Abbey Lincoln, Benny Golson, Frank Viele, and Red Sahara. He is also a Berklee College of Music Alumni.

Check out:

Bass – Blurred Lines by Robin Thicke – with Antar Goodwin

Bass – Moves Like Jagger by Maroon 5 – with Antar Goodwin

There are 30 beginner lessons, 23 intermediate lessons, and 20 advanced with new lessons being added every week with over 200 already in the queue. The toolkit category, mentioned earlier in the review, covers everything from arpeggios, pentatonic scales, chord progressions, slap scale patterns and positions, rhythms, triads, and tuning.

There is a 14-day free trial of the basic subscription and there are three different levels of membership. The MSO Basic is 9.99 month, 49.99 for 6 months, or 89.99 for a year, and includes 6 lessons per month on one instrument of choice, full access to beginner music theory, and MSO Kids.

MSO Core is 14.99 month, 74.99 for 6 months or 139.99 for a year and includes unlimited lessons per month on one instrument of choice full access to beginner and intermediate music theory MSO Kids and access to rhythm section lessons for drummers and bass players.

MSO All Access is 19.99 month, 99.99 for 6months, or 189.99 for a year and includes unlimited lessons per month on all, instruments, and full access to all music theory, MSO kids, and additional resources.

There is also a “free stuff” section with lessons and resources. Looking back, the All Access package, giving you access to everything, seems like the best value to me, especially for bass players. It gives us a chance to work on learning keyboard and drum skills for one low price that can’t be beat!

Visit online at musicschoolonline.com

Bass Edu

Approach Notes – Part 5

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James Rosocha

Continuing our lesson of Approach Notes, Part 5…

In continuing with the concept of approach notes being applied to chord tones, this lesson approaches the root, third, fifth, and seventh degree of each arpeggio inversion by incorporating a double chromatic approach from above, and a single chromatic approach from below. 

The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and a single chromatic approach from below -before continuing to the third, fifth, seventh, double chromatic from above/ single from below to the root, continue to the third, fifth, and come back down.

The next example approaches the first inversion of G major 7th arpeggio.

A double chromatic from above/ single from below approaches the third, continue to the fifth, seventh, root, double chromatic from above/ single below to the third, continue up to the fifth and seventh, and back down.

The third example approaches a second inversion of a G major arpeggio.

A double chromatic from above/ single from below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above/ single from below to the 5th, continue to the 7th, root, and back down. 

This final example approaches a third inversion of a G major 7th arpeggio.

A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.

Be sure to pace yourself with these lessons to avoid burning out.

Being overly ambitious with your practice schedule can lead to unrealistic expectations. Try learning one approach note concept and one chord type a week. Change your practice routine as necessary and tailor it to your needs as a musician. Good luck!

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Bass Edu

BASS LINES – The Blue Notes (Minor Blues Scale)

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jaime Vazquez

Hello bass players and bass fans! Happy New Year 2024!

In this issue, we are going to study the blue notes.

In blues, jazz, and rock, a blue note is a note that (for expressive purposes) is sung or played at a slightly different pitch from standard. Typically the alteration is between a quartertone and a semitone, but this varies depending on the musical context.

The blue notes are usually said to be the lowered third(b3), lowered fifth(b5) and lowered seventh(b7) scale degrees. The lowered fifth(b5) is also known as the raised fourth(#4). Though the blues scale has “an inherent minor tonality, it is commonly ‘forced’ over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities”.

Blue notes are used in many blues songs, in jazz, rock and in conventional popular songs with a “blue” feeling.

Formula:

The A Minor Blues Scale

1 – b3 – 4 – (#4/b5) – 5 – b7

A – C – D – (D#/Eb) – E – Bb

The grades(blue notes):

b3, (#4/b5), b7

C, (D#/Eb), Bb

See you next month for more full bass attack!

#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thebluenotes, #minorbluesscale & #bluesscale

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Bass Edu

BASS LINES: Staccato for Bass

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jaime David

Staccato for Bass…

Hello bass players and bass fans! In this issue, we are going to study the technique known as staccato.

When we talk about the staccato technique, we are referring to a form of musical articulation.

In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence.

* In 20th-century music, a dot placed above or below a note indicates that it should be played staccato.

* The opposite musical articulation of staccato is legato, signifying long and continuous notes.

Fig. 1 – An example of a normal notation.

Fig. 2 – Is the same example but now with the staccato articulation

Fig. 3 – A basic groove played and written in a normal notation.

Fig. 4 – The same basic groove using the staccato technique.

So, at the end of the day, you as a bassist will decide what type of technique you will use depending on the effect you want in your performance.

See you next year for more full bass attack!!! Happy Holidays & New Year 2024!!! Groove On!!!

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Bass Edu

BASS LINES: Legato Slide vs Shift Slide

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jaime Vazquez

Legato Slide vs Shift Slide…

Hello bass players and bass fans! In this issue we are going to study how to read the swing eighths.

When we talk about slide techniques, we are referring to what is known in classical music as the glissando.

• Glissando = a continuous slide upward or downward between two notes.

There are two types of slides, legato and shift.

Legato Slide = strike the first note and then slide the same fret-hand finger up or down to the second note. The second note is not struck.

Fig. 1 – Legato Slide – Upward

Fig. 2 – Legato Slide – Downward

Shift Slide = Same as Legato Slide, except the second note is struck.

Fig. 3 – Shift Slide – Upward

Fig. 4 – Shift Slide – Downward

So, at the end of the day, you as a bassist will decide what type of Slide you will use depending on the effect you want in your performance.

See you next month for more full bass attack!!! Groove On!!!

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Bass Edu

Approach Notes – Part 4

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James Rosocha

Bass Lesson: Part 4 of Approach Notes…

My previous lessons on the topic of approach notes covered approach notes from above, approach notes from below, and approach notes from below and above. This lesson flips the concept around to approach notes from above and below. Don’t make the mistake of only learning this material in the major keys. As a starting point, these exercises should be applied to major 7, minor 7, dominant 7, minor 7 b5, and diminished 7 in all 12 keys for all inversions. If you are just starting this lesson, I recommend you go back to my first lesson on approach notes and follow them in sequence. My lesson on arpeggio inversions lays the groundwork for the approach note concept to be applied. 

The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and below- before continuing to the third, fifth, seventh, double chromatic from above and below to the root, continue to the third, fifth, and come back down.

The next example approaches the first inversion of G major 7th arpeggio. A double chromatic from above and below approaches the third, continue to the fifth, seventh, root, double chromatic from above and below to the third, continue up to the fifth and seventh, and back down.

The third example approaches a second inversion of a G major arpeggio. A double chromatic from above and below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above and below to the 5th, continue to the 7th, root, and back down. 

This final example approaches a third inversion of a G major 7th arpeggio. A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.

These lessons take a very long time to complete so pace yourself and don’t give up. Good luck!

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