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The Power of One Note

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The Power of One Note

When I was first learning how to read music it was painful.

I had no idea and no coach. What was I to do? Well, as most of us do, I just slogged it out until it became painfully obvious that I needed someone to guide me.

I, even with very little theory and reading ability, was accepted to the Berklee College of Music and it was there that I got my first real guide.

My bass instructor John Neves, upon our first meeting, proceeded to tell me that I needed to learn to read rhythms and gave me a copy of “Modern Reading in 4/4 Time” by Gil Breines and Louis Bellson.

I didn’t understand really, “Why would I need to read a snare drum book?” I quickly found out!

Let’s take a piece of sheet music, any piece will do.

Download the enclosed sheet music below:

What do you see? Pitches and rhythms and staff for Tablature (we will get to that in a minute).

I see a picture of notes going up and down and rhythms.

It is obvious that if you just look at the notes, they go up and down. So, if you spent the time learning where all the notes are, both visually and on your instrument, you would then have half the battle won. The notes are the easy part.

Download the Random Note Generator below:

It’s the rhythms that present the problem. And the rhythms also present a problem when reading Tablature and moreover with TAB you still don’t know what the rhythms mean.

As a matter of fact, if rhythm is the obstacle, and both TAB and Pitches are, in some people’s minds, interchangeable, why not just learn how to read music!

Well enough of me on a soapbox, what I want to do is show you how with just 1 note, you can create interesting basslines by creating and then reading rhythms.

Let’s pick the note C

Ex. 1 – We can play quarter notes which is means 4 beats per measure.

Ex. 2 – We can do straight eighth notes which means 8 beats per measure.

Ex. 3 – We can do sixteenth notes at 16 beats a measure.

That is all fairly straight ahead, right?

Where it gets a bit dodgy is when you subdivide or syncopate.

Ex. 4 – The 4 bars use a combination of quarter and eighth notes and quarter and eighth note rests.

Ex. 5 – The 4 bars I include a quarter note rest on beat 1.

Ex. 6 – The 4 bars gets interesting, I add the tie. The tie combines the notes that are tied.

Ex. 7 – We now add in some 16th’s and ¼’s.

Ex. 8 – This 4 bar phrase deals with 16 thnotes 16 thnote rests.

Ex. 9 – We now combine everything with both rests and ties.

Now remember, this is just with one note!

David C Gross has been the bassist for a lot of folks. He has written 14 bass books and 3 instructional videos, hosts “The Notes From An Artist Radio Show” on www.cygnusradio.com Monday nights 8 PM EDT, and the “Notes From An Artist” podcast available on iTunes, Spotify and all podcast platforms.

NFAA brings you behind the scenes with individuals who forged a timeless musical canon – spanning rock, jazz, funk, blues, folk, country, and permutations thereof. Listen to stories and anecdotes hitherto untold and relive more than a few chronicles that have become lore with a fresh vision. It’s the soundtrack of our lives. Celebrate the past, live in the present, and anticipate the future – take Notes From An Artist

You can contact David @ www.thebassguitarchannel.com/contact for more information regarding his online lessons and world-renown correspondence course.

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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