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