- MEL BAY’S COMPLET) - DOUBLE BASS DRU) - COOKBOOK By Rocky Nei Maryyno ErxcolE “Tew, 4-383PART I Double bass is the most ex only recently hes anyone started testing its limits and « double bass is played in the right spot in a song or during a solo, of the audience to new heights. i have recently been a ton audio tape by un audience member because they didn jd produce that much sound. (I play a single type of compliment (but I'll take it!). Creating the s as, they instinctively try to figure out how you did it, like wying to fis » trick works Double Bass Cookbook is a book designed to get the begi direction but at the same time {o challenge the intermediate to adv af difficulty is determined by the metronome setting used while pra| ly the beginrer will want to practice at slower tempos w slayers will wart to elopin Compte' Dvviow ie go for speed. If you don’t have a metronome, go 5 good time is critical to good playing. The metronome “click” will d reated when the resi is on “one” of the measure. The best way to use this book is to practice ane page per day, siction and metronome speed. Try to be as c sistent as possible abou To develop control and the ability to start and stop these patterns, 5 is combined ive different foot patterns; tho h, the third, the second, and finally on the first playe: all five patterns, the cymbal paltern changes and yo step process 4 As the book progresses, the final exere ier to play if you use a metronome and ser the “click” to a quarter note e cymba , the “click” will Jl the void created when neither th sr played exactly on the pulse of each measure,PRACTICE TIPS After you have completed an entire page, go back and do each exercise four times then go on to the next one without stopping, until you have completed the whole page Also, after completing the entire book, start over and kick up @ speed 1 beats per minute faster than the first sime. By now, the first hand p vill seem muc easier and enable you to play the figures faster. This is where the rubber meets where you should start to get ideas for practical applications for these patte style of music you play. This book is really meant to help you develop you " but occasionally you will play a given pattern and think “Hey, tha ove to use in that song my band is working on, Just for fun, after you feel comfortable with the four sixteenth- crease your speed by using both hands on the closed hi-hat. play the hi-hat and snare at the same tir might give you some interesting ideas. Also, to further develop your dexterity and get more mile ment with reversing the hands and/or the fect that “role reversal” on the drumset condi greater ease when you go b, note pattern, tr Obviously you won't be a me, but the the over and under action of the ha age out of this book, ex It will seem wierd at first, but Ihave ons you to piay difficult patterns with ack to the original hand /foot configuration. Be sure to read the sections about log ‘ought Up in these sections could save y not have considered before conditioning and bass drum tuning. The subjec you a lot of time by bringing up points you might Another point I'd like to bring up is whether or not your seconda pressed against the head when not in use. This is ‘Try it yourself and see if you do it. The reason this occurs when you switch from single to Gouble bass is that your hi-hat (or secondary) foot is conditioned to keep the hi-hat closed wher ever it’s not in use. After doing this for years in most cases, it’s a hard habit ta break. W using a single bass drum with a double pedal, the dominant beater will be hindered #! the sec- ondary beater is always pressed against the head just an inch away. If you just can’t habit, the best alternative is to play two bass drums with single pedals oot keeps the 4 common problem for double bass players Here is the transcription key: ride cymbal or closed hi-hat snare drum right foot for right-handed p left foot for left-handed pia: left foot for right-handed players; Tight foot for left-handed players