89 PVT 3 Pye pe oT ra aa +. FEL Cap rtMusic Theory; ‘he Bass Player Ariane Cap A Comprehensive and Hands-on Guide to Playing with More Confidence and Freedom Photography by SN Jacobson ‘Cover Design by Carlo Dela Cruz Photos of the Author by Alison Hasbach Editing by Debbie Seeger, Ronny Schiff, and Rod Taylor, PhD Book Design & Music Typesetting by Charylu Roberts © CAPCAT = MUSIC MEDIA, INC. — Copyright © 2015 Ariane Cap All Rights Reserved.Praise for Music Theory for the Bass Player Fon very age plus. Maro one. it essa with the work you've oube you'T! lane gre gh anu well organized — and the videos area randy recoounend it te students looking for tel weshigly diferent, tho ki Fano I wild smut music theory and harmony oF just to imeproee or correct their bass te Tim Landers LACM educator, bassist (Dave Grusts, TV, movies, advertising) Sf you are sriaus about exploring the bass guitar zhile making the Best se time, tis book will be an ensental asset 40 your creative journey. Ariane has accomplished nothing less than aftess road map from tae ricrocoses of basic Pulling blocks to dhe wacrocosm of advanced comprehersiot. The book's holistic methadely skilfully coud the smaceiiable facts. of music wath an elegant! peycnlogioa aipproace tothe art of learwsrg self, Music Theory’ foe the Bassist il ake Wow righ ta the age of wwe nest from you cam junto te unkaonre wid @ powerful set of wings to ly By Kai Eckhardt Bassist, composer John McLaughlin, Garaj Mahal, V your precious information} read a fot of hos about How fo play the Base, and i've read Tots of huoks about music ‘theory. but this tous eh first book fe rend that covers music theory frown the perspeetize of a (bass player. Avian tence you to be a sii frst, aad a bas pl ech is aw it shauli be, The hook & appropriate forall fevels, ex he absaliste beginucr with wo price musical experience, Experienced bast ‘ae bass fis in withthe rest of the bunt. Dan Callaway Bassist sect Ariaue Cap has given us a rowarkubly comprehensive and accessible ovk svitable for base- ists and afl musicians sho play with Bassists. 1 Chapter 22, entitled “Fecorique Basie begins by stating: "Be mind that lnening proper technique as muuch aout the ¢ Body and bass asi is alout budding comscousrss of tha sad hoc you do if.” From ney matical anc musical viewpoint, i so marcel ‘rarity when master iusicinn simultaneously addresses ergo tal mechanics, and the subst ating Bou succdd mahi. Robert E. Markison, MD Hand Surgeon, Musician Clinical Profesor af Surgery, UCSE School of Medicine Co-founder, UCSF Health Program for Pesforaning Artists ‘mechanics of vusical Ties ‘Music made with grace * chupter om pos in format the bey of your music, As a somatic ed ar practice, Foe sev dishannony dr inbalance due to teaching lechmuaes thal ick tis Kind of instruction. Ariane’s approach cow save you frown pain and physical therapy? Highly recommended, Pry on! Alison Post ad proper alice Somatic Practitioner, Craniosacral Therapist Avuthie of Utah the Belly The clear, well-tesignad chapter on lecluique incorporates engeacmicully sound aying metnads, good posture and caveful pasitioninig ofthe lads ncuscle effort ans! musculoskeletal strain wile paving Une bus Kathy Bender, BCIA, SE. CEAS Nationally Certified Biofeedback Practitioner eluceBACKGROUND My original intent was to write a book on The Paitern System —a highly effective roadmap to bass fret= \board proficiency which also trains your mind to think ahead. This system has consistently and quite dramatically accelerated my own and my students” abilities. In order to write the Patterns book, however, Theeded students to know the basics of how music theory concepts work on the bass. I could not find a book that focused on the bass in a way that fostered understanding and used the bass as the primary musical reference to shape visual and kinesthetic integration (and memorization) of the theory concepts ‘presented. So I decided to write it myself: the result is the book you are holding in your hands, (Tam still ‘covering The Patterst System in a future publication.) ACKNOWLEDGMENTS AND DEDICATION ‘This book was written during several writing retreats over a two year period. 1 would sincerely like to thank the Ucross Foundation for awarding me.a two week artist residency in November 2014, where I spent an average of 16 hours a day writing, practicing, and experimenting while being lovingly cared for by staff and inspired by the Wyoming wildlife! Keith R., thank you for the keys to your Foothills summer home — the landscape and tranquility in your beautiful house brought a lot of productivity and flow to the early stages of this project. My biggest thanks go to bassist and composer Wolfgang Wein, my first bass teacher, who is the reason why Iam a musician today. His feedback, constant encouragement and belief in me has been a major inspi= ration (so much so that I married him!), He proofread the entire manuscript and enhanced its content with invaluable additions and suggestions. Victor Wooten and Steve Bailey’s camps were life changing and inspired my playing, teaching and view ‘of life. Thank you! Gratitude to Master Orff Teacher Doug Goodkin, whose creative adaptation of the Ortf ‘Schulwerk to the study of Jaz inspired my didactical approach to teaching the Blues. ‘Sincere thanks to my editor Debbie Seeger, who tackled my German-sized sentences with proficiency and. reviewed the music and diagrams for accuracy. Also thanks to Ronny Schiff for editing help in the early stages, and Rod Taylor, PhD, for additional language expertise. | am gratefully acknowledging the creative ibook designer and music typesetter Charylu Roberts — a lady with a keen eye and expansive knowledge ‘of music books (and thankfully, a never-ending sense of humor!). SN Jacobson’s excellent photography sskills enabled me to show complex content in an easy-to-understand way in the technique chapter, Big thanks to Alison Hasbach of TrueFire for my author photos, Several healthcare professionals reviewed my chapter on technique. I am very grateful for their insight and suggestions: Hand surgeon and musician, UCSF School of Medicine Professor Robert E. Markison, MD. Biofeedback practitioner and ergonomics specialist Kathryn Bender, Chiropractor and bassist Randy Kertz and Craniosacral therapist and musician Allison Post. Step Up Music affiliates Dr Stephan Betz, Rhonda Hicks, and Raymond Victor, thank you for lending a hand, offering encouragement and friendship, and for having my back whenever I was off writing this book. ‘Thanks to my Austrian family: my charismatic and scientific dad, Professor Ferdinand Cap, my inspiring mother, De. Theresia Cap, and my brother, Professor Clemens Cap, who | have always looked up to and with who I thoroughly enjoy “stealing horses.” Thanks to the Weins for love and support! ‘Thanks toall the amazing Bay Arca (and beyond) musicians I get to play with, especially my duo partner Paul Hanson, the Clines, Generation Esmeralda, Muriel Anderson, the Montclair Women’s Big Band, and. many more. Most of all thanks to my students, whose light-bullb moments, individual joys and struggles, comments and questions inspire me and keep me on my toes. This book is dedicated to you.CONTENTS Introduction: The Main Purpose of This Book ...........060620046 bincysnast all Who This Book Is For. How to Use This Book Chapter 1» BASICS How Notes Work Learn the Notes . Laces eRe Chapter 2 + HOW THE BASS IS ORGANIZED. ....scceseesesesevavsevsens Up and Down. . Test Your Understanding #1... ‘The Range of Bass... The Note-Finder Exercise Test Your Understanding # Name-w-Dot sci. -deceeteess The One-Finger-Per-Fret Position Chapter 3 © INTERVALS .. Basics on Intervals. . , 8 Test Your Understanding #3... ‘The Prime and the Unison . The Second . The Third ‘The Fourth The Fifth. The Sixth. . ‘The Seventh . The Octave The Tritone...........- Interval laversions. ...... Compound Intervals Test Your Understanding #4... Chapter 4 » MAJOR SCALE PRIMER Building Any Major Scale. Test Your Understanding #5... Preparation for the Cycle of Fifths ....... a : Chapter 5 + TRIAD PRIMER FOR THE BASSIST.....0.00.seeseeseers sees 66 Introduction to Triads . = 66 ‘The Major Triad. 67 The Minor Triad. .. 69 ‘The Diminished Triad. 7 The Augmented Triad eos are ees PeBass Specific Challenges of Triads Diatonic Triads Chord Functions ..... ‘Triads Across the Fretboard . ‘Triad Table Summary 82 ‘Triad Inversions...... 83 ‘Sus Chords, Poly Chords, Slash Chords oe ‘Test Your Understanding #6 (Triads aud Inversions) 4 o Chapter 6 * FOUR-NOTE CHORDS... 2.225. e ccc ec ceee eee eceec seer Introduction to Four-Note Chords . - Four-Note-Chords with a Perfect Fifth. « Four-Note-Chords witha Diminished or Augmented Fifth Diatonic-Four-Note Chords The Dominant Seventh Chord. Inversions of Four-Note Chords Extensions, Alterations and Other Four-Note Chords. Summary. * Test Your Understanding #7 - Closing Remarks ....... Chapter 7 * MINOR SCALE PRIMER. .. Creating the Minor Scale .. Relative Minor Parallel Minor. < ‘The Problem of the Minor Dominant Cottect Naming . - . Test Your: Understanding a8. is Chapter 8 « THE CYCLE OF FIFTHS FOR THE BASS PLAYER . .. Must-Know for the Bassi SESRESER . 107 Decoding the Cycle... The Cyele as a Practice Tool geareeEr yore -. 109 Using the Cycle to Find Sharps or Flats of a Key no Using the Cycle to Find the Key... Seyevawee scmenupestee eeecKO What Key Is This Piece of Music In?......2...200.c.cccccesscesbeseeesstecteseeee TMD Summary....... un “Test Your Understanding #9 a aba actigeoncaons m2 ‘The “Diatonic Cyie” Verous the "Chromatic CfAe" s.cesscacsascesssasesecsesecnes M2 ‘Chapter 9 » PRIMER ON MODES. 144 What Are Modes? 214 The Modes . m4 Sounds of Modes Cian eile bea enn oeseeiese LA The Concept of Medal Versus Diatonic | 0. esse ves veves ees ecvev ees ee reese MB ‘Test Your Understanding #10 . ng=. 120 120 121 1 Chapter 10 * PENTATONIC PRIMER . Introduction to Fentatonies . Major Pentatonic Scale . Minor Pentatonic Seale . Fingerings...... 122 How to Practice These Patterns (Primer) 122 G Major Pentatonie Patterns .. 123 E Minor Pentatonic Patterns ... .. 125 Pentatonic Patterns in All Keys... re sommsvesmare “Groove and Fill” Exercise (Basic) . . 127 Blues Scales. Test Your Understanding 811 Chapter 11 ° THE BLUES . . Introduction to:the Blues ‘The Form. .. Harmonic Property ofthe Blue Chords of a Blues Progression “Blue Notes"... ee Test Your Understanding #12 - Chapter 12 * TECHNIQUE BASICS - Introduction . : 3 132 Ergonomics and Health arcs cpinsiauasersstemanal Oe Great Technique foc Great Tone und GrOOWE: sos cessocsseenee suaags See ‘The Right Hand . Left Hand Right Hand Coordination General Tips for Fingering... Exercises for Shifts. 05.00... Practicing Using the Principles of Rotating Attention (PORA) Changing Ingrained Habits... 2... -...00. 020002200 ‘Closing Remark on Technique: When the Music ones You Chapter 13 = MUSICALITY Music Theory for the Bass Player — The Course Answers to the Test Your Understanding Questions. 16d Pattern Paper .. 17 Glossary .. About the Author . .INTRODUCTION The main purpose of this book is to remove the barriers between music in your mind and expressing it on your instrument. You will learn to know it so well that you can play more freely. Freedom comes from the confi= dence of knowing your way around the fretboard, from effortless and comfortable technique, from musical intuition and precise internal hearing. Relevant ways of “knowing” for the musician are: © W feel feeling shapes and distances under your fingers and executing them effortlessly © Frear— to know what your notes will sound like before you play them * Visually — by seeing the fretboard layout in your mind's eye Another very helpful skill is the ability to read written music and chord charts, This is related to conceptual “knowing” — understanding the theory behind music and letting your knowledge inspire note choices. You will achieve a widening of your musical palette so that you can add to your personal “calors." You will likely discover that many of the sounds you are already using intuitively are part of a system that has names, stylistic conventions and rules, We must not fear rules, because it is fun to break them sometimes! This book offers a systematic approach to musical instinct by facilitating the following: + A thorough understanding of the workings of the bass © Re most important building blocks of music theory, why they are important, how they sound, how they relate to the bass and how to practice them so they become instinctual * Healthy physical technique that is based on feeling into your body and becoming more conscious of your habits, fingerings, and how these details translate to better sound, timing and more relaxed playing, © Becoming comfortable reading chord charts + Mental practice techniques There is a fundamental difference between knowing a concept in theory (for example, a triad or scale) versus knowing it so well you can use it instantly in a musical situation. Ibelieve many music theory classes or books fall short by presenting page after page of written scales and arpeggiated triads, which turns useful scale practice into merely a reading exercise rather than. one of understanding. Complete comprehension of a concept involves knowing it in any time or rhythm, key, position on the bass and its sound (when and why to use it) The fastest learning on the bass will always come from your fingers. Repetitive movement with thoughtful attention to how the sounds relate to each other leads to solid muscle memory(kinesthetic knowing). To then make music with these | to keeping this practice fresh and interesting, Have fun doing the “Test Your Understanding ut the Hip tizzes (some of them are real puzzlers!) and make sure to try Always have your bass nearby when working through this book, as it is very hands-on (with a few mental exercises added to the mix). Even though something might look like you already know i you only really know by playing itWHO THIS BOOK IS FOR In my experience players from basic to advanced levels can benefit from the materials in this book. ‘The topics covered will help to | “holes” in’ the understanding of music theory andiyipiies ito the bass’ specifically * Internalize how the baset fboad is ganized and how thinking | in " patternsfetsivet +Learn” how basic” musical building’ blocks” and” souridaliaed” onthe bas + Acquire a” good understanding of technique and how to Iplaynsidtency and comfort A typical student of this book might currently: + Play better in some keys rather than others Have uneven tone, bad timing or a sloppye giue to ifmitive technique habits” ‘Be unsue about the fiknce and use of major and minor’ sounds + Hesitate to identify various intervals and how to bestiHeaatwn the same’ string ot between _strings + Be unsue of what interval and dhénversions erand why theye amseful for the bassist + Be unsue of the Mince between a major seventh dhand a dominant’ seventh @hor + Be an’ experienced” player of songs who doesilyotunderstand the tonal material underlying” bass line and how to construct bass lines on his or her own «Have dificulty naming the diatonic notes of any’ scale ‘This book discusses the basic building blocks of music theory and how they are realized on the bass. It is concerned with delivering an understanding of music theory concepts, how they relate to the ‘bass, and why they are useful so that they immediately improve your music making, Students often Jearn the building blocks of music, but struggle to bridge the gap between theory and execution. They may never understand theory to a degree where they do not have to think about it while improvis- ing, grooving or playing fills. Here, you are going to learn the mechanics of music so well that you can forget about them! It is helpful, but not necessary, to be able to read music. Learning to read music on the bass is a differ- ‘ent skill than learning music theory: Reading music is easier once music theory is mastered. Where notation is used, tablature is included in this book to enable you to execute the discussed sounds. ‘Groove samples are optional and may be skipped. HOW TO USE THIS BOOK Go through the chapters bass in hand. The videos referenced in this book can be found on arisbassblog.com. Scanning, the QR code on the front of the book will take you to the direct link, Do each recommended exercise at least once. Some seem very simple but, especially when using a metronome, may reveal some surprising weaknesses. Confirm your knowledge in the “Test Your Understanding” sections. Have fun with them; some are meant to be tricky, tongue-in-cheek and /or challenging! The answers can be found in the Answers section. A.NOTE TO LEFT-HANDED PLAYERS: To keep the flow of the book streamlined have omit- instructions for left handed players. Please reverse accordingly.HOW NOTES WORK There are twelve notes in the Western tonal system. Seven of the notes are named with letter names — ABC DEFG—ason the white keys of a piano, | ) | & alates E|FIG Distances between these notes are either whole steps or half steps. For our purposes, a half step is the smallest distance between tworr 1 whole step = 2 half steps es in the Western tonal system (one fret on the bass). «Half steps fall between E — F and B — C * Whole steps fall between all other sequential notes. The piano’s black keys are named with the addition of sharps (2) and flats (b) Sharps make a note higher by a half step Flats make a note lower by a half step Nateene! signs & unio a sharp or flat In some cases, it is necessary to name @ white key by its sharp or flat name E# (otherwise known as F), BE (or C), F> (E), or CP (B) Double sharps (x) and double flats (Hb) are used as well: Gs, Bib and A—all refer to the same note (Side note: Double sharps and double flats are mostly used in'common practice music theory, modern music styles are more lenient in note naming.) Two notes can have the same pitch, but may be “spelled” differently. They are referred to as iharmomics; for example, a C is enharmonically-speaking also.a B®, or a Dib.Aa Look at the diagram of the piano to figure out relationships between notes — whole steps between the white keys (except between E and F and B and C), half steps between a black key and a white key. If you are a visual learner, you may benefit from taking a mental picture of the piano keyboard and having it ready in your mind’s eye at all times, Use the groups of two and three black keys for orien- tation. LEARN THE NOTES ‘There are only seven basic note names in the musical alphabet. The most basic way of organizing them is by saying or playing them in an order that constitutes a scale: A~B-C-D-E-F-G-A, for ‘example. In musical pieces the order of notes varies constantly, notes are being skipped or repeated snippets of scales may ascend or descend, etc. This is why it makes sense to practice different varia- tions and combinations of the musical alphabet, ‘The exercises in this section are designed to help you firmly embed the mu al alphabet in your mind, |i] EXERCISES: «The folloing’ exercises are” equalleffectie when performedwith” or withoutuy” instrument. All pu need is ayt#imic pulse, for examplefrom a_metronontdialking footsteps will onk as” Well, A regular pulse és, Khough, because without that ehercise fails in its purpose to train you to knointime what note comes next iy glen sequenc ©The rhthmic pulse can berw sl. Hovever, rather than_setfj a metronome to eayvslov tempo sub as 40 BPMyhere it is chato. get a_sense of the dlotimeset t 80 BPM and let two beats goy ior eke note nameLet three pasif an need more tim@his is also good timing training, asau'l be feeling the sulidin of the pulsouyare actuall plying, Visualization helps a lot of musicians, At first, | suggest you use the piano keyboard for your mental imaging: notes on the bass have several locations (therefore, note patterns can have various shapes) ‘On the piano, each note has a unique location, so the sequences of notes are easier to see. First, do the following exercises looking at the piano keyboard schematic with note names, then progress to the keyboard schematic without note names, Finally, progress to a mental picture of the keyboard only, without looking at the illustrations. You can use a mental image of the fretboard as well, if you have sufficient knowledge of it. Heeding the advice that visual integration of these theoretical concepts is helpful to most musicians, experiment with what works best for your learning style. Even if you are primarily a kinesthetic or auditory learn- ex add mental images to your study regimen, since they are very practical on fretboard instruments.In the exercises that fallow, say the note names out loud. Hearing yourself saying them helps your memory and serves as additional reinforcement. First start with just the white keys: s a EX1+Say the musical alphabet ascending EX2+Say the’ musical alphabet” descending, EX3*Skip @ery other letter name ascending@i-G-B-D-E, etd EX 4 Skip eery other letter name descending F(A-B-G-E, etd EX5 +Skip tw letter names ascending-ING-C-F, etd EX6+Skip tw letter names descending -EMi-F-C, etd EX7+Skip three letter names ascending EKB-F-C, etd) EX ®Skip three letter names descendingUWG-C-F, etd Notice that skipping three letter names ascending leads you to the same sequence of letters as skip- ping two letter names descending. This is explained by certain intervals (distances between notes) being inversions (mirror images) of each other. More on this follows in Chapter 3, For now, itis very useful to know and recognize these sequences, because thinking in interval inversions opens up creative options, as well as new note combinations. You started with just the white keys, now you'll be adding the black keys. a When integrating the black keys, ascending in whole steps will include both white and black keys. EX9 eAscend by half steps (this is eflred to asiromratically), identifying the black keys by their sharp names: A-AS-B-C-C #-D-D&, etc. EX 10 Ascend by half’ stepderématically), identifying the black keys by their flat names: A-Bb-B-C-Db-D-Eb, ete. EX 1 © Descend by half steps, identifying the black keis Sgt tumes: A-Ab-G-G?-F-E, etc. EX 12 * Descend by half steps, identifying the black kin-sitayp tinames: A-G#-G-FE-F-E-DE, ete, EX 13 Ascend by whole steps, identifying the black keysirbyhaip nam A-B-C8-D#-F-G-A and repeat. Also start from A®: APC-D-E-F8-G2-A8_ EX 14 Ascend by whole steps, identifying the black keysirbflathnames: A-B-D>-Eb-F-G-A and repeat. Also start from Ab: Ab-Bb-C-D-E-Gb-Ab, EX 15 * Descend by whole steps, identifying the black Hotpsfiiy rtames: A-G-F-Eb-Db-B-A and repeat. Also start from AP: AbGb-E-D-C-Bb-Ab, EX 16 * Dend by whole steps, identifying the black keys by their sharp names: A-G-F-DB_C#_B-A and repeat. Also start from A®: A®_G#-F#_E-D-C_A8_ es‘Continue with these exercises by choosing starting notes other than A. The goal of these exercises is to become comfortable with the letter names in different sequences, rather than knowing these ‘sequences by heart. Once you start knowing a sequence, change something — the starting note, direction, or tempo. In choosing a tempo, keep in mind that the purpose of these exercises is not to ‘execute them as fast as possible, but rather to get comfortable accessing the notes from both direc tions and in various sequences while keeping a steady tempo. Go slowly enough to be able to execute difficult variations in tempo. As a matter of fact, the hardest sequence that you can barely do comfort- ably tells you the tempo you should be choosing. (DE TIP: Think ahead as mtucas possible! For example: whole steps ascending from C: a Metronome dick: \....Mecond cone eon enelcened rere \coneDnveeNaeeedesneleoned Say. o D E Fe ae Ae c THINKING: DandEnest, FSG3A% next after Ad, Lam back around toc. * The vidleos referenced in this book can be found on arishussblog.com. ‘Scanning the QR code on the front of the book will take you to the direct link or find them in the sidebar on the home page.'Z How the Bass is Organized UP AND DOWN When musicians speak about going up or down a scale or other musical pattern, we mean sonically, not the direetion in space. You may move down (Le., towards the floor) on your fretboard, but the notes go up (sound higher). Similarly, you may be tempted to say you are playing down the neck as your left hand moves towards your body (downwards in space), however, the notes will sound high- er, $o you really are going up the neck. ‘The goal here is to understand the general direction of open strings and when moving on one string. (At this point, we have not brought moving between strings with the fretting hand into the equation.) String names from low to high are: E-A. D-G on a four-string bass, BeE-A-D-G on a five-string bass, or B-E-A-D-G-C ona six-string bass, When fretting the fifth fret of the lower string, it produces the same note as the next highest open string. The strings are offse In this ctu, | point towards woke getting higher: by five frets going up (the fifth fret an the E Up the eck 6, towns the bridge) motes get higher: ‘Towanis the floor, as strings get skinmier, notes get higher: string is the note A, the next highest string) or seven frets going down (the 7th fret of the A string is E, same as the open string, below: In this case, the Emotes are in different ranges, an octave apart. On the bass, most pitches (all but 10 of them) can be played at least twice in different locations on the fretboard, Notes refer to note names, pitches refer to notes in a specific octave. A aie aig Us cave 0 wean’ pacha,” ecolincaiaaa’ ial" Ca ae” avg paas™ open notes). +A 20fet, fourstring bass covers 36 unique’ pitches, buBthasotes total (28s fper’ string” plus open notes). © A 2i-fet, five-string bass covers 45 unique pitches, biit5 haetes total. 2A 20+et, five-string bass covers 41" unique pitches, bli hmeies total +A 2-fet, ‘six-string bass covers 50" unique pitches, blJimetes total. 2A. 2+et, six-string bass covers 46 unique pitches, but has 126 notes total.some pitch same pith same ton same pith G ae o Le ° : rf f a 7 ‘ ~ eal 7 siterent piteh - rp open G Sth fret 10th fret string on" ona’ The diagram above shows an exumple of the same note accurring four times (once om each string) EXERCISE: Play the fifth fret of the E string and notice that it produces the same pitch as the open Astring. Now moe up to the sixth fret on the F astdnfinger thestfifret of the A string — this again produces the same ndlentinue this procesy hokg up on the E and A strings until you hit the highest note aur § string Notes become higher when fret numbers are agoitigvard the bridge) on the same string, However, when mang from aver to a higher strirfget numirs going don can still mean higher pithes (notes),as shen in the folling figure: 6 a o a a o b sounds highe o E |} — sth on 8° Bhon’E” 10th one oO © (D) When playing a C om the Sth fret of the E string aud then moving to Sth fret of the A strin the the note gets higher, even thaugh you're playing on a lower fret. REGARDING THOSE “TEST YOUR UNDERSTANDING” QUESTIONS. Some of these are iiyidhey are designed to maju think mi help oar understanding ' appfing the knoledge.You will not find tmewers regurgitating what is written on theique pages but on hae all the needed information to figure out the correctenmsmom whatoy’ve read” 80 far Remember pages 161+ list the amswHorever, gie it pur best effort | before pecking!ECL ae oleae TEST YOUR UNDERSTANDING # 1 a) Finding the same notes on two adjacent strings. Fill in the fret numbers: E=6and A= __ E-SandA-__ £-1WandA-__ b) Find the same notes on two adjacent strings. Fill in the fret numbers: ©) What is different between the note pairs of #1a) and #1b)? 1a) 1b) 6) Fill in the blanks the goal isto create the same pitch on different strings: ‘A~10th fretand D~ __ D-t0thfretand A- A-sthfretandO- __ D~Sthfretand G- @) How many times can you find the note D on your bass?_ times How many times can you find the note F on your bass? _ times f) D string 2nd fret and G string 9th fret - same note or same pitch? Same D string 6th fret and G string 1st fret - same nate or same pitch? Same G string 10th fret and E string 1st fret ~ same note or same pitch? Same 9) Which ten pitches occur only once on your bass? THE RANGE OF THE BASS. Octaves are organized by numbers. There are various different octave naming /numbering systems, however, in this book you'll find the system that calls middle C, "C4. ‘The bass is a transposing instrument. This means that in order to avoid excessive ledger lines, all bass charts are notated an octave higher than they sound. The following piano scone shows exactly what pitches sound, while the bass player's score is what we bassists read,rae Plano Players’ Score ae Z ci 8 HG e > ee o ° o oe © © e *e o ° @ Eg 5 String eg Be Gt e ee e o o @e e ° a ° o o @ ° * e 8 8 6 Suing 83 4s e ee ° @ ° o ° ° ° oe 8 «6 * ® ® e 8 a i *gee-> yea way to mae nots with many Inger nes easter tac. I mean Rea an octave higher than writen, "12 THE NOTE-FINDER EXERCISE The purpose of this exercise is to gain a deeper understanding of how the bass is organized and to facilitate finding the notes on all strings. Follow the instructions very carefully and use your metronome {EE NOTE: Execute this assignment in the area below the first set of double dots on the fretboard. In other words, do not go up into the second octave of the bass, above the double dots (12th fret). 1. Set the metronome to a comfortable tempo (for example 70 BPM) and get into the groove. Plan to play a note on every other beat — one beat to play, one to give you time to think ahead, 2. Pick a note (for example, G). 3. Starting with the lowest string, play G on the E string, then on the Astring, then on the D and G strings. Note that the octave of your chosen note will change eventually. 4. Without doubling the note on the G string, turn back and play the G's in reversed order. Do not double the note on top. Do not skip a string. If you struggle to do this in time, either set a slower tempo or let three beats go by to have more time to think. Metronome clicks: AA. Si he | PLAY: Gi G2aGi G2 a a LOCATION IedonE —WthenA = SthonD = Gerl2thonG Shon = Wthen A SrdonE. SAY. G G G G G G G THINKING: astangor two ahasd Notice that the relationship betw the fret numbers isagdweither5 ort7 when ming to the next string. 3rd fret on E string *7 = 10th freton A string; ~5 = 5th fret on D string; here you can go with either ~5 {to arrive at 0, open G), or +7 (for G on the double dats, marking the 12th fret). Why —5/#7? -5, because the strings are offset by 5 frets from each other in one direction and by 7 frets direction.mroa m>oa Example of Note-Finder exercise with the note “G" * Subtract 5 or add @s fin der to find the same note xm higher string, * Add 5 or subtract dfsfin der to find the same note xt lower string. Get these distances into your muscle memory. ‘Obviously, if you continue past the octave (double dets at the 12th fret), you will still arrive at the ‘correct note, just in the higher range of the bass. However, keep this exercise within the lower 12 frots. ‘Once you know the nates there, you will have an easy time above the double dots, as it is organized ‘exactly as the area below the double dots. Blindfolded Note-Finder ‘Try the above exercise without looking at the fretboard. You will easily hear if you make a mistake, so trust your ears. Focus on the distance of 5 oF 7 frets. NOTE: Check out later chapters for the best fingering practice for these exercises. 134 TEST YOUR UNDERSTANDING #2 a) Ifyou do the note-finder correctly — haw many individual notes will you play? bb) Will these notes always bethe same pitch? Oh yes no How many different octaves do the notes occur in? In ___ on four- or five-string In ___ on six-string 4) Do the note-finder for these notes. Then fil in the fret numbers on the respective strings (lowest to highest stringl: O- (L)---- tL) G- (_)-_-_-_- A (_ ( ott b- (L ( Ce (Lo Fe (_ r e-( eb -(_ C Ab { 2 Db (_ Set the metronome to 70 BPM. At first let a beat (or two, or three) of silence go by in between each note; then double up your speed by playing one note per beat, then two, three, four... how many can you cleanly execute per beat without hesitation? As avariation—rather than always starting with the lowest string—start on the G string, work you way down tothe E string and them back up again. NAME-A-DOT Dots (or other inlayed ornaments) help you navigate the neck. Typically they are located before the third, fifth, and seventh frets with a single dot, and before the 12th fret with two dots to indicate the octave. After the twelfth fret, the dot pattern repeats. Some basses have a dot before the first fret, but count the dot before the third fret as the first dot. Basses may have a zero fret right after the nut. As the name implies, itis a “zero fret” and does not need to be counted. Remember that between all letter names there is a whole step except between E and F and B and C. When moving up each string you should be now able to find each note: For example, names of the notes on the E string: a IMP BIEEE eBIE LB TIP: Learn the notes at the frets marked by the dots (Ged, 5th, 7th, 9th, 12th, ete) Visualize the pattem that the dots, frets, and strings create.Saale 4 First, leam the string names to the point that you don’t have to pause and think about them. Then repeat the same process with the dots. Quiz yourself at random, forexample: What are the notes at the 2nd dot (Sth fret)? Auswer: A-D-GC G AR/Bb Cc D E 7 D F G A B ® ° 2 2 ° A C— D E F4/Gb. + ® E G A B ch 6 “ABIBb ec D B ° D +—G A B— A c¢———pb— E F#/cb Let E G. A B CAD. > B D E F#/G. Gab c De /eb F G A 6 ABBE ec D EB ; D F G A B o 2 ° . 2 A c D E F/G ° E G. B C3 /D>- B D. -E. FE/Gb ‘GRIND Learn the notes at the dots by heart. FIRST DCT — thk fret SECOND DCF — "fifth fret: Fourstring: G-C-F-B or G-C-FEA Foursstring. A-D-G-C ‘Five-string: D-G-C-E8 or D-G-CEA Five-string: E-A-D-G-C © Six-string: D-G-C-E-B-Eb or D-G-CF-AD? — Six-string: E-A-D-G-CF THIRD DO — venth fret FOURTH DO — ninth fret Four-string: B-E-A-D Four-string D-Gh-B-E or (-F#-B-E Five-string: G-B-E-A-D or #B-E-A-D Five-string: A-Db-Gh-B-E or G-C#4FEB-E Sbestring: G-B-E-A-D-G or @B-E-A-D-G ——Sixstring: A-D>-GD-B-E-A or GC2-FS-B-E-A 1816 LB TIP: Also include enharmonics for B and E in your practice. For example, an a four-string the third dot could also be named as follows: Cb-Fb-A-D. Ifyou are adventurous, try including double flats and double sharps (lower or raise a note by two half steps respectively), For example, the 3rd dot on the 4-string bass could also be C>-F>-Bip-Eit or Ax Dx-Gx-Cx. Practice Tips Set your metronome to a desired tempo. Pick a random dot, play the notes on each string, and say the note names in thythm with the metronome. Variations: * Start from the top string and move down, rather than the bottom string moving up. * Change the order of strings (for example first E, then D, then A, then G.) * When you need accidentals, use only sharps. ‘© When you need accidentals, use only flats. Example: Name the note names of the third dat (7th fret), from the the highest string down, using sharps where possible, THE ONE-FINGER-PER-FRET POSITION Using one finger per fret means each finger has its assigned home. If you train your hand to get used to this basic position you will glean many benefits working through this material, a you will be able to-“fee!" where the notes are in relation- ship to each other. This makes reading charts and scores much: easier because you do not have to look at the fingers on the fretboard all the time, It also makes for a smoother tone, as you can keep shifts and hand movement to a minimum, ‘There are instances where other hand positions make sense. For example using 1-4 over only three frets, stretching over five frets, or using different fingers over the same fret on different strings. This will be discussed at the instances of their respective occurrences. Good fingering technique stems from thinking about what notes come next and to position the fingers so that sueceeding notes are in easy reach. You want to keep shifts to a minimum, so think about that when choosing a starting finger position.I NOTE: Even though several scales and chords are mentioned in the following pages, please note that this chapter is not intended as a thorough discussion of the chord scale theory. ‘The goal of this chapter is to give you an in-depth understanding of these essential units of music and how they are executed on the bass, It is useful to know intervals so well that you don’t have to ‘eansciously think about them — it will m. changes, and playing melodies much more accessible. It will also improve your technique, and hence, elpful when reading music ooving on chord progressions, improvising over chord your tone. Having a solid handle on intervals is al Included are a few groove samples to show applications of these sounds in a musical situation. These ate notated in bass clef and tab, Some incluele advanced rhythms: these grooves are optional, as are the Hip Ideas. Sections marked “Advanced” assume a level of knowledge that will be tackled later in the book or are intended for the advanced player. Once you do th exercises, these sections will make sense. They are not vital for the basic understanding of intervals, 50 move on if these sections are not quite clear to you yet BASICS ON INTERVALS Name of interval | Number of Nuts and Bolts = An interval is the distance between twonotes. The — . smallest intervallic distance isa half step (one fret on mia eaekes i: the bass) Mi 2 Intervals can be played melodically (one after the er ecans ‘other; a melody is made up of intervals sounding in Minot Thad ; succession) or harmonically (the two notes making up the interval sound simultaneously, creating. a Major Third 4 harmony). Fourth 5 ‘The table on this page lists all the intervals up to the 7 ‘octave by hall steps. Look at the first colunin in the ‘itone 6 lists the name of the intervals, (Ag rourdhybien Fin} Fifth, 7 Intervals. come in various quantities and qualities. © The quantity is a general memmant’ that befor Seth, a tells you how many letter names the interval igo i contains © The quality is an exact mamamnt that takes Minor Seventh 10 into.account the number of half steps. Major Seventh WW Octave 2 7USMisihzat' Quantities: © Primes, seconds, this, fourths, iths, sixths, sevenths andctaves | a Of course, pu can’ strele interals abse the octe as ell: ninths, tenths eteThese are called compound interals. Qualities: * Seconds, thids, sixths, and sevenths can be foundhjasand ntinor, = Primes, fourths, ffhs, and octaves eqerfect. There is no major fifth ar minor octave. There is no “third” without further specification as to whether it is major or minor. It is correct, however, to speak of “a fifth,” “fourth,” “octave” or “prime” without any addition to the name; the “perfect” is implied with these intervals, ‘To determine the quantity of an interval, count the letter names (if the interval contains any sharps or flats as the starting or ending notes, ignore them for now) — when counting letter names, include the first and the last one into your count. To determine the quality of an interval, count the half-steps (now taking sharps and flats into consideration). Here is an example starting on a note without a flat or sharp: C-E Quantity first: + Count’ letters: @ E = (C=1, D=2, E=3)— Third ‘Then quality: * Count” half” steps: t@C# (1); C#D (2); D-D# (3); DE-E (4); four half steps = a major third. Here is an example starting ona flat ora sharp: C#-E ‘Quantity first: * Count” letters “leaving” out” all ”accidentdlef! € (C1, D=2, E=3) — Third ‘Then quality: * Count half steps bringing back all accidenHD (); D-D8 (2); D#-E (3); three half steps = a minor third,Sy De aware of this differentiation: IS) ‘When youcount letier names to (© determine the quantity, include the 3, © ©) © | fistanad the lst of the notes inthe ‘ Ce i OF Y count: finding the quality, however, (% is based on finding the number of ' carannekeer half steps, so you do not count the (“@ first note. © “counting four half steps NOTE: You might say, why not just count the hall steps and ‘be done with it? It is advisable to follow the first step of counting the letter names. If you fail to do this, you might fall into an enharmonic trap and name the interval incorrectly. This becomes especially important within a musical content, where you can hear a clear, tonal center, All intervals can also be diminished or augmented: +f you adda half step to either a perfect or majit timtemaiaugmented. + you subtract a half stom frither a perfect’ or minkervial” it” becomatiminished. +HS +HS Pe Sequence for diminished ancgmented a Sa is Tage Sequence for partect augmented Perfect intervals a, Sa = AS ‘C-Fis a perfect fourth. If you raise the top note, you create an augmented fourth: You ean also create an augmented fourth by lowering the bottom note in this fashion: PE MOTE: Ch is technically (enharmonically) a B. However, the interval B-F would be a diminished fifth (and not an augmented fourth)! > ChB. Always remember to count the letter names first, or else you can fall into the enharmonic teapt Why does this matter? If you start thinking in note names, you might as well think correctly, other- wise it only creates more confusion, The musical meaning of an augmented fourth is different than that of a diminished filth, even though they sound the same in our tuning system. 9LMS ed TEST YOUR UNDERSTANDING #3 a) Do these statements tell you exactly what to do? (yes orno?) Playathind Qlyes Ono why? Playamajorfifth up Ci yes Ono why? Playasicth down Clyes Lino why? Givemeanoctaveup Dyes Ono why? Playa major third harmonically Clyes Ono why? Play a fifth up, then a fourth up.then a secondup. Chyes Ono why? Play this melody in octaves. Ql yes Ciino why? ‘Can you sing a harmony in thirds with me? yes C)ino why? ) In order to determine a major third up from 0, all you need to do is count up 4 half steps. Ote Ofalse ©) Aminorinterval always inwolves aflat, CU true O) false 4d) If you add a flat to the lower note of the interval the interval becomes bigger. tue O false €) Amajor third must have a sharp init. C) true Ci false {Ifyou determined an interval correctly and add the same accidental to both notes, the interval staysthe same. C)tme () false 4) tfyou have a major third and put a flat infront of one of the notes, you get a minor third. Otme Case h) Determine the interval name (quantity and quality}: D-Fascending D-Gdescending C~ D8 ascending D-Gascending, C-F descending C-FB descending €-Fascending E-Adescending C- Gh descending E-Aascending B-Ab descending Cob ecenaina Eb - Ab ascending, £>— Gdescending C- Bb ascending Eb -G ascending Eb — G# descending. Dx — Gb ascending Eb - G3 ascending C-F# ascending D-=Fascending C= Ghascending i) Why do youneed to use two different strings to play an interval harmonically? }) Are these interval names correct? Make a cheek (¥) beside the correct names. Diminished minor second__ Augmented third _ Perfect seventh _ Diminished major sith Augmentedfourth Miner seventh _ Fifth Major third _ Sith _ Major fourth __