A friend suggested I record bass loops - mainly groove and blues riffs. But before I begin such a project I want to find out if there is a market for blues and groove loops. Can anyone help with suggestions about researching market potential for such a project?
Your comments and suggestions will be greatly appreciated.
Thanks.
George Urbaszek
Serving Bass Players Worldwide since 1996
Bass Lessons Online
Friday, December 28, 2007
Tuesday, December 25, 2007
Transcription Techniques – Part Three
Today’s Lesson
Transcription Techniques – Part Three
I trust the resources provided in the previous two lessons on Transcription Techniques serve you well. This lesson will dig deeper. We will look at the process of working out the bass line to an actual song.
I am telling you exactly how I transcribe and this lesson will be “me thinking out loud”. I encourage you to use the information in your own unique way – whatever works for you. I have chosen James Brown’s studio-and-mostly-played-on-the-radio-and-TV-ads version of “I Got You (I Feel Good)” because
* Most bass players know the song and are required to play it at some time during their career.
* It has some “traps” and challenges not readily recognizable
* It should help improve your technique and groove
* It contains funky syncopation
* It aids musical concentration
Listening ONLY (no bass in hand)
First Pass (entire track)
The “I Feel Good” section (at the start) could be called the Chorus
Each chorus is a 12-bar blues form
After two choruses it goes to a Bridge with only sax and drums for four bars
I am calling the “When I hold you in my arms” section the Verse
The verse is eight bars long, begins on the IV-chord and completes another 12-bar cycle
Then:
Chorus
Instrumental Bridge
Verse
Chorus
Chorus
Two additional “So Good” bits with extended ending (tag) slowing down
Second Pass (still no bass in hand)
Beginning: “Wow” drum hit “I Feel Good” – The “Good” is the first beat of the 12-bar form
The horns match the bass from the second beat of the two-bar phrase to the first beat of the two-bar phrase
The bass rhythm is one quarter note and six consecutive eighth notes in the first bar
The rhythm in the second bar is quarter note, two eighths, eighth-note rest, eighth note, eighth-note rest, eighth note (making the second bar syncopated)
All instruments play unison hits with “So Good” at the end of every chorus
Guitar generally plays short stabs only on beat 4 of every second bar of the choruses
Bass drum plays some unison hits with sax during bridge and quarter-note rhythm on ride cymbal
Bass plays a type of descending walking bass line with two eighth-note hits per note during the verse
Guitar plays quarter notes during the verses
The end of each chorus (plus the tag) is an arpeggio with all instruments in unison
The final tag descends before the “Hey” and last chord
I suggest you now get a copy of the recording (I can’t provide one because of copyright) and compare your listening notes to mine. You may hear more than I did on the first two passes. If so, that’s great!
Next time I will “think out loud” again, showing you how I find the bass notes.
Until then, Bass of Luck!
Bass Lessons Online
Transcription Techniques – Part Three
I trust the resources provided in the previous two lessons on Transcription Techniques serve you well. This lesson will dig deeper. We will look at the process of working out the bass line to an actual song.
I am telling you exactly how I transcribe and this lesson will be “me thinking out loud”. I encourage you to use the information in your own unique way – whatever works for you. I have chosen James Brown’s studio-and-mostly-played-on-the-radio-and-TV-ads version of “I Got You (I Feel Good)” because
* Most bass players know the song and are required to play it at some time during their career.
* It has some “traps” and challenges not readily recognizable
* It should help improve your technique and groove
* It contains funky syncopation
* It aids musical concentration
Listening ONLY (no bass in hand)
First Pass (entire track)
The “I Feel Good” section (at the start) could be called the Chorus
Each chorus is a 12-bar blues form
After two choruses it goes to a Bridge with only sax and drums for four bars
I am calling the “When I hold you in my arms” section the Verse
The verse is eight bars long, begins on the IV-chord and completes another 12-bar cycle
Then:
Chorus
Instrumental Bridge
Verse
Chorus
Chorus
Two additional “So Good” bits with extended ending (tag) slowing down
Second Pass (still no bass in hand)
Beginning: “Wow” drum hit “I Feel Good” – The “Good” is the first beat of the 12-bar form
The horns match the bass from the second beat of the two-bar phrase to the first beat of the two-bar phrase
The bass rhythm is one quarter note and six consecutive eighth notes in the first bar
The rhythm in the second bar is quarter note, two eighths, eighth-note rest, eighth note, eighth-note rest, eighth note (making the second bar syncopated)
All instruments play unison hits with “So Good” at the end of every chorus
Guitar generally plays short stabs only on beat 4 of every second bar of the choruses
Bass drum plays some unison hits with sax during bridge and quarter-note rhythm on ride cymbal
Bass plays a type of descending walking bass line with two eighth-note hits per note during the verse
Guitar plays quarter notes during the verses
The end of each chorus (plus the tag) is an arpeggio with all instruments in unison
The final tag descends before the “Hey” and last chord
I suggest you now get a copy of the recording (I can’t provide one because of copyright) and compare your listening notes to mine. You may hear more than I did on the first two passes. If so, that’s great!
Next time I will “think out loud” again, showing you how I find the bass notes.
Until then, Bass of Luck!
Bass Lessons Online
Saturday, December 22, 2007
Hurdy-Gurdy and Double Bass
Recently I played with Canadian hurdy-gurdy player Barb Dwyer (yes, she is a prickly person) at the Annual Ball in my home town (village) The Channon in Northern New South Wales, Australia.
This year’s theme was “Medieval” and just about everyone came in costume and appropriate mindset. The music and general entertainment was most suitable, too.
Barb began with solo hurdy-gurdy and vocals, playing tunes from far away in time and space. I joined for the next part of the set, playing my ca. 1860’s Mirecourt double bass, using both arco and pizzicato techniques as well as string slaps on the up-tempo dance numbers.
The dance floor was packed and it’s amazing how much rhythm and thump one can get out of hurdy-gurdy, vocals and double bass. In the true sense of the expression “a ball was had by all.”
Bass Lessons Online
This year’s theme was “Medieval” and just about everyone came in costume and appropriate mindset. The music and general entertainment was most suitable, too.
Barb began with solo hurdy-gurdy and vocals, playing tunes from far away in time and space. I joined for the next part of the set, playing my ca. 1860’s Mirecourt double bass, using both arco and pizzicato techniques as well as string slaps on the up-tempo dance numbers.
The dance floor was packed and it’s amazing how much rhythm and thump one can get out of hurdy-gurdy, vocals and double bass. In the true sense of the expression “a ball was had by all.”
Bass Lessons Online
Thursday, December 20, 2007
Transcription Techniques for Bass and Guitar – Part Two
Today’s Lesson
Transcription Techniques – Part Two
In the last lesson I mentioned “target notes” and “the skeleton of the line”. We have all made the mistake of attempting to work out the first few bars of a recording, getting stuck right there and giving up. What is the result? We know nothing – no progress has been made. Possibly worse, we have regressed because we fear we might fail when starting on another piece; this blocks all sorts of channels.
My advice is if you can’t work out a note after two to five attempts, move on to another note. You will probably find that other notes come easier. Moreover, you may work out the original missing note in another phrase and experience the “that’s it!” effect. Once you have worked out several notes – it does not necessarily matter in which order – you will be able to insert the missing notes with more ease.
Before getting into further detail, which will be discussed in the next lesson, I am going to tell you how I transcribe.
1. The form. This includes the intro, verse, chorus, interlude, repeats, outro. On the first pass, I usually take note of (remember) layering of parts such as two bars drums, two bars bass and guitar, the first verse is four lines long and uses the same bass riff, the chorus is also four lines long but the drums play a different rhythm … and so on.
2. Key changes. Does it sound like it is all based around the same group of notes or is there a definite change? If so, where does it occur?
3. “Inside” notes (within the key) or “outside” notes (such as chromatics).
4. Rhythmic structure. How does it develop? Does the bass become more or less intense in certain sections?
Bass of Luck!
George Urbaszek
Bass Player and Music Educator
Serving Bass Players Worldwide since 1996
Bass Lessons Online
Transcription Techniques – Part Two
In the last lesson I mentioned “target notes” and “the skeleton of the line”. We have all made the mistake of attempting to work out the first few bars of a recording, getting stuck right there and giving up. What is the result? We know nothing – no progress has been made. Possibly worse, we have regressed because we fear we might fail when starting on another piece; this blocks all sorts of channels.
My advice is if you can’t work out a note after two to five attempts, move on to another note. You will probably find that other notes come easier. Moreover, you may work out the original missing note in another phrase and experience the “that’s it!” effect. Once you have worked out several notes – it does not necessarily matter in which order – you will be able to insert the missing notes with more ease.
Before getting into further detail, which will be discussed in the next lesson, I am going to tell you how I transcribe.
- First, I listen to the entire track, usually without bass in hand. I listen for simplicity versus complexity. This gives me a general idea about what I am facing. It also provides me with an estimate of how much time I might require. (Usually it takes twice as long as you think!)
- What do I listen for?
1. The form. This includes the intro, verse, chorus, interlude, repeats, outro. On the first pass, I usually take note of (remember) layering of parts such as two bars drums, two bars bass and guitar, the first verse is four lines long and uses the same bass riff, the chorus is also four lines long but the drums play a different rhythm … and so on.
2. Key changes. Does it sound like it is all based around the same group of notes or is there a definite change? If so, where does it occur?
3. “Inside” notes (within the key) or “outside” notes (such as chromatics).
4. Rhythmic structure. How does it develop? Does the bass become more or less intense in certain sections?
- Once I have listened to the track between one and three times, I will pick up the bass and start to work out the notes. If I don’t get a riff or line within two or three attempts, I will go for target notes. They are usually the chord roots and other notes relevant to the core groove. Once that is done, I will have the skeletal structure of the song. One great advantage of knowing the skeletal structure is that you can play along with a track (or even with a live band) playing what is essentially your own version, i.e you make up the bits in between.
- The next step (this could be a few days later) is to find the missing elements. For this I remind myself to use the knowledge gained from my first listen. If it sounds simple, it is simple. If it sounds complex, it is probably not hard to play; most bass lines are easier to play than meets the ear.
- A final piece of advice to us all is to make sure we vocalize what we are attempting to work out.
Bass of Luck!
George Urbaszek
Bass Player and Music Educator
Serving Bass Players Worldwide since 1996
Bass Lessons Online
Tuesday, December 18, 2007
Transcription Techniques for Guitar and Bass – Part One
Transcription Techniques for Guitar and Bass – Part One
To transcribe literally means to write down. In music we use the term more loosely to describe the working out or “lifting” parts off recordings.
IMPORTANT ADVICE: If you are having trouble working out individual notes, make sure you stop the recording exactly on the note you are attempting to find. Immediately hum that note. Then look for it on your instrument.
If you are new to transcribing, or lacking in experience, play each neighbouring fret until you find the note you are after (and preferably still humming). That way you are making sure you do not miss the note. (This simple step works wonders for beginners.) Most novices will jump all around the instrument, and usually end up never hitting the right note, often landing just next to it.
It does not matter a lot if you go up or down the fingerboard, because you will eventually find the note when playing every fret. Once you have found the correct note you can easily transfer it to the correct octave.
Be patient. Finding individual notes is usually easier and ultimately quicker than trying to work out entire passages - unless you are advanced.
This is also important for beginners: Ensure you remember the correct fret. Use the position markers on the fingerboard as a visual aid.
At first, don’t get caught up in intricacies such as ghost notes, hammer-ons, and other articulations. Go for target notes. You can fine-tune your transcription once you have the skeleton of the line.
It is advisable, even for advanced players, to re-visit the rudiments of transcription, such as listed in this lesson.
To hear well makes us play well.
George Urbaszek
Bass Player and Music Educator
Serving Bass Players Worldwide since 1996
Online Bass Lessons
To transcribe literally means to write down. In music we use the term more loosely to describe the working out or “lifting” parts off recordings.
IMPORTANT ADVICE: If you are having trouble working out individual notes, make sure you stop the recording exactly on the note you are attempting to find. Immediately hum that note. Then look for it on your instrument.
If you are new to transcribing, or lacking in experience, play each neighbouring fret until you find the note you are after (and preferably still humming). That way you are making sure you do not miss the note. (This simple step works wonders for beginners.) Most novices will jump all around the instrument, and usually end up never hitting the right note, often landing just next to it.
It does not matter a lot if you go up or down the fingerboard, because you will eventually find the note when playing every fret. Once you have found the correct note you can easily transfer it to the correct octave.
Be patient. Finding individual notes is usually easier and ultimately quicker than trying to work out entire passages - unless you are advanced.
This is also important for beginners: Ensure you remember the correct fret. Use the position markers on the fingerboard as a visual aid.
At first, don’t get caught up in intricacies such as ghost notes, hammer-ons, and other articulations. Go for target notes. You can fine-tune your transcription once you have the skeleton of the line.
It is advisable, even for advanced players, to re-visit the rudiments of transcription, such as listed in this lesson.
To hear well makes us play well.
George Urbaszek
Bass Player and Music Educator
Serving Bass Players Worldwide since 1996
Online Bass Lessons
Sunday, December 16, 2007
How Important is Fretting-Hand Technique for Playing Bass Guitar?
I am often asked how important the fretting-hand technique is when playing bass guitar. Usually the questions will be in relation to the one-finger-per-fret technique.
About two months ago I had a visit from a 55-year-old (novice) bass player named Rob who had bass lessons from a guitarist for almost one year. Rob developed severe carpel tunnel syndrome and had to have an operation on his fretting hand. His operation was only about a week old when he visited me, and quite frankly, it scared me to see an actual live case displaying the results of incorrect technique. Needless to say, Rob had been using the one-finger-per-fret guitar technique.
This case may be extreme, but there are many more instances of similar gravity. My opinion is "Why stretch if you don't need to." I can go into the finer details of anatomy, etc., but I won't in this this instance. An important thing to consider is that on the bass we usually are required to play mostly within the octave position, i.e. three frets apart. If arpeggio shapes are to be played over four frets, then the one-finger-per fret method is employed.
Do this test:
1. Place the pad of your right-hand thumb on the underside of your left-hand wrist.
2. Stretch your left-hand fingers to simulate the spacing of the four widest frets on the bass.
3. Now relax the fingers to a three-fret spacing and, with your right-hand thumb, feel the difference in your left wrist tension.
What it comes down to is to USE THE TECHNIQUE REQUIRED FOR EACH PARTICULAR CIRCUMSTANCE and not a one-technique-suits-everything approach.
George Urbaszek
Serving Bass Players Worldwide since 1996
Creative Bass Lessons
PS Rob is now taking my online bass lessons and has no problems with his fretting hand.
About two months ago I had a visit from a 55-year-old (novice) bass player named Rob who had bass lessons from a guitarist for almost one year. Rob developed severe carpel tunnel syndrome and had to have an operation on his fretting hand. His operation was only about a week old when he visited me, and quite frankly, it scared me to see an actual live case displaying the results of incorrect technique. Needless to say, Rob had been using the one-finger-per-fret guitar technique.
This case may be extreme, but there are many more instances of similar gravity. My opinion is "Why stretch if you don't need to." I can go into the finer details of anatomy, etc., but I won't in this this instance. An important thing to consider is that on the bass we usually are required to play mostly within the octave position, i.e. three frets apart. If arpeggio shapes are to be played over four frets, then the one-finger-per fret method is employed.
Do this test:
1. Place the pad of your right-hand thumb on the underside of your left-hand wrist.
2. Stretch your left-hand fingers to simulate the spacing of the four widest frets on the bass.
3. Now relax the fingers to a three-fret spacing and, with your right-hand thumb, feel the difference in your left wrist tension.
What it comes down to is to USE THE TECHNIQUE REQUIRED FOR EACH PARTICULAR CIRCUMSTANCE and not a one-technique-suits-everything approach.
George Urbaszek
Serving Bass Players Worldwide since 1996
Creative Bass Lessons
PS Rob is now taking my online bass lessons and has no problems with his fretting hand.
Saturday, December 15, 2007
Online Bass Lessons
Online Bass Lessons is a step-by-step eCourse of bass guitar lessons online, including free bass lessons.
You can subscribe to more than 102 bass guitar lessons online, including free bass lessons at http://www.creativebasslessons.com
Here you will find many free music lessons relating to playing the bass guitar.
Drop into this site often to receive and download your free bass guitar lessons. The first free lessons - also good for guitarists - are on the topic of ear training and how to work out songs off recordings.
Until the next post ... Bass of Luck!
George Urbaszek
Bass Player and Music Educator
Serving Bass Players Worldwide since 1996
You can subscribe to more than 102 bass guitar lessons online, including free bass lessons at http://www.creativebasslessons.com
Here you will find many free music lessons relating to playing the bass guitar.
Drop into this site often to receive and download your free bass guitar lessons. The first free lessons - also good for guitarists - are on the topic of ear training and how to work out songs off recordings.
Until the next post ... Bass of Luck!
George Urbaszek
Bass Player and Music Educator
Serving Bass Players Worldwide since 1996
Subscribe to:
Posts (Atom)
