Contents. Bassic Fundamentals Module 1 Workbook

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Myrtle Doyle
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2 Contents 1-1: Introduction... 4 Lesson 1-2: Practice Tips & Warmups... 5 Lesson 1-3: Tuning... 5 Lesson 1-4: Strings... 5 Lesson 1-6: Notes Of The Fretboard Note Names Fret Markers The 12 th Fret Notes By Fret Marker Accidentals... 7 Lesson 1-7: Major Scales & Keys The Major Scale One Finger Per Fret Descending Scale Exercise (A string) Major & Minor Keys Scale Degrees Lesson 1-8: Intervals Intervals by Basic Scale Degree Interval Pattern Exercise Interval Qualities Lesson 1-9: Minor Scales & Keys The Natural Minor Scale: Natural Minor Descending Exercise Intervals Of The Natural Minor Scale Lesson 1-10: Major & Minor Arpeggios Lesson 1-11: Chord Charts & Symbols Basic Lead Sheet Basic Chord Chart Slash Notation Following a Chord Chart Chord Symbols Slash Chords Chord Symbol Alternatives Chord Symbol Reference Guide

3 Triads: Seventh Chords Added Note Chords Suspended Chords Lesson 1-12: Drums & Drumbeats Parts Of The Drumkit: Counting Exercises Rhythm Exercises (with bass) Locking In With A Drumbeat Pedal Bass Lines Lesson 1-13: Riffs You Really Got Me Walking On The Moon Lesson 1-14: Applying Music Theory Learning New Material Creating Bass Lines Using Individual Chord Tones The Octave The 5th Combining the Octave and 5th th below the Root The 3 rd Complete Arpeggio Lesson 1-15: Chord By Number Scale Degrees Roman Numerals Chord Qualities Chord Progressions Playalong : I vi ii V in C Playalong : I vi ii V in G Popular Chord Progressions Progression: I I IV V Progression: I IV I V Progression: I V vi IV Lesson 1-16: Seventh Chords Major 7 Chord

4 2. Dominant 7 Chord Minor 7 Chord Minor 7 Flat 5 Chord Seventh Chords in a Progression Arpeggio Patterns: Applying Arpeggios To Chord Progression Including The Octave Back To The 5 th : Minor 7 b5 in a Progression New Arpeggio: Working Through The Progression

5 Bassic Fundamentals Module 1 Workbook 1-1: Introduction Welcome to the Bassic Fundamentals course. This course is aimed at providing you with a core foundation of skills and knowledge that will enable you to move smoothly onto any other areas of bass study. Even though the course concentrates on the basic fundamentals of bass guitar and playing, the material is intended for players of any level from beginner to advanced and aims to fill in any holes in that foundation. All players, regardless of ability level, will benefit from re-assessing the basics. The course is split into four main modules: Module 1: The Core Foundation Module 2: Technique Module 3: Bass Tone & Setup Module 4: The Next Step Module 1 deals with a general core foundation of skills and covers all the basic areas of bass knowledge. This includes essential skills such as tuning and restringing the instrument, the basics of music theory and harmony, notes of the fretboard and some important practical tips on warmups, reading chord charts, playing with a drummer and applying theory. Module 2 is much more specific and focuses on individual aspects of technique. This involves putting both the left and right hand under the musical microscope and ironing out any problems. This module also looks at other more expressive areas of technique and effects such as legato, slides, ghost notes, slapping and harmonics. Module 3 is less playing intensive and looks at bass tone, effects and setup. Many different aspects of sound are covered from the impact of playing technique through to pickups, tone controls and effects. There is also a step-by-step guide to bass setup involving adjustment of the truss rod, action, intonation and pickup height. Module 4 looks to the future of your bass playing and practice. There is an introduction to sight reading, tips on practice and use of the metronome, advice on playing in a band and I also set out my R.A.I.S.E approach to bass study. Work through each module in turn and avoid skipping through topics. The course works as a whole and certain lessons will rely on the knowledge gained in earlier videos. 4

6 Lesson 1-2: Practice Tips & Warmups Warmup Routine 1. (If Cold) Physically Warmup - Soak Hands 2. Hand Massage 3. Hand Stretch 4. Hand Shake 5. Play Simple Songs Lesson 1-3: Tuning Quick Guide to Pitch Frequencies of the 4 String Bass (all numbers are in hz): G 98 D 73 A 55 E 41 G# 104 D# 78 A# 58 F 44 A 110 E 82 B 62 F# 46 A# 110 F 87 C 65 G 49 B 123 F# 92 C# 69 G# 52 C 131 G 98 D 73 A 55 C# 139 G# 104 D# 78 A# 58 D 147 A 110 E 82 B 62 D# 156 A# 110 F 87 C 65 E 165 B 123 F# 92 C# 69 F 175 C 131 G 98 D 73 F# 185 C# 139 G# 104 D# 78 G 196 D 147 A 110 E G# 208 D# 156 A# 110 F 87 A 220 E 165 B 123 F# 92 A# 233 F 175 C 131 G 98 B 247 F# 185 C# 139 G# 104 C 262 G 196 D 147 A 110 C# 277 G# 208 D# 156 A# 110 D 294 A 220 E 165 B 123 D# 311 A# 233 F 175 C 131 E 330 B 247 F# 185 C# 139 F 349 C 262 G 196 D 147 F# 370 C# 277 G# 208 D# 156 G 392 D 294 A 220 E 165 Lesson 1-4: Strings The scale length of a bass guitar is measured from the bridge saddles to the nut: 5

7 Lesson 1-6: Notes Of The Fretboard 1. Note Names The notes we use in general Western music follow the alphabetic sequence of A, B, C, D, E, F, G. There is a distance of a Whole Step (2 frets) between most of these notes with the exception of B to C and E to F. These notes are separated by a Half Step (1 fret). This order of notes and the respective whole step/half step distances can be seen on an A string as follows: Time: 00:49 2. Fret Markers The fret markers of the bass occur at the 3 rd, 5 th, 7 th and 9 th frets. A double fret marker is placed at the 12 th fret: Time: 02:17 Fret Markers: 3 rd 5 th 7 th 9 th 12th 3. The 12 th Fret The 12 th fret is a repeat of the notes at the open string, an octave higher: Time: 02:56 6

The fret markers beyond the 12 th fret are a simple repeat of those below the 12 th fret. So by learning the notes below the 12 th fret we are also learning those above: Time: 03:13 4.

E to E: Time: 07:26 5. Accidentals If the note has no flat or sharp it is a Natural Note. Sharp and flat notes are referred to as Accidentals.

8 The fret markers beyond the 12 th fret are a simple repeat of those below the 12 th fret. So by learning the notes below the 12 th fret we are also learning those above: Time: 03:13 4. Notes By Fret Marker We can use the fret markers as a guide in learning the notes on the neck: Time: 3:47 If we include the open E string and low F (1 st fret) we have the following set of notes from E to E: Time: 07:26 5. Accidentals If the note has no flat or sharp it is a Natural Note. Sharp and flat notes are referred to as Accidentals. C, D, E, F, G, A and B are all Natural Notes C#, D#, F#, G#, A#, Db, Eb, Gb, Ab and Bb are all Accidentals Accidentals are created as follows: Sharp Notes are notes a half step (one fret) above a natural note. Flat Notes are notes a half step (one fret) below a natural note. 7

9 Time: 23:44 All accidentals can be either a sharp or flat depending on the context. If we look at the sharp notes based on our fret marker notes we have the following set of notes: If we look at the flat notes based on the fret marker notes we find the following: Notice how these are the same notes on the same frets but the labels are different depending on whether we want sharps or flats. Separate Fret Marker Exercise sheets and the accompanying backing tracks are included with this Workbook. See Download. 8

The following sequence is known as the C Major Scale: C D E F G A B The most popular way to play a Major Scale on

10 Lesson 1-7: Major Scales & Keys 1. The Major Scale A Scale is a sequence of notes in alphabetic order from a note to its octave. The following sequence is known as the C Major Scale: C D E F G A B The most popular way to play a Major Scale on bass is as follows: Time: 01:45 2. One Finger Per Fret A finger can be assigned to each fret in order as follows: Time: 03:23 We can apply this one finger per fret system to the Major Scale as follows: Time: 04:12 9

11 This fingering pattern/fretboard shape can be moved around the neck allowing us to play any scale we require: Time: 05:35 D Major: Time: 06:59 G Major 10

12 Time: 07:07 Ab Major 3. Descending Scale Exercise (A string) Time: 08:06 11

13 Note: The same exercise can be performed working down the E string. 4. Major & Minor Keys Time: 09:53 Scales are used as a general palette of notes when playing in a particular key. In the key of C major we would use the C major scale, in the key of G major we use the G Major scale etc. In terms of the sound, Major keys tend to be happy, minor keys tend to be sad. However, this is a very general rule of thumb. 5. Scale Degrees All notes in a scale can be numbered. The notes of C major would be labelled as follows: Time: 11: C D E F G A B 12

14 Lesson 1-8: Intervals 1. Intervals by Basic Scale Degree The basic Interval patterns are originally derived from the scale degrees of the Major Scale: Time: 00:07 Each interval pattern can also be seen in isolation: Time: 04:21 2 nd 3rd 4 th 5th 6 th 7th Octave 13

15 Once you have the intervals memorised you can start to see everything you play as a combination of intervals. For example the following bassline could be seen as the intervals : Time: 07: Interval Pattern Exercise Play each interval descending, 1 fret at a time, from the 12 th fret of the A string. Provided example is the Perfect 5 th pattern but all other intervals follow the same process of moving down the fretboard one fret at a time: Time: 09:10 3. Interval Qualities The simple interval numbers only cover 7 different measurements. If we want to label any other distances we need to understand interval qualities. All intervals have a number and a quality. The first intervals to learn are those we ve already covered, the intervals derived from the Major Scale. The Intervals of the Major Scale are as follows: Time: 13:12 Perfect 1 st (Also called the Unison) Major 2 nd Major 3 rd Perfect 4 th Perfect 5 th Major 6 th Major 7 th Perfect Octave The best way to learn these patterns is by remembering that, in a Major Scale, the 1 st, 4 th and 5 th are all perfect and the rest are Major. 14

16 Therefore, these intervals built from a root note of C would be as follows: C to C : Perfect Unison C to D : Major 2 nd C to E : Major 3 rd C to F: Perfect 4 th C to G : Perfect 5 th C to A : Major 6 th C to B: Major 7 th C to C : Perfect Octave The fretboard patterns would be as follows: Time: 15:01 `` Major 2 nd Major 3rd Perfect 4 th Perfect 5th Major 6 th Major 7th Perfect Octave 15

17 Lesson 1-9: Minor Scales & Keys 1. The Natural Minor Scale: Time: 0:48 C Natural Minor Scale Try moving the pattern around the neck. Here we have a D Natural Minor scale: Time: 02:58 D Natural Minor Scale 16

18 And here we have a G Natural Minor Scale: Time: 3:14 G Natural Minor Scale 2. Natural Minor Descending Exercise Practice the same descending exercise we played with the Major scale, but using the Natural Minor scale. Start at A, 12 th fret of the A string and work down the fretboard, one fret at a time. etc 17

19 3. Intervals Of The Natural Minor Scale Major 2 nd Minor 3 rd Perfect 4 th Perfect 5 th Minor 6 th Minor 7th Perfect Octave 18

Lesson 1-10: Major & Minor Arpeggios Arpeggios are simply chords played one note at a time. The two most common arpeggios are those of the Major and Minor triads.

20 Lesson 1-10: Major & Minor Arpeggios Arpeggios are simply chords played one note at a time. The two most common arpeggios are those of the Major and Minor triads. Here we have a C Major Arpeggio: Time: 02:38 C Major Arpeggio Here we have a C Minor Arpeggio: Time: 06:46 C Minor Arpeggio Exercise: Practice moving these patterns around the fretboard and use the descending exercise we used with the scales and interviews Move the shape down the fretboard from the 12 th fret of the A string. 19

21 Lesson 1-11: Chord Charts & Symbols 1. Basic Lead Sheet This chart includes the chords and the melody in standard notation: Time: 0:27 2. Basic Chord Chart This chart provides only the chords. No melody: Time: 1:22 20

22 3. Slash Notation The chart displays the chords but we also have slash notation to outline the beats. Here we have 4 beats to a bar so we also have 4 slashes to a bar. Each slash represents a beat: Time: 1:37 4. Following a Chord Chart Try following along with the chords in this chart: Time: 03:42 SWING 21

23 5. Chord Symbols Every chord symbol is divided into 2 parts: The Root Note and the Chord Quality. The chord C Maj7 has a root note of C and a Major 7 chord quality. We can easily play through a chord chart by simply sticking to the root notes. Try playing through the following chord chart: Time: 06:11 6. Slash Chords Slash chords contain a bass note different to the root note of the chord. As bass players we have to play the bass note specified. So in the chord Cmaj7/E we would play the E. Play along with the following progression: Time: 9:00 7. Chord Symbol Alternatives Nearly every chord can be written differently depending on the style, composer or arranger. In some instances shapes are used. The most common are: Δ Major - Minor + Augmented Diminished 22

24 Triads: Chord Symbol Reference Guide C Major C, CMaj, CM, CΔ, C Minor Cm, Cmin, C- C Augmented Caug, C+ C Diminished Cdim, C Seventh Chords C Major 7 CMaj7, CM7, CΔ7 C7 C7 C Minor 7 Cm7, Cmin7, C-7 C Minor (Major7) Cm(Maj7), C-( Δ7) C Major 7#5 CMaj7#5, CΔ7#5, CΔ7+ C 7#5 C7#5, C7+, C+7, Caug7 C Minor 7b5 Cm7b5, C-7b5, CØ C Diminished 7 Cdim7, C 7 Added Note Chords C6 Cadd9 C6/9 Cm6 Cm add9 Cm6/9 Suspended Chords Csus4 Csus2 23

Snare: This drum creates a loud crack made

25 Lesson 1-12: Drums & Drumbeats 1. Parts Of The Drumkit: The Complete Kit The Bass Drum This has a low pitch sound made by pressing the pedal with the foot: The Snare: This drum creates a loud crack made by striking with a stick, usually in the left hand. 24

Tom-Toms These drums have a medium to low pitch sound make by striking with a stick in either or both hands Hi Hat This cymbal creates a sizzle sound used in keeping time,

26 Tom-Toms These drums have a medium to low pitch sound make by striking with a stick in either or both hands Hi Hat This cymbal creates a sizzle sound used in keeping time, usually struck with a stick in the right hand. Ride Cymbal This cymbal has a ringing sound and is also used to fill out the time, usually stuck with a stick in the right hand. 25

27 2. Counting Exercises Exercise #1 (Time: 10:56) Exercise #2 (Time: 11:06) Exercise #3 (Time: 11:13) Exercise #3 (Time: 11:49) Count only beat 1 of the bar eg etc Count on each beat etc. As Exercise #2 but tap the foot. Count 1 and 2 and 3 and 4 and Be sure to concentrate on both the beat, your foot tap and your count equally. This helps to internalise the pulse. 3. Rhythm Exercises (with bass) Pluck on the red beat and hold Exercise #1: Count (count aloud) (Time: 14:50) Pluck Foot Exercise #2: Count (count silently) (Time: 15:14) Pluck Foot Exercise #3: Count 1 and 2 and 3 and 4 and (count both aloud and silently) (Time: 15:33) Pluck Foot Exercise #4: Count (count silently) (Time: 17:50) Pluck Foot Exercise #5: Count 1 and 2 and 3 and 4 and (Time: 18:44) Pluck Foot Exercise #6: Count 1 and 2 and 3 and 4 and (Time: 19:28) Pluck 1 and 2 and 3 and 4 and Foot Exercise #7: Count (Time: 21:01) Pluck 1 and 2 and 3 and 4 and Foot

28 4. Locking In With A Drumbeat Time: 24:04 Bass Drum Pattern #1: 1 and 2 and 3 and 4 and Time: 29:44 Bass Drum Pattern #2: 1 and 2 and 3 and 4 and Time: 31:42 Bass Drum Pattern #2: 1 and 2 and 3 and 4 and 5. Pedal Bass Lines Pedal bass lines are made up of straight 8 th notes and give a very driving feel. Time: 34:36 27

29 1. You Really Got Me Time: 2:55 Lesson 1-13: Riffs 2. Walking On The Moon Time: 7:54 28

30 Lesson 1-14: Applying Music Theory 1. Learning New Material The first and most useful application of music theory is that of simple communication. The following riff is taken from the song In The Midnight Hour by Wilson Pickett: Time: 0:36 The riff can be described in terms of frets: Open E string, fourth fret E string, seventh fret E string, fifth fret of the E string, 4 th fret of the A string and seventh fret of the A string But it would be quicker to describe as note names: E G# B, A C# E Or even quicker in terms of the arpeggios: E Major and A Major Having a good knowledge of scales, arpeggios and intervals gives you a set of identifiable patterns that you can recognise in the music that you learn. This makes learning new material much more quickly. 2. Creating Bass Lines The following examples will all use the following basic chord progression: First we can double the Root Notes: Time: 04:49 C - G - Am - F 29

31 Here are the arpeggios for each chord (Time 7:09): C Major G Major A Minor F Major 30

32 3. Using Individual Chord Tones The Octave (Time: 10:14) The 5th (Time: 11:41) Combining the Octave and 5th (Time: 13:28) 31

33 5 th below the Root (Time: 14:17) The 3 rd (Time: 15:32) Complete Arpeggio (Time: 17:00) 32

34 Lesson 1-15: Chord By Number 1. Scale Degrees The chord numbers are based on the degrees of a scale. In C major we have the following scale degrees: Time:1:27 This gives us the following chord sequence: Time: 1:46 Chord 1: C Chord 2: D Chord 3: E Chord 4: F Chord 5: G Chord 6: A Chord 7: B 2. Roman Numerals When referring to chords within a key, the numbers are often written as Roman Numerals as follows: Time: 2:11 Chord I Chord II Chord III Chord IV Chord V Chord VI Chord VII 33

35 3. Chord Qualities The sequence of chord qualities in a major key are as follows: Time: 2:27 Chord 1 Major Chord 2 Minor Chord 3 Minor Chord 4 Major Chord 5 Major Chord 6 Minor Chord 7 Diminished Using this sequence we can work out the chord qualities for any key. The chords in the key of C Major are as follows: Time: 2:59 C Major D Minor E Minor F Major G Major A Minor B Diminished Tip: Chords 1, 4 and 5 are major. The rest are minor except chord 7 which is diminished (the odd one out) Using the sequence of chords in a major key we can move to other keys. The chords in the key of G Major would be as follows: Time: 3:59 G Major A Minor B Minor C Major D Major E Minor F# Diminished 4. Chord Progressions Once we ve memorised the chords in a key we can refer to chord progressions by number. The popular 1625 (I-vi-ii-V) progression in C Major would be as follows: Time:6:43 I vi ii V C Am Dm G 34

36 Playalong : I vi ii V in C Time: 8:08 If we transpose this progression to G Major we have the following: Time: 8:43 Playalong : I vi ii V in G Time: 10:56 I vi ii V G Em Am D 5. Popular Chord Progressions Progression: I I IV V Time: 14:48 In the key of C Major: C C F G 35

37 Progression: I IV I V Time: 15:25 In the key of C Major: C F C G In the key of F Major: F Bb F C Time: 16:09 Progression: I V vi IV Time: 17:21 In the key of Ab Major: Ab Eb Fm Db 36

38 1. Major 7 Chord Time:0:46 Lesson 1-16: Seventh Chords CMaj7 2. Dominant 7 Chord Time: 2:53 C7 37

39 3. Minor 7 Chord Time: 4:31 Cm7 4. Minor 7 Flat 5 Chord Time: 5:36 Cm7b5 5. Seventh Chords in a Progression Time: 7:13 Progression : I vi ii V in C Cmaj7 Am7 Dm7 G7 38

40 Arpeggio Patterns: Time: 7:27 CMaj7 Am7 39

41 Dm7 G7 Applying Arpeggios To Chord Progression Time: 8:08 40

42 Including The Octave Time: 9:28 Back To The 5 th : Time: 9:59 6. Minor 7 b5 in a Progression Time: 10:35 New Arpeggio: Time: 10:59 Progression #2 : I vi ii V in C Minor Cmaj7 Am7 Dm7b5 G7 Dm7b5 41

Beginner s Course Workbook

Begi nner s Cour se Lesson W or kbook Beginner s Course Workbook Lesson #1: Absolute Basics Anatomy Of The Bass Guitar The following diagram gives an overview of the three main parts of the bass guitar.