| Foreword |
|
xiii | |
| Introduction |
|
1 | (6) |
|
|
|
1 | (2) |
|
|
|
3 | (1) |
|
|
|
4 | (1) |
|
|
|
4 | (1) |
|
|
|
5 | (2) |
|
Part I Getting Started with the Bass Guitar |
|
|
7 | (60) |
|
Chapter 1 The Very Basics of Bass |
|
|
9 | (12) |
|
Discovering the Differences between the Bass and Its High-Strung Cousins |
|
|
9 | (1) |
|
Understanding the Bass Player's Function in a Band |
|
|
10 | (2) |
|
Forging the link between harmony and rhythm |
|
|
10 | (1) |
|
|
|
11 | (1) |
|
|
|
11 | (1) |
|
|
|
12 | (1) |
|
|
|
12 | (1) |
|
Dissecting the Anatomy of a Bass Guitar |
|
|
12 | (3) |
|
|
|
13 | (1) |
|
|
|
14 | (1) |
|
|
|
15 | (1) |
|
On a Need-to-Know "Basses": Gearing Up to Play Bass |
|
|
15 | (2) |
|
Coordinating your right and left hands |
|
|
16 | (1) |
|
Mastering major and minor chord structures |
|
|
16 | (1) |
|
|
|
16 | (1) |
|
Combining scales and chords |
|
|
16 | (1) |
|
Playing Grooves, Solos, and Fills |
|
|
17 | (1) |
|
Creating grooves and riffs |
|
|
17 | (1) |
|
Treating yourself and your audience to solos and fills |
|
|
17 | (1) |
|
Experimenting with Different Musical Genres |
|
|
18 | (1) |
|
Stocking Up on Some Bass Gear |
|
|
19 | (1) |
|
|
|
19 | (1) |
|
|
|
20 | (1) |
|
|
|
20 | (1) |
|
Giving Your Bass Some Good Ol' TLC |
|
|
20 | (1) |
|
Chapter 2 Gaining the Tools and Skills to Play |
|
|
21 | (36) |
|
Getting a Handle on Your Bass |
|
|
21 | (1) |
|
|
|
22 | (4) |
|
Strapping on your bass: Strings to the outside |
|
|
23 | (1) |
|
Voila! Standing with your bass |
|
|
24 | (1) |
|
|
|
25 | (1) |
|
Placing Your Hands in the Proper Position |
|
|
26 | (7) |
|
Positioning your left hand |
|
|
26 | (1) |
|
Positioning your right hand |
|
|
27 | (6) |
|
Reading a Fingerboard Diagram |
|
|
33 | (8) |
|
The language of music: Scales and chords |
|
|
34 | (2) |
|
Viewing a diagram of the major and minor scales |
|
|
36 | (1) |
|
Playing open-string scales |
|
|
37 | (1) |
|
Finding the notes on the neck |
|
|
37 | (2) |
|
Identifying intervals: They're always in the same place |
|
|
39 | (2) |
|
|
|
41 | (12) |
|
Reference pitch sources to use when playing alone |
|
|
41 | (2) |
|
Reference pitch sources to use when playing with others |
|
|
43 | (3) |
|
Tuning the bass guitar to itself |
|
|
46 | (7) |
|
Playing a Song on Your Bass Guitar |
|
|
53 | (4) |
|
Making some noise with the open strings |
|
|
54 | (1) |
|
|
|
55 | (2) |
|
Chapter 3 Warming Up: Getting Your Hands in Shape to Play |
|
|
57 | (10) |
|
Understanding the Sound Your Bass Makes |
|
|
57 | (1) |
|
Performing Right-Hand Warm-Ups |
|
|
58 | (5) |
|
Right-hand same-string strokes |
|
|
59 | (1) |
|
Controlling the strength in your striking hand: Right-hand accents |
|
|
60 | (2) |
|
Skating across the strings: Right-hand string crossing |
|
|
62 | (1) |
|
Coordinating Your Left Hand with Your Right Hand |
|
|
63 | (4) |
|
Doing finger permutations |
|
|
63 | (2) |
|
Muting the strings to avoid the infamous hum |
|
|
65 | (1) |
|
|
|
65 | (2) |
|
Part II The Bass-ics of Playing |
|
|
67 | (60) |
|
Chapter 4 Reading, 'Riting, and Rhythm |
|
|
69 | (22) |
|
Reading Notation: No Pain, Much Gain |
|
|
69 | (4) |
|
Chord notation: The chord chart |
|
|
70 | (1) |
|
Music notation: Indicating rhythm and notes |
|
|
70 | (1) |
|
Tablature notation: Showing strings, frets, and sequence |
|
|
71 | (2) |
|
The vocal chart: Using lyrics and chords for a singer or songwriter |
|
|
73 | (1) |
|
Finding Any Note in Any Octave |
|
|
73 | (5) |
|
Using the Metronome: You Know, That Tick-Tock Thing |
|
|
78 | (1) |
|
|
|
78 | (1) |
|
|
|
79 | (1) |
|
Dividing Music into Phrases, Measures, and Beats |
|
|
79 | (5) |
|
|
|
80 | (1) |
|
|
|
81 | (1) |
|
|
|
81 | (1) |
|
|
|
81 | (1) |
|
|
|
82 | (1) |
|
|
|
82 | (1) |
|
|
|
82 | (1) |
|
|
|
83 | (1) |
|
|
|
83 | (1) |
|
Discovering How to Read Music |
|
|
84 | (5) |
|
|
|
84 | (1) |
|
|
|
85 | (1) |
|
What comes up must come down |
|
|
86 | (3) |
|
Playing Your First Song While Reading Music |
|
|
89 | (2) |
|
Chapter 5 Understanding Major and Minor Structures |
|
|
91 | (36) |
|
Building Major and Minor Scales |
|
|
92 | (3) |
|
|
|
93 | (1) |
|
|
|
94 | (1) |
|
Building Chords: One Note at a Time, Please |
|
|
95 | (8) |
|
Triads: The three most important notes of a chord |
|
|
95 | (6) |
|
7th chords: Filling out the triad |
|
|
101 | (1) |
|
Getting your kicks with boogie licks |
|
|
102 | (1) |
|
Inversions: Down Is Up, and Up Is Down |
|
|
103 | (4) |
|
|
|
104 | (1) |
|
|
|
105 | (2) |
|
Spicing Up Your Sound: The Seven Main Modes (Scales) |
|
|
107 | (6) |
|
Using Chromatic Tones: All the Other Notes |
|
|
113 | (3) |
|
Chromatic tones within the box |
|
|
113 | (1) |
|
Chromatic tones outside the box |
|
|
114 | (2) |
|
Bringing a Groove to Life with Dead Notes (Weird but True) |
|
|
116 | (2) |
|
Playing dead --- notes, that is |
|
|
116 | (1) |
|
|
|
117 | (1) |
|
|
|
118 | (9) |
|
Using your accompaniments in a tune |
|
|
122 | (1) |
|
Keeping your groove gloriously ambiguous |
|
|
123 | (4) |
|
Part III Making the Moves, Creating the Grooves |
|
|
127 | (56) |
|
Chapter 6 Creating the Groove |
|
|
129 | (38) |
|
Anatomy of a Groove: Putting Together the Necessary Elements |
|
|
129 | (7) |
|
Getting your groove skeleton out of the closet |
|
|
130 | (2) |
|
Playing a song using only the groove skeleton |
|
|
132 | (1) |
|
Choosing the right notes for a groove |
|
|
133 | (3) |
|
|
|
136 | (18) |
|
Covering the "basses": Creating dominant, minor, and major grooves |
|
|
136 | (9) |
|
|
|
145 | (1) |
|
Movin' and groovin' from chord to chord |
|
|
146 | (5) |
|
Finding the perfect fit: The designer groove |
|
|
151 | (3) |
|
|
|
154 | (2) |
|
|
|
154 | (1) |
|
|
|
154 | (1) |
|
|
|
155 | (1) |
|
Jammin' with Other Musicians |
|
|
156 | (6) |
|
|
|
157 | (1) |
|
|
|
157 | (3) |
|
|
|
160 | (2) |
|
Getting Creative with Existing Grooves |
|
|
162 | (5) |
|
Altering a (famous) groove |
|
|
163 | (2) |
|
|
|
165 | (2) |
|
Chapter 7 Going Solo: Playing Solos and Fills |
|
|
167 | (16) |
|
Soloing: Your Moment to Shine |
|
|
167 | (9) |
|
Playing with the blues scale: A favorite solo spice |
|
|
168 | (1) |
|
Jamming with the minor pentatonic scale: No wrong notes |
|
|
169 | (4) |
|
Using the major pentatonic scale: Smooth as can be |
|
|
173 | (1) |
|
Moving from chord to chord |
|
|
174 | (2) |
|
Creating Fills without Any Help from Your Dentist |
|
|
176 | (7) |
|
A match made in heaven: Connecting your fill to the groove |
|
|
177 | (1) |
|
|
|
177 | (6) |
|
Part IV Using the Correct Accompaniment for Each Genre |
|
|
183 | (124) |
|
Chapter 8 Rock On! Getting Down with the Rock Styles |
|
|
185 | (18) |
|
Rock `n' Roll: It's The Attitude! |
|
|
186 | (5) |
|
Hard Rock: Going at It Fast and Furious |
|
|
191 | (2) |
|
Pop Rock: Supporting the Vocals |
|
|
193 | (3) |
|
Blues Rock: Doin' What "Duck" Does and Playing a Countermelody |
|
|
196 | (3) |
|
Country Rock: Where Vocals Are King, and You Take a Back Seat |
|
|
199 | (2) |
|
One Rock Fits All: Applying a Standard Rock Groove to Any Rock Song |
|
|
201 | (2) |
|
Chapter 9 Swing It! Playing Styles That Rely on the Triplet Feel |
|
|
203 | (18) |
|
Swing: Grooving Up-Tempo with Attitude |
|
|
204 | (1) |
|
|
|
205 | (9) |
|
|
|
207 | (4) |
|
Applying a jazz blues walking pattern |
|
|
211 | (3) |
|
Blues Shuffle: Walking Like Donald Duck (Dunn, That Is) |
|
|
214 | (4) |
|
Funk Shuffle: Combining Funk, Blues, and Jazz |
|
|
218 | (3) |
|
Chapter 10 Making It Funky: Playing Hardcore Bass Grooves |
|
|
221 | (16) |
|
R & B: Movin' to Rhythm and Blues |
|
|
221 | (4) |
|
The Motown Sound: Grooving with the Music of the Funk Brothers |
|
|
225 | (1) |
|
Fusion: Blending Two Styles into One |
|
|
226 | (3) |
|
Funk: Light Fingers, Heavy Attitude |
|
|
229 | (4) |
|
Hip-Hop: Featuring Heavy Funk with Heavy Attitude |
|
|
233 | (1) |
|
Knowing What to Do When You Just Want to Funkifize a Tune |
|
|
234 | (3) |
|
Chapter 11 Sampling International Flavors: Bass Styles from Around the World |
|
|
237 | (18) |
|
Bossa Nova: Baskin' in a Brazilian Beat |
|
|
237 | (2) |
|
Samba: Speeding Up with Bossa's Fast Cousin |
|
|
239 | (1) |
|
Afro-Cuban: Ordering Up Some Salsa (Hold the Chips, Please) |
|
|
240 | (2) |
|
Reggae: Relaxing with Offbeat "Riddims" |
|
|
242 | (3) |
|
Calypso Party Sounds: Dancing through the Groove |
|
|
245 | (1) |
|
Combining Reggae and Rock: The Distinct Sound of Ska |
|
|
246 | (2) |
|
African Grooves: Experimenting with Exotic Downbeat Grooves |
|
|
248 | (4) |
|
Grooving on a steady beat, South African-style |
|
|
248 | (1) |
|
Checking out the bass groove styles from Cameroon |
|
|
249 | (3) |
|
Music without Borders: Grooving to the World Beat |
|
|
252 | (3) |
|
Chapter 12 Playing in Odd Meters: Not Strange, Just Not the Norm |
|
|
255 | (16) |
|
An Odd-Meter Oldie but Goodie: The Waltz |
|
|
255 | (2) |
|
Beyond the Waltz: Navigating Beats in Odd Meter |
|
|
257 | (9) |
|
5/4 meter: Not an impossible mission |
|
|
258 | (3) |
|
Take a groove you know and make it grow |
|
|
261 | (1) |
|
7/4 meter: Adding two more beats |
|
|
262 | (4) |
|
Complex Simplicity: Syncopation and Subdivision |
|
|
266 | (5) |
|
|
|
267 | (1) |
|
|
|
267 | (1) |
|
|
|
268 | (3) |
|
Chapter 13 Groovin' in a Genre: It's All About Style! |
|
|
271 | (16) |
|
Playing Grooves in Each Genre: One Simple Song, Many Genres Strong |
|
|
272 | (10) |
|
Pop: Backing up the singer-songwriter |
|
|
273 | (1) |
|
Rocking by the quarter or eighth note |
|
|
273 | (1) |
|
R & B/Soul, with or without the dot |
|
|
274 | (4) |
|
|
|
278 | (1) |
|
Layin' down some Latin grooves |
|
|
279 | (1) |
|
When you're feelin' blue, shuffle |
|
|
280 | (2) |
|
To Blend or Not to Blend: Knowing How to Fit In |
|
|
282 | (5) |
|
Just blending in: How to do it |
|
|
283 | (1) |
|
The bold and the beautiful: Creating a bold groove |
|
|
283 | (1) |
|
Blending and bolding by genre |
|
|
284 | (1) |
|
Signing off with a flourish |
|
|
285 | (2) |
|
Chapter 14 Eight Degrees of Separation: The Beatles' Solution |
|
|
287 | (20) |
|
Playing Your Rhythm Straight or Syncopated |
|
|
288 | (4) |
|
|
|
288 | (1) |
|
Syncopating the bass beat |
|
|
289 | (3) |
|
|
|
292 | (15) |
|
Feeling fine (with roots and 5ths) |
|
|
292 | (2) |
|
|
|
294 | (3) |
|
Coming together to move with the groove |
|
|
297 | (1) |
|
Day-tripping in perfect agreement: Unison |
|
|
297 | (4) |
|
Playing something to counter the melody with |
|
|
301 | (1) |
|
Inverting while your bass gently weeps |
|
|
302 | (5) |
|
Part V Buying and Caring for Your Bass |
|
|
307 | (44) |
|
Chapter 15 Love of a Lifetime or One-Night Stand? Buying the Right Bass |
|
|
309 | (10) |
|
Assessing Your Needs Before You Buy |
|
|
309 | (4) |
|
Thinking long-term: Moving in together |
|
|
310 | (1) |
|
Thinking short-term: Help me make it through the night |
|
|
311 | (1) |
|
How many strings are too many? |
|
|
311 | (1) |
|
|
|
312 | (1) |
|
Needs Are One Thing ... Budget Is Quite Another |
|
|
313 | (1) |
|
A Trip to the Bass-Mint: Where to Shop for Your Bass Guitar |
|
|
314 | (3) |
|
|
|
314 | (2) |
|
|
|
316 | (1) |
|
Visiting online shops and individual online ads |
|
|
316 | (1) |
|
When Money Is No Object: Getting a Custom-Made Bass |
|
|
317 | (2) |
|
Chapter 16 Getting the Right Gear for Your Bass Guitar |
|
|
319 | (10) |
|
Making Yourself Heard: A Primer on Amplifiers and Speakers |
|
|
319 | (4) |
|
Going with a combo or separate amp and speaker |
|
|
320 | (1) |
|
Opting for solid state or tubes |
|
|
321 | (1) |
|
|
|
321 | (1) |
|
|
|
322 | (1) |
|
Needs, Wants, and Nonessentials: Rounding Out Your Equipment |
|
|
323 | (6) |
|
Must-haves: Cases, gig bags, and more |
|
|
323 | (2) |
|
Definite maybes: Useful effects, gadgets, and practice items |
|
|
325 | (2) |
|
|
|
327 | (2) |
|
Chapter 17 Changing the Strings on Your Bass Guitar |
|
|
329 | (10) |
|
Knowing When It's Time to Say Goodbye |
|
|
330 | (1) |
|
Off with the Old: Removing Bass Strings |
|
|
330 | (2) |
|
On with the New: Restringing Your Bass |
|
|
332 | (6) |
|
Ensuring a Long Life for Your Strings |
|
|
338 | (1) |
|
Chapter 18 Keeping Your Bass in Shape: Maintenance and Light Repair |
|
|
339 | (12) |
|
Cleaning Your Bass, Part by Part |
|
|
339 | (3) |
|
|
|
340 | (1) |
|
|
|
340 | (1) |
|
|
|
340 | (1) |
|
|
|
341 | (1) |
|
|
|
341 | (1) |
|
Making Minor Repairs to Your Bass |
|
|
342 | (2) |
|
The taming of the screw(s) |
|
|
342 | (1) |
|
Taking care of the finish |
|
|
343 | (1) |
|
Leaving the electronics to the experts |
|
|
343 | (1) |
|
Adjusting the Bass Guitar |
|
|
344 | (4) |
|
Providing relief to the truss rod |
|
|
344 | (2) |
|
Raising and lowering the bridge |
|
|
346 | (2) |
|
Assembling a Cleaning and Repair Tool Bag |
|
|
348 | (1) |
|
|
|
349 | (2) |
|
|
|
351 | (12) |
|
Chapter 19 Ten Innovative Bassists You Should Know |
|
|
353 | (4) |
|
|
|
353 | (1) |
|
|
|
354 | (1) |
|
|
|
354 | (1) |
|
|
|
354 | (1) |
|
|
|
354 | (1) |
|
|
|
355 | (1) |
|
|
|
355 | (1) |
|
|
|
355 | (1) |
|
|
|
356 | (1) |
|
|
|
356 | (1) |
|
Chapter 20 Ten Great Rhythm Sections (Bassists and Drummers) |
|
|
357 | (6) |
|
Bootsy Collins and Jab'o Starks |
|
|
357 | (1) |
|
Donald "Duck" Dunn and Al Jackson Jr |
|
|
358 | (1) |
|
James Jamerson and Benny Benjamin |
|
|
358 | (1) |
|
John Paul Jones and John Bonham |
|
|
359 | (1) |
|
Joe Osborn and Hal Blaine |
|
|
359 | (1) |
|
Jaco Pastorius and Peter Erskine |
|
|
360 | (1) |
|
George Porter Jr. and Zig Modeliste |
|
|
360 | (1) |
|
Francis Rocco Prestia and David Garibaldi |
|
|
361 | (1) |
|
Chuck Rainey and Bernard Purdie |
|
|
361 | (1) |
|
Robbie Shakespeare and Sly Dunbar |
|
|
362 | (1) |
| Appendix: Audio Tracks and Video Clips |
|
363 | (14) |
| Index |
|
377 | |
