| Foreword |
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xv | |
| Introduction |
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1 | (6) |
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1 | (2) |
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3 | (1) |
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4 | (1) |
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4 | (1) |
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5 | (2) |
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PART 1 GETTING STARTED WITH THE BASS GUITAR |
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7 | (62) |
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Chapter 1 The Very Basics of Bass |
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9 | (12) |
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Discovering the Differences between the Bass and Its High-Strung Cousins |
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9 | (1) |
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Understanding the Bass Player's Function in a Band |
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10 | (2) |
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Forging the link between harmony and rhythm |
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11 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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12 | (1) |
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Dissecting the Anatomy of a Bass Guitar |
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12 | (3) |
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13 | (1) |
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14 | (1) |
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15 | (1) |
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On a Need-to-Know "Basses": Gearing Up to Play Bass |
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15 | (2) |
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Coordinating your right and left hands |
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16 | (1) |
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Mastering major and minor chord structures |
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16 | (1) |
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16 | (1) |
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Combining scales and chords |
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16 | (1) |
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Playing Grooves, Solos, and Fills |
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17 | (1) |
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Creating grooves and riffs |
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17 | (1) |
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Treating yourself and your audience to solos and fills |
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17 | (1) |
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Experimenting with Different Musical Genres |
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18 | (1) |
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Stocking Up on Some Bass Gear |
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19 | (1) |
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19 | (1) |
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19 | (1) |
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20 | (1) |
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Giving Your Bass Some Good 01' TLC |
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20 | (1) |
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Chapter 2 Gaining the Tools and Skills to Play |
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21 | (36) |
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Getting a Handle on Your Bass |
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21 | (1) |
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22 | (3) |
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Strapping on your bass: Strings to the outside |
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23 | (1) |
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Voila! Standing with your bass |
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23 | (1) |
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24 | (1) |
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Placing Your Hands in the Proper Position |
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25 | (8) |
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Positioning your left hand |
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25 | (2) |
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Positioning your right hand |
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27 | (6) |
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Reading a Fingerboard Diagram |
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33 | (8) |
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The language of music: Scales and chords |
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33 | (3) |
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Viewing a diagram of the major and minor scales |
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36 | (1) |
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Playing open-string scales |
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37 | (1) |
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Finding the notes on the neck |
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37 | (2) |
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Identifying intervals: They're always in the same place |
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39 | (2) |
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41 | (12) |
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Reference pitch sources to use when playing alone |
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41 | (2) |
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Reference pitch sources to use when playing with others |
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43 | (2) |
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Tuning the bass guitar to itself |
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45 | (8) |
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Playing a Song on Your Bass Guitar |
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53 | (4) |
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Making some noise with the open strings |
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53 | (1) |
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54 | (3) |
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Chapter 3 Warming Up: Getting Your Hands in Shape to Play |
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57 | (12) |
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Understanding the Sound Your Bass Makes |
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58 | (1) |
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Performing Right-Hand Warm-Ups |
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58 | (5) |
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Right-hand same-string strokes |
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59 | (2) |
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Controlling the strength in your striking hand: Right-hand accents |
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61 | (1) |
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Skating across the strings: Right-hand string crossing |
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62 | (1) |
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Coordinating Your Left Hand with Your Right Hand |
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63 | (6) |
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Doing finger permutations |
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64 | (1) |
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Muting the strings to avoid the infamous hum |
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65 | (1) |
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66 | (3) |
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PART 2 THE BASS-ICS OF PLAYING |
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69 | (58) |
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Chapter 4 Reading, `Riting, and Rhythm' |
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71 | (22) |
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Reading Notation: No Pain, Much Gain |
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71 | (4) |
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Chord notation: The chord chart |
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72 | (1) |
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Music notation: Indicating rhythm and notes |
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72 | (1) |
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Tablature notation: Showing strings, frets, and sequence |
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73 | (2) |
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The vocal chart: Using lyrics and chords for a singer or songwriter |
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75 | (1) |
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Finding Any Note in Any Octave |
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75 | (5) |
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Using the Metronome: You Know, That Tick-Tock Thing |
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80 | (1) |
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80 | (1) |
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80 | (1) |
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Dividing Music into Phrases, Measures, and Beats |
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81 | (4) |
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82 | (1) |
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82 | (1) |
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83 | (1) |
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83 | (1) |
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83 | (1) |
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83 | (1) |
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84 | (1) |
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84 | (1) |
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85 | (1) |
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Discovering How to Read Music |
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85 | (5) |
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85 | (1) |
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86 | (2) |
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What comes up must come down |
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88 | (2) |
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Playing Your First Song While Reading Music |
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90 | (3) |
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Chapter 5 Understanding Major and Minor Structures |
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93 | (34) |
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Building Major and Minor Scales |
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94 | (3) |
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95 | (1) |
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96 | (1) |
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Building Chords: One Note at a Time, Please |
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97 | (9) |
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Triads: The three most important notes of a chord |
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98 | (3) |
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7th chords: Filling out the triad |
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101 | (3) |
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Getting your kicks with boogie licks |
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104 | (2) |
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Inversions: Down Is Up, and Up Is Down |
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106 | (4) |
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106 | (2) |
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108 | (2) |
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Spicing Up Your Sound: The Seven Main Modes (Scales) |
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110 | (5) |
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Using Chromatic Tones: All the Other Notes |
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115 | (2) |
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Chromatic tones within the box |
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115 | (1) |
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Chromatic tones outside the box |
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116 | (1) |
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Bringing a Groove to Life with Dead Notes (Weird but True) |
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117 | (3) |
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Playing dead --- notes, that is |
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118 | (1) |
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118 | (2) |
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120 | (7) |
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Using your accompaniments in a tune |
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123 | (1) |
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Keeping your groove gloriously ambiguous |
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124 | (3) |
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PART 3 MAKING THE MOVES, CREATING THE GROOVES |
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127 | (56) |
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Chapter 6 Creating the Groove |
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129 | (38) |
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Anatomy of a Groove: Putting Together the Necessary Elements |
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129 | (7) |
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Getting your groove skeleton out of the closet |
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130 | (2) |
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Playing a song using only the groove skeleton |
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132 | (1) |
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Choosing the right notes for a groove |
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133 | (3) |
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136 | (17) |
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Covering the "basses": Creating dominant, minor, and major grooves |
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136 | (8) |
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144 | (2) |
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Movin' and groovin' from chord to chord |
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146 | (4) |
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Finding the perfect fit: The designer groove |
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150 | (3) |
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153 | (2) |
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153 | (1) |
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154 | (1) |
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155 | (1) |
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Jammin `with Other Musicians' |
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155 | (6) |
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156 | (1) |
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156 | (3) |
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159 | (2) |
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Getting Creative with Existing Grooves |
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161 | (6) |
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Altering a (famous) groove |
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162 | (2) |
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164 | (3) |
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Chapter 7 Going Solo: Playing Solos and Fills |
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167 | (16) |
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Soloing: Your Moment to Shine |
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167 | (9) |
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Playing with the blues scale: A favorite solo spice |
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168 | (3) |
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Jamming with the minor pentatonic scale: No wrong notes |
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171 | (1) |
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Using the major pentatonic scale: Smooth as can be |
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172 | (2) |
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Moving from chord to chord |
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174 | (2) |
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Creating Fills without Any Help from Your Dentist |
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176 | (7) |
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A match made in heaven: Connecting your fill to the groove |
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177 | (1) |
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177 | (6) |
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PART 4 USING THE CORRECT ACCOMPANIMENT FOR EACH GENRE |
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183 | (122) |
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Chapter 8 Rock On! Getting Down with the Rock Styles |
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185 | (18) |
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Rock `n' Roll: It's The Attitude! |
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186 | (5) |
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Hard Rock: Going at It Fast and Furious |
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191 | (2) |
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Pop Rock: Supporting the Vocals |
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193 | (2) |
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Blues Rock: Doin' What "Duck" Does and Playing a Countermelody |
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195 | (3) |
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Country Rock: Where Vocals Are King, and You Take a Back Seat |
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198 | (2) |
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One Rock Fits All: Applying a Standard Rock Groove to Any Rock Song |
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200 | (3) |
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Chapter 9 Swing It! Playing Styles That Rely on the Triplet Feel |
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203 | (18) |
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Swing: Grooving Up-Tempo with Attitude |
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204 | (1) |
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205 | (9) |
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206 | (5) |
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Applying a jazz blues walking pattern |
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211 | (3) |
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Blues Shuffle: Walking Like Donald Duck (Dunn, That Is) |
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214 | (3) |
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Funk Shuffle: Combining Funk, Blues, and Jazz |
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217 | (4) |
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Chapter 10 Making It Funky: Playing Hardcore Bass Grooves |
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221 | (16) |
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R & B: Movin' to Rhythm and Blues |
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222 | (3) |
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The Motown Sound: Grooving with the Music of the Funk Brothers |
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225 | (1) |
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Fusion: Blending Two Styles into One |
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226 | (3) |
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Funk: Light Fingers, Heavy Attitude |
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229 | (3) |
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Hip-Hop: Featuring Heavy Funk with Heavy Attitude |
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232 | (2) |
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Knowing What to Do When You Just Want to Funkifize a Tune |
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234 | (3) |
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Chapter 11 Sampling International Flavors: Bass Styles from Around the World |
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237 | (16) |
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Bossa Nova: Baskin' in a Brazilian Beat |
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238 | (1) |
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Samba: Speeding Up with Bossa's Fast Cousin |
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239 | (1) |
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Afro-Cuban: Ordering Up Some Salsa (Hold the Chips, Please) |
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240 | (2) |
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Reggae: Relaxing with Offbeat "Riddims" |
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242 | (2) |
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Calypso Party Sounds: Dancing through the Groove |
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244 | (1) |
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Combining Reggae and Rock: The Distinct Sound of Ska |
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245 | (2) |
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African Grooves: Experimenting with Exotic Downbeat Grooves |
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247 | (4) |
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Grooving on a steady beat, South African-style |
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247 | (1) |
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Checking out the bass groove styles from Cameroon |
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248 | (3) |
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Music without Borders: Grooving to the World Beat |
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251 | (2) |
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Chapter 12 Playing in Odd Meters: Not Strange, Just Not the Norm |
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253 | (16) |
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An Odd-Meter Oldie but Goodie: The Waltz |
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254 | (1) |
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Beyond the Waltz: Navigating Beats in Odd Meter |
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255 | (9) |
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5/4 meter: Not an impossible mission |
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256 | (3) |
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Take a groove you know and make it grow |
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259 | (1) |
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7/4 meter: Adding two more beats |
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260 | (4) |
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Complex Simplicity: Syncopation and Subdivision |
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264 | (5) |
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264 | (1) |
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265 | (1) |
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266 | (3) |
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Chapter 13 Groovin' in a Genre: It's All About Style! |
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269 | (16) |
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Playing Grooves in Each Genre: One Simple Song, Many Genres Strong |
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270 | (9) |
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Pop: Backing up the singer-songwriter |
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271 | (1) |
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Rocking by the quarter or eighth note |
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271 | (1) |
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R & B/Soul, with or without the dot |
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272 | (3) |
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275 | (1) |
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Layin' down some Latin grooves |
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276 | (1) |
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When you're feelin' blue, shuffle |
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277 | (2) |
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To Blend or Not to Blend: Knowing How to Fit In |
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279 | (6) |
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Just blending in: How to do it |
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280 | (1) |
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The bold and the beautiful: Creating a bold groove |
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281 | (1) |
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Blending and holding by genre |
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281 | (1) |
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Signing off with a flourish |
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282 | (3) |
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Chapter 14 Eight Degrees of Separation: The Beatles' Solution |
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285 | (20) |
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Playing Your Rhythm Straight or Syncopated |
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286 | (4) |
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286 | (1) |
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Syncopating the bass beat |
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287 | (3) |
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290 | (15) |
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Feeling fine (with roots and 5ths) |
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290 | (2) |
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292 | (3) |
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Coming together to move with the groove |
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295 | (1) |
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Day-tripping in perfect agreement: Unison |
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295 | (4) |
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Playing something to counter the melody with |
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299 | (1) |
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Inverting while your bass gently weeps |
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300 | (5) |
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PART 5 BUYING AND CARING FOR YOUR BASS |
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305 | (44) |
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Chapter 15 Love of a Lifetime or One-Night Stand? Buying the Right Bass |
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307 | (10) |
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Assessing Your Needs Before You Buy |
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308 | (3) |
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Thinking long-term: Moving in together |
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309 | (1) |
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Thinking short-term: Help me make it through the night |
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309 | (1) |
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How many strings are too many? |
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309 | (2) |
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311 | (1) |
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Needs Are One Thing Budget Is Quite Another |
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311 | (1) |
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A Trip to the Bass-Mint: Where to Shop for Your Bass Guitar |
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312 | (4) |
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312 | (2) |
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314 | (1) |
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Visiting online shops and individual online ads |
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315 | (1) |
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When Money Is No Object: Getting a Custom-Made Bass |
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316 | (1) |
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Chapter 16 Getting the Right Gear for Your Bass Guitar |
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317 | (10) |
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Making Yourself Heard: A Primer on Amplifiers and Speakers |
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318 | (3) |
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Going with a combo or separate amp and speaker |
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318 | (1) |
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Opting for solid state or tubes |
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319 | (1) |
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319 | (1) |
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320 | (1) |
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Needs, Wants, and Nonessentials: Rounding Out Your Equipment |
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321 | (6) |
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Must-haves: Cases, gig bags, and more |
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321 | (2) |
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Definite maybes: Useful effects, gadgets, and practice items |
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323 | (2) |
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325 | (2) |
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Chapter 17 Changing the Strings on Your Bass Guitar |
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327 | (10) |
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Knowing When It's Time to Say Goodbye |
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328 | (1) |
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Off with the Old: Removing Bass Strings |
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328 | (2) |
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On with the New: Restringing Your Bass |
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330 | (5) |
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Ensuring a Long Life for Your Strings |
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335 | (2) |
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Chapter 18 Keeping Your Bass in Shape: Maintenance and Light Repair |
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337 | (12) |
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Cleaning Your Bass, Part by Part |
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337 | (3) |
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338 | (1) |
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338 | (1) |
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338 | (1) |
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339 | (1) |
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339 | (1) |
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Making Minor Repairs to Your Bass |
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340 | (2) |
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The taming of the screw(s) |
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340 | (1) |
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Taking care of the finish |
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341 | (1) |
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Leaving the electronics to the experts |
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341 | (1) |
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Adjusting the Bass Guitar |
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342 | (4) |
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Providing relief to the truss rod |
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342 | (2) |
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Raising and lowering the bridge |
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344 | (2) |
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Assembling a Cleaning and Repair Tool Bag |
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346 | (1) |
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347 | (2) |
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349 | (12) |
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Chapter 19 Ten Innovative Bassists You Should Know |
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351 | (4) |
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351 | (1) |
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352 | (1) |
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352 | (1) |
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352 | (1) |
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353 | (1) |
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353 | (1) |
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353 | (1) |
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353 | (1) |
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354 | (1) |
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354 | (1) |
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Chapter 20 Ten Great Rhythm Sections (Bassists and Drummers) |
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355 | (6) |
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Bootsy Collins andjab'o Starks |
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356 | (1) |
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Donald "Duck" Dunn and Al Jackson Jr |
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356 | (1) |
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James Jamerson and Benny Benjamin |
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356 | (1) |
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John Pauljones and John Bonham |
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357 | (1) |
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Joe Osborn and Hal Blaine |
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357 | (1) |
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Jaco Pastorius and Peter Erskine |
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358 | (1) |
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George PorterJr. and Zig Modeliste |
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358 | (1) |
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Francis Rocco Prestia and David Garibaldi |
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358 | (1) |
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Chuck Rainey and Bernard Purdie |
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359 | (1) |
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Robbie Shakespeare and Sly Dunbar |
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359 | (2) |
| Appendix: Audio Tracks And Video Clips |
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361 | (14) |
| Index |
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375 | |
