JAZZ AND BLUES BASS LINES

FREQUENTLY ASKED QUESTIONS

Q	With the Jazz and Blues bass lines there are no recordings (CD or midi file) of the chord progressions. Was this your intent? Am I supposed to just read the given bass line or are these progressions recorded somewhere for me to play over?
A	The Jazz and Blues Bass Lines book as you probably have noticed doesn't come with a CD. Therefore you will have to read these bass lines to hear what they sound like. There will be recordings of the chord progressions played by a guitar available in a few months. You would then be able to play your bass lines with the chords. I'm not sure at this point whether those chord progressions will be a free download or part of the new "site access" section of the muse-eek.com website which will contain among other things: 1. A large and growing library of sight reading material 2. Free downloads of all my CDs 3. 100's of vamps and chord progressions for improvisation. As previously mentioned I would suggest you get recordings of great jazz bass players so you can hear the general style and feel of a jazz/blues bass line. Some important things to keep in mind is to play 1. Legato (play each note as long as you can to give the progression a smooth sound). 2. Play at many tempos to prepare yourself for any situation 3. Slightly accent the 2nd and 4th beat of each measure 4. Play the progressions in more than one place on the fretboard 1 and 3 will be further clarified by listening to recordings of bass players.
Q	What's the best way to approach the study of the Comping Styles for Bass Vol. 2 book? Also, I purchased your Jazz and Blues Bass Lines book and would like to know how I should approach this book.
A	I would learn one bass line per week. Try to play it at various tempos and be a legato as possible (hold each note as long as possible before going to the next). You can also try playing the bass line in different locations on the fretboard. For instance if the bass line starts with a Low C play it on the A string 3rd fret but also try starting on the Low C on the E string at the 8th fret. You should also start listening to Jazz bass players. You will find a partial list at http://www.jazzphotography.us/basses.html
Q	Here's what I own: Music Theory Volumes 1 and 2 Jazz and Blues Bass Lines Comping Styles for Bass Single String Studies for Bass Volumes 1 and 2 Rhythm Primer Fanatic's Guide One Note Complete Big Metronome What kind of schedule would you recommend for someone who works two jobs and has a wife and three kids? I can give a committed hour everyday in addition to time in my car (delivery job). What would you recommend I do when I have additional time (very sporadic)?
A	In your situation practicing in your head is the best solution. It is common knowledge among classical musicians that you can learn a piece of music or for that matter anything in music by visualizing it in your head. Many classical musicians don't even play a piece on their instrument before performing it live in front of an audience. You can use this technique to help you work on music when driving a car or waiting for a light to change. Of the books you have you could use any of them to practice in your head. For instance you could think through and finger in your mind any scale or arpeggio from the Music Theory Books. You could memorize a bass line from the Jazz and Blues Bass Lines or Comping Style book or you could work on hard rhythms from the Rhythm Primer. You of course can listen to the ear training and sing notes over the Fanatic's Guide CD as you drive. (You might want to get a chromatic pitch instrument to help you check notes.) http://www.encoremusic.com/vocal/6630002.html Just remember that mental practicing is exhausting when you first start it. It takes months before you can do it for any length of time. As it develops you will find it to be the most efficient way to learn. I would then spend your hour or instrument practicing playing the things you have mentally practiced or use the time to improvise with the scales you are learning in the Music Theory Workbook for Guitar Volume Two.
Q	A quick note on the ear training progress. I had to check myself and get back to basics ... after re-reading the book intro info I realized that I was using mental association ' tricks' to remember some notes. So I thought I'd nip that in the bud. Very pleased though since I've noticed that lately I'm starting to prehear the tone and I can hit the pitches much quicker and stay on pitch much better than before so I'm pleased with that. Also thought I jumped too quickly to the intermediate cd so went back to the beginner one until I get the required 80% + before moving up. A little overanxious for progress I'm afraid! I have received two of the books you recommended, N.Y. Guitar Method Vol 1 and Jazz and Bass Lines (with many others on the way). I do have my guitar but am more interested in the keyboard. Bearing this in mind, what exercises would you suggest from these two books? I can dedicate about two hours per day to my music practice right now.
A	Here is how I would get started with the books 1. read through page 12 and make sure you understand the concept of adding tensions to basic traids. 2 memorize chord tones and tensions on page 14 3. Do theory exercise on page 15. If you want to apply it to guitar do the diagrams otherwise just write out the notes. 4. pages 18 to 24 play and memorize chord voicings on either piano or guitar or both 5. Read page 26 about how to think/hear scales 6. page 28 and 29 write out scale from given degree and also do fretboard diagrams if you want to apply to guitar. 7 page 31 either learn major scale on guitar as shown or play the C major scale 2 octaves with both hands up and down in all keys cycle 5 i.e. C,F,Bb, etc 8 Once you can play major scale in all keys try doing the suggested sequences on page 32 9. page 33. Some articulations will work on the piano in this book and some won't. If they do, apply to scales. 10 Study and play examples of using a major scale on page 34 and 35. 11. Try writing a few lines of your own Continue with this process through each chapter and all the scales. When you have completed it you will know all the most commonly used scales in all keys. You will also understand how they are built and used. You will also understand what chords they work over and how those chords are built. In addition you will know how to think of them in relationship to your ear training work and you will know many of the possible articulations that you can use to make them sound more musical. After a few weeks I would also suggest you starting reading through all the additional information in the back of the book and do the extra credit exercises. The stuff in the back of the book is a great resource and will really help you with understanding how to apply scales to multiple situations. I would also suggest you read through the NYGM Ensemble book Volume One at the same time you are working through this book. This will help you see the uses of these scales but also will improve your reading ability. I would also join the member's area of the muse-eek.com website: http://www.muse-eek.com/books/members/members1.html Once you have a username and password go to the "Help files for Music Theory Workbook for Guitar Volume Two". Follow the links for the Vamps. As you learn each new scale in the NYGM play along with the vamps and improvise. If you need help getting started follow some of the suggestions made in the "Help files for Improvisation" which is also found in the member's area. For the Jazz and Blues Lines I would read through the book and try to get to the point that you understand the method used in creating the bass lines and hopefully be able to create them on the spot for any blues progression. These progressions are also good examples of the reharmonization method talked about on page 312 to 314 in the NYGM book.