Keywords: Ear Training, Progressions Common, Improvisation, Bass Guitar, Gospel, Sean Byrd
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In Building Scales: Major Scale we utilized numbers to identify the intervals within the major scale. These numbers or intervals help us to identify from which degree of the scale a note is being generated, in relationship to the note played before.
This is often referred to as relative pitch. The identification of the relative distance between notes allows us bassist to know where to place our fingers to play the appropriate note. Each interval in the scale has a distinct sound one from the other.
As we begin to practice hearing these intervals, our fingers begin to gravitate towards certain sounds. Coupling this technique with humming or singing the intervals of the scale will accelerate our ear training.
Excercises:
1 – 3 – 2 – 4 – 3 – 5 – 4 – 6 – 5 – 7 – 6 – 1 – 7 – 2
Then try going backwards.
Or then alternate the direction you play the intervals in.
1 – 3 – 4 – 2 – 3 – 5 – 6 -4 – 5 – 7 – 1 – 6 – 7 – 2
you can use this as a blue print, and start jumping bigger intervals.
1 – 4 – 2 – 5 – 3 – 6 – 4 – 7 – 5 – 1 – 6 – 2 – 7 – 3
Your ear will begin to hear the differences in the intervals, and your hands will begin to gravitate towards the sounds you hear.
]]>We will take a look at two specific components of music to identify that will help you be well on your way to playing any song by ear, called Interval recognition and Chord recognition
Interval recognition is a very useful skill in order to deterime the melody of a song, musicians must have some ability to recognize intervals. The ability to tell how two pitches relate to one another is referred to as “relative pitch”. One very useful method of developing releative pitch, is to associate each possible interval with the first two notes of a popular song.
Chord recognition works in conjunction with interval recognition. Hearing the harmonic structures that support the melody of a song is chord recongition. Musicians often practice hearing different types of chords and their inversions out of context, just to hear the characteristic sound of the chord. They also learn chord progressions to hear how chords relate to each other in the context of a piece of music.
]]>When a musical scale is completed, the next interval is the ocatave of that scale. An octave is the next highest or lowest note that is identical to the root note. The electric bass guitar typically has metal strips, located on the figerboard called frets, to determine the difference in tones (notes).
The distance of one fret is called a half-step (semi-tone), while the distance of two frets is called a whole-step (tone).
Major Scale pattern.
The major scale has 7 notes arranged in the following pattern:
Root – Whole Step – Whole Step – Half Step – Whole Step – Whole Step – Whole Step – Half Step – Octave
Lets apply this pattern to a C Major scale, as in any other scale the name is determined by the root note. In this case C.
C – (whole Step) D – (whole Step) E – (half step) F – (whole step) G – (whole step) A – (whole step) B – (half step) C – which is the octave.
** Note that E & F and B & C have no sharps or flats between them.
The Major Scale on the Bass looks like this:
Note I did not include notes in the diagram. The reason is, because no matter what note is designated as the ROOT, of the major scale the same pattern will apply. Eb Major, or F Major, even C major, all use this same pattern. You simply start at the root note and apply the same finger pattern. ( There are alternate patterns that compromise the major scale, but for the purpose of this example we will stick to this pattern.) In our example we made a C Major Scale Simply follow the diagram to play a C Major.
| Interval: | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 1 |
| Note | C | D | E | F | G | A | B | C |
The notes in F major are: F, G, A, Bb, C, D, E, F. Apply the same pattern starting
at the F an you will be able to play a F Major.
| Interval: | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 1 |
| Note | F | G | A | Bb | C | D | E | F |
The Numbers in our diagram, indicate the scale degree, as well as the interval when communicating with musicians, one might say, really emphasize the 7th, remember that position we will go into further detail later.
This lesson on scales, is only the beginning in learning scales, there are 7 other scales that all are built from the major scale called “modes”, there is one other which is considered major while others are minor, dominant, and diminished, we will also get into those terms as we progress.
Practice:
Practice playing the major scale. Once you have committed the major scale pattern to memory, begin to make it rhythmic. A good exercise to utilize is playing the intervals in different orders.
Instead of playing the 1- 2 – 3 – 4 – 5 – 6 – 7 – Octave
Try playing 1 – 3 – 2 – 4 – 5 – 7 – 6 – Octave. This excercise is called, staggered intervals
]]>Although, understanding music theory is not necessary to become a exceptional musician. I believe there are benefits, to knowing theory, and learning to read music. While there are numerous extraordinary musicians, who rely totally on their ear, adding theory to their skillset, could possible allow for them to be much more versatile, in different settings.
Music theory makes familiar terms like: intervals, scales, key signatures, clefs, chords, chord progressions, rhythm, harmony, melody, structure, and many many more musical terms. We will attempt to address some of these musical terms, in our lessons, so that when you hear them mentioned you will be able to follow what’s going on.
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If using a tuner is not possible you will need to get a reference pitch from another instrument. The keyboard would be my first choice, since a keyboard can simulate a basses, tone. Have the keyboardist play each note that you need and then attempt to duplicate it by turning the tuning pegs on your bass until you can get as close to the keyboardist sound as possible.
Playing alone? Well, so much for a reference pitch. If you don’t have a electronic tuner, you still need to tune the bass to itself. This can be accomplished, by placing your finger on the 5th fret of the E string, which is an A, and strumming the note, then strumming the open A string, and matching up the tones, then moving to the 5th fret of the A string, which is a D, and strumming the open D string. Then copy the same steps for the D string, and strumming the open G.
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The Tuning Machines holds the end of the strings. By turning the tuning machines you increase or decrease the tension on the string, this changes the pitch.
The Nut is a strip, located between the fret board and headstock, on which the strings sit. The nut normally is a piece of wood, or plastic. It causes the string to stop vibrating past it.
The Frets rounded metal strips hammered into slots on the fingerboard and spaced at precise intervals, so as to produce specific pitches when the strings are depressed against them.
The Fingerboard the thin piece of hard woods such as maple, ebony, or rosewood, that forms the smooth playing surface of the neck. The strings lay on top, of the fingerboard and the frets are set into it.
The Strings are stretched across the bass, connected at the bridge and the tuning machines. When the stings vibrate they produce sound.
The Strap pins are knobs on the bass that allow you to hold the bass up with a strap.
The Pickups are electromagnets beneath the strings that pickup on the string vibrations and produces the signal that is sent to the amplifier.
The Controls are the knobs that control the loudness, tone, and of the pickups.
The Bridge connects the strings to the body at the end opposite of the tuning machines.
*Note: some basses have pickups located in the bridge.
The Jack is used to connect the intrument cable to the bass.
Return to Fundamentals
This is often referred to as relative pitch. The identification of the relative distance between notes allows us bassist to know where to place our fingers to play the appropriate note. Each interval in the scale has a distinct sound one from the other.
As we begin to practice hearing these intervals, our fingers begin to gravitate towards certain sounds. Coupling this technique with humming or singing the intervals of the scale will accelerate our ear training.
Excercises:
1 – 3 – 2 – 4 – 3 – 5 – 4 – 6 – 5 – 7 – 6 – 1 – 7 – 2
Then try going backwards.
Or then alternate the direction you play the intervals in.
1 – 3 – 4 – 2 – 3 – 5 – 6 -4 – 5 – 7 – 1 – 6 – 7 – 2
you can use this as a blue print, and start jumping bigger intervals.
1 – 4 – 2 – 5 – 3 – 6 – 4 – 7 – 5 – 1 – 6 – 2 – 7 – 3
Your ear will begin to hear the differences in the intervals, and your hands will begin to gravitate towards the sounds you hear.
Return to Ear Training
]]>In Building Scales: Major Scale we utilized numbers to identify the intervals within the major scale. These numbers or intervals help us to identify from which degree of the scale a note is being generated, in relationship to the note played before.
This is often referred to as relative pitch. The identification of the relative distance between notes allows us bassist to know where to place our fingers to play the appropriate note. Each interval in the scale has a distinct sound one from the other.
As we begin to practice hearing these intervals, our fingers begin to gravitate towards certain sounds. Coupling this technique with humming or singing the intervals of the scale will accelerate our ear training.
Excercises:
1 – 3 – 2 – 4 – 3 – 5 – 4 – 6 – 5 – 7 – 6 – 1 – 7 – 2
Then try going backwards.
Or then alternate the direction you play the intervals in.
1 – 3 – 4 – 2 – 3 – 5 – 6 -4 – 5 – 7 – 1 – 6 – 7 – 2
you can use this as a blue print, and start jumping bigger intervals.
1 – 4 – 2 – 5 – 3 – 6 – 4 – 7 – 5 – 1 – 6 – 2 – 7 – 3
Your ear will begin to hear the differences in the intervals, and your hands will begin to gravitate towards the sounds you hear.
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