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Building Walking Basslines Lesson 1

Discussion in 'General Instruction [BG]' started by Pbassred, Jul 9, 2010.


  1. Got it! Thanks!

    I've read them and on pages 8,9, and 10 all of the flats and sharps are annotated in the in the bar, unlike in 1 and 2 on page 13. Unless I missed something...
     
  2. I'm wondering if I should have piped up earlier. There another post recommending starting on another book first!:meh: This IS the learner book! My intention in starting this whole thing was to START SLOWLY and PRACTICE. When I said lesson one I meant EXERCISE one. That way the temptation to leap ahead would have been less, all the questions would have been together (especially the learner ones), and we don't loose anyone.
    Could we slow down please?:bag:
     
  3. Sizlack

    Sizlack

    Aug 17, 2009
    Dallas, TX.
    I'm with PBassred on this. While I can keep up and play through the exercises rather quickly...none of it actually sinks in. All I'm accomplishing at this speed it playing the notes on the page...not getting anything out of it but practice reading and playing. I'm really gonna have to sit down and go over the progressions and where I'm going from point A to B and so on.
    I don't really know my scales all that well so that part takes a while for me.
     
  4. lowdown_billy

    lowdown_billy Supporting Member

    I, too, would appreciate a more deliberate pace and the compartmentalization of discussion about the lessons. Thanks for doing this, btw! It's an excellent book (not surprising given Ed's well-deserved good rep as a teacher) and working through it with a group is a positive motivator.
     
  5. gttim

    gttim

    Dec 12, 2009
    Atlanta, GA
    Perhaps we could have 2 threads. Those wanting to learn and those wanting to show how fast they can get through the book!

    I started last night because I was getting tired of waiting. I am trying to improve my sheet music reading and learn how to read chord charts. I have basic hand memory of walking bass lines, but learned to read notes on open strings, or fret closest to the head. Having to work out the adjustment in my mind- ok, G is 5th fret 3rd string, not 4th open.
     
  6. To me it makes sense to do both. Run through as many exercises as you can, then start back over with the group and do them all again, because you will most likely get more out of the exercise the second time through it. If you read ahead you will have an idea of what parts you need to work with more in the early chapters of the book. I got 75% of the way through the book in the week or so that I had it before we officially started. From working ahead I learned I really need to work on learning the fret board better. To have a better idea where the notes are, to make transitions smoother.
     
  7. This is a great idea, however, those that are on page 19 should wait for the ones on page 8 to catch up? Who is going to keep track of when we can go to page 21?

    We have already split into three groups, one that is proceeding with chord tone interval number patterns and those that are working on reading and playing from standard notation Then the 3rd group that have gone ahead, got the gist of how chord tones work and are now coming back to work with sight reading and hearing how this all sounds.

    I strongly suggest that everyone proceed at their own pace, ask specific questions listing page numbers, etc. Those that can answer and help out do so. I'm afraid proceeding all together page by page is just not realistic. The ultimate goal, as I see it, is to have a location where we can obtain specific answers to our questions not march in step through the book.

    :bag:
     
  8. good idea....perhaps someone could volunteer to set up as the "perfesser" and answer everyones questions at the level at which they are asked
     
  9. Staccato

    Staccato Low End Advocate

    Aug 14, 2009
    Alabama
    Suggestion: Before moving to the next exercise-

    1. Ask yourself how the exercise fits into the concept of walking bass lines? Looking back in two weeks should give you more answers!

    2. Have you practiced each exercise with a S-L-O-W metronome (60 bpm) and a faster tempo at 100 or higher? Can you play each exercise with no wrong notes or mistakes in tempo? Have you played each with & without the CD?

    You can play around the edges, or dive in and really build a foundation, as Ed suggests! :D
     
  10. RedsFan75

    RedsFan75

    Apr 26, 2007
    Cincinnati
    Best set of questions right there.

    I've had a hard time, just getting the time, and plus my arthritis has flared again, so I'm leaning toward hanging with the slow down crowd. :) I was progressing well, then seemed like lots of stuff hit me all at once!

    I do like what you've stated here, it's one thing to just read and play, sure I could do that, but I'd rather read and REALLY grasp! :D :bag: :bassist:
     
  11. Abaroa

    Abaroa

    Apr 27, 2010
    Mexico
    Hi all..
    I sort of agree both with people that have a bit (or a lot) more skills and want to go faster with the book and with those who really want or need to have the time to let things sink in...

    So let me propose the following: Lets divide the book in sections (that can even become a thread each ) every one dedicated to what (i think) is a key ┬Ęskill" for example, for Part One of the book:

    Part One
    Ex 1 to 10
    Roots and fifths
    Pages 13 to 17


    Part Two
    Ex.11 to 16
    Chromatic Approach
    Pages 18 to 21


    Part Three
    Ex.17 to 22
    Dominant Approach
    Pages 23 to 26


    Part Four
    Ex.23 to 25
    Scale Approach
    Pages 27 to 28

    Part Five
    Ex. 26 to 27
    Combining Approaches
    Pages 29 to 32

    That way every one can go through the book at his/her own pace and still have the benefit of feedback and group support from people at the same stage... they can choose to come back and review something or leap a bit forward when they feel ready...

    It also has the benefit of keeping questions and info in some sort of relevant order, and people will know where to go for specific info...

    well... its just an idea...
     
  12. emor

    emor

    May 16, 2004
    kcmo
    I'm really interested in the potential of this project.

    I had originally voted for one of the more advanced books, but would like to participate anyway. If this proves to be an effective method, maybe we could work on one of the other books next, or another group could form using other material.

    For those who already know how to read and want to move at faster pace, might I suggest that we do each exercise in all keys. You could get some manuscript paper and write them all out, or practice your sight transposing.

    Here's a link to the Wikipedia page about the Circle of Fifths (& Fourths) that some will find is a handy reference regarding key signatures.

    http://en.wikipedia.org/wiki/Circle_of_fourths

    cof.
     
  13. m_bisson

    m_bisson

    May 26, 2010
    Ontario, Canada
    :hyper:
    I just started tonight (yes i'm a couple days late) and I have to agree with this. I'm struggling at playing along with the CD and I'm only on example 7. And for example 4 where it doesn't show exactly which notes to play I had a difficult time choosing when to switch octaves. I definitely need this slower pace. There's no way I'll "master" 20 pages in 2 weeks.
     
  14. Staccato

    Staccato Low End Advocate

    Aug 14, 2009
    Alabama
    +1
     
  15. Noseferatu

    Noseferatu

    Feb 12, 2010
    Hermitage, PA
    Aren't you BASSICALLY....:ninja: just outlining the chords??
     
  16. nboyer941

    nboyer941

    Jul 22, 2008
    Burnsville, MN
    no. You can play 158 with the chromatic approach to any chord, no matter what chord.

    Outlining the chord would be playing the arpeggio of that exact chord. The first 1-20 exercises are not simply playing arpeggios.
     
  17. Great I'll take that as a question! That's what this is supposed to be all about. When to switch to the other octave? No set rule just do what you feel is right. In exercise 4 we are only using roots and eights so..... with the measures where we have two chords --- and as the book is in 1/4 notes all through out that means we have four beats to each measure so..... The Gm7 how about a R-8 and then on the C7 another R-8. Nothing wrong with 8-R.

    When we get to the Fm7 we have a full measure for that chord here we can experiment. R-R-R-R or even 8-8-8-8 perhaps R-8-R-8 or R-R-8-8 whatever you think sounds best.

    I think the point of the exercise #4 is to give us some examples of how we could play over that chord and then Ed turns us loose to experiment. Roots and octaves today a little more of the story when we are ready for a little more.

    Good points in some of the other posts - that we should not move on until we have mastered what we are working on, I agree. I fall into that 3rd group I mentioned. I understood chord tone interval number and how to use them before I read the book, so I was able to run on ahead. Now I've come back and working on both reading and playing these patterns from standard notation. So far octaves have entered my riffs, up to now I did not use octaves all that much. Where is the octave? Where it always is; up two strings and over two frets.

    Work at your pace and ask questions when you need help. Some one will have been there and be able to help.
     
  18. Reaper Man

    Reaper Man

    Jan 15, 2010
    MA
    repetition is the mother of all learning



    pain is the father
     
  19. 251

    251

    Oct 6, 2006
    Metro Boston MA
    :cool:
     
  20. Infidelity

    Infidelity Supporting Member

    Jan 14, 2010
    Melbourne, FL
    I might start this book this night.. I wish I'll finish the first lesson in the time left..
     

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