Please explain. This is exactly how I see the interval relationship with notation and why I brought this up. This person explains it better then I can. See link below
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Ed Friedland books
- Thread starter ics1974
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Please explain. This is exactly how I see the interval relationship with notation and why I brought this up. This person explains it better then I can. See link below
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The author of that article is way over-thinking it. One knows the intervals because one has learned the skill of reading music, just as one learns to spell "cat." I'll concede that a superior music notation system could theoretically be devised. Standard music notation has its flaws, but nevertheless is a useful skill that can be mastered with practice and a good teacher (such as Ed Friedland).
The author of that article is way over-thinking it. One knows the intervals because one has learned the skill of reading music, just as one learns to spell "cat." I'll concede that a superior music notation system could theoretically be devised. Standard music notation has its flaws, but nevertheless is a useful skill that can be mastered with practice and a good teacher (such as Ed Friedland).
Fair enough. I will keep at it and hopefully it will get easier.
Thanks.
I find that it's very helpful to learn where the different intervals are by fretboard patterns. It's not just me, that's pretty much standard practice. All you need then is to know where the root is, and it should become natural to find the major, minor, and flat intervals. All of the inversions too, so that you can use any note that is in a good playing position. As I'm working through a chord change I'll still do the hunt & peck technique to find what notes work well, but once I've internalized a song it becomes natural to go to the appropriate note. If you're a slow learner like me, it takes time and repetition and repetition.
Hi, can anybody here help me? I have Ed's books the bass methods i,ii & iii and walking basslines. So my confusion here is what do I need to learn first to improve as a bassplayer..I know basic major and minor scales as ive been playing bass for a while but have been stagnant....And also some say learn major scales and some say learn arpeggios......Thanks Mel
Unless I miss my guess, those are already in the books.
One of the most challenging aspects of being a bassist is patiently listening to a guitarist's advice with a nod and a smile, then totally ignoring him, forgetting every word he said. Guitarists have no idea. If they knew how to play bass, they would.
One of the most challenging aspects of being a bassist is patiently listening to a guitarist's advice with a nod and a smile, then totally ignoring him, forgetting every word he said. Guitarists have no idea. If they knew how to play bass, they would.
Hey Thank You very much....The lesson I'm sure will be there in the books so can I use both the books simultaneously like one lesson from each book per day...will that help..have never taken music lessons so really dont know how this works....And yea you where bang on about guitar players
Although I don't own Ed's books myself, I've leafed through them in the past. They are carefully and logically laid out. Just start at the beginning and work through to the end. You'll do great.
If you will be playing melody then scales are what you would use for your notes.
If you will be playing harmony (the bass clef) then notes of the active chord is what you would use. How many lead solos are you asked to play? The piano and electric lead guitar do a good job of this and they get the lead solos, so I seldom need scales in my bass line. However, I do use notes of the active chord in my bass line and if I feel like a scale note as a fill or passing note will add something, who is to say I can not use it.
I think and use scale degree numbers for both. Go back to and expand post # 2 in this string for the "scale and chord spellings", aka scale degree numbers, you will need.
Cmaj7 chord's spelling is R-3-5-7. Only the jazz guys will probably use a true four note spelling. We mortals will probably get buy with the root, the five and the eight - R-5-8-5 in what ever order fits.
The box shows us where the root is. If we want the five we go up a string and toward the bridge two frets, or down a string same fret. That's where 5's live. The eight is right over the 5 on the next string up same fret. Yes, that is where 8's live. Once you know where your root is and you know your spellings for the scale or chord you want to play just reach into the major scale box and grab what you need. They are always there just waiting on you, for example R-5-8-5 is about as generic as you can get. Use it if you want a four note beat. The R on the first beat and the 5 on the third beat have played a zillion songs. Of course change roots as the chords change. Bring in an 8 or a 6 where you think they fit. It's your bass line.
This works great with fake chord sheet music or chord charts. See a chord move the box to where that chord's root is then gather what else you will need.
We have not spoken of rhythm, yes that is the rest of the story. If you have a drummer lock with his kick drum. Yes you can ignore his fills, just keep the basic beat going so he has something to come back to. The time signature points you to this. It's probably going to be 4/4, 3/4, or 5/8.
Again this method works great for fake chord, chord charts and Nashville numbers. In all the years I've been playing I have never had a director hand me a sheet of standard notation, it's always fake chord, chord charts or Nashville numbers. Kinda makes since we learn how to play from those.
Good luck.
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You don't mention "songs" which in my opinion is the most important part of being a musician. I recommend to spend at least half of your practice time learning the bass lines to songs that you love.
Thank you very much...will surely keep practice time to learn songs...You don't mention "songs" which in my opinion is the most important part of being a musician. I recommend to spend at least half of your practice time learning the bass lines to songs that you love.
Hey, thanks for helping to pay my mortgage! 
As far as working with BWBL or the HL Method, it depends on where you're at. BWBL is a Method for walking, but it's also about learning what notes to choose for any style of playing, and understanding the relationship between the note you play and the chord.
This methodology is in the HL method too... book 3 I think? The part about creating your own lines. However it's not specifically jazz. The Method takes you through the neck, learning to read (book 1), learning patterns and how to move them around the neck (book 2) and creating your own parts (book 3.) There's a lot more in there, but that's the gist. I'd probably suggest going through books 1-3 first. This way, you'll have a great foundation for the material in BWBL. Good luck!
As far as working with BWBL or the HL Method, it depends on where you're at. BWBL is a Method for walking, but it's also about learning what notes to choose for any style of playing, and understanding the relationship between the note you play and the chord.
This methodology is in the HL method too... book 3 I think? The part about creating your own lines. However it's not specifically jazz. The Method takes you through the neck, learning to read (book 1), learning patterns and how to move them around the neck (book 2) and creating your own parts (book 3.) There's a lot more in there, but that's the gist. I'd probably suggest going through books 1-3 first. This way, you'll have a great foundation for the material in BWBL. Good luck!
I've never been disappointed in an Ed F. book. Thanks Ed!
^^ Yes book 3 contains the methodology for creating bass lines although this topic is one that deserves a full treatment in a book of it's own. HLBM Book 1,2,3 kept me busy for an hour+ a day for a little over a year. Well worth the money and time investment IMHO. I'm on sabbatical from the mid point of book 3 but plan to finish that sucker. I hit the point where the books teache you to develop bass lines and determined I need to really nail down arpeggios in 3 positions and chord structure and inversions so I can do a better job at playing from chord sheets. While the books taught me to read and play a bass line I need to get a lot better at being handed a chord sheet and doing something decent with it. I have to say it was a fairly big rush to create and play a walking bass line over a ii V I progression over the weekend. It was not great but it did not suck either .
^^ Yes book 3 contains the methodology for creating bass lines although this topic is one that deserves a full treatment in a book of it's own. HLBM Book 1,2,3 kept me busy for an hour+ a day for a little over a year. Well worth the money and time investment IMHO. I'm on sabbatical from the mid point of book 3 but plan to finish that sucker. I hit the point where the books teache you to develop bass lines and determined I need to really nail down arpeggios in 3 positions and chord structure and inversions so I can do a better job at playing from chord sheets. While the books taught me to read and play a bass line I need to get a lot better at being handed a chord sheet and doing something decent with it. I have to say it was a fairly big rush to create and play a walking bass line over a ii V I progression over the weekend. It was not great but it did not suck either .
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Hey, thanks for helping to pay my mortgage!
As far as working with BWBL or the HL Method, it depends on where you're at. BWBL is a Method for walking, but it's also about learning what notes to choose for any style of playing, and understanding the relationship between the note you play and the chord.
This methodology is in the HL method too... book 3 I think? The part about creating your own lines. However it's not specifically jazz. The Method takes you through the neck, learning to read (book 1), learning patterns and how to move them around the neck (book 2) and creating your own parts (book 3.) There's a lot more in there, but that's the gist. I'd probably suggest going through books 1-3 first. This way, you'll have a great foundation for the material in BWBL. Good luck!
Thank you very much!!! This means alot to me to hear from the man himself...
I've never been disappointed in an Ed F. book. Thanks Ed!
^^ Yes book 3 contains the methodology for creating bass lines although this topic is one that deserves a full treatment in a book of it's own. HLBM Book 1,2,3 kept me busy for an hour+ a day for a little over a year. Well worth the money and time investment IMHO. I'm on sabbatical from the mid point of book 3 but plan to finish that sucker. I hit the point where the books teache you to develop bass lines and determined I need to really nail down arpeggios in 3 positions and chord structure and inversions so I can do a better job at playing from chord sheets. While the books taught me to read and play a bass line I need to get a lot better at being handed a chord sheet and doing something decent with it. I have to say it was a fairly big rush to create and play a walking bass line over a ii V I progression over the weekend. It was not great but it did not suck either .
Thank you will continue with the HLBM books
Don't mean to hijack the thread but I'm working through books 1-3 (finishing the first book soon) and was wondering which of Ed's other books would be a good companion to keep motivation high. I'm thinking of one of the music styles books - do these teach specific songs or how to play in Reggae style for example? Would one of these go well along side the 3 I'm working through?
Went thru all three several years ago (3) and BWBL as well...Also his Grooves book. Books 1,2,3 I did with an instructor. The other two I did not. If I recall the BWBL book was the only one with no TAB. AND the Grooves book requires a fairly good knowledge of programing a drum machine (I had a Boss machine at the time). I had to take a break for a while (1 year) do to hand problems but I'm back at it. I play 5 string (tuned BEADG) exclusively. If you rely on TAB, note that all of Eds books with TAB are written for 4's. As for how to approach, I recommend with 1,2,3 then BWBL regardless of your previous playing experience. Just my 2 cents
This second time around (starting with book 1) I decided I was going to learn the lessons again but without any TAB. I found a removable tape that is very easy to use without destroying the books. This HAS REALLY HELPED my reading ability. At this point I struggle with reading standard notation rhythms so I partially rely on a metronome if I'm just not "seeing" the rhythm as written. I can read and play the notes much faster than read the rhythms. Improvement in this area (reading and playing rhythms) is slower. As a general rule I'll also learn each lesson at several (3) positions, which incorporates the low B AND really helps with fret board memory.
Lastly, while I never used them, I understand there are separate Hal Leonard books (Not authored by Ed). These books can be found on the last page of Eds books. As I understand them these books align with Ed's (1,2,3) lessons with popular songs containing elements of Ed's specific lessons. Again while never used myself, I really like this concept.
Great books!
This second time around (starting with book 1) I decided I was going to learn the lessons again but without any TAB. I found a removable tape that is very easy to use without destroying the books. This HAS REALLY HELPED my reading ability. At this point I struggle with reading standard notation rhythms so I partially rely on a metronome if I'm just not "seeing" the rhythm as written. I can read and play the notes much faster than read the rhythms. Improvement in this area (reading and playing rhythms) is slower. As a general rule I'll also learn each lesson at several (3) positions, which incorporates the low B AND really helps with fret board memory.
Lastly, while I never used them, I understand there are separate Hal Leonard books (Not authored by Ed). These books can be found on the last page of Eds books. As I understand them these books align with Ed's (1,2,3) lessons with popular songs containing elements of Ed's specific lessons. Again while never used myself, I really like this concept.
Great books!
I have used Ed's Blues book and just started the Jazz book. I've found them to be fun. I also have used a couple of Hal Leonard play along books. Look for the ones where you get audio download. The ones I have you get a track with bass so you can hear what it should sound like and one without bass so you can play along. You get the music score with tabs and also a lead sheet with lyrics and chords only. These play along books are fun but I warn you the bass lines can be difficult in some selections and I've had to modify some harder sections dumb them down. I can't get Acciaccatura to sound good... yet.
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