This comment made curious enough to be wanting to add this book to my "Friedland collection". Amazon US only has it in Kindle format, but fortunately Amazon UK still has some real papery things in stock. Ordered.
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Great! Been into it for over a week, now. BTW, the larger book stores can get it in-store for you in about 3-4 days, and you don't have to wait for media mail-just go to their special order counter and pay after it arrives...
What a deal for a 3 in 1, and three CD's!
If you're into guitar, go for that 3 in 1 series (and tell us what you think).
What a deal for a 3 in 1, and three CD's!
If you're into guitar, go for that 3 in 1 series (and tell us what you think).
I just ordered this brand new from half.com for $12.83 including shipping!
Can't wait to start it.
Can't wait to start it.
Just started on the book earlier this week and LOVE how its laid out. It's a lot like a piano book that I was working on about seven years ago.
The only issues I'm having is disappointment with how slowly I'm working. I'm having major fret buzz issues with my index and pinkie fingers, but can't figure out if I'm plucking too hard or if my fingers need to put on steroids.
Anyway, looking forward to getting further into the series and hope to be able to jam with my friends by the time it's all completed! Thanks, Mr. Friedland!
The only issues I'm having is disappointment with how slowly I'm working. I'm having major fret buzz issues with my index and pinkie fingers, but can't figure out if I'm plucking too hard or if my fingers need to put on steroids.
Anyway, looking forward to getting further into the series and hope to be able to jam with my friends by the time it's all completed! Thanks, Mr. Friedland!
i've gone thru most of his slap bass dvd and i think the hal leonard book 1 i teach beginners with his by him ....he's a damn fine teacher and player!
So I just wanted to ask in here since it is in relation to this book.
I have been playing for quite a few years but self taught, I have always played the 1 finger per fret method even on the low frets (except upright bass I use the 1-2-4 fingers).
I have been going through this book from the beginning to work on a lot of basics that I really skipped over learning.
Would it be a big loss to me if I played all of the early exercises using one finger per fret instead of the way it they are being taught in the book at that point?
I have been playing for quite a few years but self taught, I have always played the 1 finger per fret method even on the low frets (except upright bass I use the 1-2-4 fingers).
I have been going through this book from the beginning to work on a lot of basics that I really skipped over learning.
Would it be a big loss to me if I played all of the early exercises using one finger per fret instead of the way it they are being taught in the book at that point?
After about 40 years of playing with no formal training and an absolute lack of reading ability, as well as a lot of bad playing habits, I'm pretty much starting over at this point. I can play passably well when I have to, but I am woefully out of practice. I figured Ed's 3 in 1 series would be a good place to start, so I bought it a few months ago from Amazon. Now if I could only get off my lazy a** and practice with the books every day like I should ....
Edit: Actually when I think about it, I don't really have a LOT of bad playing habits, I believe I have generally decent overall technique. Pretty much the only real bad habit I have is that of not practicing.
Edit: Actually when I think about it, I don't really have a LOT of bad playing habits, I believe I have generally decent overall technique. Pretty much the only real bad habit I have is that of not practicing.
It's like he has a masters degree or something, these books are so good.
Well, that and 10,000,000 hours doing it for real. Great combination.
Also a hearty recommendation for any/all his materials, I have his Bass Improvisation, his Slap DVD and a few other and all are top drawer. Top. Drawer.
Well, that and 10,000,000 hours doing it for real. Great combination.
Also a hearty recommendation for any/all his materials, I have his Bass Improvisation, his Slap DVD and a few other and all are top drawer. Top. Drawer.
It's not going to be a loss, but I am concerned about straining your hands. The ONLY reason I recommend 1-2-4 finger is to reduce strain in the hand. Play an octave from your low F - use your third finger - Don't you feel the strain? Now imagine playing "Shake And Fingerpop" for 10 minutes like that. Play "Get Ready" in G using your first and third fingers... can you sustain that comfortably for 10 minutes? Doubtful. Use whatever fingering you want, you're still learning how to read, but you stand a much higher chance of developing repetitive stress injuries.
Thanks a lot for the response. I will start practicing with those fingerings as well.
This book is great by the way, I have bought so many books to learn basic theory and read music and they are usually so hard to follow. The way you laid out this book it is so easy to follow and actually understand.
This book is great by the way, I have bought so many books to learn basic theory and read music and they are usually so hard to follow. The way you laid out this book it is so easy to follow and actually understand.
Ed, do you think it's practical to stay with 1-2-4 throughout the fretboard, or should one move to OFPF in the upper register?
My recent (& former) instructor was a proponent of OFPF, and tried to get me to switch to it on the higher frets ... heck, from about the 3rd position on up. Having the 1-2-4 ingrained in my left hand thanks to your Bass Method book series, it was a clumsy transition, and didn't really result in increased speed. Even ~ the 10th+ frets where OFPF doesn't result in added stretch, I am still more comfortable w/ 1-2-4.
The use of my ring finger lags behind the others, and not using it gives me one less thing to think about. But am I missing something by not using it?
I'm sure Ed will give you his opinion soon. In the meantime here is my 2c's worth.
I think you have answered your own question in the above quote. If it works for you, and is safe and comfortable, then why fix something that is not broken ?
If it works for you, and is safe and comfortable, then why fix something that is not broken ?
Just to clarify, when I mentioned that I'm more comfortable w/ 1-2-4, I meant as it relates to the upper register. In that location on the fretboard, both 1-2-4 and OFPF are physically comfortable. For me, 1-2-4 is also more comfortable from a technique standpoint.
Think Freddie Hubbard's Red Clay. Lots of quick R-5-8 movements up the neck. Having to hit both the 5 & 8 cleanly and quickly with the pinky was clumsy at first, but still not as clumsy as setting my ring finger to hit the 5s and my pinky (on the same fret, 1 string above) to hit the 8s.
Thanks so much to everyone on this thread. I'd heard of this book, but there's so many 'bass for beginners' books it's hard to know what's good and I hadn't gotten this one; but from the great info here I went and bought it and am really glad I did.
While there's no 'one book' to buy, this would definitely be a great 'first book.'
And big thanks to Ed for writing it. I don't know if you'll read this, but knowing how the publishing biz rewards authors ... I hope the gratitude of all the folks you've helped sweetens the pot. I look forward to learning all the stuff in there and moving on to more of your books.
Brady
While there's no 'one book' to buy, this would definitely be a great 'first book.'
And big thanks to Ed for writing it. I don't know if you'll read this, but knowing how the publishing biz rewards authors ... I hope the gratitude of all the folks you've helped sweetens the pot. I look forward to learning all the stuff in there and moving on to more of your books.
Brady
Thanks again for all the great comments on the method, and my other books too. I've put a lot of thought into each one, and I strive to present things in a logical order, and make it understandable. Sounds like it's working for most of you.
Regarding 1-2-4 vs. 1-2-3-4 fingering: As I've said, it's about reducing strain. If you need to use 1-2-4 all the time, all over the neck to be comfortable - fine. I myself switch back and forth constantly without being aware of it. It depends on the demands of the music. If I'm playing Shotgun - 1-2-4 feels right. If I'm playing Donna Lee - OFPF makes the most sense.
I guess I missed the flame war that happened in this thread back in April. I just went back to the beginning and see references to it, and that a mod had to clean up. I even see a post by Jeff Berlin! How did I miss all the fun? Who knew learning bass could be so controversial?
For the record - I totally agree with Jeff that a teacher who doesn't read music... seems like a bad idea. Okay, the guy is on a couple of big records. I'm not, so I can't compete in that area... And yes... there are a great many things to be learned that don't involve actual reading. I recognize that when you play bass, most of the time you're not reading (unless you play jazz, classical, or do theater work), but... would you go see a doctor that never went to medical school, but performed two successful surgeries? I don't know... I think the point of seeing a teacher is to connect with an expert, someone that has some training, and real life experience. They need to know the BIG picture to do the best job for you. I'm not saying you can't learn valuable things from someone that doesn't read, but chances are someone that doesn't read also has big holes in their knowledge of theory, if they have any.
Why is that important? Because after you learn the mechanics of the bass, learn how to interpret rhythm enough to play with people... you have to know WHAT to do. That comes from understanding how music is organized.
That's why in Book 3 of the method, I talk about how to construct bass lines from chord symbols. It's what we have to do much of the time - but by Book 3, you're already reading 16th notes!
Anyway... not to stir up the muck, but while Jeff and I do have our disagreements in some areas (don't say the M word), I do agree that a music teacher - whether bass or whatever... should know how to read music. Of course, this is not always the case, and I can't change that. Music is one of those strange fields where highly unqualified people can still succeed (commercially at least) and some of the highest trained, most brilliant minds may be starving artists for their entire lives. Go figure.
Regarding 1-2-4 vs. 1-2-3-4 fingering: As I've said, it's about reducing strain. If you need to use 1-2-4 all the time, all over the neck to be comfortable - fine. I myself switch back and forth constantly without being aware of it. It depends on the demands of the music. If I'm playing Shotgun - 1-2-4 feels right. If I'm playing Donna Lee - OFPF makes the most sense.
I guess I missed the flame war that happened in this thread back in April. I just went back to the beginning and see references to it, and that a mod had to clean up. I even see a post by Jeff Berlin! How did I miss all the fun? Who knew learning bass could be so controversial?
For the record - I totally agree with Jeff that a teacher who doesn't read music... seems like a bad idea. Okay, the guy is on a couple of big records. I'm not, so I can't compete in that area... And yes... there are a great many things to be learned that don't involve actual reading. I recognize that when you play bass, most of the time you're not reading (unless you play jazz, classical, or do theater work), but... would you go see a doctor that never went to medical school, but performed two successful surgeries? I don't know... I think the point of seeing a teacher is to connect with an expert, someone that has some training, and real life experience. They need to know the BIG picture to do the best job for you. I'm not saying you can't learn valuable things from someone that doesn't read, but chances are someone that doesn't read also has big holes in their knowledge of theory, if they have any.
Why is that important? Because after you learn the mechanics of the bass, learn how to interpret rhythm enough to play with people... you have to know WHAT to do. That comes from understanding how music is organized.
That's why in Book 3 of the method, I talk about how to construct bass lines from chord symbols. It's what we have to do much of the time - but by Book 3, you're already reading 16th notes!
Anyway... not to stir up the muck, but while Jeff and I do have our disagreements in some areas (don't say the M word), I do agree that a music teacher - whether bass or whatever... should know how to read music. Of course, this is not always the case, and I can't change that. Music is one of those strange fields where highly unqualified people can still succeed (commercially at least) and some of the highest trained, most brilliant minds may be starving artists for their entire lives. Go figure.
Just cuious how other people go about working the lessons in these books.
Is it better to keep a consistent tempo on all of them and go through the books slowly then go through again working on speeding them up. Or do most people stay on one lesson and work on getting it up to a pretty good speed before going to the next?
Is it better to keep a consistent tempo on all of them and go through the books slowly then go through again working on speeding them up. Or do most people stay on one lesson and work on getting it up to a pretty good speed before going to the next?
