1. Please take 30 seconds to register your free account to remove most ads, post topics, make friends, earn reward points at our store, and more!  
     
    TalkBass.com has been uniting the low end since 1998.  Join us! :)

The Internalization Of Your Playing.

Discussion in 'General Instruction [BG]' started by Fergie Fulton, Aug 26, 2012.


  1. Fergie Fulton

    Fergie Fulton

    Nov 22, 2008
    Braintree
    Retrovibe Artist rota
    If you are looking for an exercise to deal with your timing and tempo, as well as your plucking and freting, or even where you choose to play or mute in relation to time signatures, sub-divisions that allow you to think or feel how to play before the beat, on the beat, or after the beat, follow the link and check out the first part of this trilogy of lessons.

     
  2. Fergie Fulton

    Fergie Fulton

    Nov 22, 2008
    Braintree
    Retrovibe Artist rota
    Sorry for the wrong link, now repaired to the correct one which should be the Trilogy Exercise part 1 not, Exercises away from the bass.
     
  3. Fergie Fulton

    Fergie Fulton

    Nov 22, 2008
    Braintree
    Retrovibe Artist rota
    When I talk about thinking time and playing time that relates to note values and your choice to play or not to play them.

    So if you play a whole note, that is a four count note, you hit the note on the one and let it sustain for a count of four.
    But you can also sub-divide that count into playing two half notes in the exact same time frame and tempo, so the half note is hit on one and three.
    But you can sub-divide again and play four quater notes in the exact same time frame and tempo, each note hit on, one, two, three, four.

    This is what is ment by thinking and playing time. It is the realisation of how much time has passed and how you reacted to it.

    When played slow the exercise gives the feeling of time and tempo passing, when you play it faster you are reacting by playing the time and tempo passing. This is why in playing it slow, you learn the relationships you never really get when playing faster.

    The reality of the exercise is you are practice 16th, 8th, quater, half, whole and double whole notes, it depends on the tempo you choose for your brain to relate the use..the physicality is the same for all..
    So when you practice slowly are you actually playing that double whole note at the correct tempo or are you playing 16th notes sub-divided down really really slow?
    It will be your brain that makes the decision on the difference, not any physical technique.
    So when a player struggles to play 8th notes clean, the chances are that cannot play double whole notes clean...all 8th notes are really just double whole notes played fast in relation to a tempo.

    So when playing slow you have to feel the time as it passes, so the relationship to a double whole note and an eighth note is the same, the double whole note feels the passing of each eight beats, where as an eighth note plays each one of the eight beats.
    It's when they are put them back to there correct relationships to tempo that players develop issues.

    One of the often talked about issues is muting. But in playing slow muting is not an issue, learning to control and sustain the notes timbre is the issue, so muting does not come in to it.
    When the issue of controlling the sustain and timbre are addressed as slow tempo, then muting is not such a problem at faster tempos because the relations to sustain or not sustain a note is known.
    Because the playing is slow then the chance to hear overtones and where they develop from is now apparent, to any strings that need to be dampened can also be addressed.
    All of this means when the tempos are raised then so do the techniques and relationships to them because you have given you brain a chance to understand what is going on, and what you want to be going on, so the brain internalises certain parts, leaving you free to adapt the rest or learn new ideas to add to it.

    When I do the exercise overview I will include a demonstration of this concept within it, as usual easy and quick to demonstrate, but not neccesaly the same to explain to all that may read it on the web.
     
  4. Bass Mentor

    Bass Mentor

    Apr 30, 2012
    Nashville Tennessee
    endorsing artist: Lava Cable, E&O Mari, Rupert Neve Designs
    Great post, Fergie-- I have all my students get familiar with the above -- and why i teach them all the fundamentals of reading so they grasp the concepts of '' full length of the notes''

    Best!
    Steve
     
  5. Fergie Fulton

    Fergie Fulton

    Nov 22, 2008
    Braintree
    Retrovibe Artist rota
    Cheers Steve, I have all the lessons in PDF format as SN and Tab, so the reading of it explains itself, so no real need for talking from me.
    But as anyone that uses the web knows, it is a big old world and many different languages being used, so information can be mis-understood.
    Also with so many different levels of ability, students and player can develop a patchwork of information that does not relate or tie in because certain aspects are missing.

    What we are trying to do is set up 12 five minute lessons on the fundamentals and rudiments of playing. The format is no longer than 5 minutes, so the lesson is straight forward and can be learned. Then after that each lesson builds and supports the last ideally, but we cannot gauantee that anyone will follow the order, so we are trying to make each one a lesson in its own right, but will tie in with the other 12.

    There are three fundamentals
    Timing
    Plucking
    Freting

    Then within those are the rudiments of
    Counting
    Left hand use
    Right hand use

    Then within those are the rudiments of
    Sub-division of time
    Alternating fingers
    Fret mapping

    Then within those are the rudiments of
    Relationships to time and tempo
    Both hands working as one in playing
    The internalising of skills that support playing, and make way for new ones to be learned.

    So the reality is the three fundamentals, backed up by the nine rudiments. Anyone learning bass from a musical stand point should have a good foundation for any teacher or school, playing any genre to build on.

    If anyone has any comments or questions, by all means post them.
    As I am close to it all, I sometimes cannot see the woods for the trees, but if you can tweak my thinking, I can look at what we are doing in a different way, and maybe see some better ways to present what we are doing. Already I have had some good E-mails and yes, like I posted above, the relationship between different notes is delt with, just not in the Trilogy part, so I may put it in there just to touch on the idea, before it's own exercise is explained in a later lesson.

    No I will not be dealing with tapping or slapping as these are techniques not fundamentals and rudiments. But if need be it can be applied to such things if a player so desires. This is why they are fundamentals, because they stand up in there own merit to be applied when learned.

    If anyone would like to add a point of what the consider a fundamental rudiment, then please post it, but look down the list of 12 and see if what you are thinking falls into one of the areas. The learning of these 12 I have listed go along way in my teaching areas and experience to cover just about all playing situations I know off.
     

Share This Page