Do both. Reading helps you, no matter what you play, and knowing the melody means you actually know the song. Playing just the chords, especially in jazz, makes for some incredibly boring music.
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Torn between two lovers
- Thread starter MichelD
- Start date
It's OK to blaze your own path in music. If you want to hang with jazz guys, then there is training to think the way they do. If not, it's less necessary. I have "classical training" ( school orchestra when I was young) and understand a lot of serious theory (but not what they teach in music school) - I studied Acoustical Physics and Psychoacoustics, and I can tell you WHY intervals sound good (or not). but my bass knowledge past that is all self taught - I play (very well) by ear or from chord charts, and have gotten quite good at memorization.
Once in a while one of the tunes I'm playing will have enough freedom in what I'm doing that I'll find myself thinking "this is a Jamerson-esque line I'm playing". OK, that may be part fantasy, but there is a bit of truth to that as well.
A couple years ago, I realized there were some basic things that I kinda skipped over, so I got the first 3 Mel Bay books, to shore up that stuff. I did open the books and start, but didn't get very far - I have too many gigs to prepare for to go back and figure out what I missed by doing things my way. I've decided I'm OK with that.
Work on what you thin is important. If you find yourself lacking in something, figure out a way to learn what you're missing, but don't assume that there is one path to success as a bassist.
Once in a while one of the tunes I'm playing will have enough freedom in what I'm doing that I'll find myself thinking "this is a Jamerson-esque line I'm playing". OK, that may be part fantasy, but there is a bit of truth to that as well.
A couple years ago, I realized there were some basic things that I kinda skipped over, so I got the first 3 Mel Bay books, to shore up that stuff. I did open the books and start, but didn't get very far - I have too many gigs to prepare for to go back and figure out what I missed by doing things my way. I've decided I'm OK with that.
Work on what you thin is important. If you find yourself lacking in something, figure out a way to learn what you're missing, but don't assume that there is one path to success as a bassist.
I don't see a problem with what you're doing at all. Yes, I know we're bass players, and there are certain expectations that come with that, but we often insist on building fences around ourselves. (e.g. Learning only bass clef and leaving treble clef to others, when it's all only one clef anyway. I mean, you wouldn't just learn half the alphabet, would you?)
As long as you enjoy it, there are no rules.
As long as you enjoy it, there are no rules.
The more you know about all aspects of music, the better a musician you become.
I learned more about music and composition in three years performing with my college’s 88 member chorale than than I ever did anywhere else. And my bass playing improved because of it.
Look at it this way: keyboard players can read both clefs and play bass, melody, and harmony lines simultaneously. Some even sing a vocal line while they’re at it. Yup.
Sure, we all know they’re really Martians. But learning anything is possible if you put your mind to it.
I learned more about music and composition in three years performing with my college’s 88 member chorale than than I ever did anywhere else. And my bass playing improved because of it.
Look at it this way: keyboard players can read both clefs and play bass, melody, and harmony lines simultaneously. Some even sing a vocal line while they’re at it. Yup.
Sure, we all know they’re really Martians. But learning anything is possible if you put your mind to it.
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I too love playing the lines of JJ and DD. I too have been working on walking bass, jazz and reading during my Covid “free time.” One step further, I’ve been taking blues guitar lessons online.
Many of the things I work on are not related to my work with my band. The walking bass in particular, I do because it makes me a better musician. Sure, there are days I just wanna put on the easy stuff and jam along (and I do.) But too many of those days and I make no progress.
Like Ed mentions above, Everything I play brings me some level of joy. If not immediately, it’s the results I see weeks or months later. It took a real leap of faith to put my regular work aside and push into new areas. I really had a nagging feeling I was neglecting things. But when I go back to my band’s setlist, I’m finding my groove is tighter, I’m playing (or not playing) in exactly the right spots, and aside from the occasional brain fart, much of the songs are actually easier.
Many of the things I work on are not related to my work with my band. The walking bass in particular, I do because it makes me a better musician. Sure, there are days I just wanna put on the easy stuff and jam along (and I do.) But too many of those days and I make no progress.
Like Ed mentions above, Everything I play brings me some level of joy. If not immediately, it’s the results I see weeks or months later. It took a real leap of faith to put my regular work aside and push into new areas. I really had a nagging feeling I was neglecting things. But when I go back to my band’s setlist, I’m finding my groove is tighter, I’m playing (or not playing) in exactly the right spots, and aside from the occasional brain fart, much of the songs are actually easier.
Not sure which is best in your case. Personally I'd make sure I had time to play something I enjoy. Having fun while you are playing is the secret sauce for groovy bass lines.
As far as reading, I grew up with treble because of violin and learned bass clef later for other instruments and it somewhat helped me with bass. Somewhat because I know liberally 20% of the musicians I have ever worked with are comfortable with bass clef. So a really REALLY good way to communicate with any musician or writer or producer who can read is to use treble clef. Am I digging a hole? I hope not. But think of it this way, If you speak English very comfortably and travel throughout another continent there will be some places where you can communicate more easily than others, some where it will be very difficult. So I'm 100% on the side of understanding treble clef.
If you read/write bass clef you can speak to your friends who play bass and the pianist/keyboardist. If you read/write treble you can communicate with everyone else. Yeah, some disciplines and seriously educated musicians learn both. But the majority of players learn only what they feel like they need to survive. Not putting words in your mouth but already said you feel like learning this is taking away from the playing you want to do.
Again, I am comfortable with the staves both ways but if I hand a guitarist my bass line in bass clef I have about a 20% chance they'll know what to do with it. So if you don't want to fully learn to read treble clef at least learn tabs or something on their terms. My dumb opinion.
As far as reading, I grew up with treble because of violin and learned bass clef later for other instruments and it somewhat helped me with bass. Somewhat because I know liberally 20% of the musicians I have ever worked with are comfortable with bass clef. So a really REALLY good way to communicate with any musician or writer or producer who can read is to use treble clef. Am I digging a hole? I hope not. But think of it this way, If you speak English very comfortably and travel throughout another continent there will be some places where you can communicate more easily than others, some where it will be very difficult. So I'm 100% on the side of understanding treble clef.
If you read/write bass clef you can speak to your friends who play bass and the pianist/keyboardist. If you read/write treble you can communicate with everyone else. Yeah, some disciplines and seriously educated musicians learn both. But the majority of players learn only what they feel like they need to survive. Not putting words in your mouth but already said you feel like learning this is taking away from the playing you want to do.
Again, I am comfortable with the staves both ways but if I hand a guitarist my bass line in bass clef I have about a 20% chance they'll know what to do with it. So if you don't want to fully learn to read treble clef at least learn tabs or something on their terms. My dumb opinion.
Odd to bring up Bill Evans while promoting simplicity in bass playing, considering Scott LaFaro and Eddie Gomez are pretty far from traditional "identify the root, follow the chords" playing.
