Where to Prioritize

[asahisuperdry]

A quick bit of background: Years ago, around 12 years old, I played trombone and could read bass clef pretty well. I wasn't a child prodigy but didn't have trouble reading ahead in our (probably somewhat simplified) repitoire. I stopped playing for some reason and about 8 or 9 years later, I got a bass. I didn't bother relearning the bass clef but was okay enough to pick up some stuff by ear.

Flash forward to now: I picked up my bass after 3 years of not playing. I got stuck in a huge rut and stopped enjoying things and stopped. This time, I want to do it right and work on my reading as everyone says it's the golden ticket to being good. Also, I want to be able to do improvised jams reasonably and throw together a bassline.

I understand basic theory such as scales, chords and so on. I am a bit murky on chord progressions, especially hearing them. I was able to figure out Sabbath's Iron Man by ear, more or less accurately (minus about 50% of the fills) in about 2.5 hours spread through about 4 or 5 days. That's about where my ears are; I can usually pick out major and minor and often dominant 7 chords but not necessarily every last note. Sometimes I have to hunt and peck for that note or three.

I'm using simple ear training software which basically is a keyboard playing root and interval. I am also working on reading as I said. My things is, which gets priority? Reading is touted as this super important thing but everyone says the musical ear is number one. I do not want to burn myself out either and I don't always have more than 30-45 minutes to set aside to practice.

 

[mambo4]

Why would you have to prioritize?
Each day read a little, play by ear a little.
Do more of what you are less burnt out out -but consistently do both.

I am a bit murky on chord progressions, especially hearing them.

Clear up the murk and familiarize yourself with common chord progressions
and learn baselines that use them.

 

[MalcolmAmos]

In my case, ear training is (still is) a long time coming. Reading standard notation needs to be in your gig bag as it is the language we use. However in the World I play in I've never receive standard notation sheet music from any director I play for, it's all fake chord. The lyrics and chord names.

Yes I can read standard notation, however, I seldom, if ever, play from SN.

I play Country and Praise and can find chord charts, off the Internet, for 99.9% of what we do. So I really do not rely upon my ear to come up with the chord progression - unless I'm jamming and then a basic ole I-IV and listen for the V7 keeps me in the circle. I also am not driven to play the exact bass line the original artist played. I like to be close, however, do not fixate on playing by rote what the original artist played.

My recommendation would be learn enough standard notation so you can look at a sheet of SN music and have an idea what it is going to take to play this song. That'll not take that long. Point of interest; finding SN bass clef on a song is not that easy. Lead sheet, with the treble clef and note name is easy to find, however, something with the bass clef shown is another story.

And as Mambo said also be aware of Ear training, the more you listen the more you'll gain.

Recapping. Both, but, standard notation as your number one priority. Now chord charts and being able to hold your own with a band that uses fake chord is kinda important. First question most directors ask in my neck of the woods is: "Can you play from fake chord?" If you can't that's the end of the interview. Why? Because that is what everyone in the band plays from.

 

[asahisuperdry]

In my case, ear training is (still is) a long time coming. Reading standard notation needs to be in your gig bag as it is the language we use. However in the World I play in I've never receive standard notation sheet music from any director I play for, it's all fake chord. The lyrics and chord names.

Yes I can read standard notation, however, I seldom, if ever, play from SN.

I play Country and Praise and can find chord charts, off the Internet, for 99.9% of what we do. So I really do not rely upon my ear to come up with the chord progression - unless I'm jamming and then a basic ole I-IV and listen for the V7 keeps me in the circle. I also am not driven to play the exact bass line the original artist played. I like to be close, however, do not fixate on playing by rote what the original artist played.

My recommendation would be learn enough standard notation so you can look at a sheet of SN music and have an idea what it is going to take to play this song. That'll not take that long. Point of interest; finding SN bass clef on a song is not that easy. Lead sheet, with the treble clef and note name is easy to find, however, something with the bass clef shown is another story.

And as Mambo said also be aware of Ear training, the more you listen the more you'll gain.

Recapping. Both, but, standard notation as your number one priority. Now chord charts and being able to hold your own with a band that uses fake chord is kinda important. First question most directors ask in my neck of the woods is: "Can you play from fake chord?" If you can't that's the end of the interview. Why? Because that is what everyone in the band plays from.

Malcolm, I remember you from years ago here. I lost my old log in info so I cannot even recall what it was; however, you're just as helpful as you were then! I was wondering if you still posted here and fortunately for all of us you do.

God bless and thank you.

 

[MalcolmAmos]

Thanks for the kind words.

 

[LeeNunn]

Recognizing intervals is important. What may be even more helpful is recognizing melodic patterns, or a sequence of intervals. I recommend transcribing your favorite bass lines using standard notation. That helps both your ear training and your reading ability. For example, you might transcribe the first couple of measures and then realize that the pattern repeats itself, often with a few variations. All you need is one of the "loop and slow down" software programs, some blank music paper, and a pencil. Be sure to focus as much on the rhythmic notation as the pitches. Write the chord(s) above each measure so that the notes have context. I think you'll be surprised at how quickly you'll be able to do this after a few months of practice. I learn something with each song I transcribe.