Which is worse - the right note in the wrong place or the wrong note in the right place?
Answer - no brainer! Time always rules! Never forsake the time for a note!
Note: Dave Garibaldi says it's fine for the group to breath. Big difference!
TIP OF THE DAY
For over a year Bob took to this blog to share daily tips. Check out the archives bellow for some GREAT information that every musician, not just bass players, should know!
Which is worse - the right note in the wrong place or the wrong note in the right place?
Answer - no brainer! Time always rules! Never forsake the time for a note!
Note: Dave Garibaldi says it's fine for the group to breath. Big difference!
Your thumb on your right hand should occupy a space in a straight line between your index and middle fingers while near the nut on the neck. The further up the neck, the more your thumb retreats toward the nut.
There are two ways to practice: with or without a time reference. One is no good without the other.
If your bass has an 18 volt preamp try using the -10 db pad on your bass amp. It may clean things up a bit.
THEORY TIP: There are indeed rules now for applied theory (improvised music) and there IS a right and wrong use of nomenclature and terminology. Though you should know both, professors Bill Dobbins, Ray Wright, and Rich Madison have made the distinction. For example, there is no such thing as a C 11 chord. Here's why; the suspension and resolution cannot co-exist over the same root. Correctly describing chord qualities (and jazz theory in general) requires a bit of study. Take time to learn it (the CORRECT way). For more information, contact me via this website!
It is virtually impossible to practice (or warm up) while distracted by another human being. I need privacy before a big show and am willing to be rude if that's what it takes to get it. No clingers! But again, try diplomacy first!
Staying with Root/5 bass lines (or any bass line): It is critical to the groove that you decide the duration of each note and how it will sound. If sounding on beats one and three, either sustain each note in to the next beat or be certain that the space between notes is exactly the same duration as the notes being sounded! Otherwise, even though your articulations are dead on, inaccurate spacing will sound as though you are rushing and dragging thus the groove will be destroyed! Also, for straight ahead jazz swing, sustain like crazy! For western swing, experiment with shorter and shorter quarter notes. If the drummer is playing '4 on the floor' (quarter notes on the bass drum), creating shorter quarter notes on the bass will totally change the groove and can be interesting even in a jazz setting. On the other hand, if the drummer continues to play all 4 beats on the bass drum during a jazz gig, throw his bass drum pedal out the window on your first break! Remember, in jazz the bass marries the ride cymbal. For all other grooves think bass drum and hi hat.
TIP OF THE MONTH: Constructing a root/5th bass line is not nearly as simple as it may seem! Certain cultures utilize the 5th to Root as standard.
Actually, 5 to 1 is much more interesting. For example, the 1 chord in the key of E: [b e b e]. That would certainly be preferable if the next chord was B7 (the 5th), otherwise the 'b' would be repeated if the approach was reversed: [e b e b].
If the changes are: E [2 bars] to B7 [2 bars]:
Good: [E B][E B][B F#][B F#]
Better: [B E][B E][F# B][F# B]
Best: [B E][B E][B F#][B F#]
THEORY TIP: On suspended chords, play a major pentatonic scale built on the 4th degree. Avoid the 3rd (major or minor) other than as chromatic passing tones. Common bass player mistake!
Never collapse the first knuckle on the ring finger of the left hand. The left hand should look like a claw; fingers curved at every knuckle. Flat fingers never move fast!
BREAKING NEWS: Musicians have big egos and don't like being corrected! Even the best musician can be difficult, so use diplomacy! Humility is a wonderful thing and will keep you working!
Developing speed is not only a matter of the fingers. During practice work on moving your left hand and arm quickly and accurately. Note how great trombone players move their right arm while keeping their wrist loose.
For bass players packing heavy gear, trend loads towards your left hand.
Always have a challenge on your desk; something on which you are working yet have not mastered.
The majority of technique issues result from problems in the right hand. Practice with a mirror, a small one will do fine if you are placed at an angle and can see both hands.
Composition -- so simple yet so effective; when composing your own music in a major key, don’t forget to barrow tonalities from the parallel minor.
Left hand technique -- Don’t forget, the ‘ring’ finger (finger 3) is the main culprit in technical issues. Don’t let the third knuckle collapse. If you are allowing that knuckle to flatten out, it’s a huge issue and must be corrected!!
In reference to yesterday’s tip, and it was a good one, think about this little story -- Many years ago in the town from which I am based and have worked throughout my life, an old jazz semi-icon from the bop era settled down and worked for decades. As an ageing alto player he enjoyed working with young musicians because he more-so enjoyed giving them continuous advice. He had tons to teach us, but remained somewhat bitter in that his career hadn’t worked out the way he had hoped. As a result, his advice as to career decisions was often skewed by his bitterness. I remember a brilliant young jazz piano player mentioning one night on the band stand that he was making the move to New York (where he remains to this day as among the best). The old jazzer advised against it stating- “ If you can’t make it here, you can’t make it anywhere”……My point is he could not have been more wrong! If you can actually MAKE IT in a town that really doesn’t care that much about music, you can kill it in a town that actually does!!!! After all, the young piano player WAS ‘making it’ locally. So…..what does ‘make it’ mean?
TIP of the MONTH -- Past tips make mention in detail as to plans to move from your current location. Perhaps mention should be made as to the possibility of staying put, or you have already found a place to settle down. Building a local empire can certainly be a prudent strategy as long as the demographic of your area and surrounding areas (250 mile radius) can support you for an extended period of time. By this I mean as you get OLDER (and you will), younger generations will be on you coattails and after your gigs (this will always be the case). You must continually engage in new contacts as previous ones disappear. Also, become proactive in the booking industry in your area NOW. Stay relevant! Be the band leader/ build your own group. Play with lots of groups but remain with the big money- don’t slip backwards. Most important is relentless practice. I am the oldest I’ve ever been and I’ve never played better. The plan is to say that tomorrow! The above is the path I ultimately choose; to be a husband, a father, and a musician.
Every truly GREAT musician I know had one goal, to be a great musician. Fame has nothing to do with being a great musician. Ask any great musician. They would ten fold rather be a great player than be famous. If fame is your goal, stop practicing and just go get famous…..my guess is if you are reading this, you are on the right track!!!