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FOR IMMEDIATE RELEASE!
£15.95
This brand new book by Joe Hubbard will help bass players of all levels how to understand, create and play world-class walking bass lines with laser sharp harmonic clarity just like the pros.
Listen to what others are saying about the impact of this book:
An interesting phenomenon that occurs frequently with new music students is a lack of understanding towards what is actually involved with the study of music; in other words- the ‘what’ is often misinterpreted with several esoteric attributes that make up the already technically skilled musician. Terms such as feel, emotions and interpersonal connection are often over used when surveying groups of young music students when they are asked what they are seeking to achieve when learning to play the bass guitar.
“Music is the vernacular of the human soul.” –Geoffrey Latham
Music is a language. It has rules and needless to say, if you want to be considered to be a good bass guitar player, you are going to have to learn the language of music – tonal principles, harmonic structures, rhythmic considerations, song forms, melodic permutations, etc – in order to develop the skills required to improvise. For the great unwashed improvisation is the ability play on your instrument what you hear in your head; responding and reacting on the fly through the continuous flow of non-stop music.
Spider exercises, chops building exercises, left & right hand gymnastics, tablature, finger combination drills, technique builders, rubber band assisted finger exercises and grip strengthening exercises all belong in one place- the TRASH! That’s right- anything you practice that does not include musical content and/or context which isn’t engaging the mind as you practice is useless and will not improve your bass guitar playing skills one iota. Oh, I can already hear some of you saying, “What about all of those warm up exercises that I practice?” Let’s first discuss the problem before I prescribe the solution.
Ear training is a ubiquitous concept within a musician’s vernacular, but often the quest for the acquisition of “good ears” is filled with a road of misinformation from post to pillar. Many approaches and mixed opinions exist: some espouse you must be able to hear intervals; some say that you should develop perfect pitch; some advocate learning the first two notes in a song and singing them to recognize the pitches; some advise sight singing melodies; some state the only way is through transcription, while others insist that musical dictation is the key. With many different sources all endorsing alternative methods to understand pitch recognition, one thing is very clear- the up and coming bass guitarist often becomes frustrated and confused because, although all of these methods mentioned hold some value on the surface, they only allow the student to hear the individual pitch and/or the distance between pitches- NOT how they relate to a given key center. This is what is known as Relative Pitch.
