Author Archives: Joe Hubbard
FOR IMMEDIATE RELEASE
Joe Hubbard Releases Innovative New Workbook
Joe Hubbard has launched his sixth self-published book, The Chord Tone Sudoku Workbook. Hubbard, a renowned bass guitar player, author, jazz recording artist and respected educator, reveals the concept of chord tone recognition in his latest book.
With an in-depth selection of musical examples and exercises, The Chord Tone Sudoku Workbook, is one of the most complete studies of chord tones available for bass guitarists of any level. This book is more than just a method book, taking you deep inside the bass guitar fingerboard and into the world of chord tone recognition.
Playing chords on the bass guitar can create a double edge sword because the time that you would spend applying this to a performance scenario is extremely limiting, unless you are planning on becoming a solo bass performer. So, what possible advantages could we be gaining from spending our precious practice time on learning creative chordal connections?
Learning how to play chords on the bass guitar is most beneficial from the standpoint of training our ears to hear chords being played simultaneously, while developing the skills to identify different chord qualities with greater clarity and speed.
So, you want to be a musician? That’s great news, but how are you going do that? Well, one way to get started is learning something about Western music, which is comprised of tonal and atonal music. Ninety-nine percent of all the music you’ll end up playing will probably lean on the side of tonal music, so that’s a good starting point. The building blocks of Western music that you will need to know from the get-go consist of melody, rhythm and harmony.
Superimpositions are used by all great improvisers, but are often taught as ‘substitutions’ which can be confusing when you are trying to understand how to apply this information while improvising over a tune.
Succinctly put, substitutions are replacements for the harmonic content within a song and are often chosen to re-harmonise the composition in question, working to co-exist with the original melody. On the other hand, superimpositions consist of melodic and rhythmic content that are ‘layered’ on top of the existing harmonic progression.
Why would I serve you filet mignon, when everybody’s lapping up the dog-doo? Because I can! It’s a simple answer to a not so straight forward question, but it’s based on years of investing time and money into my musicianship skills, which include studying with some of the best jazz and composition teachers on the planet, along with playing with some of the best musicians and recording artists around. But this still begs the question of why there is so much “junk science” being peddled as “the real thing” by so many unqualified people, all over the internet, who mostly, haven’t played with anybody of repute or paid any significant dues as working musicians.