The Hal Leonard Bass Method thread

[SteveCS]

Looking for some technique clarification. On page 32 just above octave blues, its notes that when changing strings to lead with the middle finger when going higher and the index when going lower but doesn't this run counter to the rake, or at least in some cases? Like if i go to the the A string and lead with middle and the next note is back on the E string which finger do i use? the rake says middle and the note on page 32 would be index

It does say a 'general' rule, so not absolute. By the same token, deploying a rake is also not absolute or mandatory. With octaves the "index=low, middle=high" idea is rational because it exploits with finger length differences. The really great thing with Ed's book is that it teaches you solid stuff whilst also presenting opportunities for you to think, try out and discover ideas for yourself.

Take another simple octave-based line like this:

Here the ideas of "index=low, middle=high" and "AP up; Rake down" start to clash if you try to apply them both in absolute terms, especially if you start to push the tempo*. Even in the book exercise (#62) it is impossible to apply every 'rule' in absolute terms all of the time. The great thing with Ed's book is that it teaches you solid stuff but it also creates opportunities for you to think, try out and discover ideas for yourself.

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* The key to playing at speed is to practice good accurate technique very slowly. Something like my example above could easily be played at 120 bpm with just one finger or even just the thumb. But double it up like this:

and even at modest 80 bpm it really needs more than one finger. So why not practice/play the first one with a right-hand that is also compatible with the second. Scaling to tempo then becomes a case of "the same, but faster", rather than having to think about playing something differently just because it is faster.

 

[edfriedland]

Looking for some technique clarification. On page 32 just above octave blues, its notes that when changing strings to lead with the middle finger when going higher and the index when going lower but doesn't this run counter to the rake, or at least in some cases? Like if i go to the the A string and lead with middle and the next note is back on the E string which finger do i use? the rake says middle and the note on page 32 would be index

This is a good question! The simple answer is, use the rake when you go to a lower adjacent string, because it’s already there! But in the octave example, you’re skipping two strings, and dedicating the first finger to the root and middle to the octave makes it a little easier to do the jump.

 

[Paoa02]

thanks for the clarification

 

[Whousedtoplay]

I'd like to ask a question.

What is a lower adjacent string?
If you play A on the D string, than you rake E on the A string because the A string is a lower adjacent string?

Here is what AI says about it.

"Based on the provided search results, a lower adjacent bass guitar string refers to the string adjacent to the lowest-pitched string (E) on a standard 4-string bass guitar. In this case, the lower adjacent string would be the A string."

 

[KindofBlues71]

E is the lower adjacent string to A. I think of it as lower in pitch. D is the lower adjacent string to G, A is lower adjacent to D, and so on. What AI is describing is higher adjacent string - A is a higher adjacent string to E.

 

[SteveCS]

I'd like to ask a question.

What is a lower adjacent string?
If you play A on the D string, than you rake E on the A string because the A string is a lower adjacent string?

Here is what AI says about it.

"Based on the provided search results, a lower adjacent bass guitar string refers to the string adjacent to the lowest-pitched string (E) on a standard 4-string bass guitar. In this case, the lower adjacent string would be the A string."

What AI is describing is higher adjacent string - A is a higher adjacent string to E.

Proof, if any were needed, that AI remains fallible, or perhaps too logical? We are back to that inconsistency between string numbering, where (ignoring re-entrant tunings) 1 is highest pitch and higher numbers are tuned to lower pitches. Rake is (almost) invariably from a high-pitched string to a lower-pitched string, or from a low-numbered string to a high-numbered string. Unless of course you play a left-handed instrument right-handed without re-stringing, which would really put the AI in a spin...

 

[EddiePlaysBass]

Today I decided to revisit @stuart clayton's Ultimate Slap Bass book, and start from exercise 2 onwards - 1 being tuning.

I decided that focusing on learning to read is a priority, and the HLBM books are doing wonders for this while also sharpening my technique. But I also wanted some diversity in my practice sessions.

Learning slap bass was never a priority, but since I am between bands and focusing on technique and skill building, I figured this adds in nicely for a change of pace every couple of sessions.

"Good for you, EPB, but why post it here?" Good question. From chapter 1 onwards, @stuart clayton has several exercises which are not featured on the audio tracks. Usually, I would skip these, despite the presence of tabs to help me get through them.

But having worked through book 1 of the HLBM (twice) I felt confident in tackling these examples from a rhythmic perspective. This adds immense value to my practice time, and I get more out of the (many) books I have!

Tomorrow I have scheduled time for more reading, but I just felt like sharing this part of my journey today

 

[CompleteHack]

Been using an electronic edition (Vols. 1-3 combined) for a month or so. About 2/3 the way through Vol. 1 now.

I've got into a flow of having the electronic page on-screen as I sit at my computer, while also using the computer for the play-along tracks.

Something desperately needed: easier & quicker way to pan stereo. Since the Hal Leonard tracks have bass panned hard right, I need to pan hard left when playing along. Then back to "centered" for my initial listen-through of the next play-along track.

Doing this with the built-in Windows controls is kinda painful. I'd rather have a physical knob. There does not seem to be any such animal as a simple, inexpensive, inline L/R adjustment knob for use with headphones (i.e. hardware vs. software control). I've looked.

I am also working my way through the studybass.com lessons.

I find the two (HLBM and studybass.com) complement each other well. I'll usually do some of both, in any given practice session.

studybass.com is a bit better for practice exercises (giving you lots that you can play at tempos of your choosing), where HLBM is better for play-along songs.

Decided that for a "graduation present," I might get myself a 5-string bass, once I'm all the way through all 3 HLBM books.

 

[CompleteHack]

And just like that, I'm almost done with Book 1!

I dig how it builds you up, one or two small ideas at a time. Next thing you know, you're playing syncopated blues basslines, using all 4 strings.

The play-along tracks are extremely helpful. I'm trying to find folks to play live with as well, but the play-along is a pretty good substitute in the meantime.

 

[Paoa02]

I should close out book 1 in the next few days and I have a question that I should probably have asked at the beginning. How did you guys determine when to move on from an exercise/book? What criteria did you use to decide what was good enough to move forward and what wasn't?

 

[EddiePlaysBass]

I should close out book 1 in the next few days and I have a question that I should probably have asked at the beginning. How did you guys determine when to move on from an exercise/book? What criteria did you use to decide what was good enough to move forward and what wasn't?

For me it's playing through an exercise well enough, ie little to no mistakes. If I stick with an exercise too long, I start to memorize it. What I do now is randomly revisit prior exercises every so often.

 

[HoHumbucker]

I should close out book 1 in the next few days and I have a question that I should probably have asked at the beginning. How did you guys determine when to move on from an exercise/book? What criteria did you use to decide what was good enough to move forward and what wasn't?

I have been working on two pages at a time (the facing pages). If I feel comfortable with those two pages, I often stop, then come back to them at the next practice session. I will often try the page previous as review, then run through the two pages I had been working on, if I feel good about those then I continue to the next new set of pages. The idea is to try and work one step back, two steps forward.

I have used this method when learning new wind instruments as well over the past couple decades (Rubank books). It works best for me if I do it every day, or on some frequent, regular basis. I have not been as dedicated on bass as I have on other instruments in the past, so I end up going back a lot more and re-covering old ground with the Hal Leonard books. I would usually be happy if I could play it very well (not necessarily perfectly) three times in a row. Then I would move on. I agree with the comment that if you do it enough times, it becomes semi-memorized (which is not necessarily a band thing), which can change what/how you are learning.

 

[CompleteHack]

Closed out Book 1 of HLBM over the weekend. Started Book 2 this morning.

I like to play exercises with fingers first, since that's all I did for a long time, so I'm most comfortable with it. Even so, I have to stay focused to properly mute strings etc.

Then I go back over the same exercise or series of exercises, only I play with a pick. Sometimes, this means I need to stop and run through it again slowly, to figure out how to navigate. Which is OK. I should be doing something uncomfortable and pushing myself, or else it's not very good practice.

Every now and then, I'll try with a pick first.

I try to get it about perfect, playing more slowly, before I try to keep up with the play-along track.

Not every session, but often I'll finish off a practice by playing the same stuff I just played on the P-bass again, but on my fretless Ibanez. Or simply practice keeping intonation dialed in, since...well, it's fretless, and I have to be more accurate.

Obviously I can't test against 15+ years ago me, but I feel like I'm way better at sight reading now vs. back then. It may be that I'm approaching practice in a more disciplined way than before, or it may be that there are so many more learning aids today, or it may be some of both.