Teach me bass guitar pdf download

Ask them to play the chords first in the sequence presented on the handout G Em C and D and when they can do that mix the chords up a little eg request that they play an D chord followed by a Em chord etc. The idea is that the pupil develops an ability to remember the fingerings and play them without continued reference to the handout.

Let the student know that what we are looking for is a situation where the chord names and the fingerings are available for instant recall. You can hear a short snippet of the backing track which features drums and a bass player repeating the sequence for a couple of minutes. Now ask the student to strum a single chord as each change comes around.

The idea behind this is that having played a single chord the novice player has time almost two bars to get ready to fret the next one. Some students will adapt to this fairly quickly whilst others will take a little time to get to grips with the fingerings involved. If an individual was able to play everything presented to them perfectly by the end of the lesson then it can be argued that the material was pitched way too low.

The object of a good lesson is to give the student a desirable and achievable outcome that they can work towards between sessions. For the students who pick up the changes early it is possible to introduce more involved strumming patterns. It is a good idea at this stage to be careful to restrict the strums to the early part of the first bar of each chord so that the learner will continue to have time to move between the chord shapes.

Towards the end of the session give the student a copy of the backing track on CD or you could even email it to them for private study this usually goes down very well! You could even use a pencil to indicate which chords from the sheet are to be studied. The backing track for this one is more of a heavy rock thing and will work particularly well for students who aspire to be rock players.

This backing track like all of the others can also be used by guitar students learning Bar Chords and the handout relevant to this developmet is also shown above. Beginners can use the track to practice forming the open chords of A and G again playing single strums with downstrokes of the plectrum. Basie Two Boogies. Bass Lines - Bob Cranshaw. Basslines by Joe Hubbard. Bb Blues Walking Basslines. Be True To Me Carnavalito. Beautiful South - Rotterdam.

Benetar Pat - Best Of. Best Of Victor Wooten. Beth Orton - Anywhere. Beverley Knight - Shape Of You. Beverley Knight - Shoulda Woulda Coulda. Beverly Craven - Promise me. BHackett In The Mood.

Big band - Lately score. Big Band Arrangement Nous Blue. Big Band Drumming 2. Big Band Score - Closing Time. Big Band Score - Gattovolpe. Big Band Score - Just in time S. Biggest Pop Hits Biliy Swan - I Can Help. Bill Bailey goes vaudeville.

Bill evans plays standards OK. Bill Withers - Lean On Me. Billy Crawford - Trackin. Billy Hayes - Blue Christmas. Billy Myers - Kiss The Rain. Billy Ray Cyrus - Busy Man. Billy Ray Cyrus - Deja Blue. Bjork - New World. Bjorn Json Lindh - Brusa hogre lilla a. Black Crowes - Guitar Anthology Series. Black Label Society - Selections. Black Sabbath - Sabbath Bloody Sabbath. Blind Melon - Soup. Blink - All The Small Things. Blondie - Heart Of Glass. Blondie - The Tide Is High. Blue - Breathe Easy. Blue Chip Big Band parts.

Blues Saraceno - Never Look Back. Blunt - Back to Bedlam. Blur - The Greatest Escape. Bob Carleton - Ja-Da. Bob Carlisle - Butterfly Kisses. Bob Marley - Nowoman No Cry. Bob Marley - Ten Greatest Hits 50pp. Bob Seger - We've Got Tonight. Bobb Sharp - Unchainmy Eart. Bobby Helms - JingleBell Rock. Bobby Russell - Honey.

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Essential Styles for the Drummer and Bassist b. Essential Styles for the Drummer and Bassist. Every breath you take, Sting. Everything But The Girl - Missing. Extreme - More Than Words. Extreme - Pornograffiti. Extreme - Pornograffitti. Faster Pussycat - Faster Pussycat. Fats Domino - Blueberry Hill. Ferreira - Loindetoi Recado. This book is one of my very favourites and one of a handful I studied when I was getting everything together. He is an absolutely beautiful player and employs many interesting colours in his playing.

This books presents major, harmonic and minor modes as well as diminished and many other exotic scales. There are examples too so you can use them in your own playing. This is written by a legendary jazz player, Tribal Tech's Gary Willis. I don't think it is just me who has a really geeky side when it comes to learning and improving and with tips such as 'Cable Discipline' and 'Steel Wool Trick' this book does not disappoint.

There is some great stuff in here from health and posture tips to gear to practice and memorisation techniques. You can do a whole background jazz gig with one of these even if you don't know any of the tunes.

Learn to read chord symbols and improvise a bass line sign up to the newsletter at www. Victor Wooten's semi-autobiographical work of fiction is a great read and recommended for anyone looking for the more spiritual, deeper side of music. We all know that you need technique, a knowledge of theory etc. However, this book is more of a philosophical look at music and a bigger picture than just music.

It's quite zen and requires you to think a little which is no bad thing! The subtitle of this book sums it up perfectly: it was an extraordinary life and it did end tragically. Like James Jamerson, Jaco is one of the true legends of the bass.

I read this just after my obsessive-Jaco phase when I was 13 and was transfixed by his story. I actually pulled the frets out of my bass at the time after reading this book but that's another story This book is based on the original 'The Inner Game of Tennis' I highly recommend that book too even if you're not into tennis. The mental side of performance has always fascinated me and it seems to me that musicians should work on this as much as technique or learning tunes.

It took me a couple of goes to get through this book as I wasn't ready for it the first time round. But if you are interested in the mental side of performance and practice and I think you should be! Carole Kaye is a session bass titan.

She played on thousands of records and TV and film sessions in the 70s and 80s. She came up through the clubs playing jazz guitar in the 60s. She has so much wisdom, many great stories as well as experience and expertise.

I recommend all her books actually. Do check out the film The Wrecking Crew also look at my DVD recommendations if you want to see a fascinating documentary on the LA session crew of the 70s and 80s. Gear For The Reading Musician.

Accessories For Bass Players. Keen to get better fast? Subscribe to the newsletter for your exclusive FREE ebook.

On a more serious note though is the real time fingerboard you see at the bottom of the screen, demonstrating where your fingers should be placed on the instrument. Metronome markings and other useful musical information also pops up on the screen when needed. Vogt starts off each lesson with a warm up exercise, and ends with a cool-down exercise afterwards.

The lessons themselves cover anything and everything from the basics to the most advanced techniques used by some of the most accomplished players in the business. On the basic end of the spectrum, you will learn the workings of the bass, the notes on the fretboard, the proper way to move around the neck, different picking styles, sight reading music, time signatures and more. Lesson 1 also gets you started on playing an actual song. Things proceed along at a fairly manageable pace over the next few lessons, which take you through playing scales and chords, rhythm playing, the different modes, and even more advanced techniques such as tapping, slap bass, and a lot more impressive bass techniques.

Keep in mind though, that at no time does TMBG devolve into a collection of flashy tricks and pyrotechnic displays of playing ability. Instead, a firm focus is maintained on solid musical concepts and theory all throughout. Flash is really fun to watch, but Vogt is really all about getting YOU to be able to do what you want on the instrument in actual live playing situations.

As mentioned previously, the course proceeds quite manageably over the first few lessons, but things get a bit more intense around Lessons 7 to 8.

More on this in a moment. The good thing is that Vogt is just as focused on demonstrating key concepts and techniques during this part of the course as he was in the earlier sections, so you will never feel as if you are in over your head. First you get to hear Roy play with the group, which allows you to absorb how everything feels, sounds and translates into an actual, real life musical situation. Then, you can play with the band with the bass track removed, so you can get the experience of applying your new skills to a track of live players.

This is one of the best possible ways for a player to develop, because it is the bridge from simply playing exercises to developing the range of skills required to actually apply them to a real musical situation.