Pupil: Robert Hamilton
Date: 20/02/08
Evaluating Time: 2hr
This third lesson, for Robert, was the first to be recorded using the mini DV camera. This made Robert slightly nervous, however it did not prevent him from tackling all the objectives at hand. Showing his interest and dedication outside of lessons, Robert was able to name six components of the bass guitar.
Lesson Objectives:
1.) To recap on the anatomy of the instrument with the intention of the pupil to name 3 or 4 parts of the bass after hopefully studying the diagram given from the last lesson.
Outcome: Once again the pupil was able to name six out of the original fourteen bass components. These included the two horns, the scratch plate, the two pick-ups, the four tuning pegs, the volume controls and the fret board. The volume controls were once again grouped together in his description, however it was advised that on this particular bass there was a master volume, a pick up balance, a bass/treble boost and a tone knob. Robert admitted that he was unable to recall the bridge, as well as the specific volume controls, just as last weeks lesson.
2.) To persist with working on the pupil’s correct fingering techniques with both hands, concentrating on the left hand (fret hand) some more; as throughout the learning stage it is the more important hand. Pace and stamina are achieved through this fret hand, along with stretch (of fingers across the fret board) and speed. However time will be taken in this lesson to discuss the role of the plucking hand.
Outcome: It was explained to Robert that his fingering techniques or hand forms are important for flexibility, speed, efficiency and building stamina. Practice with these is also beneficial in keeping to the chromatic technique (one finger per fret) so no bad habits are created.
The occurrence of fret resonance or buzz is still present in the pupil’s bass playing. This is easily corrected by modifying the pupil’s finger placement on the fret, which needs to be placed onto the centre of the fret and not on either side of the fret bars.
The subject of the pupil’s thumb rest was mentioned, as Robert seemed to be using the body of the bass for plucking the E string, while the edge of the scratch plate was used to pluck the remaining three strings. After some experimentation Robert had decided to use the first pick-up as his rest, this is probably the best place, as the fingers don’t have to stretch and strain to reach the furthest string – the G string.
With Roberts’s left hand steadily progressing, his right plucking hand was next worked on by utilising a walking exercise to progress his finger coordination in this hand (refer to figure 1).
G-|-------------0--0-----------------------0--0-----------------------0--0------------|
D-|----------0---------0----------------0---------0----------------0--------0---------|
A-|-------0----------------0---------0----------------0---------0---------------0-----|
E-|---0------------------------0--0----------------------0--0----------------------0--|
-------1--2--1--2-1--2--1---2--1-2--1--2--1-2--1--2--1--2--1--2-1-2--1--2---
---------------------------Fingers used to pluck strings---------------------------
(Figure 1)
During the exercise Robert had his reserves about the technique, as he did not believe he was doing it correctly, although he was. This ‘walking’ technique was unfamiliar to him, as before he was plucking the strings in any old fashion, this just felt uncomfortable, as he was not use to it. However by the end of the exercise his plucking hand had improved and became less sloppy.
3.) To introduce fifth and eighth interval notes to the pupil, at this stage not concentrating on their musical explanation and relationship, so they can understand that they sound in tune to the root note they are playing. This will be demonstrated to the pupil in the form of Reggae music, where if they feel confident enough they can attempt to play along to some music or just play a bass line on there own.
Outcome: With the experience of interval notes being a cumbersome subject, it was contemplated not to introduce them so early. However this was decided against, as they were so necessary to a bass player due to the benefits and the length of time taken to grasp. Each interval note was explained in basic terms and then the notes were played on the bass. Robert did this himself, so they had first hand experience of the patterns and sounds involved.
Each interval was explained in terms of a pattern on the bass, although each root note was named, along with the corresponding fifth and eighth interval note, the patterns were emphasised. When discussing patterns, what is meant are figurative patterns, such as the ones shown in Figure 2 and 3 below, where the pupil imagines diagonal lines and other shapes to form a bass line or in this case interval notes.
(Figure 2 – the fifth interval note pattern)
(Figure 3 – the eighth interval note pattern)
The benefits of interval notes were demonstrated to Robert in terms of creating a bass line, where notes would have to be in tune with the surrounding instruments. The pupil understood this, even if the actual patterns of the two intervals can not be distinguished at this point.
Finally an example of a song that contains a root to fifth interval note bass line was played to the pupil. ‘Mister Chin’ by reggae artist Yellowman, demonstrated to Robert the need to learn interval notes, which can be incorporated into the creation of a bass line with great success.
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