JK - Evaluation: Lesson 8

Complementary Studies: Liam Marley

Pupil: Joe Kosminsky
Date: 04/02/08
Evaluating Time: 2hrs


If the last lesson was practical based then this lesson was definitely activity based, as the pupil had a broad range of objectives to take part in. These activities were both theory based and practical orientated, with exercises that aided the pupil’s fret board knowledge to their hand technique. This particular lesson mixed old and new objectives together so that the pupil refreshed on previously taught subjects while learning new ones.

The formation of old and new kept Joseph occupied so it was possible to teach him old material as well as introduce new material. This kept the pupil interested and involved, which decreased the chances of distraction and boredom for the duration of the lesson.


Lesson Objectives:

1.) To recap on the ‘walking’ blues bass line, which will be played during this lesson in both quarter (crochet) and eighth (quaver) note lengths to enable a better comprehension of note lengths and bass patterns.

Outcome: With this being a follow up objective from previous lessons, the pupil was familiar with this bass line and had become proficient enough in the quarter note length ‘walking’ blues bass line. However between last week and this week and no doubt without any practice, Joseph was having difficulty with the eighth note length ‘walking’ bass pattern again (refer to Figure 1).

This is understandable considering the difficulty and timing involved in playing eighth note lengths when they have just recently been introduced. Joseph does not yet have the stamina or the strength needed in his fingers to be able to keep a constant rhythm with these note lengths. After several minutes of practice, Joseph has the ability to play a couple of bars almost flawlessly but soon loses his rhythm and timing. This is a contribution of increased finger activity on the plucking finger and the lack of coordination between the two hands. Unfortunately there are only three ways to improve these – time, practice and determination.


G -|-----------------------|-----------------------|------------------------|----------------------|
D -|-------2-2-5-5-2-2-|-------2-2-5-5-2-2-|-------2-2-5-5-2-2--|------2-2-5-5-2-2-|
A -|-3-3------------------|-3-3------------------|-3-3------------------|-3-3-----------------|
E -|-----------------------|-----------------------|------------------------|----------------------|

(Figure 1 – showing the first four bars of the ‘walking’ blues bass line)


2.) To develop the pupil’s finger span, so both their fret reach and stamina is increased.

Outcome: This was unfortunately being another hand technique that could only be developed with time, practice and determination. As the expansion of the finger span will eventually determine the number of frets a player can reach across, which will in turn determine a players speed and notation range.

At the moment Joseph is still having trouble striking each note in the centre of the fret board when practicing his ‘finger per fret’ chromatic exercises. So this finger stretching exercise (refer to Figure 2), if used frequently for a minute or two each practice, should eventually limber up the pupil’s joints and enable them to become more flexible.


G -|-------------------------------------------------------5---------7---------9---------11---|
D -|--------5----------7----------9---------11------------------------------------------------|
A -|--------------------------------------------------3---------5---------7---------9----------|
E -|--3----------5----------7----------9-------------------------------------------------------|

(Figure 2)


3.) To practice fret accuracy on the bass guitar, as this is vital for the pronouncement of notes.

Outcome: This objective was more successful than expected, as Joseph was a bit apprehensive about performing glissandos or slides due to the speed in which they were first demonstrated. However once explained that a slide can occur at any pace and across any number of notes, Joseph became more confident with the technique.

With Joseph listening out for any fret bar resonance while sliding, he managed to strike the majority of notes within the centre of the fret. This exercise has not only introduced a new musical slur to the pupil but has helped to improve the pupil’s fret accuracy; or at least put it into perspective as to why it is necessary to play the centre of a fret.


4.) To continue to practice the utilisation of open frets and fretted note formations to aid with the coordination between the two hands.

Outcome: Keeping Joseph occupied and active is important in these lessons, as he tends to get bored and easily distracted. This is why bass lines from three songs were chosen for Joseph to learn and play to. The pupil started off with ‘Smoke On The Water’ due to its slow pace and repetitive notes. This was mastered quickly and gave Joseph the confidence to progress to Queen’s ‘Another One Bites The Dust’. Unfortunately this song contained sixteenth note lengths, which were half the length of eighth notes and were far to fast for the pupil to be playing at this stage. This meant that a simplified version of ‘Another One Bites The Dust’ and ‘Molly’s Chamber’ had to be composed to keep the pupil active.

The continuation of open fretted note exercises aided Joseph’s coordination between his left fret hand and his right plucking hand. Once these can be used in conjunction with each other, in both time and rhythm, then the pupil will be capable of great accomplishments on the bass guitar. This objective also seemed to improve Joseph’s string crossing, as the ‘Smoke On The Water’ bass line consisted of open notes on the A string and fretted notes on the E string. This meant that Joseph had to persist with improving his finger raking/walking technique along the four strings so that a smooth action enabled him to eventually play the riff.


5.) To persist with improving the pupil’s fret board knowledge to enable the pupil’s advancement with the instrument.

Outcome: This exercise was finally beginning to pay off, as Joseph was showing great improvement with his fret board knowledge in this eighth lesson. He managed to name all his accidental notes (sharps♯ and flats♭) on his first two strings (E and A) but then struggled when it came to his D and G string. Although they are the exact same order of notes, the positioning of the notes on the fret is different and this causes confusion with the pupil. Joseph often relies on the dotted frets too much, expecting the same notes to be dotted on other strings, i.e. E (seventh fret) on the A string is a dotted note, however it ceases to be on the second fret on the D string.

After this lesson more attention needs to be placed on the D and the G strings so that a balance of fret knowledge can be accomplished.