JK - Lesson Plan: Lesson 14

Complementary Studies: Liam Marley

Date: 25/03/08 (J Kosminsky)
Planning Time: 2hrs
Lesson Time: 1hr


Lesson Footage:



(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)


This lesson not only consisted of new and old material to be studied but also a correction from one of the last lesson’s objectives. Objective four from lesson thirteen described a muted note as a note that was not fretted and accented fully, however this was actually called a ghost note and will be corrected in this lesson by informing the pupil of the mistake.

The pupil will also be introduced to fills and improvisation, which will help the pupil in realising the vast capabilities of the bass not just as a backing instrument but also as a solo instrument.


Lesson Objectives:

1.) To persist with the major scales of C, G, D, A, while adding E and B to the repertoire to see if the pupil can manage to play up to the scale of B major and name the sharps involved.

2.) To correct last lessons fourth objective when the pupil was informed about muted notes, the correct name for this term should have been ghost notes.

3.) To introduce the concept of fills to the pupil, to enable a more self styled driven bass player.

4.) To re-introduce ‘Cold Sweat’ by James Brown.


Introduction:

The pupil will be asked how he/she thought the previous lesson had gone and whether they are anxious about anything during this week’s lesson. After this the lesson ahead will be explained with some aims set so that the pupil has specific goals to reach.


Lesson Material:

1.) With each passing lesson a major scale was added to challenge the pupil and to encourage them to learn their scales, so that their knowledge of the bass will increase over the course of the tutoring. During this lesson two additional major scales will be included. These are the scales of E major, which contains four sharps (refer to Figure 1) and B major, which consists of five sharps (refer to Figure 1). The pupil will be asked to name the sharp notes involved in these scales and will be encouraged to go as far as they can with listing the scales.


----------------------------1st------2nd---3rd---4th----5th----6th----7th----8th
Scale of E major-------E-----F#-----G#-----A-----B-----C#-----D#-----E


----------------------------1st----2nd----3rd----4th----5th----6th-----7th----8th
Scale of B major------B-----C#-----D#-----E-----F#-----G#-----A#-----B

(Figure 1)


2.) In the last lesson the pupil was misinformed about the concept of note that is not accented properly, so the pitch of the note does not resonate and in turn emulate the full sound of a fretted note. This was described as a muted note when in fact it is called a ghost note. The difference will be distinguished to the pupil, explaining that a muted note is when a note is actually fretted then released, causing the note to end abruptly, while a ghost note is played but not accented or emphasised fully as a fretted note is.


3.) Fills are the beginning of what makes a bass player individual in style and technique. They lead to improvisation, which add depth and excitement to a composition or a particular performance, without them a bass line would most of the time sound bland and repetitive.

A fill is a note or a collection of notes, which blend one bass part to another or ‘a short musical passage, riff, or rhythmic sound which helps to sustain the listener's attention during a break between the phrases of a melody’, as stated by Wikipedia, 2008. However to be able to play fills efficiently, a bass player has to know both their fret board and all their scales intimately, otherwise wrong notes, that may sound out of tune, could be played.

During the lesson the pupil will be given examples of fills on the bass and with songs.


4.) ‘Cold Sweat’ by James Brown will be studied and played again during this lesson, as it is a prime example of a bass line that uses fills. The pupil will be encouraged to play as much of the original bass-line as possible so they can get an idea of fills that are utilised by Brown’s bass player – the legendary Bootsy Collins. The pupil will be encouraged to play along with the fast fret changes of the root and interval notes, while changing with the chord progression of D to C, if they are able.


**’Cold Sweat’ tablature**