Thursday, June 26, 2008
Tester Video Blog
Here is a summerised version of the video for Bass lesson 9 with pupil Joseph Kosminsky. This was loaded as a test shot as I was abit worried whether this site would actually load it up due to its tempermental attributes. Although it did take a good 30mins to upload and then process the video.
JK - Lesson Plan: Lesson 4
Complementary Studies: Liam Marley
Date: 17/12/07 (J Kosminsky)
Planning Time: 2hrs
Lesson Time: 1hr
In this fourth lesson the pupil will recap on objectives 2 (persist on correct fingering technique) and 3 (introduce 5th and 8th interval notes) from the previous lesson. This is to keep the knowledge learnt fresh in the pupil’s mind and to give them another chance to have a better understanding of the lesson material. Finally a basic knowledge of music theory will be touched on so that the pupil will understand the basics behind timings and rhythms.
Lesson Objectives:
1.) To persist with working on the pupil’s correct fingering techniques with both hands, this time concentrating on the right hand (plucking hand), using exercises such as walking across the strings (as seen in lesson 3, objective 2) to aid with the pupils string crossing.
2.) To continue with the explanation and demonstration of fifth and eighth interval notes, so that the pupil captures a better understanding of what they are and their purpose.
3.) At this point it is important to give the pupil a basic understanding of music theory, so that they can progress rhythmically as well as technically. During this lesson the pupil will be taught the principles of beats and bars and the most common of timing signatures 4/4.
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 a close eye being kept on the pupil’s left hand form, the right or plucking hand will be focused on during this lesson to progress the pupil’s string crossing technique in an attempt to prevent the pupil from catching non-intended strings. The same walking exercise utilised in lesson 3 will be used again in this present lesson (refer to the diagram below).
To help with the pupil’s awareness of the strings, their position and distance between each other, they will take part in the exercise below. This will be done at the pupil’s own pace, at a steady rhythm, first by themselves and then next played along to a drum beat.
G -|-----------------------------------------------------------------------5-5-5-5-5-5-5-5------------------|
D -|-------------------------------------------------5-5-5-5-5-5-5-5----------------------------------------|
A -|---------------------------3-3-3-3-3-3-3-3--------------------------------------------------------------|
E -|-----3-3-3-3-3-3-3-3------------------------------------------------------------------------------------|
G -|----5-5-5-5-5-5-5-5-------------------------------------------------------------------------------------|
D -|---------------------------5-5-5-5-5-5-5-5--------------------------------------------------------------|
A -|-------------------------------------------------3-3-3-3-3-3-3-3----------------------------------------|
E -|-----------------------------------------------------------------------3-3-3-3-3-3-3-3------------------|
This exercise will not only improve the pupil’s string crossing but also their hand co-ordination and rhythm.
2.) Last lessons interval notes will be gone over again to concrete the knowledge and understanding of this in the pupil’s mind.
To begin with the fifth and eighth interval notes were demonstrated again in C major like in lesson 3 just to familiarise the pupil with the subject again. Then the fifth and eighth interval notes of the scale G major were demonstrated.
-------------------------------------1st ----2nd---3rd---4th---5th---6th---7th----8th
Scale of G major----------------G-------A-----B-----C-----D---- E-----F#-----G
This scale has one sharp in it, F#, which isn’t relevant at this point to explain why this is as it would just complicate matters. As shown above the fifth note in this scale is D and the eighth note is obviously G.
The pupil will then demonstrate these intervals on the fret board, as in the tablature below.
G -|---------------------------------------------|--------------------------------------------------------------|
D -|---------------------------------------------|-------5------5--------5-5----------5-5-------------------|
A -|---------5------5--------5-5--------5-5--|--------------------------------------------------------------|
E -|-----3------3------3-3--------3-3--------|---3------3------3-3---------3-3--------------------------|
Fifths Eighths (octaves)
3.) The pupil will finally have a crash course in music theory. This will begin with the explanation of rhythms, as this is an integral part of both music and the bass guitar.
Using the most common time signature in Western music, 4/4, bars and beats will be explained. This is demonstrated in the simplest terms, with a bar being a section of music containing a certain number of beats, in the case of 4/4, four beats. While a beat is explained as a foot tap or one drum beat, refer to the example below where there are four beats contained in one bar.
The 4/4 time signature can be broken up into two parts, the top number describing how many beats in a bar (4/4 having 4), while the lower number describes the value of the beats and in the case of 4/4 they are quarter-notes or crotchets. During this early lesson the value of beats, such as quarter-notes, will not be concentrated on due to the level on content this subject can carry, as there are ten beat values to learn (five notes and five rests).
Date: 17/12/07 (J Kosminsky)
Planning Time: 2hrs
Lesson Time: 1hr
In this fourth lesson the pupil will recap on objectives 2 (persist on correct fingering technique) and 3 (introduce 5th and 8th interval notes) from the previous lesson. This is to keep the knowledge learnt fresh in the pupil’s mind and to give them another chance to have a better understanding of the lesson material. Finally a basic knowledge of music theory will be touched on so that the pupil will understand the basics behind timings and rhythms.
Lesson Objectives:
1.) To persist with working on the pupil’s correct fingering techniques with both hands, this time concentrating on the right hand (plucking hand), using exercises such as walking across the strings (as seen in lesson 3, objective 2) to aid with the pupils string crossing.
2.) To continue with the explanation and demonstration of fifth and eighth interval notes, so that the pupil captures a better understanding of what they are and their purpose.
3.) At this point it is important to give the pupil a basic understanding of music theory, so that they can progress rhythmically as well as technically. During this lesson the pupil will be taught the principles of beats and bars and the most common of timing signatures 4/4.
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 a close eye being kept on the pupil’s left hand form, the right or plucking hand will be focused on during this lesson to progress the pupil’s string crossing technique in an attempt to prevent the pupil from catching non-intended strings. The same walking exercise utilised in lesson 3 will be used again in this present lesson (refer to the diagram below).
To help with the pupil’s awareness of the strings, their position and distance between each other, they will take part in the exercise below. This will be done at the pupil’s own pace, at a steady rhythm, first by themselves and then next played along to a drum beat.
G -|-----------------------------------------------------------------------5-5-5-5-5-5-5-5------------------|
D -|-------------------------------------------------5-5-5-5-5-5-5-5----------------------------------------|
A -|---------------------------3-3-3-3-3-3-3-3--------------------------------------------------------------|
E -|-----3-3-3-3-3-3-3-3------------------------------------------------------------------------------------|
G -|----5-5-5-5-5-5-5-5-------------------------------------------------------------------------------------|
D -|---------------------------5-5-5-5-5-5-5-5--------------------------------------------------------------|
A -|-------------------------------------------------3-3-3-3-3-3-3-3----------------------------------------|
E -|-----------------------------------------------------------------------3-3-3-3-3-3-3-3------------------|
This exercise will not only improve the pupil’s string crossing but also their hand co-ordination and rhythm.
2.) Last lessons interval notes will be gone over again to concrete the knowledge and understanding of this in the pupil’s mind.
To begin with the fifth and eighth interval notes were demonstrated again in C major like in lesson 3 just to familiarise the pupil with the subject again. Then the fifth and eighth interval notes of the scale G major were demonstrated.
-------------------------------------1st ----2nd---3rd---4th---5th---6th---7th----8th
Scale of G major----------------G-------A-----B-----C-----D---- E-----F#-----G
This scale has one sharp in it, F#, which isn’t relevant at this point to explain why this is as it would just complicate matters. As shown above the fifth note in this scale is D and the eighth note is obviously G.
The pupil will then demonstrate these intervals on the fret board, as in the tablature below.
G -|---------------------------------------------|--------------------------------------------------------------|
D -|---------------------------------------------|-------5------5--------5-5----------5-5-------------------|
A -|---------5------5--------5-5--------5-5--|--------------------------------------------------------------|
E -|-----3------3------3-3--------3-3--------|---3------3------3-3---------3-3--------------------------|
Fifths Eighths (octaves)
3.) The pupil will finally have a crash course in music theory. This will begin with the explanation of rhythms, as this is an integral part of both music and the bass guitar.
Using the most common time signature in Western music, 4/4, bars and beats will be explained. This is demonstrated in the simplest terms, with a bar being a section of music containing a certain number of beats, in the case of 4/4, four beats. While a beat is explained as a foot tap or one drum beat, refer to the example below where there are four beats contained in one bar.
The 4/4 time signature can be broken up into two parts, the top number describing how many beats in a bar (4/4 having 4), while the lower number describes the value of the beats and in the case of 4/4 they are quarter-notes or crotchets. During this early lesson the value of beats, such as quarter-notes, will not be concentrated on due to the level on content this subject can carry, as there are ten beat values to learn (five notes and five rests).
JK - Evaluation: Lesson 3
Complementary Studies: Liam Marley
Pupil: Joe Kosminsky
Date: 27/11/07
Evaluating Time: 1hr
The third lesson went a lot smoother, it was more organised and the pupil was able to grasp the concepts and demonstrations faster. However the lesson did not go without its problems as the pupil struggled slightly understanding the third lesson objective, however this was understandable as this was newly introduced subject material.
Joseph displayed his commitment to the lessons, as he was able to name parts of the instrument, which showed that he had been practicing at home in his own time. Practice time outside of lessons is very important as this is how the pupil will grow and advance playing their instrument.
Lesson Objectives:
1.) To recap on the anatomy of the instrument with the intention of the pupil to name three or four parts of the bass after hopefully studying the diagram given from the last lesson.
Outcome: It became obvious that Joseph had been studying the bass guitar diagram that was supplied in the first lesson, as he was able to name the majority of parts from the bass. The parts that he was not able to name correctly were the Bridge and the Nut, these actually got mixed up which is a common mistake. The String Guide was he left out entirely, although this part will not be a worry to a bass player and should not need adjustment or replacing, only just a good polish from time to time.
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: This whole technique at the moment is still hampering the pupil’s performance and will do until sufficient practice is put into place to improve both hand forms. Joseph has admitted himself that he has not be practicing outside of lessons, although it is only the third lesson it is still important to take just ten minutes out of the day to pick up the instrument. These ten minutes will begin to show in the form of better technique and eventually stamina, enabling Joseph to play faster and for lengthier durations.
At the moment though Joseph is having problems with both hand forms. His left hand, the fretting hand, is having a tendency to just use the one or two fingers for fretting notes. When told to use all fingers during the chromatic exercise of one finger per fret, Joseph usually refrains from this after awhile and uses his first three fingers, as his fourth finger is his weakest. At this stage in the lessons this is acceptable as long term damage could incur if persistent use of the weaker fourth finger is enforced.
During this lesson the pupils plucking hand was developed so that firstly the coordination between the two hands could occur and secondly a smooth and fluid raking technique, to be administered by the two plucking fingers, could be learnt. This was crucial at the early learning stages so that bass patterns could be played correctly and efficiently, with each finger being played in succession. Joseph’s problem at the moment is that he relies on his index finger to strike the notes, which is time consuming and could lead to bad habits. The exercise utilised in lesson three got the pupil utilising both fingers and in the correct manner, one after the other so the strings could be plucked efficiently. This exercise aided Joseph as he managed to coordinate his two fingers so one finger struck a note after the other.
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: It is always hard to introduce a new subject, especially so early into the learning stage, but this is integral to advancement. The music theory behind the actual interval notes was left out initially as to not complicate the new subject. However maybe this was a flaw as the pupil might have possibly understood it better.
The problem with interval notes for Joseph was associating the different note patterns with the different interval notes. The eighth interval note (or octave), should have been the easier one to recall, as it was diagonally positioned three fret across and three frets below the note that was being played (the root note), as shown below. This was also the same sounding note but in a different pitch, however this is not always noticeable to somebody who has not developed an ‘hear’ for music yet.
(Photograph of an eighth interval note or sometimes called an octave)
(Photograph of an fifth interval note)
This problem meant that Joseph would get the two interval notes mixed up or would play the interval notes four frets across playing the incorrect pattern. However with persistence and practice this subject would soon be mastered.
Pupil: Joe Kosminsky
Date: 27/11/07
Evaluating Time: 1hr
The third lesson went a lot smoother, it was more organised and the pupil was able to grasp the concepts and demonstrations faster. However the lesson did not go without its problems as the pupil struggled slightly understanding the third lesson objective, however this was understandable as this was newly introduced subject material.
Joseph displayed his commitment to the lessons, as he was able to name parts of the instrument, which showed that he had been practicing at home in his own time. Practice time outside of lessons is very important as this is how the pupil will grow and advance playing their instrument.
Lesson Objectives:
1.) To recap on the anatomy of the instrument with the intention of the pupil to name three or four parts of the bass after hopefully studying the diagram given from the last lesson.
Outcome: It became obvious that Joseph had been studying the bass guitar diagram that was supplied in the first lesson, as he was able to name the majority of parts from the bass. The parts that he was not able to name correctly were the Bridge and the Nut, these actually got mixed up which is a common mistake. The String Guide was he left out entirely, although this part will not be a worry to a bass player and should not need adjustment or replacing, only just a good polish from time to time.
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: This whole technique at the moment is still hampering the pupil’s performance and will do until sufficient practice is put into place to improve both hand forms. Joseph has admitted himself that he has not be practicing outside of lessons, although it is only the third lesson it is still important to take just ten minutes out of the day to pick up the instrument. These ten minutes will begin to show in the form of better technique and eventually stamina, enabling Joseph to play faster and for lengthier durations.
At the moment though Joseph is having problems with both hand forms. His left hand, the fretting hand, is having a tendency to just use the one or two fingers for fretting notes. When told to use all fingers during the chromatic exercise of one finger per fret, Joseph usually refrains from this after awhile and uses his first three fingers, as his fourth finger is his weakest. At this stage in the lessons this is acceptable as long term damage could incur if persistent use of the weaker fourth finger is enforced.
During this lesson the pupils plucking hand was developed so that firstly the coordination between the two hands could occur and secondly a smooth and fluid raking technique, to be administered by the two plucking fingers, could be learnt. This was crucial at the early learning stages so that bass patterns could be played correctly and efficiently, with each finger being played in succession. Joseph’s problem at the moment is that he relies on his index finger to strike the notes, which is time consuming and could lead to bad habits. The exercise utilised in lesson three got the pupil utilising both fingers and in the correct manner, one after the other so the strings could be plucked efficiently. This exercise aided Joseph as he managed to coordinate his two fingers so one finger struck a note after the other.
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: It is always hard to introduce a new subject, especially so early into the learning stage, but this is integral to advancement. The music theory behind the actual interval notes was left out initially as to not complicate the new subject. However maybe this was a flaw as the pupil might have possibly understood it better.
The problem with interval notes for Joseph was associating the different note patterns with the different interval notes. The eighth interval note (or octave), should have been the easier one to recall, as it was diagonally positioned three fret across and three frets below the note that was being played (the root note), as shown below. This was also the same sounding note but in a different pitch, however this is not always noticeable to somebody who has not developed an ‘hear’ for music yet.
(Photograph of an eighth interval note or sometimes called an octave)
(Photograph of an fifth interval note)
This problem meant that Joseph would get the two interval notes mixed up or would play the interval notes four frets across playing the incorrect pattern. However with persistence and practice this subject would soon be mastered.
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