Complementary Studies: Bass Guitar Lessons

Complementary Studies Report

2008-08-16T04:22:00.011+01:00

UNIVERSITY OF DERBY
Faculty of Arts, Design & Technology
Academic Year: 2007/2008

Module Title:............Complementary Studies

Module Code:...........5EJ053

Module Leader:........Duncan Werner

email:........................d.werner@derby.ac.uk

Programmes:...........BA(Hons) Popular Music with Music Technology
..................................(code W340)

..................................BSc(Hons) Multimedia Technology & Music
..................................Production (code GW43)

Hand-in Date:...........16th August 08

Name:........................Liam Marley

Student Number:......033011257

Programme Title:.....BSc (Hons) Multimedia Technology & Music
...................................Production

Report Word Count:.1557 words

Web log address 1:..http://marleysbasslessons.blogspot.com/

Email contact:..........marlswinburn@hotmail.com

Number of web log entries: 85

Total time of CS activity: 226 hours and 15 minutes (excluding video import time of 20hours

1. Introduction

With millions of people having access to the Internet worldwide, it is not surprising that people have begun to upload their thoughts and day-to-day activities onto this highway of information. A web log (blog) or online journal allows others to publish their thoughts onto a web page, enlisting the aid of text, images, videos and links to web sites to do this. This was the aim of the assignment, to ‘manage and complete an ongoing web-based log of activity’ so that the subject matter could be recorded and published for others to experience.

The subject matter was the weekly activity of teaching pupils how to play the four string electric bass guitar. These consisted of one hour long lessons, were the tutor would teach in stages, beginning with the basics and progressing from there. Each lesson was planned, recorded (onto film), evaluated, and then published onto the online journal for assessment.

The final outcome of the assignment was to gain new skills, as well as refining current ones, through the process of teaching bass to the pupil/s. A personal aim was set, of hopefully being able to pass on the knowledge of the instrument to others.

Note: Any reference to a blog is referred to in terms of post date instead of the event (i.e. bass lessons, evaluations or film edits) date, (refer to Figure 1.1 and 1.2 for comparison).

Figure 1.1 - example of a blogs post date

Figure 1.2 - example of a blogs event date

2. A Musical Activity

2.1. The Lessons

As mentioned above, each hour long lesson consisted of one to one tuition on the techniques and theories used to play the bass guitar. Each lesson was planned in advance (usually a day or several hours before), so that lesson material, such as tablature, audio/video, and pictures, could be gathered and used in conjunction with the lessons. Beginning with an introduction, stating the date and pupil attending, an itinerary of the day’s lesson would be described, with aims for the pupil to achieve. Finally the main part of the lesson would be taken up by the objectives that had been set to teach, inspire and challenge.

2.2. The Pupils

For the duration of the lessons there were only two pupils that were being taught to play the bass. The original idea was to take on three or maybe four pupils, however with time constraints, this made it difficult and in the long run it would have been impractical.

2.2.1. Joseph Kosminsky

Joseph was a music producer, who had grown tired of synthesiser and sample bass lines in his music. He required more out his bass sounds, such as tone and expression, which cannot be emulated through a synthesiser and are usually lost once a sample has been filtered. Joseph began his first bass lesson on the 12/11/2007 (refer to blog ‘JK - Lesson Plan: Lesson 1’ post date 19/11/2007). Joseph’s lessons were scheduled for a Monday.

2.2.2. Robert Hamilton

Robert had other motives for wanting to play the bass. One of these was to learn an instrument as part of a hobby, as his older brother has an unused bass guitar at home, which Robert has always wanted to play but never knew how. So he requested bass lessons and started on the 06/02/08 (refer to blog ‘RH - Lesson Plan: Lesson 1’ post date 22/07/2008). Robert’s lessons were scheduled for a Wednesday.

2.3. Recorded Evidence

The aim was to record every lesson onto a digital video format, using a Sony DCR-HC51 mini DV camera, where each lesson was later edited in Final Cut Pro 5.1.4 ready to be uploaded onto the blog. However not all lessons were recorded, due the camera being purchased in February, meaning a total of ten lessons could not be documented (refer to blogs ‘JK - Lesson Plan: Lesson 1’ post date 19/11/2007 to ‘RH - Lesson Plan: Lesson 2’ post date 26/07/2008).

The lesson footages were edited down to ten to twelve minute short films, summarising the lesson for each pupil, (for editing details refer to blogs ‘JK - Film Edit: Lesson 9’ post date 29/07/2008 and ‘RH - Film Edit: Lesson 3’ post date 29/07/2008 ).

The majority of the engagement process was spent editing these short films, which equated to around eighty hours overall. For each film, sixty minutes was used for the importing process, transferring footage from the camera to the computer in real-time, while an estimated three hours was spent editing. The film edits are true to the hour-long lessons, as each objective was added to the edit, but obviously compressed into one or two minute clips instead of twenty minutes worth. The summarised lessons still managed to tell a story, even though the footage was fifty minutes shorter. With smooth transitions between clips and the use of titles and diagrams when necessary, the continuity of the films were not compromised, which can be demonstrated on the blog ‘RH - Lesson Plan: Lesson 5’ post date 14/08/2008.

3. Web Log…….an Online Tutorial?

Initially the original activity for the web logs were to be online tutorials of the bass, demonstrating a variation of bass lines, scales and techniques to use when playing the instrument. However the majority of online tutorials that are available, such as Expert Village, are short in duration, usually around two minutes long and this was not enough to get the point across. This style of musical lesson is tailored for an audience and there is no one on one interaction between the pupil and the tutor, which is very important during any learning process.

expert village tutorial 1 - a slap bass technique tutorial by Tony Newton

expert village tutorial 2 – a staccato bass line tutorial by Ryan Larson

(Both video links were gathered from expertvillage.com, 2008)

With the use of Blogger.com, each blog had access to video, pictures and links to other sites instead of just simple text, (as shown in the blogs toolbar in Figure 3.1). Every blog was edited accordingly, with a simplistic layout being utilised.

Figure 3.1 – the blogs edit toolbar

However each lesson plan could have been edited differently for each pupil, as Joseph and Robert progressed in different stages, with the former advancing quicker due to his musical background. There were however two different edits in the lesson plan blogs and that was with blog ‘RH – Lesson Plan: Lesson 13’ post date 15/08/08 and blog ‘RH – Lesson Plan: Lesson 14’ post date 15/08/08. These had the ‘ghost note’ objective edited, so it was taught to Robert as just that, instead of the term ‘muted note’ being corrected as it was with Joseph in his fourteenth lesson, (refer to objective four of blog ‘JK - Lesson Plan: Lesson 14’ post date 14/08/2008).

Due to certain circumstances, a lot of the events (i.e. bass lessons, evaluations or film edits) and their actual dates, do not match up with the post dates of a blog. This occurred when the event took place a considerable amount of time before it was uploaded onto the blog. This can be seen in Figure 3.2, where the lesson plan for Robert Hamilton’s eleventh lesson, although it took place on the 04/06/08, was not posted until the 15/08/08 (refer to blog ‘RH – Lesson Plan: Lesson 11’ post date 15/08/08).

Figure 3.2

This happened with every blog, beginning at the 24/02/2008 (refer to Figure 3.3 below) and from there on after. The delay in dates, between the actual event and the posted blog, can cause some confusion, as a post date should usually correspond to an event or journal date in the blog. This could possibly arise some questions as to whether the bass lessons were carried out over the space of the academic year or were completed in a certain time period.

However the recorded evidence of the lessons, in the form of short films, document the date of the lesson and with which of the pupils were present (for evidence of this refer to blog ‘JK – Lesson Plan: Lesson 9’ post date 27/07/08).

Figure 3.3

4. Conclusion

Having access to video recordings of the bass lessons, enabled analysis of the footages, not just for lesson evaluation purposes but also for reflective purposes of the activity undertaken.

4.1. Teaching Methods

While the lesson recordings were being edited, it became obvious that the teaching methods during the lessons were much to be desired.

To enable an effective lesson by a tutor, the objectives set out have to be, achievable, understandable and concise. The pupil needs to be able to relate to the topic, if possible, using simple demonstrations and examples.

The teaching style during the lessons, sometimes could have been confusing to follow, as where one topic is being discussed, another topic is soon brought up and the discussion goes off onto a tangent. This would have been confusing when attempting to go back and expect the pupil to pick up and follow the previous topic.

Sometimes the explanation of subjects was either wrong or not even comprehended by the pupil in a way they could understand. For an example in the blog ‘JK - Lesson Plan: Lesson 13’ post date 13/08/2008, Joseph Kosminsky was misinformed about the name of a technique, which he was later corrected on.

4.2. Success of the Lessons

Overall the lessons seemed successful, as both pupils learn a lot of material over the sixteen/fourteen weeks. Both had improved greatly since they first started and became more confident on their instrument as the lessons progressed. However Robert Hamilton was probably pushed further than Joseph, in terms of capabilities. Joseph was able to progress faster due to his experience in music (he had recently begun to learn the six string guitar a couple of weeks prior to these bass lessons). This is the reason why next time round lesson plans would be individually catered for each lesson, instead of generic ones for each pupil.

5. Bibliography

http://www.studybass.com/
Bass tutorials
Studybass
Accessed from November 2007 to August 2008

‘100 Tips For Bass Guitar: You Should Have Been Told’
Stuart Clayton
United Kingdom
Published by SMT, 2003

‘Music Theory in Practice: Grade 2’
Eric Taylor
Great Britain
Published by The Associated Board of the Royal Schools of Music (Publishing) Ltd, 2002

‘Music Theory in Practice: Grade 3’
Eric Taylor
Great Britain
Published by The Associated Board of the Royal Schools of Music (Publishing) Ltd, 2002

‘Music Theory in Practice: Grade 4’
Eric Taylor
Great Britain
Published by The Associated Board of the Royal Schools of Music (Publishing) Ltd, 2001

6. References

http://www.expertvillage.com/search.htm?s=Bass+lessons
Bass tutorials
Expert Village
Accessed November 2007

7. Source Material for Lessons

http://www.expertvillage.com/search.htm?s=Bass+lessons
Bass tutorials
Expert Village
Accessed November 2007 to July 2008

http://images.google.co.uk/imgres?imgurl=http://funkychops.com/bass-guitar-parts/bass-guitar-parts-anatomy.gif&imgrefurl=http://funkychops.com/bass-guitar-parts/anatomy-of-electric-bass-guitar.htm
Diagram of bass parts/components
Jim Lee
Accessed November 2007

http://library.thinkquest.org/15413/theory/intervals.htm
Music intervals
Think Quest
Accessed November 2007

http://www.bassmasta.net/
Bass tablature
Accessed from January 2008 to July 2008

http://library.thinkquest.org/05aug/01262/lessons.html
Music theory - key signatures
Think Quest
Accessed February 2008

http://en.wikipedia.org/wiki/Slur_(music)
Musical slurs
Wikipedia
Accessed March 2008

http://en.wikipedia.org/wiki/Fill_(music)
Music fill
Wikipedia
Accessed March 2008

http://www.rockmagic.net/guitar-tabs/red-hot-chili-peppers/otherside.btab
‘Otherside’ bass tablature
Accessed March 2008

http://www.youtube.com/watch?v=SffaWn0Oc8g&feature=related
Musical phrases
Jaco Pastorius
Accessed April 2008

‘100 Tips For Bass Guitar: You Should Have Been Told’
Stuart Clayton
‘Learning The Fretboard’ p. 21
‘Notation and Tablature’ p. 23 – 28
‘Major Scales’ p. 31 - 33
‘Phrasing Technique’ p. 49 - 51
United Kingdom
Published by SMT, 2003

RH - Film Edit: Lesson 14

2008-08-15T15:43:00.000+01:00

Complementary Studies: Liam Marley

Date: 06/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson fourteen with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

(Figure 1)

The typeface was filled white, to contrast the black backdrop and the font chosen was Bank Gothic, at font size 46. A black matte generator was then placed after the title screen so a cross dissolve transition could be placed across the two clips (refer to Figure 2) to make the title screen fade out into black.

(Figure 2 – a cross dissolve generator overlapping two separate video clips)

The date of the lesson was left out of the title screen as it would have made the title type too cluttered. The inclusion of the date in the title was also unnecessary because at the beginning of every lesson the date was recorded on the tape by the teacher.

The first scenes of the lesson involved the pupil being informed what the objectives would aim to achieve. Usually a brief explanation of each objective would follow. Each objective had to be compressed and summarised from the hour-long original footage and added to the new projects timeline for further editing. Each clip/scene had to explain and demonstrate the objective, while still displaying a smooth sense of continuity. The clips would show the pupil attempting each objective in the turn, capturing their mistakes, queries and progression. At the beginning of each objective a fade in fade out dissolve transition (refer to Figure 3) was used to represent and emphasise the end of an objective and the start of a new one.

(Figure 3)

For certain parts of the film, titles or subtitles were used either to display subject matter to the audience or depict a symbol or picture. For both of these a text generator was used, either layered over the video clip or the actual video clip was cut away, leaving only the audio and the black matte backdrop. An example of a video clip with a title layered over the top can be seen in Figure 4 below.

(Figure 4)

The footage ended with a title crawl generator, in a roll formation, for the end credits. This simply stated the end of the lesson, informing who the pupil was and who had been teaching the lesson, (refer to Figure 5). The credit usually ran for ten seconds, which was long enough for each part of the text to be read.

(Figure 5)

Audio Edit:

Not a lot of editing was done to the audio on the film footage, due to the frequency comparison between the bass guitar and the speech from the teacher and pupil. This made it very difficult in mixing one without the other being compromised.

However at the beginning a hum remover was utilised in an attempt to get rid of the low frequency hum, which seemed to be emitted from the operation of the tape deck. This was basically a low pass filter and was cut by -60 dB at 60 Hz, as anything higher than this i.e. 80 Hz, would have effected the sound if the instrument.

Cross fade (0 dB) audio transitions were layered in between clips to reduce any audio artefacts and unwanted pops, where clips were separated and re-formed with other footage. They blended the separate audio tracks together for smooth unnoticeable transition. This type of audio transition was also used to fade out an audio track at the end of a lesson objective to aid with the visual fade in fade out dissolve transition. If this did not work then automation was used to simply fade out the end of the required audio track, as shown in Figure 6.

(Figure 6 – a gain fade out)

RH - Evaluation: Lesson 14

2008-08-15T15:39:00.000+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 16/07/08
Evaluating Time: 2hrs

Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 14

2008-08-15T15:31:00.004+01:00

Complementary Studies: Liam Marley

Date: 16/07/08 (R Hamilton)
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 re-introduce lesson thirteens fourth objective on ghost notes. Time ran out during this lesson so these notes could not be introduced tp the pupil.

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**

RH - Film Edit: Lesson 13

2008-08-15T15:30:00.000+01:00

Complementary Studies: Liam Marley

Date: 05/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson thirteen with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 13

2008-08-15T15:29:00.001+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 09/07/08
Evaluating Time: 2hrs

The time management was not the best during this lesson. The objectives could not be spaced out equally due to the content involved in objectives one and three. More time was required for the major scales so that progression could occur ready for next the lesson. If the time was not put in, the pupil would fall behind on these matters and advancement will become slow. While the soul song was for the pupil’s benefit and for a chance to analyse his progression.

Lesson Objectives:

1.) To persist with the major scales of C, G, D and even A, if the pupil feels confident enough to do so. All the sharps present in the scale should be named, along with each note in the scale.

Outcome: During this lesson, Robert continuously had trouble remembering the notes on the fret board, which in turn hindered the practice of major scales.

2.) To demonstrate their fret board knowledge, the pupil will be instructed to name all the A notes present on the instrument. If time allows, the pupil will be then asked to name all the E flats available.

Outcome: Unfortunately time did not allow for this exercise to take place, as a large section of the lesson was allocated for major scales and the soul song ‘Sure As Sin’.

3.) To persist with practicing the Candi Staton song ‘Sure As Sin’, so the pupil plays the song from introduction to chorus without any mistakes.

Outcome: ‘Sure As Sin’ was picked up again this lesson, in an attempt to play the song from introduction, all the way through the verse to the chorus.

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3-----------------¦

(Figure 1 – First part of the verse from Candi Staton’s ‘Sure As Sin’)

G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦

G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦

(Figure 2 – Second part of the verse from Candi Staton’s ‘Sure As Sin’)

4.) To introduce to the pupil the concept of ghost notes.

Outcome: This objective will be carried over to the next lesson, as there was no time remaining to attempt this.

RH - Lesson Plan: Lesson 13

2008-08-15T15:26:00.003+01:00

Complementary Studies: Liam Marley

Date: 09/07/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

As the lessons passed, more was expected from the pupil as he/she advanced with both skill and knowledge. The pupil, depending on their progression, would be challenged more and more to increase their knowledge of the bass guitar, in the time available.

This is why the pupil will be pushed as much as possible to learn more major scales as this will benefit them greatly, along with their fret board knowledge, which of course goes hand in hand with learning scales. The pupil will also have some practical material to play with, in the form of the Candi Staton soul song, which should keep the pupil’s attention long enough to explain muted notes without losing them.

Lesson Objectives:

1.) To persist with the major scales of C, G, D and even A, if the pupil feels confident enough to do so. All the sharps present in the scale should be named, along with each note in the scale.

2.) To demonstrate their fret board knowledge, the pupil will be instructed to name all the A notes present on the instrument. If time allows, the pupil will be then asked to name all the E flats available.

3.) To persist with practicing the Candi Staton song ‘Sure As Sin’, so the pupil plays the song from introduction to chorus without any mistakes.

4.) To introduce to the pupil the concept of ghost notes.

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.) Using the chromatic finger placement pattern in Figure 1 below, the pupil will persist with practicing the major scales. Using the mnemonic rule of Father Christmas Gave David An Empty Box (refer to Figure 2), the pupil will attempt to name the sharps of the scale and then proceed to play the scale in the correct finger per fret manner. Hopefully the scales of C and G major will not be a problem, so the scales of D and A can be introduced.

(Figure 1 – the finger placement pattern for a major scale)

-------------------------Father Christmas Gave David An Empty Box

Sharp notes ♯-------F------C------G-------D-------A-------E------B-------
Scale notes ---------G------D------A-------E-------B-------F♯-----C♯----
---------------------------\ 5th/--\ 5th/--\ 5th/--\ 5th/--\ 5th /--\ 5th/--------
A fifth interval note is the difference between the next scale.

(Figure 2)

2.) The pupil will be asked to demonstrate their knowledge of the fret board by playing every A note possible on the bass guitar. In all there are eight A notes on the bass guitar (on a twenty fret bass) and can be found on the frets below in Figure 3.

G¦ ----------------------------------------------------2-----14------------------------------¦
D¦ -------------------------------------7-----19---------------------------------------------¦
A¦ ----------------------0-----12------------------------------------------------------------¦
E¦ -------5-----17---------------------------------------------------------------------------¦

(Figure 3 – all the A notes located on a twenty fret bass guitar)

If the pupil completes this task quickly and confidently then he/she will be asked if they can find all the E♭ on the instrument.

3.) Sure As Sin’ by Candi Staton (refer to the tablature below), was once again studied and played by the pupil. The aim for this lesson was for the pupil to attempt the song, practicing the introduction and the chorus and then finally playing through both these parts without any mistakes or ‘bum notes’ (an out of tune note hit in the place of a correct sounding note).

Candi Staton - ‘Sure as sin’ bass tablature

Introduction

G¦ --------------------------------------¦-------------------------------------------------¦
D¦ --------------------------------------¦-------------------------------------------------¦
A¦ --------------------------------------¦-----------------------3---6------2---5--------¦
E¦ -8----------------6------8------6--¦-5-----------------4-----------3----------------¦ X2

Verse

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3----------------¦

G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦

G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦

Chorus

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------5-----------------¦
A¦ --------------------------------------¦------------------------3---6-------5-------------¦
E¦ -8------------6---8--------8\-------¦-4------------------3-------------------7--------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ --------------------------------------¦---------------------------------------------------¦
E¦ -8------------6---8--------8\-------¦-3--3-3--3--3-3--3--3--3--3--3--3---------¦

Back to Verse

4.) The notion of a muted note will be explained to the pupil, so that a variation of how notes can be played is learnt. This will be described in simple terms, using a demonstration so the pupil understands this a muted note. The concept of a muted note is a note that is played but not accented properly, so the pitch of the note does not resonate and in turn emulate the full sound of a fretted note.

This will aid the pupil in understanding grooves better, as muted notes can be integrated into a pattern with fretted notes to change the rhythm of a song or bass line.

RH - Film Edit: Lesson 12

2008-08-15T15:25:00.000+01:00

Complementary Studies: Liam Marley

Date: 03/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson twelve with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 12

2008-08-15T15:23:00.001+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 29/06/08
Evaluating Time: 2hrs

Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 12

2008-08-15T15:21:00.002+01:00

Complementary Studies: Liam Marley

Date: 29/06/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

This lesson was a major scale orientated lesson, as the progression from the first scale – C major, occurred with the introduction of the next scale – G major. The pupil should by now be confident with the pattern of a major scale and should know that C major has no sharps or flats. This is imperative, as the next scale (G major) contains one sharp and then the six following major scales after that increase in the number of sharps. There are certain rules in which the pupil will be taught how to discover the next scale and the necessary accidental note, which is why the pupil will have to concentrate during this lesson.

With the majority of the lesson taken up with theory work, the last objective was put into place so the pupil had chance to play something fun and enjoyable on the bass.

Lesson Objectives:

1.) To warm up utilising the chromatic scale of C major.

2.) To demonstrate the scale of C major on the bass guitar, while being able to name the factors of the C major scale.

3.) To introduce the scale of G major using the chromatic finger form.

4.) To introduce the scale of D major if the pupil feels confident enough.

5.) To re-introduce the Candi Staton song ‘Sure As Sin’, so the pupil has the chance to experience soul genre bass patterns and rhythms.

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.) The pupil will once again be instructed to warm up for the lesson using the chromatic major scale of C. When referring to ‘chromatic’ major scale, this just means that the scale is played using a one finger per fret form, with the specific fingers for each fret displayed in the figure below.

G -|---------------------------2--4--5------5--4--2----------------------------------------|
D -|----------------2--3--5----------------------------5--3--2-----------------------------|
A -|---------3--5--------------------------------------------------5--3----------------------|
E -|--------------------------------------------------------------------------------------------|
--------------2--4--1--2--4--1--3--4------4--3--1--4--2--1--4--2----------------------
------------------------------Fingers used to fret notes---------------------------------
-------------C--D--E--F-G--A--B--C----C--B--A-G-F--E--D-C----------------------

(Figure 1)

2.) The pupil will be asked to demonstrate their competence in the knowledge of C major scale. This will include being able to play the scale on the instrument, using the correct fingering techniques and to be able to name the factors that make this scale a C major. Once the pupil has played the scale across four frets and three strings, using all four fingers (one finger per fret), then another scale will be taught.

3.) The scale of G major will be introduced to the pupil, but only if they have successfully understood the criteria for C major scale. The pupil should know that the major scale pattern for C major (refer to Figure 2) works for every single major scale, so this was put into practice for G major scale.

(Figure 2 – the finger placement pattern for a major scale)

The pupil will be made aware that this new scale is not like C major, as there is one sharp note present in the scale. This note, an F♯ (sharp), can be obviously found by counting the notes of the scale on the instruments fret board. However there is a key, which once memorized and understood, can easily be written down and studied for further use.

Sharp notes ♯-------F------C------G-------D-------A-------E------B-------
Scale notes ---------G------D------A-------E-------B-------F♯-----C♯----
---------------------------\ 5th/--\ 5th/--\ 5th/--\ 5th/--\ 5th /--\ 5th/--------
A fifth interval note is the difference between the next scale.

(Figure 3)

The key in Figure 3 can be memorized using the following mnemonic: -

Father Christmas Gave David An Empty Box

This relates to the specific sharps contained in a scale. To find the scale simple take the G from ‘Gave’ and place it onto a new row underneath the ‘Father’ of Father Christmas Gave David An Empty Box. This now becomes a G note (as in Figure 3) and because the previous note before it, in the mnemonic, is a C and C major has no sharps or flats then G major becomes the first scale to contain a sharp - F♯. To find the rest of the scales this rule is continued with the next note, D being put on the bottom row, underneath C of 'Christmas' and then A underneath G of 'Gave' and so on.

However there happens to be two other rules in finding the next scale. The first is to take a note from Father Christmas Gave David An Empty Box, so take the F, to find its corresponding scale it is simple the next note in the musical alphabet, which is G. This rule works for the first seven major scales. The second rule is to take the bottom row of notes, the scale notes, to find the next scale in line. The fifth interval of the current note is discovered to find the next scale, so the fifth interval note of D is A, which is the next scale.

These rules and techniques to discovering and learning the major scales will be taught to the pupil to enable them to understood this subject better.

4.) The scale of D major will be introduced to the pupil, but only if they have successfully played and understood the C and G major scales. If so then the pupil will be informed that this scale contains two accidental notes, an F♯ and a C♯.

5.) Candi Staton’s soul song ‘Sure As Sin’, (refer to the tablature below), is going to be re-introduced in this lesson, not only as another genre and bass style to learn, but also because the pupil should be confident enough in playing ‘The Ballad of John and Yoko’ and it is time to challenge them again.

This song, although of a slow tempo and apparent simple bass line, actually has a varied bass pattern, which contains half notes, quarter notes and eighth notes. Unfortunately the rhythm of the song cannot be depicted on tablature, so the rhythm of the song had to be explained to the pupil.

Candi Staton - ‘Sure as sin’ bass tablature

Introduction

G¦ --------------------------------------¦-------------------------------------------------¦
D¦ --------------------------------------¦-------------------------------------------------¦
A¦ --------------------------------------¦-----------------------3---6------2---5--------¦
E¦ -8----------------6------8------6--¦-5-----------------4-----------3----------------¦ X2

Verse

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3----------------¦

G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦

G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦

Chorus

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------5-----------------¦
A¦ --------------------------------------¦------------------------3---6-------5-------------¦
E¦ -8------------6---8--------8\-------¦-4------------------3-------------------7--------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ --------------------------------------¦---------------------------------------------------¦
E¦ -8------------6---8--------8\-------¦-3--3-3--3--3-3--3--3--3--3--3--3---------¦

Back to Verse

RH - Film Edit: Lesson 11

2008-08-15T11:54:00.001+01:00

Complementary Studies: Liam Marley

Date: 02/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson eleven with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 11

2008-08-15T11:53:00.000+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 04/06/08
Evaluating Time: 2hrs

Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 11

2008-08-15T11:17:00.005+01:00

Complementary Studies: Liam Marley

Date: 04/06/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

This lesson would act as a recap on multiple subjects, taught over the period of the bass tutorials. The major scale section that was introduced in the last lesson will be studied and played again by the pupil, while ‘The Ballad of John and Yoko’ will this time be played to a beat. Finally the pupil will be given a more in depth explanation of music theory, which will fresh the pupil’s knowledge if they have forgotten the theory taught in lessons four and five.

Lesson Objectives:

1.) To initiate the pupil into the ten-minute practice routine, however this time utilising the scale of C major in the chromatic finger per fret form.

2.) To go through the scale of C major with the pupil in more detail, verifying that they understand the subject.

3.) To persist learning ‘The Ballad Of John and Yoko’ by The Beatles.

4.) To give a more thorough explanation of music theory, in terms of beats and bars, rhythm (note lengths), the music staff and the bass clef.

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.) Instead of the usual practice piece, where the pupil would use the chromatic finger form to play the bass, fretting no specific notes, the pupil will use the scale of C major as a practice exercise. To be played as in Figure 1 below, the pupil will utilise all four fingers in a finger per fret manner, which will improve their finger technique, their knowledge of C major (scale), while helping them to warm up for the lesson ahead.

G -|---------------------------2--4--5------5--4--2----------------------------------------|
D -|----------------2--3--5----------------------------5--3--2-----------------------------|
A -|---------3--5--------------------------------------------------5--3----------------------|
E -|--------------------------------------------------------------------------------------------|
-------------2--4--1--2--4---1--3--4------4--3--1--4--2--1--4--2----------------------
------------------------------Fingers used to fret notes-----------------------------------

(Figure 1)

2.) Once the pupil has finished with the warm up exercise they will concentrate on the theory of the scale of C major. The pupil will be instructed to play the scale so that each interval note can be explained in simple terms.

Interval notes: (as stated by Clayton, p. 72, 2005)

C – D-----major second
C – E-----major third
C – F-----perfect fourth
C – G-----perfect fifth
C – A-----major sixth
C – B-----major seventh
C – C-----octave

The pupil is not expected to remember that from C to G the interval is a ‘perfect’ fifth, as long as they remember that it is the fifth interval note due to it being the fifth note from C in the scale. It is imperative that the pupil begins to learn major and minor scales, as these will help them to create and compose bass lines. The scale of C major is the starting point and will ease the pupil into the other scales.

Not only will the pupil play the major scale of C in the common form, (refer to Figure 1 above), but the pupil will be instructed to pay the scales using other notes. This is demonstrated in Figure 2, where C major scale is played primarily on the A string. This will get the pupil to discover new ways to play scales and will ultimately improve their fret board knowledge.

G -|--------------------------------------------------------------------------------------------|
D -|--------------------------------------------------------------------------------------------|
A -|---------3--5--7--8--10--12--14--15------15--14--12--10--8--7--5--3---------|
E -|--------------------------------------------------------------------------------------------|

(Figure 2)

3.) The pupil will persist practicing ’The Ballad Of John and Yoko’ by The Beatles, however this time the pupil will play in time to a pre-programmed basic drumbeat. This drumbeat will be set at a comfortable tempo and will improve the pupil’s rhythm and timing.

**’The Ballad Of John and Yoko’ tablature**

4.) With the involvement of music theory increasing with each lesson it was important to refresh the pupil with the notions of this subject. This is why it was explored once again in this objective so that the pupil can conceive as much information on this topic as possible.
Beats and bars will be briefly explained, as the pupil seemed to grasp this concept with ease, while the pupil will been given an in depth explanation on rhythm or note lengths, as this is the basis in which notes are played and music is written.

Last time the pupil was introduce to three note lengths - a whole note (which lasts the whole length of the bar), a half note (which consists of two notes to fit in a bar) and a quarter note (which contains a note for each beat of the bar). During this lesson two additional note lengths will be introduced, the eighth note, which consisted of two notes to each beat, meaning there were eight notes in a bar and finally sixteenth notes, which had four notes to a beat and therefore sixteen notes in a full bar. The additional note lengths can be quite difficult to play, especially at fast tempos. These will all be demonstrated on the bass so the pupil can hear how the note lengths work.

The music staff will also be explained to the pupil, describing the five staves and the bass clef, which is necessary to depict the bass notes.

RH - Film Edit: Lesson 10

2008-08-15T11:14:00.001+01:00

Complementary Studies: Liam Marley

Date: 01/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson ten with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 10

2008-08-15T11:13:00.000+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 14/05/08
Evaluating Time: 2hrs

Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 10

2008-08-15T10:36:00.003+01:00

Complementary Studies: Liam Marley

Date: 14/05/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

With all the talk of major scales throughout the lessons, it was time to introduce the pupil to their first major scale. The scale of C major was the first to be taught, as this was the simplest of the scales to learn because it is the only major scale to contain no sharps or flats. This will become the foundation to learn other scales, both major and minor so that the pupil can become one step further in understanding their instrument.

Interval notes and ‘The Ballad of John and Yoko’ will be attempted again until the pupil feels confident with these and finally two new songs will be introduced and played along to, if time allows.

Lesson Objectives:

1.) To introduce the scale of C major, with the intention of the pupil learning to play the scale on the instrument.

2.) To recap on unison (root note), fifth and eighth (octave) interval notes so the pupil fully understands this subject. After this the pupil will demonstrate their knowledge by playing fifth and eighth interval notes of a specific root note.

3.) To persist learning ‘The Ballad Of John and Yoko’ by The Beatles.

4.) To introduce a new genre and song, in the form of ‘Cold Sweat’ by James Brown to teach the pupil new rhythms and bass styles.

5.) To introduce soul music to the pupil, as the bass lines associated with this genre incorporate both bluesy and funky bass patterns. The source material for this is ‘Sure As Sin’ by Soul artist Candi Staton.

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.) Learning a scale can be confusing and frustrating, especially when there are both fifteen major and minor scales to learn. However to make this slightly less troublesome, every major scale has a relative minor scale, i.e. C major (Figure 1) has the same note make up as A minor (Figure 2), they just begin with different root notes.

(Figure 1 - original gathered from www.thinkquest.org)

(Figure 2 - original gathered from www.thinkquest.org)

For this very reason the subject of scales will begin with the scale of C major. This scale has no accidental notes ~(sharps♯ or flats♭) – meaning that all the notes are natural (♮). To simplify the term scale, a demonstration will be made on the bass guitar itself and explained with the use of solfège - Do, Re, Mi, Fa, Sol, La, Ti, Do. Solfège is the technique, which utilises syllables as a reference to notes and in this case - scales.

The pupil will be shown the universal pattern for all basic major scales (refer to figure 3) and will be instructed to learn and play this pattern. While progressing through the scale, the pupil should name the notes and even sing them, if feeling confident enough, as this will begin to train their ears. The scales will be played in chromatic form and can therefore be used by the pupil to warm up, as they will be exercising their hands while learning musical scales.

G -|---------------------------2--4--5------5--4--2----------------------------------------|
D -|----------------2--3--5----------------------------5--3--2-----------------------------|
A -|---------3--5--------------------------------------------------5--3----------------------|
E -|--------------------------------------------------------------------------------------------|
-------------2--4--1--2--4--1--3--4------4--3--1--4--2--1--4--2----------------------
------------------------------Fingers used to fret notes-----------------------------------

(Figure 3)

2.) For this objective the pupil will be asked whether he/she fully understands the concept of interval notes, if the pupil is unsure then past objectives on this subject will be utilised to help the pupil comprehend interval notes.

Hopefully the pupil will be able to give a brief and basic explanation of interval notes, while being able to demonstrate their understanding on the bass. The pupil using the root note of A, will then play the interval note patterns known, as in Figure 4 below.

G -|-----------------------------------------------------------------------------------------------|
D -|-------------------------------------------------------7---------7---------7----------7------|
A -|--------7----------7----------7----------7---------------------------------------------------|
E -|--5----------5----------5----------5-----------5---------5---------5----------5-----------|
----[-----------fifth interval notes----------]--[-------------eighth interval notes-------]

(Figure 4)

3.) The pupil will persist practicing The Beatles’ ’The Ballad Of John and Yoko’ and should aim to be able to play through at least one verse without making a mistake. Setting small and manageable objectives for the pupil helps them to realise their achievements and encourage them further.

**’The Ballad Of John and Yoko’ tablature**

4.) Once the pupil has shown improvement and confidence with the bass line of ’The Ballad Of John and Yoko’, a more complex and groove based pattern will be introduced, (refer to the tablature link below). This is James Brown’s funky ‘Cold Sweat’ and utilises many familiar interval notes and new ones too, all taken from the structure of a major scale.

This song will be an example of why it is important to learn scales. If scales are taken seriously and practiced then there is no reason why the pupil will not be able to play bass lines like this. Although it is probably a little too early for the pupil to play this pattern due to the rhythm of the bass and the increased fret board activity, so a basic bass line will be shown if this is the case.

**’Cold Sweat’ tablature**

5.) A third and finally song will be introduced to the pupil, which will demonstrate a blend of simple and melodic bass patterns, which use root notes to uphold the beat and improvised interval notes to add a little life and excitement. Candi Staton’s ‘Sure As Sin’, (refer to the tablature below), was chosen because of its slow tempo, its beat driven root notes and its use of major scale note intervals. The song is a good example of everything that has been learnt so far in the lessons.

The bass line has a lot of fret activity with more of the fret board being covered than the pupil will be use to. This is why a basic pattern will be taught so that the pupil is able to build up to the actual bass line. The pupil will be encourage to persevere, as a lot of satisfaction can be found from the ability to learn and play a new song.

Candi Staton - ‘Sure as sin’ bass tablature

Introduction

G¦ --------------------------------------¦-------------------------------------------------¦
D¦ --------------------------------------¦-------------------------------------------------¦
A¦ --------------------------------------¦-----------------------3---6------2---5--------¦
E¦ -8----------------6------8------6--¦-5-----------------4-----------3----------------¦ X2

Verse

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3----------------¦

G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦

G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦

Chorus

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------5-----------------¦
A¦ --------------------------------------¦------------------------3---6-------5-------------¦
E¦ -8------------6---8--------8\-------¦-4------------------3-------------------7--------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ --------------------------------------¦---------------------------------------------------¦
E¦ -8------------6---8--------8\-------¦-3--3-3--3--3-3--3--3--3--3--3--3---------¦

Back to Verse

RH - Film Edit: Lesson 9

2008-08-15T10:34:00.001+01:00

Complementary Studies: Liam Marley

Date: 29/07/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson nine with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 9

2008-08-15T10:31:00.001+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 30/04/08
Evaluating Time: 2hrs

Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.\

RH - Lesson Plan: Lesson 9

2008-08-15T09:46:00.005+01:00

Complementary Studies: Liam Marley

Date: 30/04/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

During this lesson the pupil’s bass knowledge will be tested and developed further with the use of familiar techniques and practices. These will be tested to see how much the pupil has learnt over the past eight lessons, as both encouragement and pressure are needed to challenge the pupil so that progression can occur. However the pupil will also have some fun playing along to a new song, which will challenge the pupil but is within their capability.

Lesson Objectives:

1.) To develop the pupil’s finger and hand forms by practicing the chromatic and octave exercises.

2.) To develop the pupil’s fret board knowledge by testing their comprehension of bass notation.

3.) To learn and play along to the practice material of ‘The Ballad Of John and Yoko’ by The Beatles.

4.) To explain the music theory behind fifth interval notes so the pupil fully understands this subject. After this the pupil will be demonstrated how the use of both fifth and eighth (octave) interval notes can adapt and develop a bass line.

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.) So that the fingering techniques for both hand forms are not neglected while learning and playing new songs, time will be taken to analyse the pupil’s performance and progression, with feedback being given when necessary. The first stage of this objective will be for the pupil to practice the chromatic, i.e. finger per fret, exercise so they can practice their fret placement and warm up their joints, (refer to Figure 1).

G -|---------------------------------------------------------3---4---5---6-------|
D -|---------------------------------------3---4---5---6-------------------------|
A -|---------------------3---4---5---6-------------------------------------------|
E -|--3---4---5---6--------------------------------------------------------------|

------1----2---3---4---1---2---3---4---1---2---3---4---1---2---3---4------
-----------------------------Fingers used to fret notes-----------------------

(Figure 1)

The second exercise consists of playing through the dotted note octaves on the instruments first two strings – the E and A string, as shown in Figure 2. This should be practiced using the fourth finger to fret the octaves, as in Figure 2 and then the third finger once the pupil feels comfortable doing so. As a continuation from the last lesson, this objective will aid in stretching the pupil’s finger reach and their visual association of the octave pattern. Although these exercises may seem repetitive and boring to the pupil, they are necessary for finger and hand coordination development.

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

-------1----4----1----4----1-----4----1----4-----1-----4---1----4---1----4----1----4----
------------------------------Fingers used to fret notes-----------------------------------

(Figure 2)

2.) Instead of the pupil being asked to name all the notes on the fret board, string by string, for this section the pupil will be asked to locate specific notes. This will not be an easy task to complete, as out of all the eighty-four notes that the bass is capable of emitting, only seven of these are E notes. Although this is a very intimidating objective to carry out, it will have the pupil concentrating on the fret board and learning the layout.

The pupil is not expected to name all of the seven E notes, only the first four, with the first two being on the E string. The pupil will be encouraged to count to the notes if necessary, as this will get the pupil learning other notes, helping to burn a map of the fret board in the pupils mind.

3.) To keep the pupil interested and focused a Beatles song will be introduced. ’The Ballad Of John and Yoko’ was chosen because of its blues song arrangement, which fits in well with the bass patterns that have been learnt so far. The bass line is the backbone of this track and consists of third, fifth and sixth interval notes to create the blues bass pattern.

With the tempo of the track being too quick for the pupil to attempt the song first time round, they will be instructed to learn the patterns and arrangement on their own first and at a steady pace. Once the pupil is able to play necessary bass parts they will have an attempt at playing along with the song.

**’The Ballad Of John and Yoko’ tablature**

4.) A more in depth explanation of fifth interval notes will be described during this lesson so a better comprehension can be gained. This will begin by explaining that an interval note ‘is the distance between two notes’ and ‘are always counted from the lower note to the higher one, with the lower note being counted as one’, as stated by ThinkQuest, 2008. The pupil will then be introduced to the eight interval notes that can occur, as shown in Figure 3 below.

(Figure 3 – gathered from www.thinkquest.org)

NOTE: With the unison interval note being the root note.

Using the bass guitar and a major scale, the intervals will be demonstrated and explained, with the focus on the fifth interval note, explaining that it is simply the fifth note away from the root note in a scale – do re mi fa sol la ti do.

Once the pupil has understood the subject of interval notes, the fifth and eighth (octave) interval notes will be used in conjunction with the basic blues bass line to adapt and ‘jazz’ it up.

RH - Film Edit: Lesson 8

2008-08-15T09:46:00.001+01:00

Complementary Studies: Liam Marley

Date: 28/07/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson eight with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 8

2008-08-15T09:43:00.002+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 16/04/08
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 Robert 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: Robert was becoming more confident with his fretting technique on his left hand. He was managing to strike the centre of the fret with most fingers, apart from his index finger, which persists in fretting the note to the far right side of the fret near the fret bar, (refer to the lesson video, at 00.04.55, on blog RH - Lesson Plan: Lesson 8 post date 15/08/2008). While his right hand form has improved greatly, as he seems to be ‘walking’ across the strings more rather than just plucking them with his index finger. This is partially down the fact that he has found a place to rest his thumb, where as before the position of the thumb changed for each string that was played.

Robert managed to remember all three previous blues bass pattern and succeeded in playing them. However with the ‘walking’ blues bass line Robert seemed to neglect using his fourth finger frequently, opting to utilise his third finger to cover two frets. This hand form will eventually over stretch a players fingers during a performance and do them long term damage.

After the pupil was confident with this bass line, using quarter notes or crotchets, he was instructed to play the bass line but this using eighth notes (refer to Figure 1) and while to a pre-programmed drum beat. The first tempo was slightly too fast as Robert struggled with the third chord change, so the tempo was decreased. This enabled for a fluid change between each frets and the first two chord changes – C and F, however as soon as the G came into play, Robert would lose his way and would then play the pattern faster in an attempt to catch up. This obviously work and compromised the rhythm of the piece.

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 a ‘walking’ blues pattern, using eighth notes)

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

Outcome: Unfortunately there was not enough time for this objective was not completed during this lesson.

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

Outcome: Unfortunately there was not enough time for this objective was not completed during this lesson.

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

Outcome: Unfortunately there was not enough time for this objective was not completed during this lesson.

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

Outcome: Unfortunately there was not enough time for this objective was not completed during this lesson.

NOTE: With the first objective taking up to nearly fifty minutes of the lesson period, there was no time to introduce and attempt any of the remaining objectives. Robert had requested to learn a song a few weeks ago, ‘Milk’ by Kings of Leon (refer to tablature below) and considering that the pupil had not had chance to play along to a music during the lesson and there was time left, the request was granted.

This song is a great song to learn and will improve Roberts habit of only using his first, second and third finger, as frets seventh, ninth and tenth, in the verse should be played with the first, third and fourth fingers.

However this was not the case as Robert slid his first finger down from the seven fret to the ninth and then played the tenth fret with his second finger.

**’Milk’ tablature**

RH - Lesson Plan: Lesson 8

2008-08-15T09:02:00.002+01:00

Complementary Studies: Liam Marley

Date: 16/04/08 (R Hamilton)
Planning Time: 3hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

Maintaining order and the attention of the pupil at all times is very important during a lesson based event such as a music lesson. If the pupil is not concentrating then he could miss vital information that will aid him/her to progress. This is why Joseph had to be kept active each week with new material and songs. During this eighth lesson Joseph had the chance to play bass patterns from three songs, while learning a new bass playing technique called a glissando. A glissando, or more commonly known as a slide, is a musical slur which can be explained as ‘a symbol in Western musical notation indicating that the notes it embraces are to be played without separation’, as stated by Wikipedia, 2008. Musical slurs add depth and excitement to a composition and will be featured more in later lessons.

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.

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

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

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

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

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.) After the chromatic warm up, the pupil will practice the ‘walking’ blues bass line from the previous last lessons, firstly using quarter note lengths and then eighth note lengths.

During this lesson the pupil will concentrate on playing the ‘walking’ bass pattern with eighth note lengths, (refer to Figure 1). These require the pupil to play a lot quicker than the note per beat quarter note lengths and are therefore more challenging. This bass pattern in Figure 1 will be played by the pupil in their own pace first, without the use of a drumbeat. However once the pupil is comfortable with the pattern then it will be played along to a beat to improve their rhythm and timing. This objective will in time limber up the pupil’s fingers and enable them to play quicker and more complex bass patterns.

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 -|---------------------------------------------|----------------------------------------------|

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

G -|-------4-4-7-7-4-4------2-2-5-5-2-2--|---------------------------------------------|
D -|--5-5-----------------3-3-----------------|-------2-2-5-5-2-2-------2-2-5-5-2-2--|
A -|---------------------------------------------|--3-3-----------------3-3------------------|
E -|---------------------------------------------|----------------------------------------------|

(Figure 1)

2.) This objective will attempt to widen the pupil’s finger span so the pupil will be able to stretch across the fret board more and therefore increase their reach of notes. However this will not happen over night and especially not in an hour-long lesson. This will take many hours of practice before the hand is conditioned enough to finally become more supple.

(Figure 2)

To guide the pupil in the correct direction an exercise using octaves will be implemented to get the fingers stretching across the fret board. The pupil will begin with using the first and fourth fingers, as not to put too much strain on the joints otherwise permanent damage could occur. Beginning with the E string, the third fret and its corresponding octave (eighth interval note) will be played. This will be done with the pupil’s first finger playing the root note (the third fret), while the fourth finger plays the octave (the fifth fret on the D string). This is demonstrated in Figure 3 and will progress with each dotted note.

Once the pupil feels comfortable with this formation they will be able to progress to the next level, which will be to use the finger per fret technique so that the first finger will play the root note and the third will be used to play the octave.

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

-------1----4----1----4----1-----4----1----4-----1-----4---1----4---1----4----1----4----
------------------------------Fingers used to fret notes-----------------------------------

(Figure 3)

3.) To improve the pupil’s fret accuracy, an example of a glissando will be demonstrated. A glissando is a musical slur and is the term for a simple glide or slide from one note to another. A slide can decrease in pitch or increase in pitch, as in the example below in Figure 4.

G -|--------------------------------------------------------------------------------------------|
D -|--------------------------------------------------------------------------------------------|
A -|--------------------------------------------------------------------------------------------|
E -|--3/15------------------------------------------------------------------------------------|

(Figure 4 – the forward slash symbol between the 3 and the 15 symbolises a slide from the third fret to the fifteenth fret)

A glissando is the perfect way to demonstrate fret accuracy. When the pupil slides up or down the fret board to a note they must land the finger in the centre of the fret, otherwise they risk the occurrence of fret resonance. This resonance occurs when the note being played is fretted too close to the fret bars, emanating a sharp and metallic vibrating sound. It is this very sound that will let the pupil know when they are not fretting the note correctly.

4.) The subject of open fret notes from the last lesson will be revisited in this lesson to refresh the pupil and to help them improve on their technique. Three source materials have been gathered so the pupil will have practical examples of open fret notes to play to, (refer to the links below for the bass tablatures). These consist of three tablatures of three songs - ’Smoke On The Water’ by Deep Purple, ’Another One Bites The Dust’ by Queen and ’Molly’s Chambers’ by Kings of Leon.

**’Smoke On The Water’ tablature**

**’Another One Bites The Dust’ tablature**

**’Molly’s Chambers’ tablature**

5.) It has a been a frequent activity in the bass lessons to learn the fret board due to its importance to a bass player, as without the knowledge of the correct notation a bassist cannot advance in their trade. As usual the pupil will go through the fret board, beginning on the E string, naming all the notes from the open fret to the twelve fret. Along with learning the notes on the fret board, the pupil will be encouraged to use the name of the notes throughout the course of the lesson so that a familiarisation can begin to occur.

RH - Film Edit: Lesson 7

2008-08-15T09:00:00.001+01:00

Complementary Studies: Liam Marley

Date: 27/07/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson seven with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 7

2008-08-15T08:53:00.001+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 09/04/08
Evaluating Time: 2hrs

With the introduction of the first song to play along to, Robert had the first chance to get a feel for rhythm and timing. This came in the form of reggae artist Bob Marley’s ’Waiting In Vain’ and enabled the pupil a different insight into different styles of bass playing and rhythms.

Although the lesson was musically driven, in terms of the songs being played, there were practical objectives to be learnt, as in the case of learning open notes. The songs were put in place as stimulation, so the pupil would not just be playing a monotonous pattern for ten minutes and to demonstrate why taking part in the exercise was important.

Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert seemed to be having problems with remembering structures and patterns during this objective. This was not unusual considering he was being asked to remember three different bass lines – the basic root to fifth blues pattern (Figure 1), the bay-on-bass pattern (Figure 2) and the ‘walking’ bass pattern (Figure 3). Although they all involved the same arrangement of C, F and G, each bass line contained three different patterns, (refer to Figures one, two and three below). Once one pattern was attempted and played, that pattern was in Robert’s head. This pattern was then fixated in his mind, causing turmoil for the next pattern, as he would repeatedly revert back to the previous pattern after relaxing into the new one.

This problem occurred mostly with the ‘walking’ bass line, where the pupil would begin playing the frets 3, 2, 5, 2, on the A string. When a chord change would occur Robert would mix up his fingers up and would get confusing with which bass pattern he was playing. With the problems the pupil was experiencing the ‘walking’ bass pattern in the eighth note length form was aborted and the pupil just stuck with the quarter note form, as not too complicate matters.

G-|------------------------|------------------------|------------------------|------------------------|
D-|------------------------|------------------------|------------------------|------------------------|
A-|--3---------------------|--3--------------------|--3--------------------|--3---------------------|
E-|---------------3--------|---------------3-------|---------------3-------|---------------3--------|

(Figure 1 –the first four bars of a basic root to fifth bass pattern)

G-|------------------------|------------------------|------------------------|--------------------------|
D-|------------------------|------------------------|------------------------|--------------------------|
A-|--3---------3----------|--3----------3---------|--3----------3--------|--3----------3-----------|
E-|---------------3--------|---------------3-------|----------------3------|---------------3---------|

(Figure 2 – the first four bars of the bay-on-bass pattern)

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

(Figure 3 – a ‘walking’ bass pattern using quarter note lengths)

2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: During this objective a brief history of tablature was given, followed by an explanation of how this form of musical representation is transcribed. Robert had already come across this form of sheet music before but was unaware that the numbers stated on the string lines represented the frets of the bass.

With this explained the reggae bass line of ’Waiting In Vain’ was demonstrated. Robert was instructed to just play the root notes first so he was able to grasp the simple blues like arrangement of G♯ and C♯. It was decided that Robert was probably unlikely to be able to play the actual bass pattern due to the fast changes from the root note to the second interval, i.e. G♯ to B♭ and the C♯ to the E♭. However it was crucial that he played the rhythm of the song so he could gain more experience with grooves and rhythms from different genres of music, so he simply played the root note without losing the rhythm.

**’Waiting In Vain’ tablature**

3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: This objective did not actually affect Robert as it was first initially thought. As Robert was having difficulties from time to time with his right plucking hand and the coordination between the two hand forms, he was not expected to be able to play the fret and open string notes in succession.

However Robert seemed to grasp this task well, with very little fret mishaps occurring. Robert did seem to revert back to his early style of one finger plucking, where he would only utilise his right index finger to pluck the strings. There is nothing crucially incorrect with this technique as it mimics the use of a plectrum of pick, used mostly by guitar players but by some bass players. The Motown legend James Jamerson used this technique when playing and his index even managed to earn the nickname “The Hook”, as stated by Wikipedia, 2008.

This style does have its drawbacks, compared with the use of two plucking fingers. Robert demonstrated this drawback when practicing the riff to ‘Smoke On The Water’ by Deep Purple, (as ‘Molly’s Chambers’ was too fast at this moment). He began to speed up part of the riff, which eventually he could no longer play due to the speed limitations of a single plucking finger.

RH - Lesson Plan: Lesson 7

2008-08-14T23:46:00.003+01:00

Complementary Studies: Liam Marley

Date: 09/04/08 (R Hamilton)
Planning Time: 3hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

The seventh lesson would be the first lesson that would have the pupil playing a song or at least part of a song. This will give the pupil experience with rhythm, which will improve coordination and finger techniques, while experience with tempo will aid in the pupils musical timing. These are all important for a bass player when playing with other musicians and especially on your own, when there is no one else to keep you on time with a tempo.

Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

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.) Although the pupil had played these basic blues patterns time and time again, it was important for timing and rhythm to be grasped. As before it was more important for the pupil to just learn the pattern and now that they are confident with the bass line, a constant rhythm and tempo should be demonstrated by the pupil. This will be aided with either the use of a hand clap from the tutor or a basic drum beat to convey a simple 4/4 beat, with a kick as beat one and three and a snare as beat two and four, (as demonstrated in the sound file below).

(SOUND FILE OF SAMPLE DRUM BEAT)

The pupil will be encouraged to increase the tempo if they feel comfortable and will be watched carefully, in case the pupil strays from the set tempo. After using these two basic blues patterns as a warm up, the more advanced ‘walking’ bass line will be recapped.

There will be two variations to this bass pattern, the first will use quarter or crochet note lengths, (refer to Figure 1), while the second will use eighth or quaver note lengths, (refer to Figure 2). The second variation, which incorporates eighth notes, will only be attempted if the pupil is confident and satisfied with their performance on the first ‘walking’ bass pattern. This is because the eighth note length bass line has double the number of notes played per bar; as eighth notes are half the length of quarter notes so this enables two notes to be played in the place of one quarter note, (as shown below in Figure 1 and Figure 2).

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

(Figure 1 – quarter note lengths)

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

(Figure 2 – eighth note lengths)

2.) It was time that the pupil played along to a song, firstly to aid their timing and rhythm but also to keep them occupied and interested during the lessons, as repetitively playing the same old blues bass line is not fun. To continue with the blues and reggae theme, ‘Waiting In Vain’ by Bob Marley and The Wailers, (refer to the link for the bass tablature), will be taught to the pupil. This song incorporates a similar structure to the blues bass line but manages to keep that familiar reggae groove that is tricky to master at high tempos; which is why a simplified form will be shown to the pupil so that they can work up to the actual bass line.

**’Waiting In Vain’ tablature**

It was also important to have a song of another genre to broaden the pupil’s knowledge of bass patterns. This came in the form of Kings Of Leon’s ‘Milk’, (refer to the link for the bass tablature), which had a constant root note based pattern that will help to improve the pupils rhythm and right plucking hand.

**’Milk’ tablature**

3.) At this point during the lesson the introduction of open notes in conjunction with their fretted counter parts will be established. An open note was not a new avenue for the pupil, as they have come across them before during fret board objectives and tuning of the instrument. However the use of open notes incorporated with fretted notes in a bass pattern can be tricky at first due to the coordination between the two hands.

The coordination issues consist with the left fretting finger being able to release the pressure from the string so an open note can be pronounced and then reapplying the pressure again for a fretted note, (refer to Figure 3).

G -|---------------------------------------------|-------------------------------------------|
D -|---------------------------------------------|-------------------------------------------|
A -|---------------------------------------------|-------------------------------------------|
E -|--2--0--2--0--2--0--2--0--2--0--------|--2--0--2--0--2--0--2--0--2--0-------|

(Figure 3)

This exercise should be repeated until the pupil grasps the technique, at which time the pupil will be introduced to another Kings Of Leon song, called ‘Molly’s Chambers’, (refer to the link for the bass tablature), which contains a bass pattern made up of fretted notes and open notes, similar to the example above.

**’Molly’s Chambers’ tablature**

JK - Film Edit: Lesson 16

2008-08-14T23:39:00.000+01:00

Complementary Studies: Liam Marley

Date: 21/06/08 (J Kosminsky)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson sixteen with Joseph Kosminsky was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH JOSEPH KOSMINSKY’

JK - Evaluation: Lesson 16

2008-08-14T22:33:00.008+01:00

Complementary Studies: Liam Marley

Pupil: Joe Kosminsky
Date: 09/04/08
Evaluating Time: 2hrs

This lesson happened to be the last lesson for Joseph, as he was approaching a stage in his playing where he had to go out on his own and enhance his skills, with hours of practice and perseverance. He was advised to do what most beginner musicians do, join a band with little experience, compared with the other musicians. This strives you to improve and better yourself both as a bass player and as a musician. For you have to keep up with the other musicians and because you can see what they are capable of, you want to discover what you are capable of too.

Lesson Objectives:

1.) The pupil will warm up with the bass guitar using the major scales that they have been previously taught. This will be done in a chromatic fashion (finger per fret) to further advance both hand forms (the left fret hand and the right plucking hand).

Outcome: Before Joseph began his usual five-minute warm up, a discussion on major and minor scales was initiated. Joseph was informed that once all the fifteen major scales have been learnt and are known intimately, then all the minor scales can be taught to the pupil. This did not seem like a good prospect to Joseph, learning another fifteen scales, however it was explained that every major scale happens to have a relative minor. This means that the accidental notes for a major scale would correspond to a minor scale, e.g. the scale of C major has a relative minor in the scale of A minor, as this scale also has no sharps or flats. However it was explained that the pattern for a minor scale is different to that of a major, this can be seen in Figure 1 below.

(Figure 1 – fret placement for a natural minor scale)

Joseph then proceeded to play the major scales in a chromatic formation. At this point in the learning process, the pupil was managing to play his scales with speed and precision. However instead of utilising all four fingers, Joseph was neglecting to play his fourth finger on the fourth fret of the major scales. This was being played with his third finger the majority of the time with his little finger curling up against his third. This habit needs to be broken, otherwise the pupil will lose an extra finger reach for more fret coverage, speed and stamina.

Unfortunately Joseph was only able to name four major scales and their sharps (refer to Figure 2), this was disappointing as last lesson he was able to name all his scales up to B major, along with the corresponding sharp notes. The pupil seemed tired during the lesson, as he had been at work, since 07:00 hrs, so the mistakes were granted.

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

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

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

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

(Figure 2)

2.) To persist practicing the Red Hot Chili Pepper song ‘The Otherside’, so the study of bass fills can continue.

Outcome: When mentioned to the pupil that he was going to be continuing the study of ‘Otherside’, he actually thought that he had not played the song yet. Once the song was played he recalled the song but could not actually remember the bass pattern, advising, “I can’t remember this at all you know”.

While he studied the tablature, the bass pattern was briefly demonstrated to the pupil on the bass guitar. After a quick demonstration to log Joseph’s memory, the ‘Otherside’ bass part was played solo while he figured out the pattern in his head. Once the pattern was imbedded into Joseph’s mind, his first experience of a ‘jam’ with another musician occurred as he played along to a picked six-string guitar (played by the tutor).

Joseph has the ability to pick bass patterns and certain musical theories up quickly, however where his downsides lie are with his timing and rhythm, which he admits himself. However this will eventually come with time and lots of practice.

**’Otherside’ tablature**

3.) To further the pupils study and knowledge of musical slurs. As a continuation from last lesson, the pupil was introduced to hammer-ons and pull-offs, this lesson the pupil will be taught slides and trills.

Outcome: As objective two took up the majority of the lesson duration, there was no time available at the end for the pupil to continue learning musical phrases, such as the slurs that were introduced in the last lesson.

These would have given Joseph a better understanding of musical expression and creativity. For an example of a bass line with musical phrases refer to the link below, which shows one of the greatest bass players ever to live – Jaco Pastorius, play a bass solo.

**Musical Phrase example**

JK - Lesson Plan: Lesson 16

2008-08-14T21:01:00.005+01:00

Complementary Studies: Liam Marley

Date: 09/04/08 (J Kosminsky)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

This sixteenth lesson acted as a refresher for the pupil so they can recap on what they had learnt in lesson fifteen. Lesson fifteen featured phrasing techniques such as slurs, which introduced different ways to fret a note. Whether the string be vibrated to and thro, bent or struck in a hammer motion, phrases are a way of expressing notes, making a musicians playing more fluid and unique.

The bass line to the ‘Otherside’ will be further studied and played by the pupil, with the attention on the unique fills used by Michael Balzary, the bands extremely gifted bass player.

Lesson Objectives:

1.) The pupil will warm up with the bass guitar using the major scales that they have been previously taught. This will be done in a chromatic fashion (finger per fret) to further advance both hand forms (the left fret hand and the right plucking hand).

2.) To persist practicing the Red Hot Chili Pepper song ‘The Otherside’, so the study of bass fills can continue.

3.) To further the pupils study and knowledge of musical slurs. As a continuation from last lesson, the pupil was introduced to hammer-ons and pull-offs, this lesson the pupil will be taught slides and trills.

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.) The pupil was once again instructed to limber up before the lesson began, using the major scales, in a chromatic fashion. The pupil will be given a free run to play any scale, in any order to warm up their fingers. However soon after they will be asked to state the name and number of the sharps contained in each scale that has been covered up until now.

Flat major scales will be briefly introduced during this lesson, as these have only been mentioned in previous lessons. The pupil will play the first flat major scale, which is the scale of F♯major. This contains the first flat that a major scale encounters, B♭ and still uses the same finger placement pattern displayed in Figure 1 below.

(Figure 1)

2.) The pupil will continue to practice the Red Hot Chili Pepper song, ‘Otherside’, aiming to play the introduction, verse, chorus and also a simplified version of the bridge as this is quite a tricky bass pattern to play at this stage.

**’Otherside’ tablature**

3.) With last lessons phrasing techniques, introducing hammer-ons and pull-offs, this session will include the re-introduction of slides (as was demonstrated in lesson eight for fret accuracy) and the introduction of trills.

Once the pupil familiarised themselves with hammer-ons and pull-offs from the previous lesson, they will be demonstrated slides and trills in order for these to be practiced and understood.

As a re-introduction from lesson eight, a slide or a glissando (in musical terms), is simply as the name states – a slide one note to another. However only the first note is plucked and a slide can ascend or descend on the fret board, across any number of notes. Once a slide has briefly been practiced a trill will be explained and demonstrated to the pupil.

‘A trill is a combination of hammer-ons and a pull-offs played in rapid succession’, as stated by Clayton, p. 50, 2003. A trill begins with a hammer-on and then finishes with a pull-off, this process is repeated for how ever long is necessary, until the desired affect is reached. The pupil will not be expected to perform this phrase initially, due to its speed and it cannot be played slowly otherwise it just becomes a series of hammer-ons and pull-offs.

RH - Film Edit: Lesson 6

2008-08-14T20:59:00.000+01:00

Complementary Studies: Liam Marley

Date: 26/07/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson six with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 6

2008-08-14T20:57:00.002+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 02/04/08
Evaluating Time: 2hr

This sixth lesson acted as a refresher for the pupil, enabling them to hopefully be ready for the next lesson, which will have the pupil playing a song or part of a song. The objectives in this lesson repeated previously taught objectives so that a summary of what has been learnt could be compiled and understood.

During this lesson the pupil managed to put into practice the subjects learnt from the previous five lessons. These all went generally well, with expected problems with the fret board knowledge. The final objective – an adaption to the blues bass line, was hard to grasp, due to the additional notes and frets, while the pupil’s attachment to the basic blues bass line made it hard for them to learn a new pattern.

Lesson Objectives:

1.) To recap on the anatomy of the bass, asking the pupil to name as many parts as they are able. Do they know how the sounds are formed and which parts do what job?

Outcome: Robert was able to name all but one of the external components of the bass guitar. The internal parts were far too technical for him to expect to know and learn. Robert confidently work his way through the parts of the bass but when it came to the nut, he was unable to put a name to the part. This knowledge will aid Robert when maintaining his instrument, as he will be able to know what parts do what action.

2.) To recap and persist with the pupils fingering techniques, where their fingers are placed on the fret board and how much pressure is applied to the strings to form a note. Does the pupil know how to change from one fret to another efficiently as well as from one string to another?

Outcome: When asked, Robert was able to explain how to correctly hold the bass guitar. He was also able to describe how the bass should be played – resting the thumb behind the neck of the bass for support, while the four fingers strike the strings at individual frets in a chromatic fashion (one finger per fret). He was reminded to fret the notes in the centre of the fret as not to cause any fret resonance or buzz that would be audibly unappealing.

Robert’s finger technique was off to a good start, he was plucking the notes a little softer with his right hand, as in previous lessons they were being plucked far to hard and this was causing mistakes and hesitations in his playing. There was a definite improvement with Robert’s right plucking hand, he was beginning to ‘walk’ with this hand rather than pluck the string with just one finger. The third finger on the pupils left fretting hand also improved, as the pupil was instructed not to neglect any finger.

3.) Refresh the pupil on both fifth and eighth interval notes, making sure that the pupil understands the basics behind theses notes and that they know where they can be found on the fret board.

Outcome: The pupil fully understood how to find a fifth interval note from a root note, however the rule to find one – three frets a across and two strings down, (refer to Figure 1) was not explained properly and tended to confuse the Robert. The three fret rule consisted of placing the first finger on the root note, e.g. G and counting three frets across but one fret is including that root note G, while the two strings down, also counts the string that the root note is on. However Robert was counting three frets from the root note, which would obviously take him to a note that was a half step out.

(Figure 1)

Once this was resolved Robert was asked to play an octave or eighth interval note, however he required help finding this particular note on the fret board.

An example of how these two interval notes are used was given in the form of the song ‘Otherside’ by the Red Hot Chili Peppers, as a lot fifths and eighths were utilised in the creation of this bass line.

4.) The pupil should hopefully know by now a handful of notes (usually between the first and fifth frets) as the aim for this lesson is to get the pupil to go through and name the position of each note on the bass from the open string to the twelve fret on all four strings.

Outcome: The notes of the open strings, E, A, D, G, were required to be known first and Robert managed to name them all. This then progressed onto the naming of all the notes, with Robert’s confidence and knowledge on the E string, these notes were named quickly and correctly. However once it come down to the A string, the pupil began to struggle and started to forget in which order the musical notes ran in.

5.) Previous taught bass lines will be covered again, from the basic blues bass line which uses a root to fifth note pattern (as shown in the diagram below) to the reggae bass line which utilises both fifth and eighth octave notes to create a groove.

G-|------------------------|------------------------|------------------------|------------------------|
D-|------------------------|------------------------|------------------------|------------------------|
A-|--3---------------------|--3--------------------|--3--------------------|--3---------------------|
E-|---------------3--------|---------------3-------|---------------3-------|---------------3--------|

G-|------------------------|------------------------|------------------------|------------------------|
D-|---3--------------------|--3--------------------|------------------------|------------------------|
A-|---------------3--------|--------------3--------|--3--------------------|--3---------------------|
E-|-------------------------|-----------------------|---------------3-------|---------------3--------|

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

Outcome: The first two patterns – the basic blues and bay-on-bass, bass lines, were not a hindrance as they once were, as these were played with a fairly steady rhythm and flow.

However due to the number of activities that were covered in this lesson, there was not enough time for Robert to go through and practice a reggae style bass line. However one briefly was demonstrated to him. This was done in the pattern of a basic blues bass arrangement, using fifth and eighth interval notes, to show to him that most reggae bass patterns consist or utilise fifth and eighth interval notes.

6.) An adaption of the previously played blues bass line, that will become useful to the pupil as a bass player, will be introduced during this lesson.

Outcome: With Robert’s impressive progression with the blues bass lines, he was then taught the evolving bass pattern from that, which is the walking blues bass line. This was demonstrated to the pupil, while the pupil then attempting to play the pattern. This pattern was considerably more difficult than the two, as there was not only more note coverage but also fret coverage too. The pattern was new and would therefore take a while to learn.

Towards the end of the lesson, Robert was shown the benefits of playing and learning the blues bass line, using a selection of songs. This genre of bass patterns will enable the pupil to get to a comfortable stage where he will eventually be able to play a number of Beatles songs.

RH - Lesson Plan: Lesson 6

2008-08-14T18:19:00.004+01:00

Complementary Studies: Liam Marley

Date: 02/04/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON - which is actuallly entitled 'Robert Kosminsky', when it should read 'Robert Hamilton'. The original footage has been destroyed so no alterations can be made, apologies for any confusions caused)

This sixth lesson acts as a refresher for the pupil so they can recap on what they have learnt so far, as lesson one for some pupils were around ten weeks ago. The pupil will be asked all aspects of the bass material covered so far, including the parts of the bass, correct fingering techniques, eighth and fifth interval notes, fret board notation, accidental notes (flats, naturals and sharps) and blues bass patterns. Not only will past lessons be re-touched on but also an adaption to the blues bass line will be introduced.

It is important in this lesson that the pupil gets to grips with all these subjects, in this and the next lesson, so that they can begin to progress with the instrument.

Lesson Objectives:

1.) To recap on the anatomy of the bass, asking the pupil to name as many parts as they are able. Do they know how the sounds are formed and which parts do what job?

2.) To recap and persist with the pupils fingering techniques, where their fingers are placed on the fret board and how much pressure is applied to the strings to form a note. Does the pupil know how to change from one fret to another efficiently as well as from one string to another?

3.) Refresh the pupil on both fifth and eighth interval notes, making sure that the pupil understands the basics behind theses notes and that they know where they can be found on the fret board.

4.) The pupil should hopefully know by now a handful of notes (usually between the first and fifth frets) as the aim for this lesson is to get the pupil to go through and name the position of each note on the bass from the open string to the twelve fret on all four strings.

5.) Previous taught bass lines will be covered again, from the basic blues bass line which uses a root to fifth note pattern (as shown in the diagram below) to the reggae bass line which utilises both fifth and eighth octave notes to create a groove.

G-|------------------------|------------------------|------------------------|------------------------|
D-|------------------------|------------------------|------------------------|------------------------|
A-|--3---------------------|--3--------------------|--3--------------------|--3---------------------|
E-|---------------3--------|---------------3-------|---------------3-------|---------------3--------|

G-|------------------------|------------------------|------------------------|------------------------|
D-|---3--------------------|--3--------------------|------------------------|------------------------|
A-|---------------3--------|--------------3--------|--3--------------------|--3---------------------|
E-|-------------------------|-----------------------|---------------3-------|---------------3--------|

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

6.) An adaption of the previously played blues bass line, that will become useful to the pupil as a bass player, will be introduced during this lesson.

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.) The pupil will be asked once again to name as many parts of the bass guitar as possible, however this time around it will be expected of the pupil to have the ability to name at least four and explain their purpose, e.g. the pick-up is used in a similar manner to the microphone to pick up the acoustic sound of the instrument so that an amplifier can then convey those sounds.

2.) As an on-going subject, correct fingering techniques are vital to a bass players way of life, as this constitutes a players ability to play notes smoothly and cleanly. This is exactly why the pupil’s technique is studied and scrutinised so. The pupil will be asked what they think the correct form for string fingering is, with both hands, while their technique is studied and corrected where necessary.

The pupil’s left hand form should incorporate the one finger per fret technique to enable good practice and eventually to progress speed across the frets, while the right hand should be able to walk across the four strings gracefully utilising one finger after another (the first and index finger).

3.) During this lesson the pupil will be asked whether they have an understanding of intervals, the distance between two notes, in particular the intervals of fifth and eighth notes. These have been concentrated on in previous lessons in an attempt to drill it into the pupil’s head, as they can be useful notes when compiling a bass line.

For this lesson the pupil will be asked to demonstrate these interval notes, with first the easier eighth or octaves notes and then the fifth notes as shown in the tablature below.

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

-----------------------------Eighth or octave notes----------------------------------------

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

------------------------------Fifth interval notes--------------------------------------------

4.) The pupil will be asked to play each fret in descending order, beginning with the first fret on the E string while attempting to name the notes of these frets. As long as the pupil knows which notes have which accidental values (flats, naturals and sharps) then they should be able to name each note consecutively as in the figure below.

Note -----E-----F-----F #-----G-----G#-----A-----Bb-----B-----C-----C#-----D-----Eb-----E
Fret----open---1st---2nd---3rd----4th----5th----6th----7th---8th---9th---10th--11th--12th

The pupil should hopefully know by now a handful of notes (usually between the first and fifth frets) as the aim for this lesson is to get the pupil to go through and name the position of each note on the bass from the open string to the twelve fret.

5.) The pupil will be asked to play previously taught bass patterns, such as the basic blues bass (as shown in Figure 1 below), a bay-on-bass, in the pattern of a blues bass (as shown in Figure 2) and finally a reggae style bass groove (as shown in Figure 3).

G-|------------------------|------------------------|------------------------|--------------------------|
D-|------------------------|------------------------|--3---------------------|--3----------------------|
A-|--3---------------------|--3--------------------|--------------3---------|---------------3---------|
E-|---------------3--------|---------------3-------|-------------------------|-------------------------|

(Figure 1)

G-|------------------------|------------------------|------------------------|--------------------------|
D-|------------------------|------------------------|--3----------3---------|--3---------3------------|
A-|--3---------3----------|--3----------3---------|----------------3------|---------------3----------|
E-|---------------3--------|---------------3-------|------------------------|--------------------------|

(Figure 2)

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

(Figure 3)

If the pupil is unable to play these from memory then a quick example will be played to recap the pupil’s mind.

6.) Finally a walking bass line will be introduced to the pupil in the format of a blues bass line.

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

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

This will aid the pupil in a number of ways, firstly it will further the pupils hand form (with both hands), enabling them to exchange between notes more fluidly. This will also progress fret board knowledge, as the pupil should be observing what notes they are striking instead of acknowledging a repetition of frets. The exercise should also benefit the pupil in matters of note usage in a bass composition e.g. which notes will be in tune with each other.

The pupil should hopefully notice the significance of one of the notes that they are playing, i.e. the third note in the bass line (in the case of the tablature example, the fifth fret on the A string) is actually a fifth interval note of the root (first) note being played.

JK - Film Edit: Lesson 15

2008-08-14T15:23:00.001+01:00

Complementary Studies: Liam Marley

Date: 19/06/08 (J Kosminsky)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson fifteen with Joseph Kosminsky was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH JOSEPH KOSMINSKY’

JK - Evaluation: Lesson 15

2008-08-14T15:16:00.003+01:00

Complementary Studies: Liam Marley

Pupil: Joe Kosminsky
Date: 31/03/08
Evaluating Time: 2hrs

The later lessons differ greatly from the earlier ones, because of the lesson content and activity involvement. The earlier lessons tended to be more theory based and less hands on, due to the pupil only just beginning to learn the correct way to hold and play the bass guitar. Whereas the lessons as of late have been both theory and practical based, with as much bass activity orientated exercises as possible.

This is why in this lesson there were two songs were allocated for the pupil to play along. The first was the familiar ‘Cold Sweat’ by the Godfather of Soul - James Brown, while the second song was ‘Otherside’ by the equally as funky Red Hot Chili Peppers. Both songs had practical and theoretical applications, as they both improved the pupils fingering techniques and fret board knowledge. Whereas the James Brown song aided the pupils major scale theory and the Red Hot Chili Peppers song helped with the pupils fill theory.

Lesson Objectives:

1.) To warm up using the major scales of C, G, D, A, E, and B. However before each scale is played the pupil will be asked to name the sharps contained in each scale without playing them and without referring to the Father Christmas Gave David An Empty Box mnemonic.

Outcome: Joseph began with the easiest scale of C major and knew that it contained no accidentals whatsoever. Joseph however named the next scale in line, as D major and as having an F#. Joseph was instructed that he was correct with the stated sharp, although there is one more sharp associated with the note, but G major is actually the next scale in line. Joseph soon realised his error and correctly stated that D major has an F# and a C#, which then lead him to name and play the previous scale of G major. By using fifth interval notes, Joseph was able to work out that A major was the next scale after D. The pupil knew straight away that as A major was the third scale to have accidentals (in this case sharps), then it must have three sharps, (refer to Figure 1). The new sharp was identified by using the rule, that every new sharp is the previous note from the scales root, in the musical alphabet; so G majors is F#, D majors is C#, A majors is G#, etc.

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

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

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

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

----------------------------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)

Joseph was not required to name and play the E and B major scales, as it was obvious that he was familiar and comfortable with his first group of major scales.

2.) To persist playing ‘Cold Sweat’ by James Brown as a form of practice for fills and overall fingering techniques.

Outcome: Initially Joseph advised that he could not remember the rhythm to this song, but after a sample of the song was played and being informed that it began with D major, he was able to remember the bass pattern. Joseph was able to get back into the song quickly, fretting all the necessary notes and using all the necessary fingers. He even managed to correct the original pattern that I had tabbed for the lessons, pointing out that the bass player reverts back to the octave of D, on the seventh fret, instead of another note, (refer to link below for correct tab).

Joseph’s only problem during this objective was recalling the rhythm of the song. Fortunately this not a major problem, as the song just had to be played back to him for reference of the rhythm.

**’Cold Sweat’ tablature**

3.) To take the new fill theory taught from last lesson and put it into practice on the basic blues bass line.

Outcome: For this objective, Joseph was only demonstrated the practical implications of fills being implemented into a basic blues bass line. Joseph was shown a bass pattern, in the form of the blues bass line, which incorporated fills, using the intervals from major scales. Groups of intervals from the major scales were used to form runs or walking fills, while singular interval notes, such as fifths and eighths acted as support notes to hold up a pattern, making it more interesting and groovier.

4.) To introduce ‘Otherside’ by the Red Hot Chili Peppers. This song is another practical example of the use of bass fills.

Outcome: The second song of the lesson was played to the pupil and he was shown which notes to be played, on the bass with reference being made to the tablature when necessary.

This was a relatively easy song to play, especially if the pupil strictly played the root notes. However the whole aim of this objective was to get the pupil playing fills. Joseph was given a practice run with the song (introduction/verse and chorus only) using only root notes, however he took it upon himself during this process to add in the occasional fifth interval note when time allowed. Once each pattern was learnt, Joseph then played the bass along to the song, which helped to improve his confidence, timing and rhythm.

Joseph was beginning to pick bass patterns up a lot faster and because his fingering techniques have vastly improved he is able to accommodate for more complicated bass lines.

**’Otherside’ tablature**

5.) To develop the pupil’s bass technique by introducing music phrases called slurs.

Outcome: Slurs were finally introduced to the pupil as a blending of two notes, where two notes are played in one action – meaning only the first note is plucked. Joseph did not understand this until a set of examples was demonstrated to him. Once hammer-ons, pull-offs, vibratos and trills were explained, it became clear what a musical slur was and why they are used within a composition of music.

Joseph seems to have a good comprehension of music and has a natural ear for it, this will help him to develop his skills further on the bass guitar.

JK - Lesson Plan: Lesson 15

2008-08-14T11:18:00.004+01:00

Complementary Studies: Liam Marley

Date: 31/03/08 (J Kosminsky)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

With the first three objectives being regurgitations of previous ones, it was important that the pupil was taught some new material. These came in the form of a new song to play, which had a practical purpose of learning more fills, while the last objective introduced the pupil to phrasing techniques, which will help the pupil to eventually gain his/her own style of playing.

Lesson Objectives:

1.) To warm up using the major scales of C, G, D, A, E, and B. However before each scale is played the pupil will be asked to name the sharps contained in each scale without playing them and without referring to the Father Christmas Gave David An Empty Box mnemonic.

2.) To persist playing ‘Cold Sweat’ by James Brown as a form of practice for fills and overall fingering techniques.

3.) To take the new fill theory taught from last lesson and put it into practice on the basic blues bass line.

4.) To introduce ‘Otherside’ by the Red Hot Chili Peppers. This song is another practical example of the use of bass fills.

5.) To develop the pupil’s bass technique by introducing music phrases called slurs.

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.) All the major scales learnt so far by the pupil, (refer to Figure 1), will be recapped and ran through during the warm up period. However before each scale is played, the pupil will be instructed to name all the necessary sharps that make up that particular scale. If the pupil is unable to name accidental notes, they will be allowed to refer to the Father Christmas Gave David An Empty Box mnemonic ,as a helpful reminder.

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

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

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

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

----------------------------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.) ‘Cold Sweat’ by James Brown will be played again, so that the fills can be studied and practiced ready for objective three.

**’Cold Sweat’ tablature**

3.) With the time dedicated in both this and last lesson, the pupil should now have a comprehension of what a fill is. After listening to several examples of bass lines with fills, the pupil will proceed to play the basic blues bass line and attempt to add their own fills, using the notes of the major scales. Referring to Figure 2, the blues bass line has three chord progressions, C, F and G. This means that the pupil must know the major scales of C, F and G, as only certain notes can be played for each chord progression (refer to Figure 3).

G-|------------------------|------------------------|------------------------|------------------------|
D-|------------------------|------------------------|------------------------|------------------------|
A-|--3---------------------|--3--------------------|--3--------------------|--3---------------------|
E-|---------------3--------|---------------3-------|---------------3-------|---------------3--------|

G-|------------------------|------------------------|------------------------|------------------------|
D-|---3--------------------|--3--------------------|------------------------|------------------------|
A-|---------------3--------|--------------3--------|--3--------------------|--3---------------------|
E-|-------------------------|-----------------------|---------------3-------|---------------3--------|

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

(Figure 2)

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

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

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

(Figure 3)

At this point the pupil will be shown a video (refer to link below), which will demonstrate the purpose and benefits of learning the scales. This video, gathered from Expert Village, 2008, shows how a bass line can be composed and that once a musician knows their scales and they are given a chord progression then they will be able to confidently create a bass line.

**’writing a bass line video’**

4.) Another song that incorporates many fills to ‘jazz up’ a bass line is ‘Otherside’ by the Red Hot Chili Peppers. This song has a new fill on every four bars and although is a simple bass line to play, some fills are quite adventurous for a beginner and will take some practice to learn.

**’Otherside’ tablature**

5.) Slurs are described by Wikipedia, 2008, as notes that are ‘played without plucking the individual strings’, while it is stated by Clayton, p. 49, 2003, to be ‘played legato or in the same stroke’. They are types of phrasing techniques and will be the first of many to be introduced.

Phrasing techniques add depth and action to a piece of music and the first two to be taught in this lesson will be a hammer-on and a pull-off. A hammer-on is simply a note that is played and then another note, usually a whole step up the fret board, will be fretted in a hammer like motion but without plucking the string. The whole slur is done with one pluck, which was the first note. The opposite to this is the pull-off, where the first note (i.e. D) is plucked and then a note down the fret board (i.e. C) is sounded by the motion of the note before it being moved off from the string in a pull away motion. The pupil will practice these slurs until they are familiar with the actions involved.

JK - Film Edit: Lesson 14

2008-08-14T11:13:00.003+01:00

Complementary Studies: Liam Marley

Date: 17/06/08 (J Kosminsky)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson fourteen with Joseph Kosminsky was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH JOSEPH KOSMINSKY’

JK - Evaluation: Lesson 14

2008-08-14T10:51:00.003+01:00

Complementary Studies: Liam Marley

Pupil: Joe Kosminsky
Date: 25/03/08
Evaluating Time: 2hrs

With the bulk of the lesson spent on scales, fills and the James Brown song, it enabled the pupil to gather a better understanding on what it is to be like a bass player being able to express themselves. As before the pupil was kept under strict conditions, only playing what exercise were allocated to them, which can be very boring. The last objective gave the pupil a free run of coup to a certain degree, as they would have had to keep in check with the notes from the scales of D and C.

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.

Outcome: Joseph is becoming more proficient with his major scales, especially with the first seven – C, G, D, A, E, B and F♯, (refer to Figure 1 for their sharp content). He was able to comprehend the rules that govern the major scales, enabling him to work out the next scale by knowing the previous one. This also enabled him to know his first three major scales (C, G and D) and their corresponding sharp content from memory.

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

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

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

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

----------------------------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

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

(Figure 1)

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.

Outcome: Last lesson the pupil was introduced to muted notes, ‘a 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’. However this happened to be incorrect, Joseph was informed of this mistake and told that the correct term was a ghost note.

A muted note was explained to Joseph as a fretted note that is abruptly muted or deadened to stop the sustain of the note resonating on. The difference between the two were demonstrated to Joseph so that he could attempt them himself.

While practicing muted notes, Joseph was told to deaden the note by quickly lifting his finger (left hand) from the string and softly placing it back on it as to prevent the string from oscillating further. However Joseph had another technique of deadening the string with one of his right hand fingers, however this will eventually become useless when playing continuing rhythms.

The bell like tone of a harmonic was briefly explained to the pupil, however this is an advanced technique and takes years of practice for these to be formed effectively, as in Jaco Pastorius’ ‘Portrait of Tracey’.

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

Outcome: This next section covered fills ,which enabled a bass player to learn about bass parts (as in music and not components) that are not integral to a piece but ‘jazz’ up the part and make it sound more interesting to listen to, like in the example in Figure 2.

G -|-----------------------------------------------------------------------------------------|
D -|------------7-------------0--3---------------------------------------------------------|
A -|-----5------------0--3-----------3--3--3--0--3--0----------------------------------|
E -|-----------------------------------------------------------------------------------------|

(Standard bass line pre fill)

G -|-----------------------------------------------5---------------------------------------|
D -|------------7-------------0--3----------5/7---5\3-5--------------------------------|
A -|-----5------------0--3-----------3--3------------------------------------------------|
E -|----------------------------------------------------------------------------------------|

(Newly jazzed up bass line post fill)

(Figure 2)

Joseph understood that with the utilisation of scales, a fill could be implemented accurately, effectively and in tune with the surrounding notes, just as long as the player has an intimate knowledge of their instrument. Cold Sweat’ by James Brown was a good example of fills, which utilise major scales. The major scale in Figure 3 below was a D major, however the C♯ was naturalised to fit in with the surrounding instruments and a G♯ was just for the purpose of a fill from G note to the natural C.

G -|--------7--------7-----------------------------------------|
D -|-------------7----------------------------------------------|
A -|-5---5--------------5--------------------------3----------|
E -|------------------------2----3---3---4---4---------------|
-----D---D-D--A---D-D-F♯--G--G--G♯-G♯--C----------

(Figure 3 – an extract from James Brown’s ‘Cold Sweat’)

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

Outcome: Once the pupil familiarised himself with the song, he then proceeded to play around with the bass pattern, playing fills and different notes, while being instructed to stick to the scales.

Joseph was quite successful with this exercise being a producer he had a good ear for notes and certain frequencies. This enabled him to free roam on the bass, still keeping a standard pattern in place, but just dancing around the fret board with different notes amongst the scale.

**’Cold Sweat’ tablature**

JK - Lesson Plan: Lesson 14

2008-08-14T09:27:00.003+01:00

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**

RH - Film Edit: Lesson 5

2008-08-14T02:08:00.002+01:00

Complementary Studies: Liam Marley

Date: 25/07/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson five with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

RH - Evaluation: Lesson 5

2008-08-14T01:54:00.004+01:00

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 19/03/08
Evaluating Time: 2hr

Robert managed to encounter the same problem with his right plucking hand as he did last week. This consisted of his fingers catching other strings, as he was either not using the correct walking fashion or he was just using one finger altogether and could simply not keep up and coordinate with his left fretting hand. A simple exercise was constructed to help solve this problem but it became obvious to Robert that he was going to have to practice this to enable a smooth cross over from string to string.

Lesson Objectives:

1.) To progress the pupil’s knowledge of the fret board, running through each note from the first fret to the twelve fret on all strings.

Outcome: This particular objective managed to take up almost half of the lesson, due to the intensity and depth of the subject matter. Robert had still not managed to study the notes on the fret board after last lesson, so the notes on all four strings were played in an attempt to begin what can be a long and slow learning process.

Robert managed to get the first step correct, which was to name the notes of the four strings – E, A, D, G, as without these the pupil would be lost when naming the notes on each fret.

Reminded that the notes ascend in the musical alphabet – A, B♭, B, C, C♯, D, E♭, E, F, F♯, G, and G♯, as the frets descend down the neck of the instrument, Robert managed to name the first three notes on the E string correctly. However from time to time the pupil would manage to forget his alphabet and get his notes mixed up, i.e. D – G. However I think this was down to the pressure, because of the amount of information having to be taken in.

Apart from a few forgetful notes, the E string notation went very well, however as soon Robert began a new string he became lost, forgetting the order of the notes that he had just done. This was probably because he was using the dotted frets as a visual association to find the notes and as soon as he changes to a different string then these visual cues also change.

2.) To evolve the simple and basic blues bass line to the groovier bay-on-bass blues bass line. This will enable the pupil to get a feel for different grooves and rhythms that are capable with the instrument.

Outcome: Robert could not remember the blues bass line from the previous lessons, so this was played to him again, but this time in terms of beats and bars. After a demonstration in 4/2, the pupil ran through the pattern several times. Familiar mistakes were being made, as he was not using the correct finger per fret technique for one and Robert also had a habit of watching his right plucking hand, instead of the fret board. This was due to his lack of confidence with this right hand form and to solve this problem, Robert’s walking technique, with his fingers, had to be polished.

Utilising the exercise in Figure 1, Robert should concentrate on his right plucking hand by playing the open string notes. It was instructed that he strong pluck the E string with the first finger then as he plucks the A string with the second, this should then drop back and rest on the E string while the first finger strikes the D string. The same technique would repeat, with the first finger resting on the A string while the second finger will pluck the G and therefore should end up resting on the D string.

This method of walking needs to be practiced by Robert in his own time so that progression can be made for the fourth coming lessons.

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)

The adaption to the blue bass line – the bay-on-bass (refer to Figure 2), was briefly ran through during this lesson. The pupil however was struggling to play the additional bay-on-bass note because of his right plucking hand was not coordinated with his left fretting hand. This was another reason as to why the exercise in Figure 1 was carried out.

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

(Figure 2)

3.) To recap on the previous lesson’s music theory section so the pupil can grasp a better understanding of the principles of rhythm, i.e. beats, bars and time signatures.

Outcome: At the beginning of this objective it was confirmed that Robert understood, both beats and bars. It was then explained that it is possible to have four beats in a bar, two beats in a bar and even six beats in a bar. This was demonstrating to Robert with the Jaco Pastorius song ‘6/4 Jam’, which consisted of six beats with the value of a quarter note. It was explained that this irregular time signature contains two extra notes at the end of a normal 4/4 beat and Robert acknowledge the fact that the bar went on for that extra length of time. This was compared to a common 4/4 time signature beat, where there were four beats with the value of a quarter note.

Robert was also introduced to the music stave (refer to Figure 3), and the bass clef, explaining that these are both used to represent notes. This latter part of the music theory section proceed to go over Roberts’s head, as it was the end of the lesson and the pupil was becoming tired. However it was important to introduce, regardless of whether or not it was taken in, because the material will be covered again later on in the lessons.

(Figure 3)

RH - Lesson Plan: Lesson 5

2008-08-14T01:06:00.003+01:00

Complementary Studies: Liam Marley

Date: 19/03/08 (R Hamilton)
Planning Time: 1hr
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

For the fifth lesson the pupil will concentrate on fret board knowledge to aid their progression with the instrument. This is a very important section to learn, as without this knowledge the pupil will be hindered in their practical performance and their theory knowledge. An adaption of the blue’s bass line that the pupil has been playing so far will be introduced to give the pupil an idea of how to change a groove of a given bass line, this will be followed with a recap of last lesson’s music theory section.

Lesson Objectives:

1.) To progress the pupil’s knowledge of the fret board, running through each note from the first fret to the twelve fret on all strings.

2.) To evolve the simple and basic blues bass line to the groovier bay-on-bass blues bass line. This will enable the pupil to get a feel for different grooves and rhythms that are capable with the instrument.

3.) To recap on the previous lesson’s music theory section so the pupil can grasp a better understanding of the principles of rhythm, i.e. beats, bars and time signatures.

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.) After playing the obligatory five to ten minutes warm up, a large section of the session will be dominated by fret board knowledge. This is to help with the pupils overall fret board knowledge, but not just with the notation but also with the pupils fret board perception - where they are on the fret board in terms of moving from one note to the next desired note. This fret board perception is equally important as learning the correct notation so that either looking for a G sharp or knowing where one is on their bass guitar does not hinder a player’s performance.

2.) It is important for the pupil to evolve with their playing, whether it is the theory side or the practical side of the instrument. During this lesson though the pupil will be introduced to the bay-on-bass technique, which simply adds another note or even a ghost note (where the note is not fretted when played) after the original note played but just before the next following note. This can be demonstrated in the tablature below, with the additional bay-on-bass note being highlighted in bold.

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

3.) As last lessons music theory section would have been overwhelming for the pupil without any previous music theory knowledge, this section will be repeated at the end of the lesson so it can be explained and fully understood.

This section will be explained by using practical examples to convey to the pupil topics such as beats (tapping a foot against the floor in rhythm and time) and bars (tapping a foot against the floor four times to simulate a 4/4 music beat). Other examples will be utilised by playing the bass guitar itself along with a drum track so the pupil can get the full idea of a bar with beats.

After beats and bars are explained, the notion of time signatures will be next. This section on music theory is more difficult to explain and grasp as note lengths have to be discussed and demonstrated. The pupil will be taught that as the top number describes the number of beats in a bar, the lower number descibes the length of the note being played.

This will be demonstrated with the use of a drumbeat as the beats per bar, while the note values will be demonstrated with the bass playing different note lengths.

--------------------------|1--------------|2--------------|3--------------|4---------------
quarter
note--------------
length

--------------------------|1--------------|2--------------|3--------------|4---------------
half
note--------------
length

--------------------------|1--------------|2--------------|3--------------|4---------------
whole
note--------------
length

JK - Film Edit: Lesson 13

2008-08-13T23:35:00.002+01:00

Complementary Studies: Liam Marley

Date: 15/06/08 (J Kosminsky)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins

Editing:

Bass lesson thirteen with Joseph Kosminsky was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.

Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH JOSEPH KOSMINSKY’

JK - Evaluation: Lesson 13

2008-08-13T23:30:00.003+01:00

Complementary Studies: Liam Marley

Pupil: Joe Kosminsky
Date: 17/03/08
Evaluating Time: 2hrs

The time management was not the best during this lesson. The objectives could not be spaced out equally due to the content involved in objectives one and three. More time was required for the major scales so that progression could occur ready for next the lesson. If the time was not put in, the pupil would fall behind on these matters and advancement will become slow. While the soul song was for the pupil’s benefit and for a chance to analyse his progression.

Lesson Objectives:

1.) To persist with the major scales of C, G, D and even A, if the pupil feels confident enough to do so. All the sharps present in the scale should be named, along with each note in the scale.

Outcome: To begin with Joseph made a few mistakes with his previously polished C major scale pattern, which blamed his recent practice on his acoustic six-string guitar, however I put it down to the fact that he had not been practicing his scales. After a few repetitions of C major scale, it became apparent that Joseph’s fourth finger, although he was still struggling with it, was getting stronger.

To follow on from this practice exercise Joseph proceeded to name the sharp present in G major scale, as F♯ and to play the scale with the correct fingers. Joseph, using the fifth interval rule to find the next scale, managed to name D major and its two sharps, F♯ and C♯. With his knowledge of scales on a roll, Joseph attempted the A major scale, identifying that three sharps would be present before he even played the scale.

The pupil’s knowledge of major scales has greatly improved and Joseph is beginning to see the benefits of learning such subjects.

2.) To demonstrate their fret board knowledge, the pupil will be instructed to name all the A notes present on the instrument. If time allows, the pupil will be then asked to name all the E flats available.

Outcome: Unfortunately time did not allow for this exercise to take place, as a large section of the lesson was allocated for major scales and the soul song ‘Sure As Sin’.

3.) To persist with practicing the Candi Staton song ‘Sure As Sin’, so the pupil plays the song from introduction to chorus without any mistakes.

Outcome: ‘Sure As Sin’ was picked up again this lesson, in an attempt to play the song from introduction, all the way through the verse to the chorus. The pupil had only played the first part of the verse (refer to Figure 1) in last weeks lesson. Joseph wanted to jump ahead and play the second part (refer to Figure 2), however it was not be allowed as his technique with the first part was much to be desired.

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3-----------------¦

(Figure 1 – First part of the verse from Candi Staton’s ‘Sure As Sin’)

G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦

G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦

(Figure 2 – Second part of the verse from Candi Staton’s ‘Sure As Sin’)

However Joseph could not be held back in this lesson, he was keen to learn the new part and progress with the song. Joseph needs to be stimulated with different exercises otherwise he becomes bored and unmotivated. This is why the second part was introduced to keep the pupils attention.

Joseph’s main problem with this song were the chord changes, from the first part of verse to the second part then to the chorus and back to the verse. With a large number of frets being covered on this song, the pupil was finding it tricky getting from one fret to another with all the changes involved in the arrangement. However this is all part of the learning process, building the pupils confidence to be able to cope with more complex bass patterns. It all paid off in the end, as the chord changes became more fluid and if Joseph lost his way he was able to find the note again, which displayed a good ear for notes and pitch.

4.) To introduce to the pupil the concept of muted notes.

Outcome: This objective was carried out in the last ten minutes of the lesson. Fortunately it was not a technical subject and was easily understood by Joseph, with the aid of a few demonstrations. Joseph incorporated the muted notes while playing the bay-on-bass blues line. The bay-on-bass note was actually replaced with a muted note during this exercise. Joseph managed to successfully play the pattern, except for his habit of hesitating to the next fretted note, once the muted note was plucked. This was more than likely down to concentration, making sure that the muted note was muted and not fretted like the rest of the notes.

Although Joseph genuinely had a grasp of the technique and to its purpose in a bass line, he admitted that he did not believe he would be able to distinguish the difference between a muted note and normal fretted note in a piece of music. Several music examples would be gathered for next week so Joseph could attempt to train his ear to differentiate between the two.

JK - Lesson Plan: Lesson 13

2008-08-13T19:22:00.006+01:00

Complementary Studies: Liam Marley

Date: 17/03/08 (J Kosminsky)
Planning Time: 2hrs
Lesson Time: 1hr

Lesson Footage:

(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)

As the lessons passed, more was expected from the pupil as he/she advanced with both skill and knowledge. The pupil, depending on their progression, would be challenged more and more to increase their knowledge of the bass guitar, in the time available.

This is why the pupil will be pushed as much as possible to learn more major scales as this will benefit them greatly, along with their fret board knowledge, which of course goes hand in hand with learning scales. The pupil will also have some practical material to play with, in the form of the Candi Staton soul song, which should keep the pupil’s attention long enough to explain muted notes without losing them.

Lesson Objectives:

1.) To persist with the major scales of C, G, D and even A, if the pupil feels confident enough to do so. All the sharps present in the scale should be named, along with each note in the scale.

2.) To demonstrate their fret board knowledge, the pupil will be instructed to name all the A notes present on the instrument. If time allows, the pupil will be then asked to name all the E flats available.

3.) To persist with practicing the Candi Staton song ‘Sure As Sin’, so the pupil plays the song from introduction to chorus without any mistakes.

4.) To introduce to the pupil the concept of muted notes.

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.) Using the chromatic finger placement pattern in Figure 1 below, the pupil will persist with practicing the major scales. Using the mnemonic rule of Father Christmas Gave David An Empty Box (refer to Figure 2), the pupil will attempt to name the sharps of the scale and then proceed to play the scale in the correct finger per fret manner. Hopefully the scales of C and G major will not be a problem, so the scales of D and A can be introduced.

(Figure 1 – the finger placement pattern for a major scale)

-------------------------Father Christmas Gave David An Empty Box

Sharp notes ♯-------F------C------G-------D-------A-------E------B-------
Scale notes ---------G------D------A-------E-------B-------F♯-----C♯----
---------------------------\ 5th/--\ 5th/--\ 5th/--\ 5th/--\ 5th /--\ 5th/--------
A fifth interval note is the difference between the next scale.

(Figure 2)

2.) The pupil will be asked to demonstrate their knowledge of the fret board by playing every A note possible on the bass guitar. In all there are eight A notes on the bass guitar (on a twenty fret bass) and can be found on the frets below in Figure 3.

G¦ ----------------------------------------------------2-----14------------------------------¦
D¦ -------------------------------------7-----19---------------------------------------------¦
A¦ ----------------------0-----12------------------------------------------------------------¦
E¦ -------5-----17---------------------------------------------------------------------------¦

(Figure 3 – all the A notes located on a twenty fret bass guitar)

If the pupil completes this task quickly and confidently then he/she will be asked if they can find all the E♭ on the instrument.

3.) Sure As Sin’ by Candi Staton (refer to the tablature below), was once again studied and played by the pupil. The aim for this lesson was for the pupil to attempt the song, practicing the introduction and the chorus and then finally playing through both these parts without any mistakes or ‘bum notes’ (an out of tune note hit in the place of a correct sounding note).

Candi Staton - ‘Sure as sin’ bass tablature

Introduction

G¦ --------------------------------------¦-------------------------------------------------¦
D¦ --------------------------------------¦-------------------------------------------------¦
A¦ --------------------------------------¦-----------------------3---6------2---5--------¦
E¦ -8----------------6------8------6--¦-5-----------------4-----------3----------------¦ X2

Verse

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3----------------¦

G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦

G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦

Chorus

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------5-----------------¦
A¦ --------------------------------------¦------------------------3---6-------5-------------¦
E¦ -8------------6---8--------8\-------¦-4------------------3-------------------7--------¦

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ --------------------------------------¦---------------------------------------------------¦
E¦ -8------------6---8--------8\-------¦-3--3-3--3--3-3--3--3--3--3--3--3---------¦

Back to Verse

4.) The notion of a muted note will be explained to the pupil, so that a variation of how notes can be played is learnt. This will be described in simple terms, using a demonstration so the pupil understands this a muted note. The concept of a muted note is a note that is played but not accented properly, so the pitch of the note does not resonate and in turn emulate the full sound of a fretted note.

This will aid the pupil in understanding grooves better, as muted notes can be integrated into a pattern with fretted notes to change the rhythm of a song or bass line.