Get 'em!

 Remember how in the previous post I mentioned that those highly recommended programs are occasionally discounted? Well, here you go!

Alien guidance

OK, I admit it - I often use instruction from people and sources dedicated to other instruments, including (gulp!) guitar. As the matter of fact, on of the most influential instructors whose material and direct guidance I have had the pleasure to experience over the past few years is Dana Rasch. For those who have heard of the legendary, but now defunct, Grove School of Music it will be easy to understand the quality of teaching involved, when you have in mind that Rasch used to be the head of the guitar program there, and the author of the cult-status instructional package titled Beyond Chops. 

Well, that package was published 35+ years ago and is still a benchmark, but the author chose not to rest on his laurels, and decided to further expand and improve his teaching approach. Over the years, he developed several programs that deal with various aspects of musicianship as it applies to guitar, but I would say that his flagship series is Visual Guide Tones, which is also the title of his website. And  guess what? It works great on bass! 

Essentially, the author uses the highly graphic nature of the instrument to help players in seeing how numerous music principles and concepts are manifested on it. In this particular program, Rasch uses five shapes of all the scales that form harmonic sources in modern music and than maps them over the fingerboard, while using the methods of string pairs, string sets, melodic contour, U-turns, sequences etc. to work on several dimensions of instrumental proficiency at the same time. You will develop technical command, left and right hand coordination, fretboard familiarity, ear-hand coordination while working on it, so it is completely appropriate that another user called it the "unified method".

Over the course of 11 (eleven) levels, Rach takes you on a thorough, step-by-step practical study that starts with pentatonic, goes through major, follows by melodic minor scales, and a whole bunch of other topics along the way. Each level consists of minimum 2 DVDs worth of video (download/stream) - one is a lesson and the other practice video(s) - as well as mp3 backing tracks and PDF notes where applicable. All in all, the instruction is very clear, as the author does a lot of talking when explaining the material, and he doesn't cut any shortcuts. And yet, if you have any questions, he is quite accessible via email and actually responds to your inquiries. 

Now, the first three levels deal with pentatonic scales, and just going through this part of the program helped me immensely in developing the above mentioned elements of musicianship. The first level stays in one key/tonality, the second has you shift between two, and the third - between three. With that in mind, if you understand the material in Level 1, it is possible to skip either 2 or 3 on your way up, depending on your previous level, although I still recommend taking each step, for the benefit of other insights and advice shared along the way. 

When it comes to direct application of the material from the course, very early I was able to put it to great use in coming up with bass fills and runs very spontaneously and with ease, even in the sections of fingerboard that had previously been "behind the horizon" for me. This is how I worked on the material a few years ago.

 Therefore, it should not come as a surprise that I also reached for his other programs in search of developing other areas of musicianship, in particular his Chord Melody and Composition series, as they really offer excellent way to work on one's understanding of harmony and related concepts (voice leading, arranging, transposition etc.) in a deep and systematic manner. Depending on your interests and priorities, you may want to check out his other stuff, too. Speaking of which, over the past couple of years, Rasch had discount/sales around Black Friday period, so it might be a good idea to check the store at that time. 

Remember how I mentioned that Dana Rasch was very accessible? Well, after asking for permission to use the pictures, we agreed that if any of the readers of this blog contacts me with some proof of purchase from his website, I will send you the PDF document I had made a few years back, that makes it easer to map the material on the first Visual Guide Tones levels on the neck of the bass, for 4-string and extended range instruments! 

Theory in practice

 Bass players are an interesting lot when it comes to having wider and deeper knowledge of overall music, in its wider theoretical implications and practical applications. Of course, there is a continuum, but it often looks as if there are two (those who also act as the lead singer are excluded) categories that gravitate toward the opposite ends:

1. those listening only to drums and acting as the proverbial dummy of the band;

2. those who are actually the most educated/knowledgeable members, thus often acting as the main composer/arranger (John Paul Jones anyone?) or music directors of the band. 

I have very often seen or heard bass players looking to "outgrow" the first category, and therefore asking for the good books or other resources of music theory for bass. And there, to me, lies the problem - there is no such thing as the music theory for bass...or any other specific instrument. Music is music, and while different instruments may have different roles within ensembles of various sizes, they should all be able to speak the same language, in order to communicate effectively. Seeking the instruction that applies to bass is cutting yourself short of al the benefits that can be reaped with an unhindered approach as willingness to step out of your immediate comfort zone by learning music in a more universal manner. 

Hm, OK, how do we alleviate this problem? Well, by engaging in a well organized and comprehensive study of music. Now, a lot of self-taught musicians will cringe at the mention of the term theory, and think of it as something utterly boring and probably the bad voodoo that will rob them of their creativity and "soul" in playing. Although possible, depending on the instructor and the student, neither is necessarily true. I have already discussed some resources that deal with most immediate aspects of theory in a practical way for our instrument, and there are others in printed format that will be reviewed in the future posts, but today I would like to point the readers to an exceptionally well done online presentation. 

While I definitely prefer the book format as the means of "packaging" knowledge, sometimes there are simply better ways to efficiently convey information. As a great example of this, Clive Cockburn has made a website that offers a tremendous way to learn music in all its practical aspects in a very effective and practical fashion. 

The Contemporary Music Course is exactly that - not a bunch of tips and tidbits thrown together in random order, but rather a true step-by-step teaching of elements that will help you understand things you have been doing already on your instrument, as well as show you how to take your craft as a musician (see, I didn't say bassist) to a much higher level. 

How does he achieve this? Cockburn uses the video format to present his lessons, just long enough in duration to say what needs to be said, so you don't nod off, and then provides assignments in additional PDF materials to help you put what you have learned to practice. I especially like the fact that he integrates ear training with theoretical foundations, hence providing a deeper understanding of the curriculum.

Speaking of curriculum, it starts with two levels of fundamental elements, titled Language of Music, then proceeds through another two levels of Chords and Harmony, adds the treatment of rhythm through the lens of actual band practice in the Kit Drummer. After that, the course goes into that music director/arranger territory mentioned earlier via the chapters on Rhythm Section and Horns, Orchestral Harmony, Two Part Harmony & Counterpoint (gold for those looking to play more melodic bass lines!), Arranging Notes. To crown the course, the author gives special treatment to making/recording a Rock Session Project, including the writing of the song, preparing a lead sheet, rehearsing it etc. 

And now comes the cherry on the cake! While the annual membership for the entire course normally cost around $99, Cockburn is currently offering it for free (no login required), while the Covid pandemic is still at large. 

There...no excuse to skip this excellent offer!