BenLow's Guide to Bass Basics version 9.0
Chapter 1: About the author
The author has about 2 months of Bass playing experience and thus whatever he writes here is just a rough guide. If any inaccuracies are present please e-mail the author at benlck@hotmail.com, stating your name and e-mail address. Thank you. Anyway, the author has been playing for his church and is considering setting up a band and playing as a bassist in the band. Hopefully it'll work out nicely. One last thing. The author is only a teen who can't find any good guides out there about bass playing. If anyone finds one, please contact the author immediately, or can somebody please write an actual guide? Thank you.
Anyways, Chapter 2: About the bass
The more widely used bass guitar has four strings which are similar to the last four strings in an acoustic guitar, except that the pitch is an octave lower. In other words, the notes of the bass guitar open strings are G, D, A and E. The first string is the thinnest, while the fourth string is the thickest string. A fret is a line of metal on the guitar, and when the string is pressed against it, a sound is created depending on which fret you press. Everytime it goes up a fret, it gets a semitone higher, for example from G to Gsharp, its one fret above G. Anyways, the bass guitar is seemingly an unimportant instrument that is rarely heard. That is a misconception. If a song screws up, there are only three possible reasons why: The one who introed the song came in at the wrong tempo or the drummer screwed up the beat or the bassist screwed up the beat. The bass is important in providing the rhythm for the song, as well as the basic chord note for the chords being played. For advanced players, the bass can also help to give alternate accompaniment to the song, giving it more life and depth.
Next, Chapter 3: Finding the basic chord notes
To master the basics of the bass, you have to have a good knowledge of where the notes are on your bass guitar. For example, C is on the third fret of your 3rd string in the bass guitar, Fsharp is on the 2nd fret of the 4th string or on the 4th fret of the 2nd string. Once you remeber all the positions, find a nice simple score with a few chords on it to try out. To find the basic chord notes, just look at the chord, for example, C, and play the bottom note. A C chord consists of notes C, E and G, with C at the bass. So just play the note C. A G/B chord consist of notes G, B and D, but the bass note is explicitly stated as B, so play B. Likewise for F/A, the bass note is A and so on. For minor keys and chords as well for sus, 2, 7, augmented and diminished chords, the procedure is the same. After much practice, you can spot the bass notes real easily.
Chapter 4: Intermediate linking techniques
The tough part is just beginning, but it should be ok if you're a person which has a piano education of above grade 6 or somewhere there. In piano, there are some concepts learnt about linking techniques, which can also be applied to bass playing. Such linking techniques involve the use of auxilary, passing, changing, skip chord, appoggiatura, anticipation as learnt in theory lessons for piano.
4a) Auxilary note
Auxilary note involves two chords with the similar bass note such as C and F/C. The auxilary note can be used to link both chords. For example: C B C or C D C. This method is more rarely used as it is not as harmonically strong as other linking techniques in the bass part.
4b) Passing note
Passing note involves two chords that are two tones or two semitones apart such as C and Eminor. The passing note can be used to link both chords. For example: C D E. For notes two semitones apart, the chromatic passing note can be used, for example: C Csharp D. This method is very commonly used, and as the bassist improves, even bigger intervals can be covered such as the backwards movement from C to Eminor: C B A G F E. This can be observed in the song "By Your Side". However, timing is of the essence if such things are attempted. Another example is the simple plan song "Addicted". The chords E and A a played for the intro and verses. The bass note runs from E to A as so: E Fsharp Gsharp A.
4c) Changing Note
Changing note is the hardest to explain, and is rarely used due to its weak harmonic strength in the bass and also the difficulty in using it. Changing notes involve a step, then a skip. For example, the transition from C to D, Changing notes can be used: C B D. C to B is a step, B to D is a skip. The note used in the step does not have to belong to any of the keys. Sometimes, this might sound awkward as it is rarely used in the bass, but used in alto and tenor parts.
4d) Skip chord note (Subsidiary harmony note)
Skip chord note is the most common form of linking technique used. In this sort of linking technique, the note that belongs to the chord has to be used. It can be used to link any possible chord, but is more commonly used for bass runs within chords. An example of chord linking is C to F: C G F or C E F is played. For an example of bass runs within C: C E G C can be played. A major example is the bass runs within the song "My Redeemer lives": E E HighE D B D HighE, A A HighA G E G A. The notes in the first part all belong to the chord E7 and the notes in the second part all belong to the chord A7. Cool huh. Listen to the song "Accidentally in Love". Its full of this sort of bass runs that use the skip chord note.
4e) Appoggiatura
The most rarely used kind of linking note, but the most easy to use. it just involves playing the note a tone above the required bass chord note. For example the chord C: D C is played. It doesn't sound that nice, thus is rarely used. Another example is the link between C and Eminor: C F E is played, but it sounds kinda weird. Only use when really confident that is sounds nice.
4f) Anticipation
This is the kinda of link that people play most often, but often don't realise when they are actually playing it. Anticipation involves playing the bass chord note even before the chord is played. Most of the time, this is accidentally done by the bass player, but it still sounds good. Haha. For example the chord G and C. G is played, then C is played earlier, before the other musicians play the chord C. As the player sustains the note C, the chord C then comes in. It still sounds good. Don't believe it? Try it out yourself.
Chapter 5: Keeping in time
Keeping in time is seriously not easy, but it isn't difficult either. The essence to keeping in time is to know your song inside out. Burn a disc of the song from your friends or borrow their discs or MP3s for a listen. Run through the song a few times, taking note of the speed, the main beat, or any special rhythmic tones like syncopation, double bass (playing the continuous bass note throughout), taking extra care to see how the chorus, verses and bridge differs in rhythmic style. Usually each portion of the song has a different plying style. Also listen out for bass runs. If you can't figure them out, just use one of the techniques in chapter 4. If you can, good for you. Using a piano might help. Anyways, once you got the rhythm, don't forget it. Never forget it. Keep it in your head for eternity or something. Tap your feet or think of the beat before the song. Then just play! As long as the rhythm is fully internalised in your body, and the song (Maybe even song lyrics too) gets stuck in your head forever, you can play no problem. Even better, you might be able to tap your feet to the music or move around according to the rhythm. It helps you remember the music better. Ensure that you're playing at a constant pace. If you realise that the drums are faster or slower than you, check yourself first, before talking to the drummer about it.
Chapter 6: Creating alternating rhythms
Usually, the bassist follows the drummer's bass. Whenever the drummer hits the bass, one note will be played. Either that, the bassist plays his/her note once on every chord change. But isn't that a tad too boring? I'll get sick if I keep playing like that. Haha. Well. Enough of joking. Thats one reason why the technique in chapter 4d) is used to fill in the middles in between the chord changes. Syncopation can be created by playing a bit differently from the drummer's bass. This has to be up to the bass player's knowledge or intuition. If the bass player is skilled enough, he/she would be able to devise a counter rhythm that spices up the feel of the music. However, try not to make it too hard, cos you'll have to play that throughout the whole piece. If your hands get numb when the songs end, its probably cos the rhythm is too intense or difficult to keep up with. A simple example of an alternating rhythm is in the song "Trading my sorrows". In the intro, the bass plays a rhythm unique to its part. No other instrument plays that rhythm at all. A good tip to creating alternating rhythms is to look at songs with the same tempo, and use that style in another song. However, be careful, as there is a chance that it might not sound good. When that happens, just try another song. But I still think the best way is to use a person's intuition, so good luck...
Chapter 7: Looking cool on the bass
A fellow respected Christian musician once told me that the most important part of playing the bass was looking cool! Thats cos when you move to the music, its only then that people can see the music really embody itself in you. They now you really feel for the music and now what it means to you inside. An easy way to look cool is to move according to the beat of the songs, paying attention to the drum beats, tapping your feet, nodding your head, moving around. It may seem awkward at first, but if you continue doing it, you'll be just fine. You'll really look cool if you let how you feel embody your movements, so that you're totally in sync with the song. Sing it like you mean it, play it like you mean it. Don't let the awkwardness stop you. The most important part of a band is how it performs. If its musicians and singers a stationary, the song can't be felt strongly and people would think of it as a boring performance. They wouldn't feel a thing towards the song. Actually, this chapter can also be applied to all other musicians out there. Moving around helps you with the rhythm as well. Trust me. I've been doing it for so long, and thats really helped me.
Chapter 8: Intermediate playing techniques
8a) The slide
This technique is awesome when used as an intro. Really awesome. All you have to do is place your left finger at the position an octave/perfect 5th above the note of the first chord. Then play the note and shift your finger to the original note you would like to play. Do NOT lift up your finger and DO use only one string. For example, the first note you wanna play is E. Then start at the 13th fret E, play it, and slide all the way to the first fret and then release your finger. Its that simple and cool.
8b) Double plucking
Used rarely, but its an awesome accompanying melody. For a chord like C, play C and E together, but on different strings. With your left hand, hold 3rd String 3rd fret and 2nd string 2nd fret and play both strings at the same time. You'll have the notes CE together. You can also try triple plucking or quadruple plucking if you're real good. An example is the bass intro of "Trading my sorrows": GB GB CE EG EG DFsharp, GB GB CE EG EG FsharpA.
8c) The Bend (Of course there are other names but I call it the bend)
Well... The bend should be quite ok. When you play a note, with your left finger still on the fret, push the string towards yourself using the finger. If the sound comes out garbled, use an extra finger to support the string. The sound produced would be something weird, but its used frequently in rock. The bass plays this rarely though...
8d) Slur or Grace Note Slurs are not too difficult as well. All you have to do is one of these two things. Hammer on or pull off. For the hammer on, lets say you wnat to play the notes G then A on the First String. Play the open string, then use one of the fingers on your left hand to press the second fret with force and speed, while playing only once on the right hand. What you get is the notes G then A just by only playing on the right hand once. For pull off, lets say you want to go from A to G. Start on A, and to create the G sound, just pull the finger of your left hand away from the string in a downwards direction. Play on the right hand only once. What you should get is the notes A then G, by only playing once on the right hand.
Chapter 9: Plucking techniques
9a) Rest Stroke
This is simple... A rest stroke simply means that when you play a string with your right hand, your finger comes to rest on the next string. For example, if you play the first string, your finger will come to rest on the second string. This gives a more controlled sound. Good for slow songs or moderate tempo songs cos it makes the song sound more stable and controlled in tempo. To accent certain areas, just play the string harder.
9b) Free Stroke
This is the opposite of the rest stroke. When you play a string with your right hand, pull the string upwards so that the finger does not rest on the next string. This is used more frequently in staccato passages and together with the slapping technique. In fast songs, to accent certain areas, you might want to use this as it gives a louder but less controlled sound than the rest stroke.
9c) Bridge control
A player may choose to play away from the bridge of the guitar or near the bridge of the guitar based on what sound he/she wants to produce. When you play nearer to the bridge, a more sharper, piercing and rock-like sound is produced. Playing away gives a more mellow, rich and classical style sound. Depends on which sound quality you want...
Chapter 10: Further advancements (Which I'm still trying to master) If anyone has any info on these techniques, please inform me...
1. Slapping
2. Using the foot pedal
3. Using the pentatonic scale in bass playing
Disclaimer. This guide is not copyright so the author doesn't care if you plagiarise it. If you have to do a project on creating your own "guide", please feel free to lift anything you want. However, if you decide to do so, please e-mail the author first or treat him to lunch or something. Special thanks goes out to my up and coming bass tutor Andrew. Also to all those friends who asked me for the guide or bugged me to teach them. Hopefully I don't have to talk so much now. Once again thank you for your attention. Continue rockin' guys...
Chapter 1: About the author
The author has about 2 months of Bass playing experience and thus whatever he writes here is just a rough guide. If any inaccuracies are present please e-mail the author at benlck@hotmail.com, stating your name and e-mail address. Thank you. Anyway, the author has been playing for his church and is considering setting up a band and playing as a bassist in the band. Hopefully it'll work out nicely. One last thing. The author is only a teen who can't find any good guides out there about bass playing. If anyone finds one, please contact the author immediately, or can somebody please write an actual guide? Thank you.
Anyways, Chapter 2: About the bass
The more widely used bass guitar has four strings which are similar to the last four strings in an acoustic guitar, except that the pitch is an octave lower. In other words, the notes of the bass guitar open strings are G, D, A and E. The first string is the thinnest, while the fourth string is the thickest string. A fret is a line of metal on the guitar, and when the string is pressed against it, a sound is created depending on which fret you press. Everytime it goes up a fret, it gets a semitone higher, for example from G to Gsharp, its one fret above G. Anyways, the bass guitar is seemingly an unimportant instrument that is rarely heard. That is a misconception. If a song screws up, there are only three possible reasons why: The one who introed the song came in at the wrong tempo or the drummer screwed up the beat or the bassist screwed up the beat. The bass is important in providing the rhythm for the song, as well as the basic chord note for the chords being played. For advanced players, the bass can also help to give alternate accompaniment to the song, giving it more life and depth.
Next, Chapter 3: Finding the basic chord notes
To master the basics of the bass, you have to have a good knowledge of where the notes are on your bass guitar. For example, C is on the third fret of your 3rd string in the bass guitar, Fsharp is on the 2nd fret of the 4th string or on the 4th fret of the 2nd string. Once you remeber all the positions, find a nice simple score with a few chords on it to try out. To find the basic chord notes, just look at the chord, for example, C, and play the bottom note. A C chord consists of notes C, E and G, with C at the bass. So just play the note C. A G/B chord consist of notes G, B and D, but the bass note is explicitly stated as B, so play B. Likewise for F/A, the bass note is A and so on. For minor keys and chords as well for sus, 2, 7, augmented and diminished chords, the procedure is the same. After much practice, you can spot the bass notes real easily.
Chapter 4: Intermediate linking techniques
The tough part is just beginning, but it should be ok if you're a person which has a piano education of above grade 6 or somewhere there. In piano, there are some concepts learnt about linking techniques, which can also be applied to bass playing. Such linking techniques involve the use of auxilary, passing, changing, skip chord, appoggiatura, anticipation as learnt in theory lessons for piano.
4a) Auxilary note
Auxilary note involves two chords with the similar bass note such as C and F/C. The auxilary note can be used to link both chords. For example: C B C or C D C. This method is more rarely used as it is not as harmonically strong as other linking techniques in the bass part.
4b) Passing note
Passing note involves two chords that are two tones or two semitones apart such as C and Eminor. The passing note can be used to link both chords. For example: C D E. For notes two semitones apart, the chromatic passing note can be used, for example: C Csharp D. This method is very commonly used, and as the bassist improves, even bigger intervals can be covered such as the backwards movement from C to Eminor: C B A G F E. This can be observed in the song "By Your Side". However, timing is of the essence if such things are attempted. Another example is the simple plan song "Addicted". The chords E and A a played for the intro and verses. The bass note runs from E to A as so: E Fsharp Gsharp A.
4c) Changing Note
Changing note is the hardest to explain, and is rarely used due to its weak harmonic strength in the bass and also the difficulty in using it. Changing notes involve a step, then a skip. For example, the transition from C to D, Changing notes can be used: C B D. C to B is a step, B to D is a skip. The note used in the step does not have to belong to any of the keys. Sometimes, this might sound awkward as it is rarely used in the bass, but used in alto and tenor parts.
4d) Skip chord note (Subsidiary harmony note)
Skip chord note is the most common form of linking technique used. In this sort of linking technique, the note that belongs to the chord has to be used. It can be used to link any possible chord, but is more commonly used for bass runs within chords. An example of chord linking is C to F: C G F or C E F is played. For an example of bass runs within C: C E G C can be played. A major example is the bass runs within the song "My Redeemer lives": E E HighE D B D HighE, A A HighA G E G A. The notes in the first part all belong to the chord E7 and the notes in the second part all belong to the chord A7. Cool huh. Listen to the song "Accidentally in Love". Its full of this sort of bass runs that use the skip chord note.
4e) Appoggiatura
The most rarely used kind of linking note, but the most easy to use. it just involves playing the note a tone above the required bass chord note. For example the chord C: D C is played. It doesn't sound that nice, thus is rarely used. Another example is the link between C and Eminor: C F E is played, but it sounds kinda weird. Only use when really confident that is sounds nice.
4f) Anticipation
This is the kinda of link that people play most often, but often don't realise when they are actually playing it. Anticipation involves playing the bass chord note even before the chord is played. Most of the time, this is accidentally done by the bass player, but it still sounds good. Haha. For example the chord G and C. G is played, then C is played earlier, before the other musicians play the chord C. As the player sustains the note C, the chord C then comes in. It still sounds good. Don't believe it? Try it out yourself.
Chapter 5: Keeping in time
Keeping in time is seriously not easy, but it isn't difficult either. The essence to keeping in time is to know your song inside out. Burn a disc of the song from your friends or borrow their discs or MP3s for a listen. Run through the song a few times, taking note of the speed, the main beat, or any special rhythmic tones like syncopation, double bass (playing the continuous bass note throughout), taking extra care to see how the chorus, verses and bridge differs in rhythmic style. Usually each portion of the song has a different plying style. Also listen out for bass runs. If you can't figure them out, just use one of the techniques in chapter 4. If you can, good for you. Using a piano might help. Anyways, once you got the rhythm, don't forget it. Never forget it. Keep it in your head for eternity or something. Tap your feet or think of the beat before the song. Then just play! As long as the rhythm is fully internalised in your body, and the song (Maybe even song lyrics too) gets stuck in your head forever, you can play no problem. Even better, you might be able to tap your feet to the music or move around according to the rhythm. It helps you remember the music better. Ensure that you're playing at a constant pace. If you realise that the drums are faster or slower than you, check yourself first, before talking to the drummer about it.
Chapter 6: Creating alternating rhythms
Usually, the bassist follows the drummer's bass. Whenever the drummer hits the bass, one note will be played. Either that, the bassist plays his/her note once on every chord change. But isn't that a tad too boring? I'll get sick if I keep playing like that. Haha. Well. Enough of joking. Thats one reason why the technique in chapter 4d) is used to fill in the middles in between the chord changes. Syncopation can be created by playing a bit differently from the drummer's bass. This has to be up to the bass player's knowledge or intuition. If the bass player is skilled enough, he/she would be able to devise a counter rhythm that spices up the feel of the music. However, try not to make it too hard, cos you'll have to play that throughout the whole piece. If your hands get numb when the songs end, its probably cos the rhythm is too intense or difficult to keep up with. A simple example of an alternating rhythm is in the song "Trading my sorrows". In the intro, the bass plays a rhythm unique to its part. No other instrument plays that rhythm at all. A good tip to creating alternating rhythms is to look at songs with the same tempo, and use that style in another song. However, be careful, as there is a chance that it might not sound good. When that happens, just try another song. But I still think the best way is to use a person's intuition, so good luck...
Chapter 7: Looking cool on the bass
A fellow respected Christian musician once told me that the most important part of playing the bass was looking cool! Thats cos when you move to the music, its only then that people can see the music really embody itself in you. They now you really feel for the music and now what it means to you inside. An easy way to look cool is to move according to the beat of the songs, paying attention to the drum beats, tapping your feet, nodding your head, moving around. It may seem awkward at first, but if you continue doing it, you'll be just fine. You'll really look cool if you let how you feel embody your movements, so that you're totally in sync with the song. Sing it like you mean it, play it like you mean it. Don't let the awkwardness stop you. The most important part of a band is how it performs. If its musicians and singers a stationary, the song can't be felt strongly and people would think of it as a boring performance. They wouldn't feel a thing towards the song. Actually, this chapter can also be applied to all other musicians out there. Moving around helps you with the rhythm as well. Trust me. I've been doing it for so long, and thats really helped me.
Chapter 8: Intermediate playing techniques
8a) The slide
This technique is awesome when used as an intro. Really awesome. All you have to do is place your left finger at the position an octave/perfect 5th above the note of the first chord. Then play the note and shift your finger to the original note you would like to play. Do NOT lift up your finger and DO use only one string. For example, the first note you wanna play is E. Then start at the 13th fret E, play it, and slide all the way to the first fret and then release your finger. Its that simple and cool.
8b) Double plucking
Used rarely, but its an awesome accompanying melody. For a chord like C, play C and E together, but on different strings. With your left hand, hold 3rd String 3rd fret and 2nd string 2nd fret and play both strings at the same time. You'll have the notes CE together. You can also try triple plucking or quadruple plucking if you're real good. An example is the bass intro of "Trading my sorrows": GB GB CE EG EG DFsharp, GB GB CE EG EG FsharpA.
8c) The Bend (Of course there are other names but I call it the bend)
Well... The bend should be quite ok. When you play a note, with your left finger still on the fret, push the string towards yourself using the finger. If the sound comes out garbled, use an extra finger to support the string. The sound produced would be something weird, but its used frequently in rock. The bass plays this rarely though...
8d) Slur or Grace Note Slurs are not too difficult as well. All you have to do is one of these two things. Hammer on or pull off. For the hammer on, lets say you wnat to play the notes G then A on the First String. Play the open string, then use one of the fingers on your left hand to press the second fret with force and speed, while playing only once on the right hand. What you get is the notes G then A just by only playing on the right hand once. For pull off, lets say you want to go from A to G. Start on A, and to create the G sound, just pull the finger of your left hand away from the string in a downwards direction. Play on the right hand only once. What you should get is the notes A then G, by only playing once on the right hand.
Chapter 9: Plucking techniques
9a) Rest Stroke
This is simple... A rest stroke simply means that when you play a string with your right hand, your finger comes to rest on the next string. For example, if you play the first string, your finger will come to rest on the second string. This gives a more controlled sound. Good for slow songs or moderate tempo songs cos it makes the song sound more stable and controlled in tempo. To accent certain areas, just play the string harder.
9b) Free Stroke
This is the opposite of the rest stroke. When you play a string with your right hand, pull the string upwards so that the finger does not rest on the next string. This is used more frequently in staccato passages and together with the slapping technique. In fast songs, to accent certain areas, you might want to use this as it gives a louder but less controlled sound than the rest stroke.
9c) Bridge control
A player may choose to play away from the bridge of the guitar or near the bridge of the guitar based on what sound he/she wants to produce. When you play nearer to the bridge, a more sharper, piercing and rock-like sound is produced. Playing away gives a more mellow, rich and classical style sound. Depends on which sound quality you want...
Chapter 10: Further advancements (Which I'm still trying to master) If anyone has any info on these techniques, please inform me...
1. Slapping
2. Using the foot pedal
3. Using the pentatonic scale in bass playing
Disclaimer. This guide is not copyright so the author doesn't care if you plagiarise it. If you have to do a project on creating your own "guide", please feel free to lift anything you want. However, if you decide to do so, please e-mail the author first or treat him to lunch or something. Special thanks goes out to my up and coming bass tutor Andrew. Also to all those friends who asked me for the guide or bugged me to teach them. Hopefully I don't have to talk so much now. Once again thank you for your attention. Continue rockin' guys...
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