Is it possible to use double bass fingerings on the bass guitar? Actually, forget possible, is it even useful? The short answer is yes. The long answer is that including…
Is it possible to use double bass fingerings on the bass guitar? Actually, forget possible, is it even useful? The short answer is yes.
The long answer is that including left hand principles from double bass method books resulted in the most significant improvements to my playing in many years: better tone, more consistency and less fatigue, especially on longer gigs.
Long-term followers of this site will be well acquainted with my frequent touting of the Simandl double bass method book; I wrote about its virtues at some length in the original 2015 Unorthodox Instructionals book review series. Imagine my surprise when I received an email from John Goldsby informing me that said blog post was getting a shout-out in Bass Player magazine (clang!) – I’m very flattered to think that anybody reads the things that I hurl at the Internet, let alone people who write bass magazine columns.
Enough bragging and back to the point… The last two Bass Player’s Book Club episodes led to lots of people asking questions about how and why I use Simandl on the electric bass, so here goes:
What Did I Get From Simandl?
The main reason that I found Simandl to be so beneficial for my electric bass playing is that it made me rethink what technique actually is. For many players, saying that they are “working on technique” or “getting their technique together” simply means that they’re concentrating on being able to wiggle their fingers more quickly: technique is about much more than speed.
The focus here is on quality rather than quantity – does every note sound as good as it possibly can? If not, what can you do to fix it?
Practising the Simandl etudes gave me insight into alternative (and unusual) ways of playing major scale ideas – which, let’s face it, form the bulk of the material that we’re required to play on mainstream gigs – that are never introduced by bass guitar method books. Single string shifting is just one of the areas that electric bassists tend to neglect, but those who pursue it will find that it does wonders for fretting hand technique.
Simandl is not without its detractors; many accuse the etudes of being too boring and repetitive. To them, I say: “What did you expect?!” It’s a bass method book, and those expecting white-knuckle excitement will be disappointed; those of us who understand the virtues of taking the path of most resistance will get years of enjoyment.
Bass Player’s Book Club Part 2: Sight Reading Have you ever wondered what the best sight reading books for bass are, or how to practise sight reading? Episode 2 of…
Bass Player’s Book Club Part 2: Sight Reading
Have you ever wondered what the best sight reading books for bass are, or how to practise sight reading? Episode 2 of the bass player’s book club focuses on some of my favourite books for developing your sight reading skills and some strategies for using them with maximum efficiency in order to improve your sight reading as quickly as possible.
This post is not meant to debate the relative merits of TAB vs. notation. It might seem odd for someone who runs a bass transcription website to say it, but I don’t actually believe that taking music in ‘by eye’ is the best way to do things. It is, however, very useful in a number of situations when you need to communicate musical ideas quickly. I also believe that being able to read is an integral part of being a well-rounded musician; people seem to be happy to nod along when someone trots out the very tired ‘music is a language’ analogy, but are often reluctant to actually do the work of learning how to read and write the language fluently.
Confessions of a Teen TAB-aholic
I took up the bass at the age of 14, largely because I was too scared to talk to girls and thought it would help (it didn’t). I started having lessons at school with a guitar teacher who played a bit of bass and straight away I was introduced to TAB – what a great system! It tells you exactly where to place your fingers and out comes Green Day… What could be better?
Eventually, I found myself arriving at music college at the age of 19 with plenty of technique but very little musical ability. I suddenly found myself confronted with notation and realised that I had to get my reading together quickly if I didn’t want to languish at the bottom of the class. Here are some strategies that helped me to get my act together – by the end of the first year, I had gone from zero reading ability to near the top of the class:
Five Tips for Better Bass Sight Reading
1. Do it every day
If you don’t do it enough, then it won’t stick. Lectures didn’t start till 11am, so I’d get up at 7.30, make a big cup of green tea and get lots of notes in my face for an hour or so. You don’t have to put that much time in, but you have to do it regularly to have any hope of it becoming second nature (other hot beverages are also acceptable).
2. Separate Rhythm from Pitch
The two big variables that we’re dealing with are the pitch of the note and its duration, so when learning the fundamentals of reading notation it’s good to practise the two separately.
For pitch, I used to use Gary Willis’ Xtreme Sight Reading page on his website, which randomly generates rows of pitches for you to play through. The range of notes and the probability of accidentals can be adjusted depending on your pain threshold (EDIT: he’s now taken it down, if anyone can find it, then please get in touch):
For rhythm, I used Louis Bellson’s Modern Reading in 4/4 time (link further down the page), which focuses on reading syncopation. No pitch variation whatsoever, but it explores almost every rhythmic possibility from the simple to the vomit-inducing.
3. Read with a click
The main secret to sight reading is teaching your eyes to look ahead of where you are in the music; if you’re looking at the note that you’re playing, then there’s no way that you can prepare for what’s coming up. The only way that you can really develop this is by using a metronome when practising and not allowing yourself to go back and fix mistakes. This is good practice for ‘real world’ reading situations, where you can’t go slow down difficult passages or go back and fix the wrong notes you just played.
4. Be Well Read
In order to become a well-rounded reader, it’s important to expose yourself to a lot of different material; if you read classical studies all the time, then your rhythm reading skills might be lacking when it comes to read that Tower of Power chart.
5. Don’t Just Read Bass Music
Try to read any sheet music you can get your hands on: piano/vocal scores, violin sonatas, trombone etudes – doesn’t matter what it is – and work out how to fit it on your instrument. The sad reality is that nobody really cares about the bass player, so you have to stop expecting to show up at a gig and be given pristine bass clef charts that are nicely laid out. This is particularly true if you do any sort of musical theatre or cabaret engagement – they probably won’t have the budget to buy in ensemble parts or the resources to have them written out, so most of the time you have to work from the rehearsal piano score. The MD will probably say something really helpful to you like ‘well, the bass is just the left hand of the piano isn’t it?’
If you’ve ever been in a piano score situation, you’ll know that trying to construct your own part is an absolute nightmare – your survival depends on having a firm grasp on notes outside your range (super low left-hand octaves) and treble clef reading. In fact, treble clef reading is something that I’d recommend to everyone because most of the musical universe operates ‘above ground’ and you never know when you might get asked to take the melody on a tune you’ve never seen before. It’s also a very useful skill if you’re into taunting guitar players, which everybody should be.
My Top Sight Reading Books for Bass
Here are some of my favourite books that have helped me to develop my sight reading; I’ve grouped them roughly by ability level, so hopefully there’s something for everyone. Since editions of some books differ between countries I’ve included separate links for US and UK where appropriate; environmental considerations aside, I’d recommend AVOIDING Kindle versions of these books, because in my experience the formatting of musical notation is always horrible. Opt for physical copies instead.
Beginner Sight Reading Books
1. Simplified Sight Reading for Bass by Josquin Des Pres (UK | US)
Although I trashed one of his other books in episode 1, I really like this one because it separates out rhythm and pitch to start with.
2. M.I. Music Reading For Bass by Wendi Hreschovic (UK | US)
Another good general method which drip feeds in accidentals, key signatures and other notational devices.
3. Modern Reading in 4/4 Time by Louis Bellson (UK | US)
This is a staple of drum instructional material, and it offers all musicians a great way to get their rhythm reading together without having to worry about pitch. This book is focused on developing skills in reading syncopated rhythms, starting with very approachable studies and building to horrible 32nd note phrases intersected with triplets.
4. New Method for Double Bass by Franz Simandl (UK | US)
I seem to talk about this book in every single post or video, but that’s because it’s the book that has had the biggest impact on the way that I approach the instrument in terms of technique, fretboard positioning and articulation.
Intermediate Sight Reading Books
If you feel like you’ve got a handle on the basics of reading and want to push your skills further, then these are worth a look:
James Jamerson was basically the first electric bass virtuoso, and these transcriptions of his lines provide a great reading workout; tons of rhythmic activity, lots of 16th-note syncopation and plenty of chromaticism. A great source of vocabulary, too.
6. 113 Etudes for Cello by J.J.F. Dotzauer (UK | US)
This was suggested to me as a good alternative to the very popular Hanon Virtuoso Pianist book, which became very popular with bass players when Janek Gwizdala revealed that he’d used it to build his not-inconsiderable technique. These are a good stepping stone between Simandl and more intense classical studies, which we’ll get to later. Cello repertoire tends to be a great source of melodic reading material, but you’ll need to do some transposing unless you have a 5-string bass because the cello is written at sounding pitch, while the electric and upright bass are both octave transposing.
7. 6 Suites for Violoncello by J.S. Bach (UK | US)
I’ll put the Bach Cello Suites alongside this; tough to read and play and it seems like everyone just plays Prelude No.1 in G major, but Bach really knew a thing or two about thematic development so definitely worth a look – I’ve always approached them as long-term studies rather than everyday sight reading material.
Anthony Vitti is a bass player who doesn’t get nearly enough time in the spotlight; he’s been teaching at The Berklee College of Music for decades and his books are some of the best around. His Finger Funk Workbooks are filled with demanding 16th-note lines, which can be a real challenge to both read and execute at tempo – studying these books is also a great way to develop your technique in a musical way.
This is effectively a more advanced version of the Simandl book. Lots of technically demanding studies that contain plenty of position shifts and detailed phrase markings, which will really put your articulation skills to the test.
Extreme Sight Reading Books
If you’re a seasoned reader who’s feeling particularly masochistic, then here are 3 books to give you a real workout:
Like the Modern Reading in 4/4 time, this takes a static pitch and moves it through almost every possible rhythmic permutation, except this time you have to do it in odd meters, and then the exercises start shifting between different odd meters. Horrible, but very nutritious.
John Patitucci is one of a handful of players who is a true virtuoso on both upright and electric bass, so it’s no surprise to find that his books are challenging; the 60 melodic etudes are designed to get your ears used to the sound of the major scale modes over their diatonic chord types in all 12 keys. Practising these studies over a drone or a static chord also serves as a great ear training tool, as well as a hardcore reading and technique workout. As the book title suggests, the etudes aren’t that rhythmically taxing, but there’s a huge pitch range and – unless you’re playing a 6-string bass – you’ll need to do a lot of position shifts.
13. Sight Reading Funk Rhythms by Anthony Vitti
Anthony Vitti brings the pain with this collection of studies that combine syncopated 16th-note funk rhythms with plenty of unexpected pitch variations; his favourite trick is to build a central motif and, just as you think you’re getting the hang of it, he throws in subtle variations to trip you up. The sheer amount of rhythmic and melodic variation in these studies makes them difficult to memorise, making them ideal for sight reading practice.
If you have a favourite sight reading book that I’ve left out of this list then let me know in the comments below.
In the 2nd post on unusual instructional books for electric bassists (part 1 can be found here) we’re examining the benefits of Franz Simandl’s ‘New Method For The Double Bass’….
In the 2nd post on unusual instructional books for electric bassists (part 1 can be found here) we’re examining the benefits of Franz Simandl’s ‘New Method For The Double Bass’.
I discovered this book while studying with Austrian bass titan (and ibassmag contributor Stefan Redtenbacher and spent a long time working through it on electric bass years before I ever touched a double bass.
What’s it about?
Way back in the early 1900s, Austrian double bass virtuoso and renowned educator Franz Simandl published his method for double bass, which offered bassists with a logical, incremental approach to mastering the instrument.
How is a 100-year-old double bass method relevant to modern electric bassists?
Many bass players have borrowed the ‘1 finger per fret’ technique from the guitar, which in certain playing situations makes a lot of sense. The problem comes when trying to apply this concept in the lower positions of the bass where the frets are further apart – the popular ‘1234’ chromatic finger exercises that are still prescribed by instructional books, bass magazines and some teachers place unnecessary strain on the left hand and wrist when applied in the lower portion of the fretboard.
I’m not alone in my hatred of these exercises – Dave Marks has made a couple of excellent videos on the subject:
Renowned bass educator Joe Hubbard also makes the point that these exercises also make no musical sense in this blog post. If you’re not aware of Joe, his list of past students includes Pino Palladino, Paul Turner (Jamiroquai) and Dave Swift (Jools Holland). Not too shabby.
The alternative is to use the approach adopted by Simandl and other similar double bass methods – dividing the bass into a series of 3-fret positions and using position shifts rather than left hand stretching to reach notes that fall out of position. Horizontal shifting is one of the most fundamental aspects of bass playing but also one of the most awkward.
Being able to execute a horizontal position shift whilst maintaining a legato sound requires a great deal of attention to detail, and Simandl’s etudes offer plenty of practice in this area.
Using Simandl’s approach, the 3rd finger isn’t used for fretting notes and instead supports the 4th finger. Applying this ‘supportive fingering‘ concept to the electric bass leads to a more secure left-hand technique that reduces physical strain and (to my ears, at least) results in smoother, more effortlessplaying.
Benefit #1: adopting double bass technique reduces tension in the left hand, making your playing sound effortless and reducing the risk of injury.
Feel the benefit right now:
Let’s compare 1fpf with the 3-fret span concept using an F major scale:
1fpf means that I have to stretch my 3rd finger out to reach the notes at the 3rd fret, which results in a sharp bend in my left wrist which decreases blood flow and increases strain on the hand:
Adopting the idea of a 3-fret position allows me to reach all of the notes without stretching or straining my left hand:
The Lost Art of Articulation Studying Simandl’s classical etudes also directs our attention towards two areas that electric bassists often neglect: articulation and dynamics.
Since the exercises are rhythmically simple, the entire focus is on producing a smooth, consistent sound from the instrument. Directing your attention towards note length can reveal a lot about your left-hand technique and force you to reevaluate your approach – playing a passage of crotchets with seamless transitions between notes might seem like an easy exercise but the reality is surprisingly difficult.
Benefit #2: paying attention to your note length and articulation will give you greater control over the sound of the bass and enable you to adapt your sound to suit a variety of musical situations.
In addition to solidifying my technique and improving my ability to articulate notes in a variety of ways, Simandl helped me to really understand how to play in a variety of keys across the entire range of the bass.
Benefit #3: Working through the positional etudes will help to solidify your knowledge of key signatures and how each key ‘sits’ in different areas of the neck.
The fact that the entire book deals exclusively with standard notation means that studying the etudes will automatically bolster your reading abilities and improve your knowledge of the fretboard. The bass is a surprisingly difficult instrument to read on due to the fact that a single pitch can be played in a variety of locations. Play this G:
Where is on the bass? Open G string? 5th fret D string? 10th fret A string? 15th fret E string?? It’s all of them, and the deciding factors for a position are the notes that come before and after it.
Of course, you need to have a decent knowledge of the fretboard in order to know that these options are available to you, and some of them may be more appropriate than others. Reading music and having a working knowledge of the entire fretboard allows you the freedom to play music in the most appropriate way for you, rather than having positions and fingerings dictated by someone else. This is one of my main gripes with TAB – it’s someone else’s opinion of how I should play a line.
Benefit #4: Working with standard notation improves your fretboard knowledge, increases your familiarity with different key signatures and allows you to easily access music written for other instruments.
I think you get the point, so I’ll leave it there. You can get your copy of Simandl by clicking the links below:
Franz Simandl – New Method for the Double Bass book 1 (US Link | UK Link)
Do you have a favourite instructional book? Tell me about it!
I’m always interested to hear about different methods that have helped people develop musically. If there’s a book that you love and feel deserves a wider audience then let me know by commenting on this post.
Firstly, a belated Happy New Year to one and all. My one and only resolution for 2011 is to keep this blog updated with fresh material – my annual stats…
Firstly, a belated Happy New Year to one and all. My one and only resolution for 2011 is to keep this blog updated with fresh material – my annual stats email from WordPress tells me I got something in the region of 14,000 views last year, which shows that I should really pull my finger out and reward visitors with something more than a bi-yearly update!
Part of the reason for the lack of pre-Christmas posts was that in mid-November I got a call offering me a series of gigs with a pop/classical artist that required me to play both electric and upright bass… Now, although I’ve been dabbling with double bass ever since I left university I’d never really ‘taken the plunge’ and this seemed like the perfect excuse to begin studying the instrument seriously.
Initially, I thought the gig would be a roughly a 50/50 split between upright and electric, but once I got the charts it became clear that I’d be playing a lot of double bass, including some bowing which was completely new territory for me. I had roughly 3 weeks to get my playing in shape, so I locked myself away in a rehearsal studio. Here’s how my November looked:
As might be expected, it was a tough few weeks. Getting to grips with the bow (awful pun intended) was probably the biggest challenge, as my first attempts resulted in a sound I can only liken to a whale being abused… After a few days, I gradually began to get the hang of things and found that my sound improved a little every day.
Spending that amount of time and effort on such a fundamental aspect of the instrument was a hugely humbling experience; I’ve been playing electric bass for over a decade, so I tend to take the process of playing for granted, but on upright I found myself having to learn a completely new set of skills in order to make the most basic pieces sound passable.
Once I’d started to get over the initial issue of handling the instrument, I found myself totally absorbed by the double bass. Although it’s a much more physically intensive instrument than the electric bass the effort is worth it – the sound and feel of the instrument make it rewarding to play, especially for certain styles of music (playing walking lines on an electric bass now feels wrong).
On a practical note, the following things made moving into the world of doubling easier:
Resources for the novice doubler
-There are some excellent instructional videos around. I found Andrew Anderson’s series on bow technique massively helpful:
– In terms of method books, I sought advice from Franz Simandl (UK link | US link) and Rufus Reid (UK | US) – When it came to the actual gigs, my trusty Radial Bassbone saved my life on a nightly basis by letting me maintain control over the switching, output levels and EQ of both instruments.
Here’s how the setup looked (due to snow-based travel complications the double bass and the speaker cabinet were both hired for some of the gigs):
I’d like to leave you with a final thought- every time I think my arco playing is improving, I listen to Edgar Meyer and remind myself of the mountain I still have to climb. Sometimes it’s good to remind yourself that you suck.