Unorthodox Instructionals Part 5: The Worst Book For Bassists (and what to practise instead)

For the fifth and final installment of my ‘Unorthodox Instructionals’ series it’s time to deal with the number one thing that bass players seem to be bothered about.

The Holy Grail

Every bass magazine I read is full of it, every bass forum I visit has hundreds of threads debating what to do about it and every student that comes to see me wants more of it.

What am I talking about? Technique. Everyone seems preoccupied with how to have more control over their fingers, possess greater command of the instrument and coax more notes out of the bass with less effort.

Are You Wasting Your Time On Technique?

Now there’s nothing wrong with wanting more chops per se, it’s just that lots of us go about it in the wrong way. I’m talking about this sort of thing:


I bought this book when I was 16 and spent hours working through it cover to cover. It seemed to be the magic bullet for fixing my technique – after all, it proudly states that it’s endorsed by a host of big name players and major music schools so it had to be good, right?

Wrong. But why?

Why Bass Fitness Is The Biggest Waste Of Time For Bassists

There are lots of reasons why this book is junk*, but here’s the most important one:

None of the 200 finger exercises makes any musical sense – I can’t find a single one that contains genuinely worthwhile content that anyone in their right mind would actually play on a gig. Most of them look like this:



So why did I waste my time working through 200 finger-twisting patterns that would never really result in any improvement to my playing? I didn’t know any better.

As a teenager in the pre-Youtube world, I was at the mercy of what I saw in bass magazines and Hot Licks VHS tapes. As I got older (and, hopefully, wiser), I discovered that the way to develop my technique was to find music that tested my technical limitations and play the hell out of it really slowly.

Here’s the reality of the situation: you are what you practise. So, if you want to get better at playing music then practise music, not maths. It sounds obvious but it’s amazing how many players (including my former self) get sucked into looking for answers in the wrong places.

So, the real question is: “What should I practise instead if I want to work on technique?”

How To Effectively Develop Your Technique

The answer is to practice real music. Find something that you love the sound of but can’t play up to tempo yet, slow it down and work out how it fits on your instrument (using a couple of different fingerings if possible).

Start by playing it slower than you think you need to, without a metronome. Spend no more than 10 minutes at a time working on it but come back to it every day – within a couple of weeks, it’ll be second nature.

Final Book Recommendations

In keeping with the rest of the series I should recommend an unusual instructional book that I’ve found beneficial for my technique, so here’s one. In fact, here are two:


Piano exercises on bass? Back in 2005 when I was in my first year of my music degree I turned up to a morning sight reading lecture to find that we were having a guest lecture from a then relatively unknown bassist called Janek Gwizdala. Regardless of how you might feel about Janek or his approach to the instrument you can’t argue with his technique – I’d never seen anyone play the bass with such technical fluency. Being the curious type I quizzed him about what he’d worked on to develop his chops, and his response included the Hanon Virtuoso Pianist, which is a staple of classical piano pedagogy.

It’s essentially a series of exercises that involve sequencing the major scale in lots of different permutations, and since it’s written for pianists it contains a number of things that are technically awkward to play on a bass. Czerny is a similar idea, and I seem to remember reading in a Coltrane biography that he worked through it.

Good enough for Coltrane? Good enough for me.

With both of these titles the exercises are based on musical content, rather than permutations of finger patterns, so they definitely don’t fall into the ‘waste of time’ category. Occasionally I’ll dip into one (or both) if I feel that my fingers are being unusually disobedient.

Have I missed one of your favourite instructional books? Tell me about it!

So we’ve covered harmony, borrowing from upright bass, sight reading, ear training and technique – have I missed anything? let me know by commenting on this post.

*other reasons to avoid this book include (but are by no means limited to): heavy reliance on TAB, extensive use of 1 Finger Per Fret in the lower areas of the bass, the cover art.


  1. Hey Tom, “The Evolving Bassist” by Rufus Reed was absolutely essential to fast-forwarding my bass line composition; not just jazz lines, ALL composition on the bass. Keep up the good work and let me know if I can do anything for you. Cheers, -Ben Pridgeon Seattle, WA 425-591-9172

    1. Thanks Ben, glad you’re enjoying the blog! ‘The Evolving Bassist’ is a great book and I almost included it in the series but went for Simandl instead. It’s been years since I’ve looked at it properly so maybe it’s time to give it another go!

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