tvnovellas.info Theory BASS GUITAR LESSONS FOR BEGINNERS PDF

BASS GUITAR LESSONS FOR BEGINNERS PDF

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Learn Bass .. In this lesson you will learn a common major triad pattern. Often when playing with a guitar or keyboard player you can follow the chords they. Teach yourself how to play bass guitar with our award winning easy lessons for beginners, designed and used by professional bass guitar teachers and. bass guitar, sound good and have a great time is only a lesson or two away! I have been playing and teaching music professionally for many years and.


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Bass Guitar Lesson - Rock Bass - Beginner to Pro in 4 Weeks - Free download as PDF File .pdf) or read online for free. (mister –guitar). occupation. I call it “short user manual for bass”. with help of this book you will not lose lot of time on inappropriate tvnovellas.infouction Hi. PDF Drive is your search engine for PDF files. As of today we have 78,, eBooks for you to download for free. No annoying ads, no download limits, enjoy .

Learning to play the bass guitar can bring joy, just like mastering any instrument can. And yet the bass is NOT any instrument. Deep bass guitar notes create a critical foundation that both carries the rhythm and defines the tonality of a song. Indeed, the bass guitar is as much a percussion instrument as it is a melodic one. Bands and groups from rock to reggae, Motown to metal, Latin, blues and jazz rely on their bass player to hold everything together. So studying bass not only provides a great introduction to the world of music, it opens the door to a unique role of support and leadership.

Frets are marked with numbers. Open strings are marked with zero 0 fret. It is also called nut. So nut is marked with number zero 0 , first fret with number one 1 , and so on. Number marks are on the right side of drawing. On the left are notes marked with capital letters in boxes. These markings match notes for the five-string bass guitar. So, it is corresponding note on given fret on fingerboard on low-B string. Positions are referred to positions of left hand on guitar neck.

I will explain them in general, and I will explain every position separately. Positions are the main part of this short book. Fingering is referred to the way you use your left hand fingers while playing. Specific note within specific position is played exclusively with certain finger. Not the other one. Please, pay your full attention to this.

Do not try using different fingering because at start it looks easier. It is not. You will make a huge mistake. If you are self-taught musician, as I am, there is possibility that you use wrong fingering.

If it is the case you will have to invest some extra time to repair this wrong way of playing, just like I did it, but benefits are justifying this investment of your time. You will set your hand and fingering correctly, and at the end, you will be able to play whatever you play in easy and correct way.

Tempo should be considered as speed you play music. I suggest you to use metronome for setting up tempo while practicing. You can use mechanical metronome or electric device, or you can even find one online.

When it is set to tempo, it will click times in one minute, which means one click every half of second. My first hit on Google search for metronome online was free website with nice and usable metronome, easy to set, and easy for use. I would suggest you to try that as well, if you do not have some kind of external device.

Note could be defined as sound itself. When we play some articulated sound on our instrument, we say that we played some note. Also, term note is used for sign in musical notation. On our instrument, we actually play 12 chromatic notes. After all twelve notes, - thirteenth note has the same name as the first one. For example, on four string bass guitar, on our E-string, first note open string , is note E. Also, on 12th fret on E string, we have note E. Difference in between two of these is that note E on 12th fret has exactly double frequency from the first one.

We say it is one octave higher.

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In some countries, there are slight differences in marking for example, in Germany, note B is marked with H. So, if you have some exercise, or musical writing with H marking, it is B note or chord. And if you have B note in same exercise or song it is lower B - Bb B flat. So, just dont be confused.

Bass guitar tuning. Nowadays, almost all musicians have guitar tuner. It is small electric device with analog or digital display. Almost all the models can tune guitars and bass guitars. These are affordable and handy. Especially, modern amplifiers do have guitar-tuner out so even when you mute amplifier, for example in pause in between songs on live gig, you still can use tuner, if you notice that your instrument went out from tune.

Back in days when I started learning, we had musical tuning fork metal fork which produces note A Hz frequency when hit, and leaned on instrument resonator box. When first electronic tuners became available on market, these were pretty expensive at that time. Anyhow, standard tuning for four stringed bass is first string is tuned at note G G2. Second string is tuned at note D D2 , third note is tuned at note A A1.

Its frequency is 55Hz. Remember the Hz frequency? And finally, fourth string is tuned at note E E1. For five string bass guitar, standard tuning is the same, and fifth string is tuned at note B B0.

For so called tenor tuning on five string bass, we have one thin string below G string C string C3. For six string bass guitar, we have all six strings starting on C, up to low B. I personally use standard five string bass guitars. Physically, we tune bass in following way: tune thin string at tone G. When we press D string at fifth fret, we tune it to sound exactly the same as string G played in open position.

Then, we press A string at fifth fret, and tune it until it sounds exactly as open D string. After that, we press E string on fifth fret, and tune it to sound exactly as open A string, and finally, we press B string on fifth fret, until it sounds exactly the same as open string E. So for example, if we still have these old music forks, we tune corresponding string onto these sound, and after that, we use method mentioned above.

Also, first hit on bass guitar tuner online in Google, takes me on correct directions. So, you should buy yourself tuner, but, also remember this basics on how to tune bass. For example, when you have live gig, you can be faced with real problems. You forgot your guitar tuner in studio that you use for practicing.

Or tuner run out of battery. Or whatever reason you will be faced with no tuner situation. So its good to know how things work. At that situation, most probably, you will have to tune manually and by your ears asking colleague keyboard player for some assistance.

The staff: sometimes you will see some notes on some lines with some bars and so on net consisting of five lines, and four spaces in between is called the stuff. It is also divided with bar lines, into measures. So, measure is the space in between two vertical bar lines on the staff.

We can also use bar lines if we use chord root writing for example, U2s big hit from late eighties chord writing is: D A Bm G and it is repeating for almost all the song. Remember this chord combination as well - most of modern pop music basically uses this combination or combination of this combination. Notes might be different, but it is the same ratio in between chords and notes. If it sounds a bit strange now, dont worry - You will understand it much better later. Clef sign together with sharps and flats b indicates key signature.

G clef for example is used to show position of note G on the staff, and have one sharp sign on the first top line of the staff. Also in notation we have natural sign , but in this book we will not use it.

Actually, we wont use any sharps or flats as well. Just plain c-major scale notes. Time values of notes: are related with time signatures. Numbers next to clef sign, like fraction are time signature. For example waltz time signature is three quarters. This means that in waltz, we have three beats or three counts for one measure, with quarter note receiving one beat, or count.

And for rock or blues we have four beats or counts per measure with quarter note receiving one beat or. I wont use staff, clef sign, or time signatures and classical notation in this book, but I found it useful to mention.

When you master this manual, youll have batter clue why. Also when you go to next level of learning I think this will be useful as well. If we play same scale, but starting from some other note, in music theory, these scales are called C-major scale modes. Logically, if we have seven basic tones, also we have seven modes: Ionian corresponding to Cmaj7 major scale. Main idea of playing through positions is not to make big moves with whole hand on guitar neck, or trying to find notes randomly, but rather to learn notes and get use to them, and just move fingers.

I will explain seven, or I can say eight positions. The last position will be actually reflected first one, but with slightly changed fingering, having in mind that we play empty or open strings in first position.

Every position refers to specified C major mode, or lets say refers to appropriate note from C-major Cmaj7 scale.

In this book, I will name them by numbers, and notes. Numbers are here instead of other names, so first position will be named first because it is the first note within Cmaj7 scale on our guitar it is note E on four string bass, and note B on five string bass guitar. So first position starts with open strings played with zero fret , second position starts on first fret from note F with four string, and note C with five string bass, and so on When I learned positions, I preferred note naming at that time, I still used four string bass guitars - so first position was E-position, second one F-position and so on.

Having in mind that this book covers both four string, and five string bass guitars, that is the reason that Ill stick for number-naming rather that note. For example: I rather call the first position first position, than E, or B position, because on five string guitar, when we play the notes on B-string, everything else is completely the same.

We can say that B-string basically was addition to four string bass. Chapter 4 Before you start Before you start practicing, there are few extremely important things that you should have in your mind all of the time.

Start practicing in slow tempo. Actually, always use tempo that you are able to play exercise smooth, easy, and crisp.

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If you are not able to, lets say, repeat some exercise eight times with no single mistake you should not rise up tempo. Much wiser is rather to slow it down until you can play the exercise easily and smooth, with no mistakes.

So keywords are: smooth, easy, crisp. Of course, at the very beginning, you will not be able to play exercise in a way that for example I do it but do not worry about this at all. Practicing is accumulative process. So even if you do not notice small improvements after any exercise, believe me there are some. After every single practicing session. In very short time, you will start to notice that your technique is improving. If you have some kind of recording device, such as an iPhone, or android phone, or camera with movie recording option, or whatever, record short clip of yourself when you start practicing, at the very beginning.

And make the same clip of the same exercises after two weeks, and after one month, and then compare these clips. You will see improvement instantly.

Cool, right?

Bass Guitar Lesson - Rock Bass - Beginner to Pro in 4 Weeks | String Instruments | Bass Guitar

If you are real beginner, and you have just started, this can sound discouraging, but I have good news, it is not. Positional Fingering We must make a distinction between the musical use of the words, 'position' and 'positional'. The word, 'position', means to label with a number a unique placement in a structure or a sequence, a place occupied by a note in a scale ' and 'positional,' means 'placed, set in place or in a place' as with a sequence of notes that are played in the same way regardless of where on the fret board they are played.

By this latter term, 'positional,' I mean 'positional fingering'. Positional fingering is what bass playing is all about. I cannot emphasize this enough. Inversions are just other forms of positional fingering. You'll notice that almost all positionally fingered patterns can be played within a fret 'box' of four to six frets and usually on only three strings at a time within that box.

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Of course once you reach this point, it'll become clear to you that it's time to abandon using open strings for the most part. Why don't you review the previous information now.

Play around on your bass with these ideas and fingering patterns. There are some additional things: These are learned by feel. Or maybe, mechanically, by repetition. Also, you will become infected by the Rock musician's eternal Quest for Tone! Tone in this context is how a note sounds. It's produced by combinations of all the techniques that you pick up by practicing as well as listening to songs as they're played on CDs or the radio, by trying suggestions that are given to you by other players, by trying different effects which can be obtained from both effects devices as well as by the manipulations of the strings by the fingers of both of your hands as you play see the techniques in the Appendix.

Of course tone is also created by turning the knobs on your amplifier. This is where you begin to improve your sounds and create your own style s. I won't go any further into music theory or technique because this stuff is up to you - what you like or dislike, who begins to influence you musically and what directions you want to go in.

All that I present in these basic lessons is designed to bring you to the point where you can know some basics and actually know what you're doing while conversing with and playing with other musicians. I might add that knowing this stuff will help you if you decide to switch instruments, too. All this scale and chord stuff is used by everyone on all other musical instruments. Information that helps.

When playing notes in an upward or ascending direction, when you get to the 7th, play the major 7th in major scales - in minor scales, of course, play the minor 7th and when playing notes in a downwards or descending direction, when you get to the 7th which will be more quickly than when playing in an upwards direction , play a minor 7th even when you are playing within a major scale or chord - it just sounds better!

Of course if you're playing within a minor chord framework, you'll also use the minor 7th position note when playing in a descending direction. Lesson V - more on chords. This information is a l i t t l e more advanced. While you're learning this next lesson please continue practicing things like:. Use at least the first two fingers if plucking. Try alternating your thumb with your plucking fingers. Build up some speed.

Use down and up strokes if you're using a pick. They are the same for bass. More on chords. Why do you need to learn more about chords when a bass player doesn't play chords? At least not in the sense that a guitar or organ or piano player plays chords, by striking three or more notes simultaneously or very close to simultaneously.

Well, what do you do when the organ player or guitar player says she's playing a minor 9th chord? Or a diminished chord? Or a major 7th? Or a 7th flat 5th? Or an 11th? Or shock! The answer is: You can do that! With a bass! And by using one or another of the techniques in the Appendix and by choosing which bass notes to play to emphasize one feeling or another in the overall music structure you can create moods and emotion in the music!

You can be gross or be very subtle. Bass has a lot more going for it than just thumping along with the drummer's kick drum which is, of course, always a very good idea no matter how cool your playing gets. This is a very important Rock basic, this coordinating with the drummer's kick drum, one which you ought not ever forget. In the Rock musician's eternal 'Quest for Tone' it also means loosely the bass or treble sound, the texture or scratchiness or smoothness and roundness of the note, the 'punchy-ness'.

So, if someone is playing, say, a C chord and changing to an F and a G, you have a pretty good idea what to do, right? Let's say that the guitar player says, "Let's put an A minor 9th in here. Well, you know, the A tonic note can never be wrong. So you start with that. Then you know the 5th E sounds good most of the time so you throw that in. So far so good. Sounds good! But a little simple. So you question your knowledge base in your mind: So you know where the minor 3rd is because you know that you just flat the major third.

Now you've got three good notes! But what else can you do? Well you now have the chance to learn from reading the info below that 1 any minor 9th chord has a minor 7th a flatted major 7th in it. So you think - the major 7th, a G still talking about the A min 9th here and flat it to the G note, maybe higher than the tonic note or lower than the tonic an inversion , a lower G note two frets lower than the tonic. But what's this 9th???

Well, a 9th is the next whole-step beyond the octave, the 8th, in this case, the B note, one whole-step above the octave A note. An inversion of that is the B note just two notes two half-steps above the tonic. Remember, in our major and minor scales?

We had the 1st, 2nd, 3rd, 4th, 5th, 6th, 7th, and 8th or octave? Well now, we extend beyond that to include the 9th, l0th, 11th, 12th and 13th. The 9th, as we saw above, is two half-steps or a whole-step above the octave. Its inversion is the 2nd. Play the 9th and 2nd positions in each scale, the A natural minor and A major. I mean play the scales and add the 9th. When you play the 9th, immediately play the 2nd. As for fingering, since you're using fingering patterns as you learned from previous pages to play the scales, just expand the use of the 'box', the grouping of frettings within four or five frets vertically, to include notes on the next highest string.

If you're already using the highest string, then move your tonic note, the 1st position, to the next lower string but higher up on the neck. Or try using an inversion. Discover just where these new positions are relative to the pattern s you already know.

The l0th which is not really used in chord nomenclature very often because of the powerful harmonics of the 3rd - the third overpowers the l0th so we don't usually add a l0th to a chord , the l0th is four half-steps or two whole-steps above the octave 8 th. Its inversion is, of course, the 3rd. You can see a pattern developing here. The 11th is five half-steps above the octave and is the octave of the 4th. Play the scales and add the 9th and 11th. After playing the 9th play the 2nd and after playing the 11th play the 4th.

The 12th isn't used, again, as in the case of the 3rd and the l0th because of the power of and powerful harmonics of the 5th. The 12th and 5th are inversions of each other. The 13th is equivalent to the unflatted 6th but an octave higher. If you've come this far, you probably have a firm grasp of where on the fret board, of what part of that 'box' pattern you learned.

Play both scales and add the 9th, 11th and 13th and each of their lower octaves, the 2nd, 4th and 6th. In the natural minor scale use a flatted 6th and a flatted 13th in keeping with the definition of natural minor scales.

Bass Guitar Scales Chords And Arpeggios

In the major scale, the melodic minor scale and our 'Rock minor' back eighteen or twenty pages ago , use the unflatted 6th. The above info is useful of course. It's also an example of how to play notes which go with the extended chord structure s that the other musicians are using.

Here are some tab diagrams or charts for the 9th, 10th, 11th, 12th and 13th positions. The fretting fingers horizontally across the fingerboard stay within 4 frets vertically except for the two highest positions, the 12th and 13th.

Since the 10th and 12th are rarely used except as connecting notes you only have to go out of the box for one note, the 13th. Please say the names of each of these notes as you play them. You could sing them, too, as you play, an octave or two higher. D 7 to 9 — slide up 3rd finger A D 7 to 5 — slide down 1st finger A Don't worry about the lower notes for now.

Right now, this is about the 9th, 10th, 11th, 12th and 13th positions which are higher than the notes in the scale in the first octave. Maybe even more important than the fixed notes. Sounds silly? You could play all wrong notes and by using various techniques make them the right notes and the best sounds for the song! Of all the things that could be practiced every day, working a technique or two into your everyday playing is the most important single thing that you can do.

Chords and Chord Groups Below is how you create major and minor chord-based bass note sequences. These are notes that you have the option of playing.

You can include them all or leave some out. But for now play them all. Further on in this section is a list of how to create many other chords and, for the bass player, this is also a list of the notes which can be selected but don't have to be selected when you're playing the notes in chords and trying to influence the sound of a piece in one way or another.

But for now, play them all so that the harmonies of the individual chords become familiar and you can actually hear the chords in your mind even though you're playing separate notes.

From here on I will refer to the positions by number and omit the ths or rds or nds after the numbers. I advise you to spend a lot of time on this section, maybe five days, and play the notes of many different chords using each of these ideas, below, which extend or alter the structures of chords. Then play the major 7th succession of notes see the chart beginning two pages forward , then the major 6th succession of notes, then the major 9th succession of notes, then the major 11th, major 13th, then the minor 6th, etc.

Constructed by adding on a major or minor third beyond the existing chord's notes. The 7th is a 3rd four half-steps beyond the 5th. The 9th is a minor 3rd three half-steps beyond the 7th. The 11th is a minor 3rd three half-steps beyond the 9th. The 13th is a 3rd four half-steps beyond the 11th.

Bass Guitar Scales, Chords And Arpeggios PDF eBook: Download Your Copy Today

Most often used on the 5th and 9th position notes but sometimes on higher numbered positions, too. Just one or two at first. You might also want to download the CD or cassette that has the song s on it. Chord Groups There are three basic groups of chords: Major chords are characterized by having a 3rd; minor chords have a b3rd; dominant chords have a b7th, again, using the major scale positions as basic reference points and defining the minor and dominant 7th scales and chords in terms of the positions of the major.

The dominant 7th group has many more chords. There is a fourth group, the augmented and diminished group augmented means 'added to' or sharped and diminished means 'subtracted from' or flatted b whose chords are characterized by having one or two altered notes. This group has very few chords in it and is less important for that reason. You will, however, run into augmented and diminished forms of chords so please understand them in their group, below.

LISTEN carefully as you play to get your ears attuned to the differences in these successions of notes. By going through these formulations mentally and playing them on your bass you'll slowly become familiar with them, patterns will become more apparent to you and you'll absorb them rather than just memorizing them.

Remind yourself to do this: For example, if you play the notes C, E and G, mix them up a bit. Add a 6th. Add any other position s. Add some fingering techniques in the Appendix. You've learned seven or eight fingering techniques by now haven't you? It's very important to spend this much time on this!! Five days of this and it'll blow your mind how much you've improved!!

Positions Note: If the 7th were not present the chord would be called an 'add 9th. If the major 7th is in the chord then the chord is called a major 9th. It's named or labeled by its highest numbered extension. If no 7th is present then it would be called an 'add 9th. The chord is called the 11th if the 7th is present.

Minor group: Positions minor 6th b This is a case in which the 6th is not flatted to the natural 6th as is done in the natural minor scale. Dominant 7th group: When the b7th is present it is common to label a chord by the number of its highest extension.

Co or Abo diminished 7th bb5-bb7 A double flatted 7th, - equal to a major 6th. If it has no 3rd it is neither major nor minor. The suspended 4th chord, most often played without the 3rd present, is used a lot in Rock music! Many musicians prefer to use it as a substitute for chords with 3rds in them because it gives the lead singer or instrumental soloist s more flexibility since it is neither major nor minor. The major 3rd highly defines a structure and many musicians like to do away with committing so heavily to a harmonic structure that's so narrowly defined or restricted as with the use of a major 3rd.

As you can see sometimes chords can be notated in more than one way. This may seem confusing but most of the time it really isn't because once you get the hang of all this chord nomenclature, a glitch in the labeling won't matter very much to you at all.

When you're playing alone, sometimes you just have to make an educated guess. When playing with other musicians the best choice to make is simply to ask the others what note or position they're using. As you can see, there's no end to the chords that people can invent. The only test as to whether a chord or sequence of bass notes is valid or not is whether or not it's useful, that is, whether or not it sounds good in the context of the rest of the music structure around it.

As you can see, too, there are clear patterns to all this. Patterns of what positions using the major scale as a reference point to sharp or flat depending on the names that are given to the chords. You don't have to actually memorize any of this. With time, it'll all become second nature. Repeat the above exercises for each of the groups I hope that you can see them as little games.

It's been very important to have spent so much time on this. One other thing that is useful to know and which might have popped up in your mind as a question when going over the above material is this: Well, no, not necessarily.

Take the extended chords for example. They can be played by your guitar or keyboard player without the tonic note or the band can allow the tonic or root note to be played by another instrument like a saxophone or harmonica. Which is where you come in. You play the 1st position when others are leaving it out or maybe don't play it - at your option.

Leaving out the 1st position can be fun and lend an air of the unexpected to the music! Reggae bass players do this frequently. Slash-chord notation This leads to another idea about notation which you ought to know: Chord Progressions Definition: When a musician plays a number of chords in a sequence that sequence is called a chord progression. Three notes, exactly, sounded together or at about the same time, are triads also, chords ; triads are chords.

A series of bass notes following in order. Bass notes that would make up a chord if played at or about the same time but which are played on successive beats.

Chords are built by choosing a starting note and adding notes which are certain intervals apart from the starting note remember intervals, or steps, from earlier days?

The note s which are added are usually in intervals of major and minor thirds four half-steps and three half-steps and two notes apart. For example, to form a C major chord, start with a C note. Then add a note which is two notes four half-steps in this case higher. So we start with C, the tonic note, and add an E, which happens to be the 3rd position in the C major scale. Then we want to add at least a third note because a chord is at the very least a triad or a group of at least three notes, so we add a note which is two notes higher than the new starting note, E.

E to F to G, three half-steps higher. We add a G note to the C and the E. The G note is the 5th position in the C major scale. Now we have a basic chord, the C major, comprised of the C, E and G notes.

We've formed the chord by adding notes which are four and three half-steps higher than the preceding note. Major and minor thirds.

This is called Harmony or Harmonizing and is the basis not only of forming chords but of a great deal of composing which revolves around combining melodies counterpoint and chords. For now I mention this only to illustrate the point that this is how we form basic chords.

Let's take the second position of a C major scale, the D note and form a chord. Starting with the D note we look for a second note which is two notes higher than the starting note. This is the minor third of the D scale which will make the chord we're forming a minor chord. Going two notes higher, F to G to A, four half-steps, we add the third note to the now forming D minor chord, the A note.

The A note is the fifth position of the D minor scale. We have created a D minor chord. D, F, A. See if you can do two things: For example, we created a D minor chord, above; now take the 3rd position of the C major scale, the note E, and create a chord from it using the rules above. Those notes which are an 8th octave , 9th, 11th and 13th higher only form the same chords as the 1st, 2nd, 4th and 6th positions but an octave higher so we don't have to create them over again.

We won't consider the 10th and 12th positions due to the reasons cited earlier in this manual day Doing the second step in the previous paragraph may seem a little tough. It's a bit abstract. But it's fairly easy because all you have to do is count notes and half-step intervals. You might try doing this for some other scale s besides the C scale s major and minor.

Try the A scales minor and major because the notes in the A minor scale are the same notes as in the C major scale but they're in different half-step relationships as far as positions of the scales are concerned.

So why am I showing you this? Because I would like to show you where some very common Rock chord progressions come from and how they are labeled: I, ii, iii, IV, V, vi and vii o in Roman numerals, the capitalized numerals indicating major chords and the small numerals indicating minor chords and the little letter o indicating a diminished chord. If you created the seven chords, say, using the C note as your note of choice, and the C major scale as your scale of choice you would have created these chords: These chords would be labeled I, ii, iii, IV, V, vi and vii o or 1, 2, 3, 4, 5, 6 and 7dim or just 7.

What scale positions are in a diminished chord? The 7 chord would be a diminished chord if you started with a major scale and the 7 chord would be a major chord if you started with a minor scale.

Another question: The 2 chord, the 3, the 4, the 5, or the 6 chord? Playing these seven chords in sequence would be a chord progression. But not a very often used one. Why not? Just because. Just kidding. So, why not? Because when you listen to Rock you'll hear that most songs are based on chord progressions which contain three or four or, sometimes, five chords. Maybe that won't be true in the future as Rock evolves.

That shouldn't prevent you from composing song s with more than three or four or five chords. There are also some songs with only two chords in the progression. What are often used chord progressions?

I, IV, V. And vi, V, IV. I, vi, IV, V very often used. Also, ii, V, I. And I, iii, vi, ii, V. If you feel like it you could ask the same question referring to the A note, A minor scale, key of A minor. Play the three notes chord-based bass note sequences of each of the chords in the chord progressions above. Play the basic 1st, 3rd and 5th positions of each chord in different orders each time you come back to each particular chord - just for variety.

Maybe use a connecting note passing tone or two to get from one chord-based bass note sequence to the next but isolate and understand the three notes which make up the heart of each chord. As your ears get attuned to the sounds of the groups of the bass notes which are in each chord you'll learn to discern the differences in the sounds of different chords.

As you become more and more familiar with discerning differences between chords in the music that you play and listen to you'll soon be able to hear the number of different chords in a song's progression.

You'll become an afficionado! That is, each of the chords has concordant notes in it that are common to some of the other chords in the progression - a non-theoretical explanation if I've ever heard one. In the near future you can play extended and altered chords chord-based bass note sequences , too.

Why stop with three note chords. Go on to four note chords. What are the difference s between these two terms? Although they may be the same notes, the notes in chords are played at or about the same time while the notes in chord-based bass note sequences are played on successive beats.

Arpeggiation Now would be the time to read, understand and begin to introduce the idea of arpeggiating into your repertoire of skills. See the first definition in the 'Fingering Techniques' section in the Appendix.

Go read it now. Read this entire section, Lesson VI, modes. Begin to play some of the modes of the C major scale. Lesson VI - Modes Of course there's a lot of technical music theory about modes most of which you can learn little by little over time. But, if you have a basic understanding of what modes are and at least the following basic ways of creating them, you'll be a long way towards your most immediate goal: You create and formulate them in the same way that you derived a minor scale from the basic reference point, the major scale.

In the same way that you derived the positions of the minor scale from the positions of the major scale you memorize simple rules. Play all eleven notes, all the positions. You can play the l0th and the 12th as connecting notes if you like.

Major Ionian 1stndrdthththththththth Dorian b3rdb7th Phrygian b2nd-b3rdb6th-b7thb9thb13th Lydian 4th 11th Mixolydian b7th Aeolian b3rdb6th-b7thb13th What scale is this? I start with the key of C because it's a common Rock key but modes exist in all keys. Just as you would sharp or flat certain numbered positions of the major key to derive the minor scale, you would likewise sharp or flat the positional notes of other scales to obtain the various modes of that particular scale.

For example, the key of G. Take the notes of the major scale G: The key of a song can usually but not always be labeled by its basic root note, the 1st note or 1st position in the scale. C in this case. Play the notes, going up or down or using inversions or whatever You've just played notes in the Ionian or first mode. If you move your starting note two half-steps up on your fret board or anywhere else you want to play a familiar D note and start in that position given that it is now a D note , and play the notes, D, E, F, G, A, B, C and D note that the notes haven't changed, they're still the unflatted or unsharped notes of the Cmaj scale , you've just played the Dorian or 2nd mode.

If you move your starting note up four half-steps or two whole-steps to E or anywhere else you want to play a familiar E note and play E, F, G, A, B, C, D and E the unflatted or unsharped notes of the Cmaj scale , you've just played the Phyrigian or third mode.

Of the Cmaj key. Get the idea? Just move the starting note up or down, start the scale with that note but play only the actual notes of the Cmaj scale and you'll have one mode or another of the Cmaj scale. It's really that simple. A little complicated coordinating your mind with your fretting fingers at first.

You bet! But, it's another way of understanding modes. Personally I prefer the first way that I described, above, the way of just memorizing the rules of sharping and flatting notes. It's similar to how you've learned to create the minor scale by flatting certain positions of the major scale.

However, with more advanced musical theory, sometimes the second method is more revealing of the music structures involved. I'd spend three days on this topic. It's so close to the ideas on altered and extended chords that if you have that topic down pat after having spent five days on it modes will be fairly easy to understand and play.

Ionian - the major scale, the fundamental mode in western music, much rock, classical, theater and pop. Locrian - jazz, metal - If you want to play Metal, pay particular attention to this mode. Also learn to build bass note sequences based on having created chords from the positions of this mode using the rules of chord creation. This'll open your eyes wide! Better reread this second to last sentence a million times, or more.

All these modes can lead into each other and be used in combinations. Play around. But don't get obsessive! It just means that you can come up with the correct notes from which to make your selections of notes that you're going to play when you hear that such and such mode is being used or that a certain series of chords is about to be played. Then you fiddle around pun intended with the other musicians until you begin to sound good and this good-sounding-ness becomes the basis on which you all build a more concrete music structure: Or a tune.

Or a piece. Or whatever you call it in whatever genre rock, jazz, classical, country, bluegrass, etc. I do not attempt to teach you to 'feel. This is what you learn on your own as well as you can. May I make a suggestion?

Try anything anyone else suggests that you try and don't let other peoples' frustrations affect you. Modes can be created based on just about anything. You can take any scale, use it as a base and derive other modes from it in musical theory and by just following sets of rules, as above.

For example, pick an unusual scale, say, the natural minor scale with the flatted 3rd, flatted 6th and flatted 7th positions in the key of, say F or any other key you like , and write out the notes' names below the scale's positions and then below that write out the notes' names that are in, say, the Lydian mode of the natural minor scale.

You might even want to try to just totally invent a never-heard-of scale with eight or more, or less notes in it, octave to octave or crate a scale that, as in Indian scales, has no octaves! Play the scale. Create some chords. Create its modes! If you can do this you really have these ideas down pat. Again, don't be obsessive. If you can't do this or just don't want to bother, don't worry about it.

It's just a goofball exercise. However, it is helpful to learn to read music. You might want to familiarize yourself with music notation, at least the basics, because you will run into written music from time to time and it's good to at least be able to follow a lead sheet several pages of basic sheet music written in treble clef for singers and other musicians.

Take your time with this because it can be about as frustrating as learning how to type. Annoying but useful. Bass clef is just notes written a little lower and it's fairly easy to learn. You only read and play one note at a time. Yet one more summary: There's a lot of confusion among musicians about how to use modes.

Most musicians play snippets of modes without knowing exactly what they are doing or how what they're playing relates to the musical structures at hand.

It won't hurt you to be among those musicians, but, on the other hand, if an opportunity comes along to play with some new people whom you might like for one reason or another, it might be a good idea to know as much as you can. You never can tell what's going to be pulled out of the hat at any given moment. Knowledge of modes, the ability to shift from one mode to another just might come in handy. It can certainly make your playing stand out from the crowd.

Reread the entire section, Lesson VI, modes, above, even if rereading it is annoying to you. Play the modes of the A major scale and then the modes of the E major scale. As you play each of the modes of these two scales, contrast each mode with its respective major scale by playing them back to back: Backwards, etc.

Work up a little speed but keep to a rhythm, any rhythm. Play around with several different rhythms. Maybe tap your foot if you like to do that. Try tapping both of your feet in patterns that a drummer would use. Have you been observing drummers at clubs or on videos? You Can Learn the Bass Guitar Does that mean learning how to play bass guitar is somehow different from learning other instruments? It's more important! The processes of practicing, listening and learning may be similar, but the critical role you are preparing for makes all the work more rewarding.

It isn't just about memorizing notes on the bass neck or playing loud bass guitar chords. You are propping up all your pals and making the music really work. To guide you in this quest, here are some books BassBooks. If you want to learn bass guitar, and learn how to LEARN bass guitar, these will be valuable resources.

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