acoustic bass guitar

Describing a large acoustic guitar with a bass scale as an "Acoustic Bass" is confusing, because an upright bass fiddle can also be called an Acoustic Bass. "Acoustic Bass Guitar" is a more accurate term for the hybrid beast you describe. But I still don't like it completely, because it lends an air of legitimacy to a hybrid form which is really quite useless. Useless? Well, it's useless outside of playing one in your living room accompanying friends -- and even THEN it's useless if your friends are playing big dreadnaughts with heavy strings and thick picks and if someone else is playing a banjo. It really cannot hold its own when pitted against all those "real" instruments. If you're playing outdoors, on stage or recording, you will then need to install a pickup in it or it won't be heard at all. Then, its kinda dumb to call it an "acoustic bass guitar" isn't it? If unvarnished truth is your goal, it should righfully be called a "hollow-body electric bass guitar." (I can already read the mail: "but acoustic guitars with pickups are STILL acoustic guitars!!" Okay, okay have it your way...)
The other reason that Acoustic Bass Guitar is an inappropriate term is because, for my money anyway, it refers to an instrument OTHER than the only REAL acoustic bass guitar (one that you DON'T need to amplify, one that you can play out on the street or on stage and be heard just fine, like an upright bass fiddle): the Mexican Guitarron. The Guitarron is not a hybrid at all but a full fledged instrument form which developed in an unbroken line of descent from the sixteenth-century Spanish Bajo de Uña.

So then, why don't you go out and find yourself a Mexican Guitarron and forget about this silly hybrid which is really a non-acoustic acoustic guitar with a bass scale? Well, trying to play a Mexican guitarron is something like trying to play a small bathtub. Physically you have to look like a WWF wrestler to hold the huge thing all night long, and if you're lucky, have a belly big enough to rest it on and hands as big as baseball mitts to play those telephone-cable strings that are usually about half an inch off the fingerboard.

You should have deduced by now that the reason the guitarron works so well IS because it's really big. Period. So I think the concept of a guitar-sized "acoustic bass guitar" is really kind of a hustle.

But, if a Fender Electric Bass is going to look silly in your earthy-crunchy folky string band or a washtub bass in your authentic bluegrass group looks too geeky, I can't think of any solution better than one of those so-called "Acoustic Bass Guitars" I've just disparaged. With the right pickup in it, it sounds pretty good on stage. In fact, it sounds almost (but not quite) as good and is easier to play and to carry than an upright string bass...and costs a fraction of the price of a good one.

Since an "acoustic bass guitar" is not acoustic (you've got to plug it in to hear it), and really not a guitar, and it doesn't really work very effectively as a bass, maybe we should call it a Fred. Or, okay, a "flat-top bass" if you prefer.

So, you want to build one of these Hollow-Body Electric Bass Guitars: then build a jumbo guitar with 5" deep sides, make the top and back a full 1/8 thick, and the sides as thick as you can bend them without breaking them. Dome all the back braces about twice as much as you would ordinarily. On the top, you can leave the x only a bit beefier than the ordinary ones. Increase the upper transversal by 50% in cross section, and make your bridge patch half again as thick and half again as large. This is for a four string. For a five or six string, you're on your own.

Get a 34-inch scale "bass guitar" fingerboard (Martin sells them already slotted and radiused, don't kill yourself trying to make one). So things don't collide disastrously on your actual project, do a full-sized layout drawing on a large piece of paper, like I describe in my book. In order to have the bridge land about where it does on an ordinary guitar (about at the widest part of the face) the fret that first touches the body will end up an oddball, like the seventeenth or eighteenth (depending on the length of your soundbox). But that doesn't matter.

The first complaint from bass players is that it's going to be neck-heavy. Well, that's no surprise: this thing has a large solid neck is on one side, and a hollow, thin-walled box is on the other. The only way you can get it to balance properly is to get the strap to attach about at the midpoint of the entire length of the instrument. But there is no soundbox there to attach it to. Too bad! Sorrrry.... (The Guitarron balances perfectly because it has a tiny short neck--enough for seven or eight frets-- and a huge soundbox).

SO the only recourse for comfortable playing is to use a strap that attaches at the butt on one end, and behind the nut at the neck end. That's still not good enough, because most good players hate to put their strap there, and it shoves the soundbox over to the right, and you have to be readjusting the instrument constantly. But hey, we're talking hybrid here!

So, that's why when you see death metal and thrash bands displaying their "sensitive" sides on MTV Unplugged (unplugged? HA!), the guy with the nose rings playing the Fred is sitting down! Oh, and his Fred usually has a pretty tight waist, so it won't slide off his knee.

Black Sabbath - Iron Man Bass Tab

||-----------------------------------
||--------------4-3-4-3-4-3----------
||-1--4---4-6-6-------------4-4-6-6--
||-----------------------------------


||-----------------------------------
||-----------------------------------
||--1--1--4--1--0--------------------
||-----------------6-6-6--1/5-5-5-6--

[C1]              [C2]
||----------------|-----------------------
||----------------|-----------------6-7-8-
||--6--------4----|-1-1-1-4-6-6-7-8-------
||----------------|-----------------------

||--5-3-----------------|--------------------------------
||------5-3-------------|--------------------------------
||----------6-3-1-1-3-3-|-1-3-3-3-3-3-3-3-3-1-3-3-4-3----
||----------------------|--------------------------------


||----------------|---|-----------------------------------
||----------------|---|-3-4-3-4-3-------------------------
||-6-----4----3---|-2-|-----------4-----------------------
||----------------|---|-----------------------------------

Epiphone Viola VS Bass

The Epiphone Viola VS Bass is a type of four string electric bass guitar manufactured by Epiphone brand musical instruments. The brand is a subsidiary of the Gibson musical instrument company of Nashville, Tennessee. Originally manufactured in Korea, the instrument has been made in China since 2003.

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About the Name

1. "VS" refers to "vintage sunburst," the name of the red and orange paint colors of the instrument's flame-laminated finish. "Viola" refers to the instrument's shape--which, although significantly larger, is reminiscent of the bowed string instrument of the same name. The "viola" reference is not indicative of the instrument's sound, which differs greatly from that of a viola.

Structural Features

2. An Epiphone Viola VS Bass guitar's hollow body design is constructed primarily of hardwood maple. The instrument's 30 1/2-inch "short scale" neck is also constructed of maple, the fret board of which is constructed of rosewood with plastic dot inlays and chrome frets. The instrument's hollow body makes it extremely lightweight in comparison to other electric bass guitars.

Electronic Features and Sound

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History

1. The Epiphone Viola VS Bass was created as a facsimile tribute to the Hofner 500-1 electric bass guitar manufactured in Germany during the 1950s. That instrument was made famous by several musicians, but most notably by Beatles bassist Paul McCartney. The Epiphone Viola VS Bass was created to offer a cost-effective visually and acoustically similar instrument made famous by McCartney. Hofner also creates a replica of the instrument played by McCartney, the Hofner contemporary.

Availability

2. The Viola VS Bass is one of Epiphone's most popular and widely sold instruments. It is available at most music stores and numerous online music retailers such as Musician's Friend and Guitar Center. As of 2009, the guitar usually retails for $329.99.

Alternatives

3. Musician's Friend manufactures an even cheaper alternative "viola" style bass under its musical instrument brand name Rouge. The Rouge VB-100 retails for $199.99 as of 2009.

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Bass Guitar for Beginners – Easy Punk Rock Songs Read more at Suite101: Bass Guitar for Beginners – Easy Punk Rock Songs: Rock Out With The Ramones,

Playing the bass in a punk rock band isn't necessarily about flowing scales and immaculate technique but rather about pounding down a hard driving rhythm that anchors and rallies the rest of the band and the audience around the band.

Punk is a highly energetic genre with a lot to say – and for that reason it is important to practice speed, rhythm, and timing before setting out to be a proficient punk bassist. Following are a few choice selections that should be easy to practice, with fairly easy to hear basslines being present in the recording as well as accurate and easy tablature.

Punk Rock Riot, Old School Flair With a New School Edge

A discussion of punk can't really be had without mentioning some of the artists from the genres formative years in popular music – one of the most prominent bands being The Clash. One of their most recognizable tunes, “Should I Stay Or Should I Go?”, has not only been feature in recent music rhythm games such as the Rock Band and Guitar Hero series – having enthralled legions of fans in decades previous with a simple message of rebellion and standing tall against the status quo.

“Should I Stay Or Should I Go” is a fairly easy song to learn on the bass guitar, with very little variation

One of their biggest hits and earliest pieces, “Blitzkrieg Bop”, is both amazingly fun to play but is also very approachable for bassists learning the strings.

One of the standout bands in recent years with regard to the punk genre is The Offspring, having hit it big with the album Smash in 1994 and having been very commercially successful afterwards. While many fans of the band, and the punk genre as a whole, feel that The Offspring recorded their best material up until Ixnay on the Hombre – their influence continues to be known in an increasingly commercialized genre.

One of the best songs by The Offspring is also the easiest to play - “Gotta Get Away” is a gem from the Smash album that is relatively easy to play and sounds fantastic.

In True Punk Fashion

Punk is a genre that is currently struggling with it's image – a great deal of the cultural rebellion espoused by punk rockers up into the 1990's has shifted towards a harsher, more brutal sound found in forms of extreme metal and hardcore.

This is not to say that the punk movement is dead; thousands of indie bands exist across the globe that are pumping out amazing punk anthems that capture the spirit of counterculture and resistance in the same fashion as those artists who came before.

By learning a few classic punk songs, and perhaps becoming a bassist in a punk band yourself, you will be contributing to a larger narrative and a subculture steeped in youthful energy and rejection of the ordinary.

About Vintage Bass Guitars

The era of the modern electric bass guitar began in 1951 when a former radio repairman named Leo Fender gave the world the Fender Precision. The first Precisions had 20 frets on a full-scale 34-inch maple neck that was bolted to the guitar’s ash body—the frets, presumably, were the "precision" points that differentiated Fender’s bass from traditional fretless uprights. Chromed covers hid the bridge and the instrument’s single pickup from view, while two knobs on the bass’s body allowed the player to adjust volume and tone.

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Fender did not reach far for the instrument’s design. That same year he had released the Telecaster, a six-string solid-body guitar, and the Precision was essentially a four-stringed version of that. Like a Telecaster, the sides of the Precision bass were squared off so that the body was a uniformly thick slab. As for its headstock, it, too, echoed the look of the Telecaster. Both of these details changed in 1954, when Fender released the Stratocaster, with its contour body (the Strat’s cutaway made it comfortable for players to hold the guitar against their bodies for extended periods of time) and more sculptural headstock. The Precision copied both of these features, note for note...

Naturally, Fender had imitators, first a company called Kay, whose short-necked K-162 from 1952 faded away almost as soon as it appeared. In 1953, Gibson followed with the EB-1, a radically scaled-down version of an upright bass, complete with a fake F-hole. That model was dropped in 1958, but in 1955, German instrument maker Höfner made a go of the traditional look when it introduced its famous 500/1 bass, known variously as the "violin bass" for its shape and the "Beatle bass" for its most famous player, Paul McCartney.

Two other basses from the 1950s are of interest to vintage bass collectors. Danelectro introduced its six-string UB2 in 1956, prompting Gibson and Fender to issue their own low-octave six-strings in 1959 and 1961 respectively. Rickenbacker’s 4000 came along in 1957. It was the first electric bass built with through-neck construction, and it featured fancier electronics than its competitors—its Rick-O-Sound feature allowed a player to simulate stereo by directing the output of each of the guitar’s pickups into a separate amplifier.

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In 1960, Fender followed up on the Precision with the Jazz Bass, which aped the look of the Fender Jazzmaster guitar released in 1958. After a false start with the EB-1, Gibson finally got into the bass game in 1961 with the EB-3, a short-scale-neck bass with "horns" on its body and a deep, muddy sound that caught the attention of players such as Jack Bruce of Cream. Not to be outdone when it came to horns, Danelectro launched the Long Horn in 1961. Although they were made of cheap materials like Masonite instead of fancy hardwoods, players liked Danelectro basses for their distinctive look and punchy sound.

Gibson followed up on the EB-3 in 1963 with a bass version of its fabulous Firebird called the Thunderbird—John Entwistle of The Who played a Thunderbird bass almost exclusively from 1972 until 1976. As the 1960s continued, other traditional electric guitar companies began to offer their customers electric basses, too. In particular, the hollow-body Guild Starfire was the bass of choice for the Grateful Dead’s Phil Lesh and the Jefferson Airplane’s Jack Casady, both of whom eventually turned to an engineer named Ron Wickersham to have their instruments customized with low-impedance pickups developed by Rick Turner.

The connection between bass players like Lesh and Casady and technicians like Wickersham and Turner led to a renaissance in bass guitars that would arguably prove to have an even greater impact than Leo Fender’s Precision. It was the dawn of Alembic.

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For instrument collectors, especially those who are fans of the bass guitar, Alembic holds a hallowed place. Its instruments deliver natural tones that are rich, sophisticated, and nuanced, not just deep and boomy, although they can also do plenty of that. And the physical appearance of an Alembic bass is as stunning as its sound. For example, Alembic’s first bass, number 72-01 created for Casady, had a pointy bottom so that a musician would never be tempted to rest their precious instrument on anything but a cradling stand.

As legendary as their hardware and physical appearance were the details that graced each instrument, especially ones created for a who’s who of rock and jazz elite. Casady’s bass married multiple types of exotic woods with painstakingly precise inlay. Greg Lake of prog-rockers Emerson Lake and Palmer had an eight-string Alembic bass with signs of the zodiac in mother-of-pearl crawling up the fingerboard. Stanley Clarke played an Alembic tenor bass. The list goes on and on.

In recent years, collectible basses include five- and six-stringed instruments, as well as the otherworldly graphite axes made by Ned Steinberger. His instruments frequently have no headstock at all, while Steinberger bodies resemble small, rectangular notebook PCs. They look weird, but players from Sting to Geddy Lee of Rush to Bill Wyman of the Rolling Stones have become fans of their sonic properties.

Another graphite bass maker, and perhaps the heir apparent to Alembic in terms of pushing technology, is Modulus, whose graphite basses are favorites of Phil Lesh, Mike Gordon of Phish, Jeff Ament of Pearl Jam, and Oteil Burbridge, to name but a very few.

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Michael Jackson - Billie Jean

     Riff 1
   
    G--------------------|
    D---4---2-4-2--------|
    A-----4-------4-2-4--|
    E--------------------|

    Riff 2
   
    G---4---2-4----------|--4---2-4----------|
    D-----4-------4-2-4--|----4-------4-2-4--|
    A--------------------|-------------------|
    E--------------------|-------------------|
   
    Riff 3
   
    G--------------------------------------|
    D-0-------0-------0-------0------------|
    A-----------------------------44444444-|
    E-----2-------2-------2----------------|

How to Read Music for Bass Guitar

http://www.ehow.com/video_4394050_read-music-bass-guitar-part.html

Nirvana - Smells Like Teen Spirit Bass Tab

Riff1

G|--------------------------
D|--------------------------
A|------1-1-0------4-4-0---
E|-1-11-------4-44----------

Riff2
G|------------------------------------
D|------------------------------------
A|--------1-1-1-0----------4-4-4-3----
E|1-1-1-1---------4-4-4-0-------------

Riff3
G|--------------------------
D|--------------------------
A|--------------------------
E|1-1-00-2--1-1-00-44-------

Top 4 Beginner Bass Guitars

Buying a bass guitar for a novice can be tricky... there are a ton of cheap beginner basses out there, but many of them feature cheap hardware, and shoddy workmanship. The trick is to find a bass guitar that is both easy to learn on, yet also easy on the pocketbook. The following basses, all of which hover in the several hundred dollar range, are some of the best valued bass guitars on the market.

1. Yamaha RBX374

Yamaha have earned a reputation for being a company able to produce quality instruments with low price tags. The RBX374, with it's fully alder body, maple neck, rosewood fingerboard, and P-style pickup, is no exception. Although not the cheapest bass on this list, this model offers quite good value for the price

2. Squier Standard Jazz

This is Fender's low priced version of the classic Fender Jazz bass. The pickups and electronics are inferior, and there are lots of other reasons why this Squier model isn't of the same caliber as the original, yet for the price tag, this instrument will still provide that Fender Jazz sound, without busting your budget.

3. Epiphone Les Paul Special Bass

If you're a bassist who loves the look of the classic Gibson Les Paul guitars, this Epiphone model bass guitar may appeal to you. The Epiphone Les Paul bass features a solid mahogany body with maple neck, and two humbucking pickups. The bass is fairly heavy, and should be able to withstand a good amount of abuse.

4. Ibanez GSR200

This low-cost Ibanez bass guitar has an individual look and feel. The body is made from Athagis wood, the neck from maple, and the fingerboard from rosewood. The GSR200 features a rather thin neck, which many people might find easier to learn on. As is usually the case with low cost instruments, the electronics aren't top notch, but for the money, the GSR200 is a good bet.

.

Jazz Bass Vs. Precision Bass

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Looking to buy a J-bass or a P-bass?
In order for a bass player to acknowledge the type of bass’s available, he must know Fender basses. There are two main types of Fender basses, Precision basses and Jazz basses. The Precision bass, also known as the P-Bass, consists of a larger neck and are generally deeper and have more of a boom to them. The Precision bass was the first bass invented that was mass produced. It is used by many musicians worldwide for many genres, including rock and metal. The next type of Fender bass is the J-Bass, also known as the Jazz bass. The standard Jazz bass has a smaller neck than a P-Bass, and generally have more treble to them, or highness in pitch. These are generally more popular than the J-Bass, considering the J-Bass was made after the P-Bass, and is more of a “modification” to the P-Bass. Both of the basses are excellent and the musician must chose according to his or her preference. If he or she enjoys playing fast high bass lines then the J-Bass is the one for him or her. If he or she enjoys slow deep bass groves then the P-Bass is the one for him or her. Both are wonderful and have some jaw dropping features which can be appreciated by any bass player.
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How to Play Bass Guitar for Newbies

If you've just picked up your first bass guitar and are looking for some help learning basic playing techniques, patterns and theories, then look no further. The lessons in this guide will give you the information you need to start playing bass like a pro.

• While they may not always be as flashy as a guitar player or as telegenic as a lead singer, a talented bass player is a crucial ingredient to any good band. Whether it's providing the low-end notes that help fill out the band's sound or the rhythmic pulse that propels the music forward, the bass is often the glue that holds the music together. If you're thinking about learning how to play the bass guitar (which you probably are if you're reading this page), then you should be excited to know that good bass players are always in high demand. And while mastering the bass guitar may take you years of practice and playing, the lessons in this guide should give you a solid foundation from which to build your knowledge of bass guitar technique and theory.

• Get to Know Your Bass

  • If you're just starting to learn how to play the bass guitar and you've been given one as a present or are borrowing one from a friend, then you're probably looking at it and wondering what all the different parts are for and how the darn thing even works. If you know how to play guitar, then you probably already have a basic idea of how a bass guitar works. But if you don't, here is a little information to help you get to know your bass:

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• Strings

  
  

  • The bass guitar is a string instrument (much like a Violin, a Ukulele, a Banjo or a regular Guitar) in that it uses the vibrations of its strings to produce sound. A standard bass guitar has four strings, each of which is tuned to a different note value. In standard tuning, the strings on a bass guitar are tuned as follows: E (Thickest string and closest to your chest when playing) - A (Slightly thinner than an E and the second closest string to your body) - D (Thinner still and the third string away from your body) - G (Thinnest string and the one closest to the ground). For the purposes of future exercises, we will also refer to these strings as 4 (E), 3 (A), 2 (D) and 1 (G).

• Frets

  • While the strings divide the guitar from left to right (as in the diagram), frets are small metal strips that divide the guitar into sections from top to bottom. If you look at your guitar from above, you can begin to see that the strings and frets together form a kind of grid that covers the entire neck of the guitar. Placing your finger on a string in between two of the frets is what enables you to play a note. The higher up you get on the frets, the higher the notes sound. In general, each fret is a half-step higher than the previous fret.

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• Amplification

  
  

  • Unless you're playing an Upright Bass or an Acoustic Bass Guitar, you're going to need some sort of amplification in order to hear the sounds that are coming out of your instrument. In the same way that an Electric Guitar uses a Pickup to capture the vibrations of the strings and an amp to convert them into sound, a bass guitar also needs an amplifier so that the player can hear what they're playing. If you already have a bass amp, then you're ready to go. If not, you need to go out and get one. Although it is possible to play a bass guitar through a normal guitar amp, the sound quality will be greatly reduced and you will risk damaging your amp. Amplifiers that are made specifically for bass guitars usually have larger, heavy-duty loudspeakers to compensate for the low-frequency sound waves that a bass guitar produces.

• Other Features of the Bass Guitar

  • Body: The large base of the guitar (usually the most bulky part) that is attached to the neck.
  • Neck: The long, skinny part of the guitar that holds the frets and strings and where the fingers are placed in order to play individual notes.
  • Headstock: The top-most part of the bass on which the four tuning pegs are located.
  • Nut: The small piece of material that is found where the headstock meets the neck. There are usually four small grooves carved out in order to guide the strings up to the tuning pegs.
  • Tuning Pegs: Hold the strings in place and allow the player to adjust the pitch of the string.
  • Pick-ups: Metal strips that capture the vibrations of the strings and help convert them into electrical signals that are then amplified. Located on the body.

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  • Lesson 1: Basic Techniques

    • Now that we've learned the basic parts of the bass guitar, we are ready to start learning some of the basic techniques that you will need to know in order to start playing. Again, if you know how to play guitar, then some of this you will already know. For everyone else, here we go:

  • Holding Your Bass

    • While this may seem like an easy thing to learn, the fact is that many people develop bad positioning habits that can make it harder for them to play (as well as causing long term back and shoulder problems). Here are some tips for how to hold your bass guitar:]
      1. Whether you're standing up or sitting down, always use a guitar strap. This will allow your back and shoulders to carry the weight of the guitar so that your hands are free to move up and down the fretboard.
      2. Adjust your strap so that the bass falls at a comfortable level across your chest. In general, your bass should be at about the same level as your belly button.
      3. Always pay attention to your posture. Keep your back as straight as possible and try not to slouch or bend over when playing.
      4. If you are right-handed, then the headstock should be to the left (opposite for left-handers). Take a look at the strings on the guitar. If you are holding it correctly, the thickest string (E) should be closest to your chest, while the thinnest (G) string should be closest to your feet.
      5. Take your fretting hand (left for right-handers and right for left-handers) and grip the neck of your bass gently. Your thumb should be resting behind the neck of the guitar, supporting your hand while your other fingers float above the strings, ready for action.

  • Fretting

    • The term "Fretting" refers to the action that your fingers make as they hold down different strings on the fretboard in order to play notes. With your thumb behind the neck and your fingers poised above the fretboard, you are ready to start fretting different notes on the neck. While we won't get into the specific notes that you are playing just yet, this is a good time for you to experiment with how it feels to hold down each of the strings. Here are some tips for fretting:]
      1. Make sure that the fingernails on your fretting hand are trim. Long fingernails can get in the way of you holding down each string completely.
      2. When trying to play a note, make sure that you press down on the string in between frets rather than on them directly. This will produce the true sound of the note.
      3. Instead of holding down the string with the tip of your finger, try using the larger finger pad right below. This will make it easier for you to hold the string down firmly.
      4. Holding down the large bass strings may be difficult (or even painful) at first, and may even start to give you blisters. Don't worry. This is completely natural. After a while, your fingers will become stronger and develop calluses (thicker skin), making the fretting process much easier.
      5. Practice fretting strings with each of your fingers. While it may be tempting to do everything with your index finger, the rest of your fingers need strengthening as well.
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  • Plucking

    • The term "Plucking" is often used to describe the action of the fingers on your other hand as they "Pluck" each string in order to create a sound. While some bassist may use a Pick to play the strings, the most common form of bass playing is done with the fingers directly. While there are certainly much more advanced plucking techniques to be learned in the future, here is a basic description of how to start plucking the bass strings:

    • 1. Hold you plucking hand limply over the strings with your palm towards the instrument.
      2. Place your thumb on the side of the Pickup that is closest to the neck. Your thumb will work as an anchor while your other fingers pluck the strings.
      3. Take your index finger and let it roll over the top of the E string, pulling it slightly towards you as you let go of the string. Repeat this a few times until your plucking motion is smooth and the note rings out true.
      4. Repeat this exercise using your middle finger to pluck the A string. While you can use any of your fingers (except your thumb) to pluck the strings, you will primarily be using your index and middle fingers for this purpose.
      5. Try alternating between using your index finger to pluck the E string and your middle finger to pluck the A string. Don't try to go too fast. Just try to make it sound as clean as possible.

  • Lesson 2: Playing Notes

    • Now that we understand some of the basic techniques involved in bass playing, we can begin to start playing and learning the various notes that can be played on the bass guitar. We will start with a brief exercise to let you get the feel of playing individual notes, and then we will move on to learning how to identify which notes you are actually playing (and how to find them).

  • Playing Notes

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    • 1. Start by plucking the 4th string (the one closest to your chest) without using your fretting hand at all. This will produce an E note. Playing a string without fretting any of the notes is called playing it "Open".
      2. Next, move down the strings and play each individual one "Open." This will produce the notes A, D, G respectively. Notice how each one sounds a little bit higher than the one before.
      3. Now, go back to the 4th string and place the index finger of your fretting hand on the first fret (the initial space between the nut and the first fret). Hold down the note with the pad of your finger. While holding your index finger down firmly on the first fret, use the index finger on your plucking hand to pluck the 4th string. If done correctly, the sound produced should be slightly higher (by a half-step) than plucking the 4th string alone.
      4. Next, move your finger up another half-step to the second fret (the space between the first and second frets) and pluck the 4th string again. This should produce a slightly higher pitched sound than the one before.
      5. Repeat this exercise with each of the strings. Start by playing the string open, then with your finger on the first fret, and then again with your finger on the second fret. If the notes start to sound muffled, off-key, or just plain bad, take a look at your fretting finger to make sure that you are holding down the note firmly and your finger is placed directly in the center of the fret. Do this until you are comfortable making individual notes.

  • Note Positions on the Bass Guitar

    • Each of the individual notes that you have just played have a specific note value attached to them (i.e. the "Open" E string has a note value of E). Also, each time you moved your finger up or down a fret, the note value changed as well. Note values are what musicians use to let themselves know where on the neck they need to play in order to produce a certain note. Without getting too deeply into musical theory, we will use the diagram below (and a description of the basic musical alphabet) to help you learn to identify where every note falls on your bass guitar.

    • • The Musical Alphabet: In Western music, there are 12 different notes that can be played. They are:

    • • A | A# | B | C | C# | D | D# | E | F | F# | G | G#

    • Each note is a half-step higher than the one proceeding it and a half-step lower than the one following it. In terms of the bass guitar, a half-step is equal to one fret, meaning that every time you move your finger up one fret - the note value increases by a half step (i.e. If you start on an A and move up one fret, then you have moved a half-step higher to an A#). For a visual representation of how this plays out along the fretboard of the bass, see the diagram below.

    • As you can see, as you move higher up on the fretboard, the note values increase by a half-step for each fret. This makes it easy to find any note you want to on the fretboard. All you need to do is to figure out which note you are on - and you can then move up or down the neck until you reach the note you're looking for.

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  • Practice Lessons

    • Before you move on to the next lesson, take some time to practice playing each of the notes on the fretboard.
      1. Start by playing and identifying the notes on each individual string. Play each note in succession, moving up the neck until you've reached the body of the bass. Say each note aloud as you play it (# is called a sharp - so A# would be called A Sharp).
      2. Next, try playing all of the ascending notes in order by moving up to the next string each time you reach the 5th fret.
      3. Once you've completed each of these lessons, try doing them backwards in descending order.
      
      

    • Lesson 3: Playing Scales

      • Now that we have a clear understanding of where each of the notes on the fretboard is located, we can begin to put them together into patterns known as "Scales". A scale is basically a specific group of musical notes that work together to produce a distinct sound or feeling. Scales are used to help organize musical ideas and to give musicians a framework for composition and improvisation. Besides helping to strengthen your fingers and improve your dexterity, learning scales can also help improve your understanding (and feeling) for the intervals between different notes and the relationships between them. In this lesson we will go over a few of the most basic scales for the bass guitar:

    • The Chromatic Scale

      • The chromatic scale is probably the most basic scale in Western music and includes all twelve of the musical notes. The chromatic scale moves up in half steps (much like the exercises in the previous lesson) from the designated root note to its corresponding note one octave higher. While you can use any note as the root note (i.e. A Chromatic, B Chromatic, C# Chromatic), we will use E in the following exercise:
        1. Start by playing the 4th string "Open". This is an E and will be the root note for this scale.
        2. Next, use your index finger to hold down the first fret on the 4th string and play the note. This is an F note.
        3. Move up a half-step and play the F# note with your ring finger.
        4. Move up another half-step and play the G note.
        5. Move up another half-step and play the G# note.
        6. Follow the diagram (right) and play the rest of the notes in the E Chromatic Scale. Take note of the fact that you are ending on the same note (E) that you started on, albeit one octave higher.

      • Alright, you've just played your first scale. Congratulations! And while this may not be the most musical sounding scale, it does form the basic from which many other scales are constructed. If you're feeling brave, go ahead and try to play this scale using different notes as your root.

    • The Major Scale

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      • The Major Scale is one of the most important scales in music and should be instantly recognizable to anyone with even a passing familiarity with music (Do, Re, Mi, Fa, Sol, La, Ti, Do - anyone?). The major scale has a bright, upbeat quality to it and helps form the basis of songs that are built around major chords. While the Chromatic Scale uses only half-steps in its construction, the Major Scale uses a combination of whole and half-steps. Note: A whole step equals two half-steps - or two frets.

      
      

      • Here is how to play the Major Scale using E as your root note:
        1. Play the 4th string "Open"
        2. Play the 4th string, 2nd fret
        3. Play the 4th string, 4th fret
        4. Play the 3rd string "Open"
        5. Play the 3rd string, 2nd fret
        6. Play the 3rd string, 4th fret
        7. Play the 2nd string, 1st fret
        8. Play the 2nd string, 2nd fret

      • Notice that the note that you finish up on is also an E, meaning that you have completed the E Major Scale. Again, if you're feeling bold, try using the formula above to figure out the major scale using different root notes. This may be difficult at first, but if you understand the pattern then it gets much easier.

    • The Minor Pentatonic Scale

      • The Minor Pentatonic Scale is one that is commonly used in Blues and Rock & Roll. Just as minor chords have a darker, sadder musical quality to them, the minor scale also gives off a moody, solemn vibe. As opposed to the Chromatic Scale (which has 12 notes) and the Major Scale (which has 7 notes), the Minor Pentatonic Scale only has 5 notes (Penta = 5). Here is how to construct the minor scale (again using E as the root note):
        1. Play the 4th string "Open"
        2. Play the 4th string, 3rd fret
        3. Play the 3rd string "Open"
        4. Play the 3rd string, 2nd fret
        5. Play the 2nd string "Open"
        6. Play the 2nd string, 2nd fret

      
      

      • You may begin to hear hints of a blues progression as you play this scale. This is because the minor pentatonic scale is the most commonly used scale in blues. Once again, if you're feeling adventurous, try playing the minor pentatonic scale using different root notes.

    • Practice Lessons

      1. Once you have mastered playing each scale from top to bottom, try playing it backwards by starting on the last note of the scale and playing in reverse order back to the first note.
      2. Practice each of these scales for at least 15 minutes or until you are confident enough to move on to the next one.

    • Lesson 4: Playing Patterns

      • The next step in learning how to play the bass guitar is to start to understand chord patterns and how a bassist uses them to compliment and emphasize the music that is being played by the other musicians.
      • One of the main responsibilities of a bass player is to provide a solid harmonic foundation for the chords that are being played by the rest of the band. If you aren't already familiar, the musical concept of harmony means that there are multiple notes being played at the same time. When listening to harmony, your ears tend to focus on the lowest sounding pitch that is being played (which is usually the bass note). That is why it is incredibly important for you, as a bass player, to understand how chord patterns work and how playing the correct notes at the right time can dramatically improve the overall sound of the entire band.

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    • Understanding Chords

      • Unlike guitar or piano players, bass players rarely play whole chords themselves. This is because multiple bass notes played together can produce a muddy, convoluted sound (due to their low frequency). But just because bass players don't play chords, doesn't mean they don't need to understand how they work and how the notes that they play can augment the chords that are being played.
      • The way that a bass player contributes to the chords that are being played is by helping to outline or frame the chords with respect to the root note. For instance, if a guitarist is playing a C Major Chord (which uses the notes C, E and G), then the bassist can help emphasize the sound of the C chord by playing the C note. Because the C chord also contains the notes E and G, the bassist can also play either of those notes as well (although they will change the overall flavor of the chord slightly).

    • Understanding Root Notes

      • The Root Note (as its name implies) is the foundational note upon which each chord is built. As in the example above, while the C Major Chord is made by playing the C, E and G notes, the Root note is the C. Root notes are relatively easy to determine. In general, the root note of any chord shares the same name as the chord itself (i.e. The root note of G Major is G, the root note of A Minor is A).
      • While bass players can play many different notes in order to help frame a chord, there are many instances in which a bass player will need only to play the root note of each chord in order to appropriately fill out the sound. While identifying the root note of a chord may not be difficult, it just as important to be able to find that note on the fretboard (see previous lessons).

    • Simple Bass Patterns

      • Now that we understand a little bit about the role of the bass in framing chord patterns, we can begin to start looking at a few of the most common types of patterns that bassists often use.

      • • Octave Patterns: Even if you've decided that it's best for you to concentrate on playing the root note of each chord, you don't need to just sit on the same note the whole time. This is where octave notes can come in handy. In simplified terms, an Octave is the space of 12 notes in between two notes of equal value. For instance, if you are playing the root note F, simply move up 12 half steps until you've reached the F that is one octave higher than the one you started on. While the two notes may sound identical, the difference in frequency between the two notes can help create an interesting dynamic when you move back and forth between the two (instead of just playing the root note).

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      • • Root & Fifth Patterns: Another note that is often used (along with the root and octave notes) in order to create a simple bass pattern is the Fifth Note. We call it the fifth because it is the fifth note in the scale. The reason the fifth note usually sounds good when placed in a pattern with the root and octave notes is that the fifth note is one of the notes that forms the chord which is being played. Try experimenting with adding the fifth note to the root and octave notes in order to create a simple pattern that can be played over the chord.

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      • • Root, Fifth & Sixth Patterns: Once you've gotten comfortable with finding and playing the root, fifth and octave notes of a particular chord, you can add another note to your repertoire: The Sixth Note. While it may not be a part of the chord that is being played, the sixth note can help add some melodic flavor to your basslines and give some variety to your playing. To start out with, try inserting the sixth note after the fifth in your pattern. This will give your bass pattern a lighter, more upbeat quality.

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    • Practice Lessons

      1. Start by practicing finding the root, fifth, sixth and octave notes for all of the various chords that you might be playing. Try to recognize the patterns that emerge so that you can automatically identify them without using this guide.
      2. Practice each of the bass patterns discussed above by moving back and forth between each of the notes in the pattern. Experiment with playing them in different orders as well.
      3. Listen to music with a prominent bass line and try to listen exclusively to the notes that the bass player is using to form the bass pattern.

      
      

      • Lesson 5: Understanding Rhythm

        • Other than providing the melodic foundation for the band, a bassist's other main function is to help establish and support the rhythm of the music. Together, the bassist and the drummer form the "Rhythm Section" of the band, meaning that they are responsible for creating the rhythmic foundation that the music is built upon.
        • The importance of rhythm in music cannot be overstated. Rhythm is what lets you know when to tap your feet, nod your head, or clap along with the music. Rhythm is what makes you want to dance, tells you how to dance, and helps you feel the music (rather than just hear it). And while you may have heard that rhythm is something that certain people are born with and other people aren't, this is far from the truth. With a little practice and a good feel for music, anyone can learn how to develop good rhythm and use it to improve their playing. Here are some things that you can do, as a bass player, to help understand and develop your sense of rhythm:

      • Listen to Music

        • While this may seem like a no-brainer (because you probably already do it every day anyways), listening to music is still one of the easiest and most enjoyable ways to help develop your sense of rhythm. But instead of just passively listening to a song (like most of us do), try to concentrate specifically on the rhythm of the music and how the bass is being used to establish it.

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        1. Try to listen to music that has a strong and steady rhythmic pulse. Genre's such as Rock, Funk and Soul usually have a solid rhythmic basis to them, so they are always a good place to start. At first, avoid music with complex rhythms (i.e. Bebop Jazz, Salsa, or Polyrhythmic African Drumming), as they will be harder for you to figure out.
        2. Whether it's tapping your feet, clapping your hands, or just bobbing your head, try to follow the beat and the rhythm of the music with some sort of physical movement. The more practice that your body has at following rhythm, the better equipped it will be to carry that over into your bass playing.
        3. Once you feel that you've gotten the rhythm of a specific song down, try turning the song off and see if you can continue to tap out or clap the rhythm at the same tempo. After 30 seconds or so, turn the song back on to see how far you strayed from the original rhythm.

      • Use a Metronome

        • One of the most important tools that any musician can use to help develop their sense of rhythm is a Metronome. A metronome is a small electronic device that emits a steady audible pulse (usually a clicking sound) at a specific tempo or speed. Musicians will then use the accurate tempo of the metronome to keep time while they practice playing scales, songs, or anything else that might require a steady tempo. Here are a few tips for finding and making the most of your metronome:
      • 1. Buy a Metronome: Google Product Search | zZounds | eBay | Amazon | Guitar Center | PriceGrabber
        2. If you don't feel like going out and buying an electronic metronome, there are a number of free online metronomes that you can use instead: MetronomeOnline | WebMetronome | SeventhString | Gieson.com
        3. Start practicing with your metronome by putting your bass down and just clapping along with the beats. If you can still hear the clicking sound of the metronome as you clap along with it, then you are out of rhythm. Since the sound of your clap should drown out the click of the metronome (when you are on the beat), practice this exercise until you can't hear the click of the metronome at all.
        4. Count along with the beats of the metronome: One-Two-Three-Four-One-Two-Three-Four. While not all rhythms will have four beats in them, this is the most basic Time Signature in music and a good place for beginners to start.
        5. Start practicing with your metronome set to a relatively slow speed (60 Beats Per Minute) and increase the tempo gradually as you become more confident.

      • Play With Other People

        • While this may not be the best idea when you're just starting out, playing music with other people (especially drummers) is one of the best ways to develop your sense of rhythm. Because musical collaboration requires you to pay attention to the rhythm of your fellow players (instead of just yourself), it can help you become more aware of the ways in which musicians must work together to create a solid rhythm.

        1. When playing with a group of musicians, pay closest attention to what the drummer is doing when figuring out the rhythm. Since he/she is the other half of the rhythm section, the interaction between you and the drummer is crucial.
        2. If you've never played with other musicians before, it can often be a tough transition to make. Try to be patient with other people and realize that you will need to learn how to play with them rather than the other way around.
        3. If you aren't confident enough to play with other people yet, your metronome can act as a surrogate drummer.

      • Lesson 6: Practicing

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        • As you've probably come to expect, learning how to play an instrument involves a large amount of practice and personal commitment, and the bass guitar is no different. Knowing how and what to play is only half the story. You also have to spend the time it takes (and it does take a lot) to learn all of the possible notes, scales and patterns as well understand the role of the bass and how it fits in with the other instruments in a band. While certainly one of the least enjoyable parts of learning how to play the bass guitar, practice is still the most important. Here are some tips and suggestions for making your practice sessions more productive and useful:

        1. Set out a few minutes each day (15 - 30 minutes) to practice in an environment that allows you to fully concentrate on your playing. Don't have the television on and don't have music playing in the background (unless you are trying to learn a song).
        2. Stretch out your fingers, hands and arms before playing. When you first start learning the bass, your fingers and wrists may begin to hurt (because they aren't used to the strain of having to hold down strings). This is normal. The more you play, the stronger your fingers and wrists will be.
        3. When practicing, start out with the easiest exercises first and then move gradually into more difficult patterns. If you start out with the toughest pieces first, you may get frustrated and not want to continue practicing.
        4. Make sure to pay attention to your posture when practicing and try not to slouch over your bass. Because of the weight and size of the bass, many bass players develop back problems after years of practice because of the bad posture habits that they developed when they were starting out.
        5. Make sure that you have a strong grasp of the concepts in each lesson before moving on to the next one. While you may be tempted to blow through the simpler lessons in order to get to the more interesting and difficult ones, knowing the simpler concepts is usually necessary for learning the more complex ones.

      • Conclusion

        • While there is no possible way that we can cover every aspect of playing the bass guitar in a single article, I hope that we have given you a solid foundation of knowledge that you can use to begin learning how to play. Whether you are a musical novice who wants to start learning music on a fun instrument, or a seasoned guitar player who wants to expand their knowledge and versatility, the bass guitar is a wonderful instrument that can provide you with hours of enjoyment. So grab your bass, stretch out those fingers, and prepare to get down with the "Low" end!
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