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SAMPLES FROM THIS TITLE
The samples are in pdf format and require Adobe Acrobat Reader to be installed.
Click Here for Introduction
Click Here for Sample #1
Click Here for Sample #2
I wrote this book after seeing a need for more reading material, specifically, a collection of actual bass lines. The goal of this book is to provide the reader with a large collection of bass lines that would be both challenging and aesthetically pleasing. All examples were designed with this in mind: reading real-world examples.
People who have seen my other books know I prefer to practice sight reading when we can't predict the next genre, key, and time signature. The essence of sight reading is not knowing what's next, so why not fully embrace this philosophy when practicing? What if we could become great at it? What if we truly could play anything? All these things informed the examples within this book. You'll notice the exercises may change, sometimes drastically, from one to the next. Here's a few things that may help guide you to be successful as you use this book:
- Get in the habit of doing a mental checklist before each example. Mine includes: key signature, time signature, and "roadmap" (repeat symbols, coda, etc.). If you haven't formed one yet, think about where you tend to make mistakes while sight reading, and form your checklist around that. This is a great way of letting our mistakes inform us rather than frustrate us.
- In addition to rehearsing an example over and over, try instead to play one example to the next, doing several pages each time you practice. This will help reinforce staying on our toes.
- That said, use the play-alongs as a guide. If one is far too fast, play through it with your metronome or drum machine at a slower tempo until it's up to speed. If one is too slow, feel free to challenge yourself by increasing the tempo considerably.
- My experience is that we tend to under-utilize reading material. It's possible to take a seemingly ordinary exercise and derive much more use out of it than even the author intended. For example, after playing an example, try playing the entire exercise up a whole step to reinforce interval recognition. Or, try practicing in a variety of physical setups: read far away from your music stand (or computer), read one example standing off to the left and then the right, read while standing, and read while sitting. On gigs, you may be forced by circumstance into a physical set-up that's less than your ideal. The good news is we can prepare for this. Also, how about reading the measures in a different order? Our ability to utilize practice material can be helped or hindered by our creativity.
Good luck, and have fun!