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This book is a source of material covering the various aspects and techniques of Rock music for the Bass player. For students with no previous knowledge of music or the Bass, it is best to use this manual in conjunction with Progressive Rock Bass as all necessary techniques, rhythms etc. are gradually introduced in a very easy and clear way using over 90 examples, however, for more detailed information see Introducing Bass by Stephan Richter.
You do not need to read music to use this book, however, both music and tablature notation are used to show the position of the notes on the fretboard. In addition a suggested fingering is placed underneath every example to simplify the execution of each example. The standard fingering on the bass is one finger per fret. There are many ways and choices on how to select a fingering and it is often a matter of personal taste to what feels most comfortable. For example, in some instances you may want to change the fingering to suit your playing style.
A metronome or a drum machine is suggested to help you develop your rhythm and keep time. The emphasis of this book is to get the student to play interesting music on the bass, and even the early exercises sound great!
It is recommended that you use the CD/cassette tape that is available for this book. It contains all the examples within, and you will learn faster when you are able to hear what the example sounds like and play along with the backing band. As the bass player is part of the rhythm section, it is essential to play together as often and as soon as possible with other instruments, especially drums. Chord symbols are placed above most examples so that a guitarist can play along with the bass guitar.
It is important to have a correct approach to practice. You will benefit from several short practices (e.g. 15-30 minutes per day) than one or two long sessions per week. This is especially so in the early stages, because of the basic nature of the material being studied. In a practice session you should divide your time evenly between the study of new material and the revision of past work. It is a common mistake for semi-advanced students to practise only the pieces they can already play well. Although this is more enjoyable, it is not a very satisfactory method of practice. You should also endeavour to correct mistakes and experiment with new ideas.
You should combine the study of this book with constant experimentation and listening to other players. It is the author's belief that the guidance of an experienced teacher will be an invaluable aid in your progress.