PROGRESSIVE FUNK BASS

PROGRESSIVE FUNK BASS
A great introduction to the fundamentals of funk Bass playing. Covers all essential Funk rhythms and syncopationsalong with stacatto, left hand hammer-ons and pull-offs, ghost notes, slapping, popping, slides, vibrato and double stops, as welll as showing you which fingerings to use to get the best sounds. Written by Stephen Richter in both standard notation and TAB. 56 pages. Includes audio CD.
Our PriceUS$19.95
CodeKP014
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BOOK INTRODUCTION
This book introduces the beginner to the basics of playing Funk Bass guitar. No previous knowledge of bass guitar playing or music is required. All techniques and rhythms are gradually introduced in a very easy and clear way using over 100 examples, however, for more basic information see Introducing Bass and Progressive Slap 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. 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 examples sound great!

It is recommended that you use the CD 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 some examples so that a guitarist can play along with the bass guitar. Note that the fingering is only a possible suggestion and it is often a personal choice what feels more natural or comfortable. In some instances you may want to change the fingering to suit your playing style. The standard fingering on a bass is one finger per fret.

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 practice 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.

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