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Q: I’ve been studying for a while now, and I’ve been practicing my scales and modes as much as possible over changes. I’ve also been working through arpeggios, including the methods you talk about in your Improvisor’s Path book. For example, I’ll work arpeggios through tunes in different inversions and so on. However, when I go to solo freely over...

Q: I’ve been playing the bass in a blues band for two years. Then we started playing rock and funk songs, and my practicing has always been based on what I hear and what I feel. I don’t really count in my head, and I’ve hardly worked my scales but my band keeps telling me that what I play is...

When using the bow, the natural tendency is to play louder at the frog and softer at the tip. We must, of course, counteract this predisposition on a regular basis. Simply playing a full bow with consistent timbre and volume requires it. Generally, we do this by adding pressure, via arm weight, to the bow as we move further from...

It’s 6:57pm. I made it — and with three minutes to spare! Sixty minutes ago, I was at work, way across town, biting my fingernails as I shut down my computer for the day and ran out of the office. Thankfully, the traffic gods smiled upon me and aside from a few inescapable red lights, I managed to weave my...

Q: I play at a semi-professional level. I work a regular 9-to 5-job and play in the evenings. I am lucky enough that I get a few hours every evening to just shed and work on my playing and lately I’ve been doing a lot of classical etudes to work on technique and maintain my reading chops. My question is...

Q: I have been interested in music all my life, but never played an instrument. Now that I’m retired, I have taken up playing the bass for the last six months from an instructor. I started out learning the notes on the bass itself and one song using notes. But since then, all of my learning has been by the...

The four movements of the left hand fingers necessary for string playing (to paraphrase the great violin pedagogue Demetrius Constantine Dounis) are: Lifting: Raising a finger from the fingerboard/string Dropping: Lowering a finger/Pressing a string to the fingerboard Sliding: Moving a finger along the string so the pitch rises or lowers accordingly Holding: leaving a finger down on the string...

Jumping back into the world of rock and roll, I can’t help but appreciate the bass players that infuse a band with their energy, musicality, and personality, making us fall in love with both the person and the music. Providing far more than just a bass line, players like Jack Bruce, Rick Danko, and the latest bass player to know,...

Q: I’d like to know what your thoughts are on the subtle art of variation within bass lines; the where’s and whys, and indeed, the where nots and the why nots. I believe that this kind of understanding is one of the key factors separating good bass players from great ones. I know for myself, I seem to have two...

Q: What are some good exercises or practice routines to develop a strong sense of time? A: When I want to work on time, rhythm or technique, I think “What would a drummer do”? There are any number of ways to develop that internal clock. Here are a few ideas for you: 1. Playing Along. One of the most fun...

If we are aiming for a consistent sound, the shape of our bow arm should be the same no matter which string, or combination of strings, we are playing on. To do this, we must raise or lower our arm, depending upon which string, or combination of strings, we are playing on. For example, while the shape of our bowing...

“Are you ready for bed?” “Yes, mom.” “Did you pick out a book to read?” “Yes!” “Did you brush your teeth?” “Ye-es” (with a slightly sarcastic tone). Twenty-odd years later and I’m still brushing my teeth, as I’m likely to do for another twenty years, and hopefully another twenty after that. Needless to say, I’m well practiced in the art...