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Talking Technique: Sweet Emotion

Talking Technique: Sweet Emotion

There’s nothing like starting a song with a cool bass riff. “Sweet Emotion” by Aerosmith shines a light on the bass for sure! At the very top, we set the tone. To play this riff correctly and in time right out of the box is what it’s all about. How to approach learning something like this? Only playing the riff...

Talking Technique: The Pinky Workout

Talking Technique: The Pinky Workout

Is the pinky your weak link? If it is, you are not alone. The pinky and ring finger share a tendon. Either of those fingers prefers moving in tandem, rather than on their own, so it is a good idea to isolate them. As for the pinky, it is also the weakest of the bunch. These drills will get your...

Talking Technique: Bach for Two (In Three)

Talking Technique: Bach for Two (In Three)

In episode 43, we looked at an easy piano piece that was arranged for two basses. This is a great exercise because it works on your reading and your technique. Bach’s bass lines are typically challenging and push us as bassists to hone our chops. This time we’re checking out the Minuet in B? (though I’ve transposed it to the...

Talking Technique: Got Dexterity?

Talking Technique: Got Dexterity?

Let’s go to the gym. The bass-finger gym that is! This work out practices one-finger-per-fret with elaborate string crossings. I have plenty of tips for you to succeed if one-finger-per-fret is hard for you. As always, this only works if you stay relaxed, move as little as possible and keep your fingers close to the strings. Keep breathing and give...

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Talking Technique: Sting Groove Workshop

Talking Technique: Sting Groove Workshop

Inspired by a Sting bass line, I’m bringing you a groove creation workout today. We’ll cover how to create your own bass line using a simple formula that will have you coming up with ideas for workable grooves every time. We also shine a light on the correct use of pentatonic scales and top it all off by learning Sting’s...

Talking Technique: Intro To Triplets In Walking Bass Lines

Talking Technique: Intro To Triplets In Walking Bass Lines

In the last lesson, we covered adding “burps” into walking bass lines and how to practice them systematically. This time we’re spicing up your walking with triplets. We’ll go over several variations to get these triplets under your fingers and ready to go on all beats of the bar. To keep a focused practice session, we’re going to narrow it...

Talking Technique: “Burps” in Walking

Talking Technique: “Burps” in Walking

After the Talking Technique Episode on “Killer Dead Notes,” I got a question from Lionel who wanted to know about “the best technique and timing to get those really nice burps in walking bass lines.” I love the way he phrased that question – he asked specifically for not only the technique itself but also the timing. In this episode,...

Talking Technique: The Thunder Episode

Talking Technique: The Thunder Episode

Today we’re bringing the thunder! We’ll be borrowing from AC/DC guitarist Angus Young by playing the opening riffs from “Thunderstruck.” Not only does this enable you to massively impress the guitar players in your life, but the riff is a lot of fun to play, and a great technical challenge. How do we even tackle a fast and furious riff...

Talking Technique: Bach for Two

Talking Technique: Bach for Two

Ever play a bass duet? It is actually super fun to do and of course great for your technique! In this episode, we have some Bach for you, but don’t worry; we are taking it easy for starters. We have a variety of charts (including TAB) and easy instructions on what to do with all these markings – phrasing and...

Talking Technique: Why Practice Technique?

Talking Technique: Why Practice Technique?

As musicians, wouldn’t it make sense to focus exclusively on musical applications and learn by practicing mainly songs? Why isolate technique drills and put so much focus on the mechanics, seemingly devoid of any musical context? Why waste an opportunity to build ears and creative skills at the same time and instead reduce practice to apparently mindless, non-creative and non-musical...