Blues bass hal leonard pdf

The strings are numbered 1 through 6 beginning with the thinnest string, the one closest to your knee. Tune each string in sequence beginning with the sixth string, by playine the 1- E correct key on the piano see diagram and slowly turning the 2- 8 3- G tuning key untll the sound of the string matches the sound of 4- 0 the piano.

Until your ear is well trained in hearing pitches, this can be a much more accurate way to tune. There are many different types of tuners avail- able, and each one will corne with more detailed instructions for its usc. This is the pitch A to which you tune your open fifth string. Play the depressed sixth string and the fifth string with your thumb. When the two sounds match, you are in tu ne. Follow the same procedure that you did on the fifth and sixth strings.

On the left is a typical seated positioJl, and on the right is the standing position. Avoid slanting the top of the guitar so that you can see better. Balance your weight evenly from left to right. Sit straight but not rigid.

Pianists: Note that the thumb is not number 1. Place the thumb in back of the neck roughly op- posite the 2nd finger as shown below. Avoid gripping the neck like a base- ball bat with the palm touching the back of th e neck. These photos show the position for holding a pick and the right hand po- sition in relationship to the strings. Strive for finger efficiency and relaxa- tion in your playing. The staff has five lines and four spaces between the lines.

Where a note is written on the staff determines its pitch highness or lowness. At the begin- ning of the staff is a clef sign. Guitar music is written in the treble def. The space between two bar lines is called a measure. To end a piece of music a double bar is placed on the staff.

Beats are the steady pulse of music. You respond to the pulse or beat when you tap you r foot. The twO numbers placed next to the clef sign are the time signature. Notes indicate the length number of counts of musical sound. When you can play them well at a slow speed, gradually increase the tempo speed. When you reach the end oE the first line of music, continue on to the second line without stopping. Grey letters above the staff indicate chords to be played by your teacher.

Measure numbers are given at the beginning of each new line of music:. After you can p ay em well at a slower tempo, gradually increase the speed. If some of your notes are fuzzy or unclear, move your left hand finger slightly until you get a clear sound. In the following exercises you will be moving from string to string. As you are playi. Always begin slowly and then grad- ually increase the tempo. Gray chord symbols are used throughout the book to in- dicate that the chords should be played by the instructor.

Play it twice through without stopping. Use dS a finger warmup. Practice both parts of the following duet. Ask your instructor or a friend to play the duet with you. If you have a tape recorder, you can record one of the parts and then playa duet with yourself. When you can play both parts, combine them in the optional solo below. H l OO ; The audio sounds like the record. To begin you will be playing chords on three strings with only one finger depressed. Strike strings 3, 2 and 1 with a downward motion.

All three strings should sound as one, not separately. Keep a steady beat, and change chord fingerings quickly. Now combine the chords and the melody. When you feel you know the melodies well enough, strum each chord.

Finally, combine the melody and the chords. Practice the exercise slowly and steadily and gradually increase the tempo as you progress. G7 9 E - ven lit - tie chil dren love Mar - - anne, c 13 Down by the sea side sift - in' sand.

Remember to keep YOllf fingers arched over the strings. When you begin after beat one, the notes before the first full measure are called pickup notes. Count the missing beats out loud before you begin playing. Practice playing both the notes and then the chord strums as a duet with your teacher, a friend or a tape recorder.

You can play the full version of this chord right away. Arch your fingers so that the tips touch only one string each. Strum strings 4 through 1 for D7. JIll' JIll' Whenever you are moving between the C chord and the D7 chord, keep the first finger down. JIll' I The first note is struck and held for the value of both notes. The second note should not be played again. Look at the following illustration of tied notes. You should play the melody only on this piece. Remember to look ahead as you play 50 you can prepare for the next notes.

The second half of Johnny Has Gone for a Soldier is written one octave higher than the first half. The distance from one fret to the second fret in either direction is called a whole-step. Whole [ Step t. It is based on years of teaching bass students of all ages, and it also reflects some of the best bass teaching ideas from around the world! The second edition has been totally revised and features all new engravings and photos.

The books have been updated to meet the needs of today's bass students by renowned bassist and author Ed Friedland. Book 1 teaches: tuning, playing position; musical symbols; notes within the first five frets; common bass lines, patterns and rhythms; rhythms through eighth notes; playing tips and techniques; more than great songs, riffs and examples; and more!

Contains all three levels of books with demonstration and play-along audio tracks. It is based on years of teaching bass students of all ages and it also reflects some of the best bass teaching ideas from around the world.

Book 3 teaches more great songs, riffs, and examples, sixteenth notes, playing off chord symbols, slap and pop, hammer ons and pull offs, playing different styles and grooves, and more.

Bass Instruction.