Self-Study
BASS EDUCATION
Dear Norm,
First of all I want to say that I am a great fan of your bass playing and
music. I am writing because I was wandering if you could give me some
advice.
I am an 18 year old bass player from Germany, and I would like to
engage a school/program/workshop to continue and improve my bass playing and musical horizon. Maybe for about 1 year so that I can see how things go and can decide if studying music could become a possibility (also financially).
Any comments / words of wisdom are very much appreciated.
Thanks, all the best & peace,
C.W.
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Hey C.W.!
Thanks for your kind words. If you're serious about studying music full time, I'd definitely recommend any of the established music schools in the US (Berklee, Musicians Institute, Los Angeles Music Academy, etc.). I'm not familiar with the music schools in Europe, but I'm sure there are many good ones there, too. It's a substantial expense, but the education would serve you well.
If you would like to study music for a while before making such a large commitment in time/money/lifestyle, you might want to check out Music Dojo. There's a bunch of REALLY great curriculum (not JUST mine! ha) from some fantastic teachers who also happen to be world-class players.
Blessings- Norm
SELF-STUDY & WOODSHED SUGGESTIONS
Hey Norm,
What is it that I'm supposed to be learning or listening for when practicing my scales and learning basslines? It has to be more than just learning the bassline and bassline only.
Also, can you explain how to setup an effective practice schedule? Like what to practice and how long, PLEASE!!!!!!!!! I will call myself a few steps above Beginner.
K.K.
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Hey K.K.-
Absolutely! It's a matter of learning the musical concepts behind the scales and bass lines. My best suggestion is for you to find a good local teacher (who teaches music, vs. "ok....now play THIS lick..."). Otherwise, check out my online lessons and/or DVDs. Either should give you lots of material to work on and should help "connect the dots".
As far as a practice schedule goes, it's obviously difficult for me to fully assess the OPTIMAL balance of time for your specific needs, but here's a general recommendation:
Warm Up (at least 3 min's)
Reading & Theory (30%)
Technique (30%)
Working on Time/Groove/Feel (30%)
End with something fun (10%)
The proportions are basic guidelines that can be adapted for the amount of
time your schedule will allow. Additionally, sometimes there will be more
of one thing and less of another. The key is to practice every day. 4
hours every other Saturday won't result in consistent progress.
As an overall objective, I definitely recommend listening to a broad range of musical styles, and developing a broad vocabulary of grooves (see Vol's 2 and 3 of the Grooving DVDs for much more on this).
Also, try to focus no less than 50% of your time on areas that are difficult
for you. Woodshedding stuff that you already do well isn't nearly as
productive as consistent repetition on musical areas that kick your tail.
It's not quite as much fun...but your musical development will definitely
reflect your hard work.
Gotta run! Hope that helps...
Blessings- Norm
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Modes
Hi Norm,
I understand how to apply the modes of the scale in a chord progression, however when the chorus falls outside the scale of the key the song is written in (e.g., the song is in D and the chorus is in F), what mode of F do I apply here when Phrygian is an F# ?
Thanks for your help,
Eddie
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Hey Eddie-
Great question; there are lots of occasions when an arranger or composer will deviate from diatonic harmony to achieve a particular musical result. In those cases, you want to evaluate whether or not the deviation is an isolated thing, or if in fact the tune has (perhaps even for just a bar or two) modulated to another key. To address your specific example, it would be helpful to evaluate it in the context of the overall piece...but I'd suspect that F major (Ionian) would work for that F chord.
Use your ears and your knowledge of the modes/diatonic harmony to fill in the blanks and/or illuminate areas of harmonic ambiguity. Happy woodshedding!
Blessings- Norm
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Recommended Listening
Norm,
If I was going to purchase one CD from each general style of music, what CDs would you recommend for each style (specifically with solid bass parts that well represent that style)?
Thanks and have a great day.
Brice
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Hey Brice-
I unfortunately don’t have a comprehensive list for all general styles as you mentioned, but the following are a few projects off the top of my head* that I feel are extremely musical examples from their respective genres (or subgenres). You can use these as a springboard for your own explorations!
NOTE TO FAQ READERS: Please don't send in any agitated, "How come your list doesn't include (fill in appropriate artist)??" emails! :^)
Rock:
Coldplay, X & Y
Rush, Permanent Waves
King’s X, Faith Hope Love
Funk:
Tower of Power, Tower of Power
Marcus Miller, The Sun Don’t Lie
James Brown: 40th Anniversary Collection
Jazz:
Miles Davis, Kind of Blue
John Coltrane, A Love Supreme
Latin:
Anything by Paquito D'Rivera, Tito Puente, etc.
Reggae:
Anything by Bob Marley
African:
Jean Luc Ponty, Tchokola
Etienne Mbappe, Misiya
Paul Simon, Graceland
Pop/General:
Anything by The Beatles
Anything by Jonatha Brooke
Anything by Bela Fleck & The Flecktones
Bass Player magazine has done a number of such lists that are much more thorough, and I encourage you to check them out.
Hope that helps!
Blessings- Norm
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Gear
What gear do you use?
Basses:
MTD 535 Fretted 5-string (#252)
MTD 535-24 Fretted 5-string (#900)
MTD 735 Fretted 7-string (#552)
MTD 535 Fretted 5-string (#1250) "The Clone Bass"
MTD J5 Prototype (#2)
MTD J4 Prototype (#1)
1965 Fender Precision (strung with flatwounds)
1963 Hofner 500/1 "Beatlebass"
Miscellaneous other basses for session work, etc.
Amplifiers/Speakers:
Gallien-Krueger 1001RB Amplifier
Gallien Krueger 700RB Amplifier
Gallien-Krueger Neo 212 Cabinet
Gallien-Krueger Neo 112 Cabinet
Gallien-Krueger Neo 115 Cabinet
Strings:
MTD Stainless Steel Roundwound Strings (medium custom): 45-65-85-105-135x
Here's a link to an interview w/ a lot of info about the gear I use (http://normstockton.com/communication/articles/basssourceinterview.html).
I'm a huge fan of the new G-K stuff (http://gallien.com/artist_testimonial.html).
For in-ear monitors, I recently started using Shure SCL5's on the road, and am quite liking them. Previously, I used Westone ES3's for many years, but I think the tightness of the seal of the ear buds changed over the years.
For hearing protection, I use Westone molded ear plugs.
My new home studio is based around a Mac Pro running Pro Tools HD-1. I also have a MacBook running Pro Tools LE with an Mbox 2 Mini for remote editing or tracking.
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What gear would you recommend for someone on a limited budget?
For maximum value & great quality, I'd recommend the MTD Z bass and a GK 700RB w/ a Neo 112 cab. That's the bass rig I use in my home studio, and I haven't found anything I prefer for the money.
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MTD J5
What's the story with the new bass you're playing these days with Lincoln Brewster?
The MTD J5 has become my main bass for working with Lincoln, which involves a lot of rock playing. I'm absolutely loving it for that...very growly and J-esque, but with MTD playability and quality. The playability factor helps a lot, as there's usually a bass solo at some point in the evening that necessitates a fast and easy-to-play instrument.
My J5 has a swamp ash body and neck, maple board, 34" scale and active Bartolini pickups and electronics. The quality of construction is definitely up to Michael Tobias' high standards.
It has a narrower sonic footprint, if you will, than my MTD 535's...which makes it sit nicely in the mix with layers of guitar, drums, vocals, keys, loops, etc. With minimal e.q., it is well-defined in the band setting, holding down the bottom end without being boomy.
Unfortunately, my two MTD J's are still prototypes, but I do know that Michael intends to put them into production as soon as possible. You might want to drop him a line at mike@mtdbass.com for further info.
Blessings- Norm
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Slap Ramp
Hey Norm,
I have been really fascinated with your "Slap Ramp" and feel that it could be a good addition for my style and my bass. Who made yours? Also, how thick is it? I'm realizing my fingers are getting caught many times when I go to pop and am thinking that lessening the distance between the strings and body will help my control.
Thank-you so much for everything!
L.L.
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Hey L.L.!
Yes, I definitely find the slap ramp helpful (for the same reason you cited). Mine vary but are a little over 1/8" thick. Experiment to see what thickness is going to allow the best string-to-body distance for your fingers. Mine were built by John DiMaggio, who used to own Bass Alone in San Diego (sold it a few years ago).
If you're interested in contacting John, he can be reached at: jjdimag@yahoo.com
Have a great week!
Blessings- Norm
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AC-50F
Hi Norm-
Is your AC 50 Carvin pretty much a stock instrument I would order from Carvin or have you added any extras on the bass? I love your fretless tone by the way. Thanks!
B.R.
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Hey B.R.-
My AC-50F has some cosmetic options, and is also entirely made out of koa.
It candidly hasn't held together as well as I would have expected. Within just a few years of purchase, much of the finish was looking cloudy and prematurely worn, plus there's an area up near the nut where the finish seems to have delaminated (if that's the right term), which I've come to find isn't uncommon on Carvin's instruments.
My recommendation would be (if you can swing it) to pick up one of the Rob Allen's. If it doesn't need to be an ABG (acoustic bass guitar), then I'm also hugely impressed w/ the MTD Z basses. Otherwise, if it's got to be an AC-50, you might want to get a used one, so at least you get a good price....it's obviously a real drag to spend lots of money, then have the instrument prematurely age.
Hope that helps! Have a great rest of the week...
Blessings- Norm
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Technique
Slapping (on Extended Range Basses)
Hey Norm,
I play a 6 string rig. I've tried a little bit but it seems extreeeeeeeemely difficult to get the slapping thing going. Any suggestions?
Thanks
Be Blessed
Scott
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Hey Scott-
Nice to hear from you. The right (slapping) hand technique should be essentially the same as on other basses (possibly excepting the need for a higher degree of accuracy to avoid hitting adjacent strings, especially if the string spacing is narrow)...but the muting burden on your fretting hand is definitely a challenge. You might find the exercises in either my Volume 2 DVD (covers beginning-to-intermediate slapping) or Volume 4 DVD (intermediate-to-advanced) helpful, as they focus on developing accuracy, string-skipping, consistency of attack, etc., etc. Must run! Happy woodshedding! :^)
Blessings- Norm
Muting
Hi Norm,
I've had this problem for a while. How can I mute A and E string induced vibration while I'm playing on the D and G strings? Sometimes when I play above the 12th fret, the low strings keep ringing which is annoying and effects my sound...and sometimes I need to bring down my speed because I have to find a way to mute them. Could you please explain to me what's the best way to get rid of this snag.
Thanks! Aaron
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Hey Aaron- I recommend shifting your right thumb to the E string when plucking notes on the D string, then shifting it to the A string (with the side of the thumb resting against the E string) when plucking notes on the G string. More on this in my Vol. 1 DVD, as well as Level 1 of my courses (the 3-level series is entitled "The Art of Groove") at Music Dojo.
Blessings- Norm
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Reading
Norm,
I read music long ago taking piano as a kid, as well as early bass lessons. But when I joined a band as a teenager, I began playing by ear and stopped reading. What would you suggest for training in music reading and chart reading? Thanks for your advice.
Mike
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Hey Mike-
For reading, I'd definitely recommend Music Dojo, then navigate to the reading classes being offered - I've heard nothing but great stuff about them).
Alternatively, if you're good at picking stuff up on your own, I'd recommend a combination of things that definitely helped me learn to read:
1. For rhythms, I found Carol Kaye's books with transcribed bass lines really helpful. I'd just sing through the written rhythmic figures (no instrument necessary), and it wasn't long before I started getting reasonably comfortable sightreading rhythms.
and
2. For pitches, I found reading transcriptions of jazz walking lines (from Aebersold, etc.) invaluable. They're usually quarter notes, freeing up your mind to focus solely on the note pitches themselves. It's almost like musical flashcards. An additional benefit is that they're written in a variety of keys, frequently with non-diatonic or chromatic motion, so you can get accustomed to reading accidentals (sharps, flats, etc.).
I found these two types of resources incredibly effective. Happy woodshedding!
Blessings- Norm
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Transcriptions
Jesu
Do you have a video, or tablature, that explains the chords and tapping for your arrangement of Bach's "Jesu, Joy of Man's Desiring"? I would really love to have that, because I would really love to learn that tune!
M.D.
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Hey M.D.-
Nice to hear from you & glad you enjoyed the Bach piece. I'm sorry to say that the YouTube clip of me playing that tune (and the Vol. 4 DVD footage from which it was excerpted) is the only existing thing I have for that arrangement. I'm thinking about tracking it as part of my upcoming CD project, but not planning to transcribe it at this point. Will keep that in mind if I ever get time to do it, though!
Thanks for your interest...
Blessings- Norm
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Drummer Resources
Norm,
Thanks for your time. I am a drummer on a praise and worship team. I cannot seem to find much info for Christian drummers. I would like to find out what other drummers are using for charts or anything else that could help me.
Thanks for your help-
G.C.
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Hey G.C.-
Nice to hear from you & thanks for your "ministry of groove"! :^)
I know that Carl Albrecht has a couple of instructional DVDs
(http://www.carlalbrecht.com/). Zoro is also a believer, and his instructional materials are quite popular (http://www.zorothedrummer.com/). They're both great players, teachers, and very cool guys.
L.A. drummer David Owens is another monster player and clinician with whom I've done a lot of work (he's also the drum columnist for Christian Musician magazine)...drop by www.davidowensdrums.com and see if there's anything there. Drop him an email if you don't see any resources, as I know he's in the process of writing a drum book called "3-Dimensional Drumming".
Otherwise, you might also want to check out my Volume 3 DVD (The Art of Groove), which has a lot of material for both drummers and bassists. David Owens and I demonstrate a number of examples and exercises for taking your bass/drum interaction and synergy to the next level.
Have a great weekend!
Blessings- Norm
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Resources for Band
Norm, I've got a question. The band I play in has a bit of difficulty staying in good time and good tempo with each other. We want to improve. Do you have any suggestions? Do you know of some exercises or other resources that we can practice together on? Thanks.
M.S.
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Hey M.S.-
My suggestion would be that each bandmember spend consistent (daily) practice time with a metronome to develop their individual sense of time. As each member begins to get a better sense of rhythmic solidity, that will translate into better time corporately. I'd also recommend listening (as a band) to lots of groove-oriented music (James Brown, Motown, etc.). Begin band rehearsals with impromptu jams, but WITH the click track audible to all. Try to make it feel good while keeping to the click. HAVE FUN!!!
P.S. My 3rd DVD ("The Art of Groove") also has lots of exercises specifically for you & your drummer that you might find helpful.
Blessings- Norm
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Sub Work / Career
Hi! I play the bass also, and I had a question for you. I'm looking at doing some fill in work for any bands that need me. What would I need to do? I play in a band now and our lead singer got married recently and we are still playing but not as often so i wanted to do some studio work or tour for a lil while. Thank you for giving me your time.
Mark
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Hey Mark-
My best suggestions (in no particular order of importance) are make sure your gear works well, make sure you have a broad range of musical styles that you can cover convincingly, work on your reading, spend time daily working with a metronome, and be a very low-maintenance and fun hang on the gig. Be professional, humble and complimentary (but genuine - find anything being done well, and say something kind about that!) to the rest of the band. Play simply, solidly, with great feel, and only do your "cool guy" licks in appropriate spots once or twice during the entire evening (that shows restraint, respect for the music, and tastefulness). Call and thank the bandleader the day after you sub, and let them know you'd love to be on his list of bass subs. Word of mouth will get your name around if all of the above is happening. Hope that helps!
Blessings- Norm
Career
Hey Norm,
I'm a worship bass player, too. How do I get people to take me seriously?
J.D.
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Hey J.D.-
I'd say make sure that everything within your control is dialed in; playing, gear, reading (depending upon the needs of the particular "gig", of course), being responsible, on time, a fun hang, etc., etc. If all of those considerations are happening, then prayerfully proceed through the doors that God opens. If a door closes, it's quite possibly the Lord protecting you from something you're not intended to be involved with. In my own life, I've found that God is supremely capable of opening doors to where He wants me to be. The big challenge is being cool w/ His timeframe (usually differs from mine) and methods (again, usually not what I had in mind). :^) Gotta run! Have a good one...Norm
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Rhythmic Ear-Training
Norm,
I've been listening to the examples from the last few days' lessons on MusicDojo (On Top, Laying Back, and Spot On), and I'm having a hard time hearing much difference. The "On Top" example is faster, so it does seem energetic, but it seems the bass is on the beat. The "Laying Back" example is slow and does seem "lazy", but again, the bass seems to be on the beat. Do you have any suggestions to help me better hear that difference? (I know - ponder the groove by listening!) I haven't had a chance to record myself yet, so that may help. Thanks.
- S.S.
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Hey S.S.-
Don't get discouraged - the subtleties will become more apparent the more you delve into this stuff. What you're feeling in those examples is probably 50% tempo and 50% where we're putting the notes.
Yes, you'll absolutely get a better sense for this as you spend more time recording (and especially going back and comparing your recorded lines to the "grid"). Sequencing is also a great way to learn about feel, from the standpoint that if you program something and quantize it rigidly (particularly something like blues or jazz), you'll find it is often devoid of feel. If you don't quantize it as much, and play it in so that it feels good, you'll usually find that the notes are slightly behind their "correct" position in terms of musical notation for slower, lazier tunes, and slightly ahead (or "on top") for uptempo stuff that's really energetic and cooking.
Listening to lots of recorded examples of great groove players will also help enhance your ability to hear this. If you encounter an example of a really incredible groove played by great players, try sequencing that groove & doing a 100% quantize...you'll likely find that the sequenced version (although lining up with the grid) lacks the right feel.
Have fun...Norm
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