We’ve spent the past 4 weeks establishing the foundation for our upcoming groove studies in The Art of Groove, Levels 2 and 3. Congratulations on your progress!

I’ve observed that there are frequently gaps in understanding (“holes in the bag”, so to speak) of some of the musical concepts we’ve discussed - even among experienced bassists - as the majority of bass players are self-taught. These gaps can ultimately become impediments to continued musical growth. I hope that the material we’ve covered has been effective in filling some of these gaps.

Let’s quickly evaluate our progress! Work through the proceeding (answers below):

  1. Play an A natural minor scale (starting with the A on the 5th fret of the E string) and have someone strum your strings while you play. Verify that the only note that is ringing is the one being played.

  2. What is the common name for the Ionian mode?

  3. What is the name of the 4th mode of the major scale? What are the scale degrees, and what is the corresponding chord quality (include the 7th)?

  4. What mode do the following scale degrees reflect: 1-2-b3-4-5-6-b7-octave

  5. What chord quality would the mode from the preceding question (number 4) call for?

  6. Identify the key and corresponding modes of the following chord progression:
    Bb-7 / DbM7 / AbM7 / C-7

  7. Play all of the G#’s on your bass.

  8. What scale degrees are found in an E7 arpeggio?

  9. Play an F on your bass. Sing the FM7 arpeggio. Now play the FM7 arpeggio and confirm that you were correct.

  10. What was mom’s reply to little Joey upon learning that he wants to be a drummer when he grows up?


Answers

  1. If any other notes or strings are ringing, revisit Lesson 2.

  2. The major scale.

  3. Lydian. 1-2-3-#4-5-6-7-octave. M7

  4. Dorian, the 2nd mode of the major scale

  5. minor 7

  6. Ab major (Bb Dorian, Db Lydian, Ab Ionian, C Phrygian)

  7. Use Octave Shapes #1 & #2, and the 5th, 7th & 12th-fret rules.

  8. 1, 3, 5, b7 (dominant 7th)

  9. The major 7 arpeggio would be: 1, 3, 5, 7

  10. “But Joey, you can’t do both.”


I’ve really enjoyed working with you through The Art of Groove, Level 1!

I’d like to emphasize that we’ve covered a great deal of information, and my wholehearted encouragement is for you to incorporate the exercises from this course into your regular practice time well beyond your completion of these 20 daily lessons.

The material from this course is of negligible value to your musicianship if it remains in the distant archives of the back of your mind; however, it can be of much value if you spend the time immersing yourself in it to make it a permanent part of your musical “bag”.

God bless you & your continued musical growth!


CREDITS

I'm elated to have close friends who also just so happen to be world-class talents. Huge thanks to the following people whose contributions benefited this course enormously. 

Live drums for the audio examples were performed by Frank Reina and David Owens. For further info or to contact either of these amazing musicians for drum contributions to your own projects, please visit them online. 

Frank Reina

David Owens

Mixing and mastering of the majority of the audio clips was provided by Rod Lincoln (himself a fantastic drummer - hear him on "The Race" from my Pondering the Sushi CD). Contact Rod at rlincoln@kc.rr.com.

Norm Stockton enthusiastically uses and endorses instruments and products from the following: