Finally somebody that can get some deep punchy tone out of a bass and play it without slappin' the crap out it. I'll hire a drummer if I need rhythm. Sounds great!
Somewhere in this talk about "damping" the string we need to add the word "decay". It's the"decay" time of the note that allows us to make the time swing more and add rhythm to the music we play. Straight damping will make everything sound like a march.But if we can control the length of the note by damping, then we can add some life to the music.
I purchased the first lesson from bluegrass college and it was great. I went to purchase another, and the sight is down. Have you done another, and is there somewhere else I can get it?
I like the style of this teacher. So I went to the web site to see the tabs and the jam tracks and I don't see them anywhere...what am I missing? Also, I want to buy Marc's DVDs but only see DVDs from other people...why is that?
I have noticed another way of playing the bass line, used mostly in country and bluegrass music: D-A-D-D, G-D-G-G, D-A-D-D, A-E-A-A and back to the root (D) Much better, I think.
You damp, I say dampen; let's call the whole thing off. (Both are correct according to every dictionary consulted.) The instruction and demonstration is clear, concise and correct; the quibbles are not.
INRE to "DAMPING",- not "dampening",...damping is necessary ONLY for the notes that precede a chord change!,...when the notes sustain, they enhance and complement,i.e.,while in the same chord. However, when a note is not damped and sustains over into the next chord, that causes a "clash", and must be avoided.
Depends. If you want to play staccato, you damp every note. Pretty common on both the acoustic and electric. If you want to play legato... you don't (except with chord change). But if you are playing root and fifth, most players are not going to let both notes sit and ring as they pluck them even when vamping on the same chord. That sounds pretty amateurish and gets sloppy fast.
...most 'want-to-be' bass players have trouble locating the 'positions',...that's why a teacher should concentrate on teaching WHERE THEY ARE !...more so, than teaching which finger to use !
Hi friend! I do not fylly agree with the notes you are playing. When you go up from D to the G, I would play two times the G before I go back do the D. (G, D, G, G, and back to D.) I Think that is the more common way in my oppinion even if yours work too.
The repeat of the root before changing chords has become pretty much a lost art. These days a lot of players just lock into a root-fifth pattern without any regard for constructing a fluid, linear bass line (and with generally crappy sounding results). I understand that this demo is supposed to be "basic," but that's the best time to introduce the better way of doing it. The tune's changes are I-IV-I-V-I-IV-I-V-I ... so, with repeated roots, it should be played DADD GDGG DADD AEAA DADD GDGG DDAA DADA, et cetera, *NOT* DADA GDGD, et cetera. Note that the repetition of the root does not apply when run-ups or run-downs are used, such as I up to IV (DEF#G) or I down to V (DC#BA).
@@bass0111 new bluegrass player, albeit on electric.. this debate of root-fifth on the 4 and 5 chords is something i am trying to sort ou. especially on the 4 chord. it doesnt make the changes as "stark" to go GDGD on the 4 chord, whereas GDGG makes that downbeat back on the 1 chord much more identifiable as "home". glad to see this isnt just a rookie mistake
In reply to Shasanacht,..remember it is not 'DAMPENING' but "DAMPING'..also to the teacher, -you should break yourself from using the word "dampen" when you mean 'DAMP'! ... see comment below.
Dampening the notes is non-sense. If everyone wanted to have the sound like Marshall Wilborn, they could just hire a tuba player. The string bass was made to sing. Oom-pah, oom-pah sucks
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