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Lesson time: (7min 9sec)
Roy Vogt fait le tour de la basse - cordes, chevalet et notions de base - puis te met en route avec de simples exercices en 4x4 pour poser ta main droite.
This lesson is part of the course Teach Me Bass Guitar vol.1 : démarrage rapide pour débutants
Watch this lesson for free below.
Lesson transcript:
Well, here we are. Welcome to Chateau Groove! We'll be hanging out here over the next 20 lessons of the Teach Me Bass Guitar course. This will be our teaching studio. I'll be explaining a lot of musical points here, and then we're going to adjourn to play with the band. You'll meet them in the next session.
First, let's talk about the bass. Bass guitars come in a mind-boggling array of string numbers, shapes, sizes, and colors. This is a pretty basic one, a four-string guitar.
These strings are connected at one end and pass into what's called a bridge (this piece of metal down here). On the other end, they're passing over what's called a nutrition, and they're connected to these four tuning pegs.
Now, this is a typical left-hand tuning bass guitar since the tuning pegs are up here on the headstock. Some basses have the tuning pegs down on the body. Those are called right-hand tuning instruments.
Most of the time, a four-string bass is going to be tuned to these pitches: E, A, D, and G. If these sound familiar, they're the same four pitches that are the bottom four strings of a conventional guitar, just down an octave.
We'll explain what an octave is in a later session.
For right now, if you've got your bass with you, let's check your tuning. I'll play each string, and you go ahead and match your pitch to my pitch. So adjust those tuners until this sounds right.
Here's the low string (the one closest to me):
Now we're going to move up to the:
Now the D string
And then finally the string closest to the floor (the one highest in pitch):
If you're just starting out, you might want to get one of these electronic tuners. This will be very helpful until you develop your ear to hear those pitches a little bit easier.
Now, how the bass works really depends on these two little objects right here: the pickups. These pickups contain magnets that respond to the vibrations of the metal strings.
When I pluck a string, the little magnets pick up the vibration and send it through these controls. In this case, these are two volume controls and a tone control. The tone control can make the sound very sharp or very soft, passing through the cable and all the way into this amplifier over here.
An amplifier is crucial for an electric bass guitar because they're very quiet without one. Here's no amp; as you can see, that wouldn't be too useful in a band.
Now here's where the amplifier comes in. So that's a vital part of your system. Hopefully, you've got one. If not, then I guess it's time for a trip to the music store to get an amplifier.
Now, with the right hand (I'm a righty, so I'll refer to the picking hand as the right hand). If you're a lefty, go ahead and just swap my explanation, if I say right, think left and so forth.
There are three different ways that a bass player can produce sound:
This pick is similar to a guitar pick but is a bit heavier gauge. A lot of rock players will use these. We will come back to the pick in a later lesson. For now, let's focus on the most common technique that I and many other professional players use, which is called fingerstyle.
What I'm going to do is take my thumb of my picking hand and rest it right on top of the pickup. This provides a nice anchor and creates a backstop for my fingers. I will pick with my index and middle finger, this is a two-finger technique.
Notice something: as I'm picking the note on the low E, my fingers come to rest on the thumb, which serves as a backstop.
Here's an interesting thing about this technique. If I accidentally hit a note I don't want to play, no note will ring unless I want it to. If my thumb is at the top of the pickup, I'm getting every string.
This technique can be very handy for beginners, especially when playing five, six, and seven string basses, as we'll look at later, and during recording studio work. Because you only want to play the notes that you intend to play.

La carrière de Roy Vogt couvre un éventail extraordinaire de scènes, du Headbanger's Ball de MTV, du Montreux Jazz Festival et du Montreal Jazz Festival jusqu'au London Palladium, au Grand Ole Opry et au Kremlin. Du punk au funk, de la simplicité du country et du blues à la complexité du HyperJazz et du World Beat, il a tout joué. Roy a été la première personne à obtenir un master en interprétation de basse électrique, à la prestigieuse école de musique de l'University of Miami, et il poursuit l'art de la basse depuis plus de quarante ans. Il a été le mentor de dizaines de professionnels reconnus, dont le légendaire Willie Weeks. Électrique, fretless, contrebasse - tu l'imagines : si ça joue des notes graves et que ça a des cordes, Roy en est un maître, et il excelle à l'enseigner aux autres. Au cours de sa carrière de quatre décennies, Roy a enregistré ou joué avec une liste stupéfiante de grandes stars, dont Larry Coryell, Victor Wooten, Dave Weckl, Tom Scott et le LA Express, Chester Thompson, Miroslav Vitous, Glen Campbell, BJ Thomas, Chet Atkins, Engelbert Humperdinck, Dickey Betts, Tony Joe White, Charlie Daniels, Jerry Reed, et des dizaines d'autres. Roy enseigne au niveau universitaire depuis trente ans. Depuis 1983, il occupe la chaire de professeur de basse à la prestigieuse Belmont University (Nashville, TN), l'une des très rares écoles à proposer un cursus diplômant en musique commerciale conçu pour transformer les étudiants en musiciens professionnels travaillant au sommet de l'industrie. Les élèves de Roy ont tourné et enregistré avec des stars de renom telles que Trisha Yearwood, Faith Hill, Little Texas, Michael W. Smith, Lady Antebellum, Chick Corea, Sir Tom Jones, Blood Sweat and Tears, Yanni et d'innombrables autres icônes de la musique. Sa série Teach Me Bass Guitar t'apporte cette même approche de niveau universitaire, te menant d'un démarrage rapide pour débutant complet (vol. 1), en passant par les fondamentaux du rythme (vol. 2), la recherche de ton propre style (vol. 3) et une musicalité sérieuse (vol. 4), jusqu'à une boîte à outils de joueur pro (vol. 5), afin que tu développes de vraies compétences étape par étape. read more