Syncopes et exploration du manche
Lesson time: (44min 57sec)
Roy Vogt applique tes syncopes au tapement de pied sur les doubles croches et repère les notes de la 9e à la 13e case sur les quatre cordes.
Course preview
This lesson is part of the course Teach Me Bass Guitar vol.2 : Les fondamentaux du rythme
Watch a preview of the full course below.
Lesson transcript:
String Crossing and Warm-Up Exercises
Introduction to the Lesson
Hey, on this lesson, we're going to do some string crossing. So let's make that part of our warm-up. What I'm going to do is take the root, third, and fifth of a G, and I'm going to take this third and put it up an octave. So that is a major tenth.
What is a Tenth?
- Definition: Basically, we've taken a major third to 3, 4, 5, 6, 7, 8, 9, 10. It's 10 steps up, it's a major third up an octave.
We're going to see this interval along with some other things in the band tunes we're going to work on. For right now, let's work on a couple of different warm-ups.
First Warm-Up Exercise
-
Fingers Position:
- First Finger on the G
- Third Finger on the D
- Second Finger on the B
-
Next Group of Fingers:
- Starting with the second finger
- This one's going to be a little stretchy. If you're down here in the third through the fifth fret, you might have to pivot to get this next note. This would be 2, 4, 3, 4.
16th Note Foot Taps
Let's look at 16th note foot taps. What we're going to do is take the three rhythmic rudiments that we worked on with eighth notes and translate them to 16th notes. It'll be the same basic patterns.
Review of Basic Patterns:
- Basic Patterns:
- 18, 2, 16 (or a quarter and two eighths)
- Rhythm: down, down, up, down, down, up, down, down, up.
Now, if I double the tempo right now (this is at 60, quadrant equals 60), I'm going to double it. This is eighth notes at 60.
- Foot Tap:
- 1 and 2 and 3 and 4.
This will feel like the gallop. It's going to be twice as fast. Notice what happens with the foot tap:
- Rhythm:
- Down, down, up, down, down, up, down, down, up, down, down, up.
Eight Eight System
That's called an eight-eight system. What I'm doing is counting eight counts to the measure, and the note that gets one beat is the eighth note.
- Count Example:
- Down, down, down, down, down, down, down, down, and four.
And here's that gallop again:
- 1 and a, 2 and a, 3 and a, 4 and a.
Quarter Notes Transition
Now what we're going to do is go back to quarter notes (quarter notes equals 60), but I'm still going to continue to tap my foot twice as fast.
- Foot Tap:
- 1 and 2 and 3 and 4.
Now let's find this E (second fret on the D string). You know this one? You played it before.
- Gallop Rhythm:
- Down, down, up, down, down, up, down, down, up, down, down, up.
Now let's look at the last one:
- 16th, 8th, 16th. That's the My Girl syncopation.
Let's perform this exercise at twice the speed.
Dotted Quarter Eighth Notes
Now we're going to look at two or three more things, and these are essentially dotted quarter eighth notes.
Mixed Rhythms in Cut Time
- Cut Time Definition: Cut time is when you take a fast 4/4 and feel it as 2, 1, 3, 1, 3.
- Note Feelings:
- A cut time eighth note will feel like a 16th.
- A quarter note in cut time will feel like an eighth.
- A half note will feel like a quarter.
First Set of Mixed Rhythms
- Example: 1 and 2 and 3 and 4 and down, up, down, up, up, down, up, down, up, up.
Now, a lot of times when people see 16ths and they're reading 16th note rhythms, they get intimidated.
Remember, 4/16 will have the exact same ratio as 4/8 notes or 4/4 notes.
Next Mixed Pattern
This is just basically dotted quarter eighth, and then as we go to the 4/4.
- Dotted 8, 16: This will feel exactly the same.
Exercise Moving Further Up the Neck
This little exercise is one that I call the upper deck. So far, we've covered the notes in the first position and bridged to the fifth position.
Adding Additional Notes
If I start up here, I'm going to call sharps going up, flats going down.
Remember, half steps in between B and C and E and F.
Note Exercise
- Notes Sequence:
- 9th fret: A, C sharp, D, D sharp, E, F sharp, G, G sharp, A, B, C, C sharp, D, E, F, F sharp, G, G sharp.
Now, why don't you play that with me? I'll count you in:
Count: 1, 2, 3, 4.
Let's play together through this sequence.
Transition to Playing the Tune "The One Spot"
Now let's move on to the first tune, The One Spot.
Here's the key riff (D, A, F, F sharp).
- Counting (8, 8):
- Down, up, down, up, down, up, down, up.
Key Riff Evaluation
Let's loop this first riff a couple of times.
Count-In: 1, 2, 3, 4.
Play along:
- Down, up, down up, down, up, up, down, up, up.
Octave Riff Explanation
Now what happens with this tune is that the key riff gets moved around a lot.
- Octave Riff:
- We have a C here, and if we go two strings over and two frets up, we'll have another C, it's an octave up.
Working Through the Tune
Let's take this whole tune down to the 12th bar:
- Count: 1, 2, 3. E and A, 4. E and A.
Okay, now if you look, that's a whole lot of notes, but it's really not that hard because we're going straight across the strings.
Last Grouping of Notes
- Notes: Two G's, two E's, two C sharps, two A's make up an A seventh chord (A, C sharp, E, G).
Let's play through this a couple of times.
Practice Time
After you get the feel for these patterns, you don't have to keep tapping your foot at an 8, 8.
Final Notes: Work with the loop files until you get really comfortable. Then, let's go over and jam with the band!
Cool Down Exercises
Alright, now we've really given our hands a workout. Here's a nice exercise you can use as a cool down or warm up if you haven't had a chance to warm up:
- Isometric Pressure:
- Take your thumb and apply pressure to each of the fingers: index, middle, ring, pinky.
Final Reminder: Remember to pay attention and practice hard before you attempt to play with the band. See you in the next session!
About the instructor

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




