Second Introduction

I’ve been watching a few people maintain their blogs; and while I admire the efforts at writing down one’s thoughts, feelings, and even junk, especially subjective junk, I’ve recently started getting amazed at the breadth of information one can peruse at a random time off these blogs. Most importantly, I’ve accepted that if at all there is any truth, however infuriatingly Cartesian it might be, it is compromise and understanding. I will find peace with myself for having documented something; starting with me via a literary curve.

At this juncture, I try to live in the moment; I try to capture NOW; and I'm also aware of human intelligence pretensions (HIP). Like Rocco's groove on the track "What is Hip", I would echo their sentiments- “tell me, tell me, do you think you know?”

Playing the bass is probably the only thing I'm obsessed with -at an emotional level.

I've been playing since I was 15 maybe but seriously, I only made it a life's worth of a plan a few years back. Probably somewhere along the lines of playing with my progressive rock band, and a few forays into Alternative and Classic Rock music, I realized that I had to start figuring out what it was that was so insistent in my head and pushing me closer to finding my voice on the bass.

I didn't realize it but Funk, R&B, Reggae, and Latin rhythms and melodies always draw me closer to seeing who I’m. I equally enjoy complex music (check out "Addition by Subtraction" by Scott McGill, Michael Manring, Vic Stevens, and "Kathak" by Trilok Gurtu for example; that is not to say they deviate from the groove, the rhythm and the like but they truly have many ways to say one thing.

What I've found; and I'm enjoying continually; is finding the feel, the groove, when it means something more than intellectual, I know I'm getting somewhere. Bear in mind that I have very specific thoughts about music; I see the "dual" nature of harmony and chaos as "one" in many conversations I have had about music.

At this point, Music to me affects me emotionally as opposed to intellectually. When I play bass, I'm playing some elements of what I've been going through in my life without actually thinking or rationalizing about stuff that's more relevant in the practice place, with a band.

Notes mean a lot; but the conviction with which you play a note is probably more important in the long run- if people are not moved, the notes don't mean anything at a social level; it's fine in the room...

I have learned this the hard way. Four sets of groove workouts in two hours is definitely more efficient for your hands to execute at later periods than mindless hours of noodling without knowing, without meaning, and most importantly, without intending to share your point. Basically, the motion needs to become second nature.

What I'm saying is, sound first. Then parameters, shape, contour. This is what I'm striving for. This is what I'm learning on a daily basis. I'm sure I know what my sound is; the search for it is equally important. In fact, they are an existing set of problems akin to Universals and Particulars. Recently, I've been shedding some double thumbing and plucking workouts; combined with the Finger Fitness^ program, you will be able to achieve greater versatility with exploiting the "fingers to thumb-thumb to fingers" styles when you think it.

The key is even notes and even attack at first. Though I hate everything about the metronome, there really is nothing like it when you're practicing with the goal of executing even feels; especially considering it's your thumb that's getting the most of the workout.

Exercise #1:

G:--td--tu--p1--p2--
A:--td--tu--p1--p2--
D:--td--tu--p1--p2--
E:--td--tu--p1--p2--

The goal of this exercise is eveness in attack and tone*. Your thumb's position at striking distance is extremely important. Everything you do from there will become second nature- you're fine as long as your right hand is not angled uncomfortably.

*This is another extremely interesting area in finger calisthenics for me.

Now grab your E string and thumb slap the string down (td) and on your way up, thumb slap again (tu). Then pop with the index finger and finally the middle. This is a consistent motion you're trying.

Muted, it should sound like Dub-Dub-Dub-Dub. Not dub-DUB-dUb-Dub. (Make sense?)

When playing this as a muted figure, it becomes more important to listen to the sounds you're making. Is your index finger pop louder than the middle finger pop? Even the thud you're producing from the bass can be dynamically adjusted by your attack. I found in general that lighter attack with precision still gives you a big sound. You can learn this by watching or listening to Gary Willis' playing. Even his muted figures have dynamic consequences. As for his fretless and post bop soloing...

While I've been able to play this figure on all four strings now, I've also been trying to strengthen my thumb without sacrificing those Mark King Style pops- Here's an idea:

Exercise #2:

G:--------------------
A:-------------------p1-
D:------------------
E:--td--tu--td--tu-

You are still trying to hit those four notes but the pop will help spice things up. The thumb gets the basic workout it requires plus you slowly add the pops as Marcus would call "afterthoughts*.

*"The funk is the thumb..." - Marcus Miller

While trying to take Exercise#2 to its logical conclusion, you will probably be wishing for another thumb...instead, work this exercise, which is a fun way to integrate two pops into the picture.

Note: This is polyrhythmically orgasmic.

Exercise #3:

G:----------------
A:---------p1--p2--
D:----------------
E:--td--tu--------

As you can see, this is a welcome addition if you're stuck to triplet feels; this exercise forces you to get out of the triplet mode; in any case, remove the second pop if you want to practice the triplet feel.

In the quest for the funk of the thumb, I'm inspired to write out a few of the exercises I'm playing these days along with some finger style exercises as well. I truly believe that the Bass is a strength instrument- some of the things we need to execute on the bass are only beyond us in terms of repetition. If we can repeat patterns and grooves for long periods of time, other patterns begin to emerge and you start to get closer to your polyrhythmic self.