Hey guys, how are you doing? It’s Scott Devine
again, from Scott’s Bass Lessons. I hope you’re well. Make sure you
check out scottsbasslessons.com. If you haven’t already there’s a link below
this video. And there you can check out, I think there’s nearly 100 videos
on there now. They’re all for free, ranging from beginner stuff, to advanced
turn your brain to jelly kind of lessons. In this lesson I’m going to be talking about
a metronome exercise that I’ve been using for a long time, and it really,
really got my subdivisions together. I’m not sure if you’re aware of
this, but timing, well, for any musician but particularly for bass players,
timing is everything. It’s more important than notes. Your groove is so important.
Without any groove you’ve lost the gig. There’s a zillion bass
players out there that can play a million notes an hour, but there’s some
guy there playing, grooving on two notes and he’s playing some of the biggest
gigs in the world. The proof is in the pudding. Okay? Groove is everything.
To be able to play great solos you’ve got to have great timing. To
play great grooves you’ve got to have great timing. So, always be aware that
the foundation of your playing is your groove playing. It’s your time. It’s
your internal time. I want to take you through this exercise today.
It’s an exercise that I’ve done for years and years. It really got my
subdivisions together, and I think it’s going to do you wonders as well. So, the exercise, we’re just going to use
a C major scale. C major scale. Just a simple major scale, you can play it
right down to the G string if you want. It doesn’t matter. The subdivision
is what’s important. Now, what I’m going to do is, there’s a backing track
that’s available for download. If you hit the link below it’ll take you to
a page. You’ll see this video. Right below it there’ll be a download link
for this backing track. All this backing track is, is a C major chord held
on a keyboard and some hi-hats played. Let’s have a listen to it. So, listen to those
hi-hats. Two, three, four. All I want you to do is play C major scale
with each note landing on one of those hi-hats, and I want you to really, really
concentrate on it landing bang on that hi-hat. Two, three, four. Once
again. Really concentrate. Now I want you to play two notes per click.
So, two notes per hi-hat. One, two, three, four. Now I’m going to go between
the two, so… Next one, two. You can kind of play all over the scale like
this as long as you’re keeping it to the subdivision. This next subdivision is three notes per click,
so let’s hear it on its own first. One two three, two two three, three
two three, four two three. Now we’re going to start with the first exercise,
then the second exercise, then the third exercise. One, two, three,
four. Second exercise. Third exercise coming up. Three notes per click.
Back to two. Back to one. Now you can guess that four’s going to be
the next one. So, right from the beginning. No, actually I’ll show you what
four sounds like first. One two three four, one two three four, one two three
four, one two three four, one two three four, one two three four. Now let’s go through the cycle. So, first
of all, we’ll start with one note, then two notes per click, then three
notes per click, then four notes per click. Here we go. One, two, three, four.
Two notes per click. Three notes per click. Four notes per click. What do you think’s coming next? Five notes
per click. Let’s hear that on its own. Let’s hear it in the cycle. Starting
with one. One note per click. Two. Three. Four. Five. I’m going out of the
to C major scale there. Now let’s try and shorten it down. So, we’re
only going to do a few of one, a few of two, a few of three, a few of four,
and a few of five. One, two, three, four. Back down. One two three four.
One two three four. One, two, three. One, two, three. One two three. One
two. One two, One two, one two. One. And you can even go up to six as well. So,
we’ve gone from one right up to six. Let’s see if I can do that. Put my head
on the line here. One, two, three, four. Always in the C major scale.
One note. Two notes. Three notes. Four notes. Five notes. Six notes. Five notes.
Four notes. Three notes. Two notes. One. So by doing this, you are… Hang on, I’ll
just switch this off. By doing this you’re freeing yourself of all of the
barriers that are kind of constricting you at the minute. You’ll be
really used to playing in certain subdivisions. And what happened when I started
using this exercise, is I noticed – I played with a lot of drummers,
and when I first started using this exercise, suddenly, with over a few weeks,
I’d got a few stares, like, ‘Whoa what’s this guy doing?’ I’d hear them
doing subdivisions, and I’d instantly be able to drop by it with them
because I’d been practicing these subdivisions in my own time. It’s something
you should really, really get into your practice routine. Always think about this: groove is the foundation
of your playing. The harmony is just laid on top of it. The actual
foundation of it is your groove. You know, something can groove without
melody. Think of when was the last time you heard some of that African
drummers or something like that. Did it groove? Yes. Did it have any
melody? No. It was just percussion. So, if you think about it like
that it’s the percussive side of your playing. The groove is the foundation.
The percussive side of your playing is the foundation. Then you lay the
harmony on top. So, it’s really worth stripping it back and
working on this thing every day. Maybe not just this exercise. Maybe other
metronome – well, definitely other metronome and rhythmical exercises.
It’s worth putting this practice into your routine every day and making sure
that your foundation, your groove, is the strong detail holding your
playing together as it should do. Hopefully, you’ve enjoyed this lesson. I will
see you soon. I’ve got something really exciting coming up. I’m not
going to tell you about it, but all I want to say is keep an eye out for
it. It’s coming soon. So, take it easy, and get in the shed.