Sight Reading For Bass Guitar For Sale (2024 Update)

This book/audio pack helps bass players expand their reading skills. beneficial for beginners through advanced players, this pack covers rhythms, notes, intervals, accidentals, and key signatures, as well as common bass patterns in blues, r&b, funk, rock, and more. the accompanying online audio includes 97 demo tracks!

This is the large print version of this book: it was designed to be easy to see on a kindle or for the vision impaired. the print is very large on purpose. for the large print version, the 300 exercises are broken down into two books. part one contains exercises 1-150 and part two contains exercises 151-300. this is not a method book. it is precisely what it says it is: 300 progressive sight reading exercises! volume one is comprised of 300 progressive eight-bar exercises that cover the keys of c major, f major, g major, a minor, d minor and e minor. time signatures include 4/4 (common time), 3/4, 2/4, 6/8, and 2/2 (cut time). the remaining key signatures, additional time signatures, tempo markings and dynamics markings will be covered in future volumes. all of the exercises are eight measures long. many sonatinas, jazz standards, and pop songs use "32 bar form" (a a b a), "binary form" (a b), and "ternary form" (a b a), with each section often being eight bars. how to use this book: start where the exercises begin and work across the book – from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. the next practice, play exercises 2, 6, 10, 14, and so on… the next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. if you want to work at your "break point" (the point in the book where you can no longer play musically), work down the page instead of across the pages. "these books differ from conventional 'methods' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." – bela bartok, mikrokosmos. i whole-heartedly agree with bartok's sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest every time. i have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. while this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find c on their instrument. it starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. next, the music's composition is a slave to its function: the purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. they are composed from a 'music-first' perspective, as opposed to an 'instrument-first' perspective, and are purposely composed to be difficult to memorize. for example, the first exercises begin on c because they are in the key of c, and then go on to sometimes start and end on different scale degrees of the same key. those familiar with the fundamental modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. i see many students go through this process with altered dominants and augmented triads as well. additionally, a 20th-century composition technique (bartok, stravinsky) – serial composition – has also been used on several of the pieces, so if your ears are unfamiliar with this type of music, you might at first be uncomfortable with what you are hearing.

Sight reading music is an essential part of being able to communicate with other musicians in their own language. professional musicians communicate with written music, and because very few other instruments use tablature, musicians simply learn to read music as a natural part of learning to play. if you want to have a better chance of working professionally as a guitarist you must learn to sight read on your instrument. there are three essential elements to being able to sight read on the bass guitar: pitch recognition instant location of notes on your instrument rhythm recognition sight reading mastery for bass guitar contains extensive chapters and exercises that help you achieve mastery of each of these essential elements in a fun, challenging way. every important major and minor key is covered, as are all the rhythms that you will come across in most normal playing situations. the exercises in sight reading mastery are limitless and continually challenge, develop and improve your sight reading skills – however far you advance. the problem with many other sight reading texts is that the student quickly memorises the study pieces that are included, however, sight reading mastery for bass guitar cleverly avoids this problem. the melodic exercises gradually increase in complexity as you progress through the page and are designed to be almost impossible to memorise. this leaves the student with an inexhaustible resource for life. there are dedicated chapters on how to practice, and scale theory. there are many diagrams detailing the best way to find and play written pitches on your guitar and of course an in depth study of how to recognise pitches and rhythms on the written stave. all in all, sight reading mastery for bass guitar is the most comprehensive study guide available to help you fluently read music.

Sight reading mastery for bass guitar contains extensive chapters and exercises that help you achieve mastery of each of these essential elements in a fun, challenging way. every important major and minor key is covered, as are all the rhythms that you will come across in most normal playing situations.

This book was written for bassists who wish to learn to read music as well as for those who wish to sharpen their music reading skills. the studies in the book progress from beginning to professional levels and represent a variety of styles that modern bassists are likely to encounter in real-world musical situations. for those conversant in music's universal language, a whole world of musical styles, ideas, and sounds is always available. this book aims to sharpen the skills of serious student bass players so that they may partake of this endless stream of ideas, information, and inspiration. standard notation only. none of the exercises in this book contain fingering indications. this omission was made in order to make these exercises useful to players of all types of bass instruments, both electric and acoustic. the author strongly recommends that students work through this book with the supervision of a qualified teacher. if you are a professional musician the author hopes this book will help you stay in top sight-reading form, giving you an edge in a highly competitive market. if you are a novice bassist, this book will help you hone your skills in becoming a skilled professional.

Presents the most commonly used scales and modes with fretboard diagrams for four-string bass. a beautiful photo of a four-string electric bass is labeled with string numbers, open string names, and the fret location of all the natural notes on the fretboard. a must-have for every bassist's studio, practice room, or bedroomwall

The best way to learn anything is one step at a time. reading music for the guitar is no different. take the one step at a time approach with this amazing collection of 100 exercises, and start reading music for the guitar today! included is an excerpt from the best-selling music theory in one lesson, and access to video examples detailing every exercise. you can read music on guitar, and you can start down that path today. this book is excellent for the total beginner looking to start their journey to mastery, or the seasoned player needing some sight reading material.

This book/audio pack helps bass players expand their reading skills. beneficial for beginners through advanced players, this pack covers rhythms, notes, intervals, accidentals, and key signatures, as well as common bass patterns in blues, randb, funk, rock, and more. the accompanying online audio includes 97 demo tracks!

Book synopsis beginning bass guitar, music theory, sight reading about the author john sebastian gaskin is a musician, composer and now author. he has performed in new york, new jersey, connecticut, delaware, philadelphia, trinidad and tobago. he has studied music at brooklyn college, new york. he studied guitar starting with anthony 'pimpa' springer in trinidad and with steve adelson in brooklyn, new york.

This book for the classical guitar has been compiled to improve sight reading, an often neglected aspect of musicianship. with the guitar, musical components (scales, chords, arpeggios, etc.) may often be played in various positions. while this is one of the reasons that the instrument produces such colorful and interesting timbres, it also contributes to the difficulties of sight reading. it is important to develop facility in reading, recognizing the notes, as well as the bar positions in which to play them, the fingerings, the rhythmic patterns, and any markings if interpretation (dynamics, phrasing, articulation, etc.). this book provides an orderly and systematic approach to the study of sight reading, based upon standards for sight reading for the classical guitar found in respected schools around the world. alfred publishing co., inc. this book for the classical guitar has been compiled to improve sight reading, an often neglected aspect of musicianship. with the guitar, musical components (scales, chords, arpeggios, etc.) may often be played in various positions. while this is one of the reasons that the instrument produces such colorful and interesting timbres, it also contributes to the difficulties of sight reading. it is important to develop facility in reading, recognizing the notes, as well as the bar positions in which to play them, the fingerings, the rhythmic patterns, and any markings if interpretation (dynamics, phrasing, articulation, etc.). this book provides an orderly and systematic approach to the study of sight reading, based upon standards for sight reading for the classical guitar found in respected schools around the world.

This book, along with others in its series, is designed to develop overall music reading skills. it offers a way for musicians to develop their reading skills without having to resort to method books. the book is divided into two sections: the first is comprised of some fundamentals pages and the reading exercises. the second is comprised of ten melodies from the baroque, classical, and romantic repertoire to allow the musician to put the newly trained skills to work. the following composers' work makes up the second section: sor, chopin, beethoven, latour, j.s. bach, w.a. mozart, haydn, l. mozart, clementi, and schubert.

First and foremost: this is not a method book. it is precisely what it says it is: 300 progressive sight reading exercises! volume one is comprised of 300 progressive eight-bar exercises that cover the keys of c major, f major, g major, a minor, d minor and e minor. time signatures include 4/4 (common time), 3/4, 2/4, 6/8, and 2/2 (cut time). the remaining key signatures, additional time signatures, tempo markings and dynamics markings will be covered in future volumes. all of the exercises are eight measures long. if one has done any study of formal analysis, they will find that eight measures is a typical ''period'' of music and usually contains two, four-bar phrases (also typical in length). for example, many sonatinas, jazz standards, and pop songs use "32 bar form" (a a b a), "binary form" (a b), and "ternary form" (a b a), with each section often being eight bars. how to use this book: start where the exercises begin and work across the book – from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. the next practice, play exercises 2, 6, 10, 14, and so on… the next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. if you want to work at your "break point" (the point in the book where you can no longer play musically), work down the page instead of across the pages. note: this book is also available in a large print version that for printing purposes had to be divided into two books. if you have poor vision or want this book to be easy to see on an electronic device, you might prefer the large print version. "these books differ from conventional ''methods'' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." – bela bartok, mikrokosmos. i whole-heartedly agree with bartok''s sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest every time. i have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. while this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find c on their instrument. it starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. next, the music''s composition is a slave to its function: the purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. they are composed from a ''music-first'' perspective, as opposed to an ''instrument-first'' perspective, and are purposely composed to be difficult to memorize. for example, the first exercises begin on c because they are in the key of c, and then go on to sometimes start and end on different scale degrees of the same key. those familiar with the fundamental modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. i see many students go through this process with altered dominants and augmented triads as well. additionally, a 20th-century composition technique (bartok, stravinsky) – serial composition – has also been used on several of the pieces, so if your ears are unfamiliar with this type of music, you might at first be uncomfortable with what you are hearing.

Music reading for bass gives you a comprehensive source for sight-reading fundamentals, including notes, rhythms, keys, positions, and scale forms. also teaches reading from chord symbols, following charts, creating walking bass lines, slides, ghost notes, and other techniques. 64 pages.

This book, along with others in its series, is designed to develop overall music reading skills. it can be used in different ways by different people. for the beginner, it offers a way out of method book systems and into real music. for intermediate to advanced players that do not yet read music, it offers a progressive set of reading exercises that train the bass player to be able to read music proficiently without having to resort to method books. the reading studies and repertoire in this book can be played in more than one position and it is beneficial to do so. the reading studies use very simple rhythms and are in common time (4/4), allowing the player to acquire strength in identifying the notes and keys, and to learn the fretboard at a higher level. the repertoire in the second part of the book uses some different time signatures and rhythmic figures. they are thoroughly covered in "rhythm and meter for all musicians".

Bass player's guide to sight-reading is the answer to one of the most universal hurdles faced by bassists today: becoming an expert at reading music notation. the guide is truly comprehensive through your entire journey with reading: while page one's whole and half notes may seem elementary, the final page would challenge even the world's best sight-readers. the process covers all the bases of mastering the most essential pitches and rhythms, constructing an unshakeable foundation on which to build things like sixteenth-note syncopation, odd time signatures, and even feeling comfortable reading bass melodies in treble clef. open your world to new opportunities, new music, and new gigs as you finally become the reader you've always dreamed to be with bass player's guide to sight-reading.

Bass basics, major scales and modes, harmonic and melodic minor scales and modes, arpeggio patterns and symmetric scales (whole tone and diminished). serious electric bass is a definitive, comprehensive, user-friendly guide for electric bassists of all levels. 279 pages.

This is the standard edition of geddy lee's big beautiful book of bass. this 408-page hardcover book showcases the bulk of geddy's personal collection of bass guitars. rush showtech – standard edition – geddy lee's big beautiful book of bass

First and foremost: this is not a method book. it is precisely what it says it is: 300 progressive sight reading exercises! volume one is comprised of 300 progressive eight-bar exercises that cover the keys of c major, f major, g major, a minor, d minor and e minor. time signatures include 4/4 (common time), 3/4, 2/4, 6/8, and 2/2 (cut time). the remaining key signatures, additional time signatures, tempo markings and dynamics markings will be covered in future volumes. all of the exercises are eight measures long. if one has done any study of formal analysis, they will find that eight measures is a typical ''period'' of music and usually contains two, four-bar phrases (also typical in length). for example, many sonatinas, jazz standards, and pop songs use "32 bar form" (a a b a), "binary form" (a b), and "ternary form" (a b a), with each section often being eight bars. how to use this book: start where the exercises begin and work across the book – from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. the next practice, play exercises 2, 6, 10, 14, and so on… the next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. if you want to work at your "break point" (the point in the book where you can no longer play musically), work down the page instead of across the pages. note: this book is also available in a large print version that for printing purposes had to be divided into two books. if you have poor vision or want this book to be easy to see on an electronic device, you might prefer the large print version. "these books differ from conventional ''methods'' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." – bela bartok, mikrokosmos. i whole-heartedly agree with bartok''s sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest every time. i have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. while this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find c on their instrument. it starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. next, the music''s composition is a slave to its function: the purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. they are composed from a ''music-first'' perspective, as opposed to an ''instrument-first'' perspective, and are purposely composed to be difficult to memorize. for example, the first exercises begin on c because they are in the key of c, and then go on to sometimes start and end on different scale degrees of the same key. those familiar with the fundamental modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. i see many students go through this process with altered dominants and augmented triads as well. additionally, a 20th-century composition technique (bartok, stravinsky) – serial composition – has also been used on several of the pieces, so if your ears are unfamiliar with this type of music, you might at first be uncomfortable with what you are hearing.

Is your biggest obstacle simply memorizing the notes of the fretboard? learn the secrets to bass guitar fretboard memorization quickly and easily. bass guitar fretboard memorization reveals the secrets used by professional bassists everywhere to memorize the entire fretboard. in just a few easy lessons, you'll develop the skills to solve this problem common to all student bassists. great bass players know how to find any note quickly and so can you. and, you'll be using the seeing music method that lets you learn music using visual cues. just as you can already distinguish a triangle from a square or circle, successful bass players see music on the fretboard of their instrument. audio bonus: loads of audio examples from the book for free download to get you learning fast! let's make this easy: just as easily as you navigate around your home neighborhood, you can navigate around the fretboard. inside, you'll learn to harness the power of the c major and chromatic scales and apply them anywhere on the neck to find any note. most students are shocked when they learn how easy it is! bass guitar fretboard memorization will show you step-by-step how to quickly and confidently develop your fretboard knowledge. do you feel limited by your note knowledge? – learn to simplify the fretboard using strategies that great bass players know. do you find learning the fretboard overwhelming? – make the process easy by dividing the fretboard using a zone approach. do you want to break out and explore the fretboard? – in just a few lessons, you can do it! plus, this book is loaded with exercises to improve your fretboard memory and put it to work immediately. one of the greatest obstacles to bass students is learning the fretboard. this process doesn't have to be difficult and it doesn't have to take much time, either. and, once you've learned the secrets to memorizing the notes, you'll be on your way to creating music for a lifetime. in bass guitar fretboard memorization, you will learn: how to read fretboard diagrams how to find any note how to simplify the fretboard into regions the c major scale at many locations the chromatic scale using anchor notes to quickly find any note name numerous shortcuts to navigating the fretboard complete chapter listing: fretboard diagrams know your fretboard (part i) the c major scale know your fretboard (part ii) the chromatic scale know your fretboard (part iii) know your fretboard (part iv) anchor notes exercises for dexterity exercise your fretboard creativity exercises up & down the fretboard milestones (learning review) fretboard reference blank (fretboard) diagrams and staff paper make a big change in your confidence and musical knowledge. never be at a loss to find a note again. memorizing the fretboard isn't like memorizing an encyclopedia. it's really a very simple process that most students find fast and easy. follow this step-by-step method and get the knowledge you need, today!

Everything you need to learn bass guitar the right way. notes, rhythms, bass lines and music principles to get you playing your first songs in just a matter of days – bass guitar beginners jumpstart teaches you music fundamentals and bass skills to get you started the right way. – learn to play guitar, fast! even if you've never made music before, you'll gain confidence as you hear your first notes, walk your first bass lines and complete your first songs. and, you'll be learning the seeing music method that lets you learn music easily using visual cues. – student tested and proven learning method. – any time or age is a great time to begin bass guitar. this method has been tested with child and adult learners and has proven to work. it's like having a guitar teacher with 30 years of experience sitting right there with you! learn to play with either a pick or fingerstyle. – lots of photos to walk you through learning both fingerstyle bass and playing with a pick. – step-by-step instructions for learning success. great for kids and adults! even if you've tried to play bass before and failed, bass guitar beginners jumpstart will walk you step-by-step from your first notes to your first bass lines and your first songs. and, along the way you'll be learning the valuable foundation of music and music terms that will accelerate your learning long after you've finished the book. audio bonus: loads of audio examples from the book for free download to get you learning fast! – in bass guitar beginners jumpstart, you will learn: note names through the first 5 frets – time signatures – note values (eighth, quarter, half)major and minor scales – pentatonic scales and bass lines – c major and g major scales – fingerstyle and pick techniques – country, blues, and rock and roll songs – how to create your own bass lines – complete chapter listing: selecting your first bass – bass guitar care and maintenance – day 1 – proper playing position – fretboard diagrams – day 2 – playing single notes – day 3 – the major scale – know your fretboard (part i)day 4 – c and g major – day 5 – a and e major – know your bass (a guitar anatomy lesson)day 6 – right hand rhythms – know your fretboard (part ii)day 7 – the d major scale – day 8 – minor scales – day 10 – creating new bass lines – milestones in music (chapter review)chord and note reference – blank (fretboard) diagrams and staff paper – begin your bass playing adventure here! learn the right way from day one and you'll be on the road to musical success. – save time, save frustration and build the skills you need with this fun, thorough beginner's method for bass guitar.