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Contents

Issue 67 June 2011


Nu-folk pioneers Noah and the Whale are back with their dramatically di erent third album. We talk to bassist Matt Urby Whale Owens

Regulars
08 THE LOW DOWN
Keep up with all the latest new gear, giveaways and industry news

26 URBY WHALE

12 BASS TO THE FUTURE


Introducing Jake Galvin

16 TAKE FIVE: DAVE TROKE 18 BASSICALLY SPEAKING

Currently on tour with Scarlette Fever, Dave reveals his top ve albums

We talk to bassists Zane Maertens, Johan Bengtsson, Rob Miller, Amar Sharma, Matthew Harris and Anthony Rondinone

20

FRANKFURT MUSIKMESSE 2011


Our full report

Interviews
32 PRESTON CRUMP
Having supplied the low end for the likes of Outkast, Dr Dre and Cee Lo Green, Atlanta bassist Preston Crump is going solo

36 SCOTT REEDER 39 CHRIS WYSE

Meet Scott Reeder, of Kyuss, Unida and Goatsnake fame

We talk to Chris Wyse of immortal rock legends The Cult

4 BASS GUITAR MAGAZINE

Gear
46 ITALIA MONDIAL CLASSIC & RIMINI
Stuart Clayton gets to grips with these retro rockets from Italia

Gear
40 FENDER 50TH ANNIVERSARY JAZZ
A very special limited edition celebrating 50 years of the Fender Jazz

Regulars

Bass Techniques
Bass Techniques

ion TuiTion Tip Andrew McKinney:


How to read

Read Music: Lesson 23 How To chord charts part 2: rhythm slashes and passing notes

Andrew McKinney

52 TC ELECTRONIC RH750
Meet the newest addition to TCs Rebel Head series

this bar n this column I can then copy and paste want to take a notehead number 3). You look at a few of locations for are going many uses and the your chart and you have reading chord charts we combinations of of slashes throughout In this second look at than notes. minor pentatonic and how they can will be on your side, rather rhythm slashes and passing s, help you not only chord symbols, and Sibelius to introduce two things: through changes navigate and the second is about but give you language duelling against you! The first is a notation feature Youll find to build your own to interpret chord charts. exercises and vocabulary with which performance and how to include ton of di erent . There are a charts we use will start ways of looking that gradually the chord signs at and thinking pentatonics, and and as a result use more about just to Passing Notes more and more information, by playing page Ex 1 is a simple make sure were all on the same music notation. Last months got a lot of options just minor pentatonic So far we have already and symbols from standard way of over that again minor. You can in the key of D octaves. A very simple set the scene, so look create very speci roots, 5ths and changing start was very basic to c sounds that youve probably heard is by using passing the concepts to play with comfortable with a bunch before adding a few extra notes A member of the and make sure you are one on recordings of Pastorius. He liked Institutes notes used to pass from try to include performance Jaco to use di erent notes. These are simply introduced so far. Ill also visiting bass faculty, what to play groupings of notes to use is the note play through minor Janek is a solo The simplest of these month that help you decide to pentatonic, such chord to another. concepts each recording artist, of ve in Ex 2. This as the groupings the note you are intending on a rehearsal, gig or session. musical director style of playing a semitone (one fret) below when faced with a chart but play an F# can be found all for Capitol recording many di erent changing to G, you can were drawn on plain paper, over recordings that artist V V to play. If the chord is Last months exercises of this he participated its an incredible Brown, and side charts are written on manuscript simple as that! The timing in, and School right- and left-hand man to the likes immediately before it youll often find that chord arrive at notes Head of bass at Tech Music to work on ideas technique builder to make sure that you of Mike Stern, Randy dont need to specify actual with the like this regardless is up to you, but you need paper, even though we Brecker, Delta going 1 of the its what in London and who plays of whether correct time. If this is beat to make it into think this could be because Goodrem, Airto your destination at the on the stave. Largely I your natural vocabulary theyre and Pat Metheny. 4, or James Taylor Quartet. gives you You can cover the passing note on beat have to hand, but it also as a player. www.janekbass.com so much ground next bar then try playing musicians are likely to of the bar. it. in terms of odd numbers of note beat 4 right at the end notation later, if you need groupings as well even better, the and of the option of including chord For the full Tuition Tip archive, IN ASSOCIATION as the basic harmonic element contained sure you arrive at the written Whatever you do, make Same rules as last month: in the scale itself. in WITH note you including sound files and an idea like the of the bar theyre written I really like to take that by inserting a passing one in Ex 2 and at the correct time and Chords start at the beginning videos, visit Andrews teacher there are any work it through key centres to or too late. chord symbol (unless di erent give me an idea dont get there too early and last until the next a profile on the website: www. of how with playing the note sounds moving indications). You can also experiment around the instrumentthis language specific time or rhythm then a techmusicschool.co.uk. can assume taking the idea a semitone above and written in one bar you from Ex 2 and moving . Ex 3 deals with semitone above, or try If there are two chords Its careful that Each issue Andrew will be from D minor, to passing notes! Again, be it in minor 3rds starts exactly halfway through. taught at semitone below two F minor, and up that the second chord featuring a specific class so the right time. pop song thats to Ab minor. Now, is just one of many chord changes at the to be four beats per bar, playing on the The you are still hitting the this most common for there very Institute is widely ways radio that there the school, giving you a being created by notes is that they require recognised is tension around your instrument to move this and any other beat 3 count! and the lyrics in the Whats great about passing as one of Europes second chord starts on idea it bite-size chunk of the lesson but what rst verse, and then there is a feeling or background knowledge majority of situations, try this same concept . I would also encourage you leading schools of release when to be little theoretical explanation This takes care of a large for bassists to the you get an insight into what its like moving in minor Thats yet another ear to guide you for now. and has been developing somewhere other than and major 2nds 2nds (half steps) example of dynamics to the chorus. just works, and use your if the chord changes occur (whole steps). Ex on a course. an even by tension and enhanced and delivering 4 takes another Also, what if there isnt this time with note release. So although cutting-edge idea, start or middle of the bar? groups of four, improvisation and I talk a lot about tuition to students there are two chords and moves it around in whole steps. jazz, this concept of beats in the bar and of bass number I love the angular can include board no matter is valid across the and contempora Along With sound of this use it to step outside For these occasions we ry music what youre into, Backing Tracks To Play when do you change? you to longer than clear up the changes sometimes idea and I for or what you listen to. And more importantl basic backing tracks for to as rhythm slashes to any other UKtension before and create I have made some very y its something what are generally referred releasing it back based website (www. school. more aware of you can be into the key centre are available on my the harmony. I when youre working play along with. These any confusion. might do that in of However, it and its something on your playing, ) on the Articles page. half steps to really as much tension thats really going andrewmckinney.co.uk) BASS COURSES: create examples as possible, and performance and to enhance your Degree (BMus), you attempt to play these Foundation that is illustrated 5. Playing initially your overall e is very important that Rhythm Slashes in Ex to them beats in the key of D ectiveness and as a musician. Take backing tracks. Only listen Diploma, Degree, Higher represents a beat, so four minor, I step out Eb minor for a image a musician like before listening to the Essentially a rhythm slash into couple of bars above worked out Diploma, Jimmy Page, who say so much with using that familiar check, after you have Certi You can put a chord symbol pentatonic shape can very few notes, and play along as a final in a bar = four slashes. the minor out cate, Part-Time. to create tension, so really or Angus Young, comes up with at the music and counting this is where it changes and then resolve back to D minor who the simplest but how they go by looking any of the slashes and and use if you to release and most hard-hittin smash hit AC/DC be encouraged to listen on beat 2 or beat 4, or start the energy BASS SUMMER over again. g ri s for songs. These guys bars. Normally you would COURSES AT handy for when this occurs ow all to learn How are true masters dynamics in all through a bar of three. out, but if you are trying INSTITUTE: THE How many times areas of music, of The Institute your ears to figure things have a chord change part-way quarter We have to and I highly recommen have you been thinking about afraid this is cheating! summer schools are is as a quick way of writing told to turn down because youre that when youre d to read music then Im an ideal I believe they evolved the too loud? Or play listening to music way to kick your learning stu from here! is no specific pitch required less notes because what youre doing playing and rely on our eyes and brains records. I think notes (crotchets). As there covers a few and performing is too busy? These in most cases its important than as a diagonal slash that to a new come up in real are all things that more the actual notes note heads are written level. For ve days the notes life in terms of youre transcribing guring out, and notation has stems on dynamics, and forget arent just con or that consciousn lines. Regular rhythmic dynamics exact about everything in AssociATion wiTh ned to loud and ess will lead to musical ability and dots to specify the else except soft or busy and They cross over your being broadened and things like flags, beams developing your slashes, sparse into dynamics beyond recognition bass skills always, you can be included with the rhythm of tension and in a big way too. stop by www.vide ! As and immersing length. These can also to assume release You might notice yourself in obasslessons.tv get completely or any further information, Andrews column is brought when you listen making music. free lessons from and but if there are no stems Music and this is to a Take part in the site, and check some of the stu you in association with Tech (quarter notes/crotchets), live performanc out they are one beat each I write about in e workshops this magazine for now. Example 1 School in London. and get on stage in action. we will concentrate on what notation at a London this style of chord chart venue for a gig The other reason I think on the last day notation www.techmusicschool.co.uk of the course due partly to the way is popular these days is such It much prefers it if items 020 8749 3131 software like Sibelius works. Visit www.icmp.c to a specific note, rather o.uk as chord symbols are attached a program to or call 0207 328 . If you are using such 0222 for than hanging in the air putting in a more information then try starting off by prepare a chord chart highlighting middle of the stave (D), bar of crotchets in the heads the rhythm slash note the bar, and then selecting then window, select Notes, (in Sibelius open the Properties

JANEK GWIZDA LA: MODERN BAS S IMPROVISAT IONS MINOR PENTATO NICS AND DYN AMICS

JANEK GWIZDALA

78 Bass Guitar

MaGazine

MaGazine 80 Bass Guitar

Janek v2_1nw.indd

86

09/05/2011 16:04

Techniques
Techniques - Andrew McKinney_1nw.indd 70

09/05/2011

14:39

62 THE WOODSHED: SHUKER GUITARS 54 LINE 6 RELAY G50

72 STEFAN REDTENBACHER
Funkyologies

Dan Veall meets Jon Shuker of Shuker Guitars This month, the Crowther Audio Prunes & Custard How we hear low frequencies We preview the latest bass-related CD releases, featuring the likes of Young the Giant and Kyle Eastwood

76 FRANC OSHEA

Bass Beyond: A Journey Into Rhythm Tuition Tip: Reading Notation Modern Bass Improvisations

66 ESSENTIAL EFFECTS

78 JANEK GWIZDALA

We audition this sleek wireless system from Line 6

68 THIS GOES TO 11 70 ON REVIEW

80 ANDREW MCKINNEY 82 DAVE MARKS


Scholarship Diary Rhythm Section Development

58 IBANEZ TS9B TUBE SCREAMER


From construction to sound quality, the TS9B has it all

86 JON CLEMENTS
BASS GUITAR MAGAZINE 5