This is my second review of this great resource for every bass player. It was first published in the January 2016 issue of Just Jazz Guitar, and when I copied it to this blog I goofed: I made the review a “Page” rather than a “Post”. However, over the year and a half I have had this book, it has been my go to book for fingerings and ideas. Now that the 89 videos are complete and available here it is even more valuable. Ariane Cap is a no-nonsense “this is how you do it” teacher who leaves the work of reading and grasping the content of the book to you, so the videos are the perfect complement. “OK, I’ve told you the theory and the value of the different fingerings, this is how to play them and what they look and sound like.”
The book and videos form a powerful combination for learning, but not everyone has the discipline to take so much of the burden of following through on their own. Fear not! Ariane Cap will teach you online, taking you through the book and its content to ensure that your playing and improvising are much better by the time you finish. You can also take regular lessons tailored to your individual needs. And you still have fallback resources if you forget anything later. Her latest addition to her wealth of teaching materials is a wall chart that summarizes all of the important information from book, course, and videos.
There’s more. You can sign up to receive weekly tips and tricks from Ariane herself. These contain solid information that will clear up concepts and get you out of some sticky situations. For example, last week she taught the difference between a #11 and a b5, both of which sound the same but require different scales and imply very different keys. Knowing the difference will save you in many situations, even if you have perfect pitch. Of course Ariane’s web site is full of these tips and more, and I encourage you to check them out and learn a lot of really useful information for free!
As some of you know, I have been very ill and Ariane’s teaching materials have kept my fingers working and my musical mind active throughout. The good news is my newfound appreciation for a first-class teacher who every bass player should know about.
I’ll be writing more on the wall chart as soon as it arrives and I put it on my wall (I have the space reserved!). I also hope to do a review of Ariane’s DVD Pentatonic Playground for Bass published by our friends at Truefire.
Here’s the original review:
by Ariane Cap
CapCat Music Publishing
Bass players rejoice! Music Theory for the Bass Player presents music theory as it matters: to improve your playing and your hearing. And all from the perspective of the bass player. Ariane Cap has put together a challenging book that will reward you with more confident and capable playing and improvising with a solid knowledge of what you are doing and why. In fact it is just as much about fingering as it is about theory, and Ms. Cap explains how fingering patterns relate to theory concepts and how these work together to strengthen your ear, so you know the sound before you play it. This is how theory should be taught: to improve your playing.
This is a book that could only be written by a top-notch bassist with a deep understanding of educational principles. Information is presented in easily digestible chunks that are illustrated in several ways including the fretboard. Each concept should be fully understood before continuing, and this is reinforced by a brilliant set of exercises at the end of each section. DO NOT SKIP THE EXERCISES! To do so would be to miss the whole point of the book: for you to get each concept into your head, your fingers, and your ears.
This is a robust book with no “filler.” For example, when speaking of Whole-Half step scales Ms. Cap notes that there are four possible roots for each of the three different scales. Most books illustrate all 12 possibilities, whereas this one shows the three unique ones; if you are going to master them you need to be able to figure out for yourself how the roots are related. While the text does actually explain the relation (and from a playing perspective) the point is made that when you see musical examples, they are important. Study them.
You could certainly learn to play the bass with this volume, but that is not its aim. This frees the author from providing those boring “quarter notes on the first string” exercises that turn off so many beginners. Instead, we get really “hip” patterns that illustrate what can be done with, say, a single interval using a more contemporary rhythmic style. It also allows accomplished players to learn the theory that they missed without feeling like they are in grade school again.
Many of the concepts are important for bass players, such as how to deal with chords that contain several different extensions or alterations, slash chords, and even how to determine the key of the piece. There are few “rules” given, which is a blessed relief, with the emphasis on why music works as it does. Somewhat ironically (and perhaps to illustrate this) the one spot where rules are given – forming major scales – they immediately require more rules for exceptions, which are explained more clearly in the section on the circle or cycle of fifths. So don’t worry if the rules sound complex at first – the explanation coming is simple.
Fingering is given such prominence in the book that it is as much about proper fingering as theory. This instills good habits in new players while keeping more experienced players on their toes, all the while establishing the sound of the theoretical idea in our ears. Do you know why you want to start with different fingers under a major or minor chord? Have you thought about alternate fingering that will save you from awkward shifts on a single finger? Many such tips demonstrate the interconnection between good technique and solid theoretical understanding. Others are handy for guitarists who try to use their one-finger-per-fret system on the lower bass positions. At the time of writing (January 2016) not all of the audio/video examples were on the web site, but it is likely they will be there by the time you read this.
Of the many extras at the end of the book, the suggestions on technique stand out. The pictures (often tongue-in-cheek exaggerations) show both good and poor positions for your body and hands that will help you to relax and play your best. The overall impression left by this book is of the relation and interdependence of theory, technique, body movement, breathing – all of life as we live it really, and how it affects the bass player. If you are a bass player, want to be one, or care for one, get this book. Ariane Cap has given an excellent gift to the world of music.
Order this great book here.