Walking Bass Method in eBook Format

It may have been a bit quiet on the blog front over the past few weeks, but I have been working and musicking hard. Besides fun gigs and marking university music exams I have been busy getting my book on the topic of WALKING BASS “Fundamental Concepts for Walking Bass – A Systematic Method” ready for worldwide release in eBook format.

Fundamental Concepts for Walking Bass – A Systematic Method is a complete guide to making up your own walking bass lines on the spot. Yes, it teaches you how to create your own, improvised walking bass lines on ANY INSTRUMENT (and not just copy someone else’s).

The Systematic Method now comes as an eBook. You can download your copy from the link at www.creativebasslessons.com for only $11.99 USD. (Click the title above to get to the CreativeBassLessons website.)

How Important is Fretting-Hand Technique for Playing Bass Guitar?

I am often asked how important the fretting-hand technique is when playing bass guitar. Usually the questions will be in relation to the one-finger-per-fret technique.

About two months ago I had a visit from a 55-year-old (novice) bass player named Rob who had bass lessons from a guitarist for almost one year. Rob developed severe carpel tunnel syndrome and had to have an operation on his fretting hand. His operation was only about a week old when he visited me, and quite frankly, it scared me to see an actual live case displaying the results of incorrect technique. Needless to say, Rob had been using the one-finger-per-fret guitar technique.

This case may be extreme, but there are many more instances of similar gravity. My opinion is "Why stretch if you don't need to." I can go into the finer details of anatomy, etc., but I won't in this this instance. An important thing to consider is that on the bass we usually are required to play mostly within the octave position, i.e. three frets apart. If arpeggio shapes are to be played over four frets, then the one-finger-per fret method is employed.

Do this test:
1. Place the pad of your right-hand thumb on the underside of your left-hand wrist.
2. Stretch your left-hand fingers to simulate the spacing of the four widest frets on the bass.
3. Now relax the fingers to a three-fret spacing and, with your right-hand thumb, feel the difference in your left wrist tension.

What it comes down to is to USE THE TECHNIQUE REQUIRED FOR EACH PARTICULAR CIRCUMSTANCE and not a one-technique-suits-everything approach.

George Urbaszek
Serving Bass Players Worldwide since 1996

PS Rob is now taking my online bass lessons and has no problems with his fretting hand.

Hurdy-Gurdy and Double Bass

Last night I played with Canadian hurdy-gurdy player Barb Dwyer (yes, she is a prickly person) at the annual Spring Arts Ball in my home town (village) The Channon in Northern New South Wales, Australia.

This year’s theme was “Medieval” and just about everyone came in costume and appropriate mindset. The music and general entertainment was most suitable, too.

Barb began with solo hurdy gurdy and vocals, playing tunes from far away in time and space. I joined for the next part of the set, playing my ca. 1860’s Mirecourt double bass, using both arco and pizzicato techniques as well as string slaps on the up-tempo dance numbers.

The dance floor was packed and it’s amazing how much rhythm and thump one can get out of hurdy-gurdy, vocals and double bass. In the true sense of the expression “a ball was had by all.”

Morning Walks

After a winter break I have resumed my morning walks/runs. I found that after initially taking in the smells of air and blossoms the smell of the earth – the ground – became quite prominent after running for a while. This is what completely placed me in the present - my mind as well as my body.

I see this experience as a reminder to be present at all times. This is the only way music (and other things too) can be made with conviction.

So what is my Bass Teacher Tip for today? You have heard it before: Be Here Now.

Transcription Techniques – Part Two

Today’s Lesson
Transcription Techniques – Part Two


In the last lesson I mentioned “target notes” and “the skeleton of the line”. We have all made the mistake of attempting to work out the first few bars of a recording, getting stuck right there and giving up. What is the result? We know nothing – no progress has been made. Possibly worse, we have regressed because we fear we might fail when starting on another piece; this blocks all sorts of channels.


My advice is if you can’t work out a note after two to five attempts, move on to another note. You will probably find that other notes come easier. Moreover, you may work out the original missing note in another phrase and experience the “that’s it!” effect. Once you have worked out several notes – it does not necessarily matter in which order – you will be able to insert the missing notes with more ease.


Before getting into further detail, which will be discussed in the next lesson, I am going to tell you how I transcribe.

• First, I listen to the entire track, usually without bass in hand. I listen for simplicity versus complexity. This gives me a general idea about what I am facing. It also provides me with an estimate of how much time I might require. (Usually it takes twice as long as you think!)

• What do I listen for?

1. The form. This includes the intro, verse, chorus, interlude, repeats, outro. On the first pass, I usually take note of (remember) layering of parts such as two bars drums, two bars bass and guitar, the first verse is four lines long and uses the same bass riff, the chorus is also four lines long but the drums play a different rhythm … and so on.

2. Key changes. Does it sound like it is all based around the same group of notes or is there a definite change? If so, where does it occur?

3. “Inside” notes (within the key) or “outside” notes (such as chromatics).

4. Rhythmic structure. How does it develop? Does the bass become more or less intense in certain sections?

• Once I have listened to the track between one and three times, I will pick up the bass and start to work out the notes. If I don’t get a riff or line within two or three attempts, I will go for target notes. They are usually the chord roots and other notes relevant to the core groove. Once that is done, I will have the skeletal structure of the song. One great advantage of knowing the skeletal structure is that you can play along with a track (or even with a live band) playing what is essentially your own version, i.e you make up the bits in between.

• The next step (this could be a few days later) is to find the missing elements. For this I remind myself to use the knowledge gained from my first listen. If it sounds simple, it is simple. If it sounds complex, it is probably not hard to play; most bass lines are easier to play than meets the ear.

• A final piece of advice to us all is to make sure we vocalize what we are attempting to work out.

Bass of Luck!



George Urbaszek

Bass Player and Music Educator

Serving Bass Players Worldwide since 1996

Double Bass Strings

After doing three jazz and blues gigs over the weekend on upright bass, my plucking-hand fingers "sting" - no blisters, thankfully.

I am looking for double bass strings that are soft, have decent volume, and stay in tune in extreme weather conditions. Any suggestions? I have tried many strings in the past, but it is getting difficult - and costly - to keep up with all innovations.

Any help will be much appreciated.

Bass Loops

A friend suggested I record bass loops - mainly groove and blues riffs. Before I begin such a project I want to find out if there is a market for blues and groove loops. Can anyone help with suggestions about researching market potential for such a project?

Your comments and suggestions will be greatly appreciated.

Thanks.