The Coursera class is done. I think I learned a few things from it, but overall, I was underwhelmed. I was browsing through other classes on their website last week and accidentally enrolled in a Songwriting course, which ended on the same day as the Developing Your Musicianship (DYM) class. Because I enrolled in it so late, I couldn’t take the quizzes or complete the assignments for the previous 5 weeks – and honestly, I couldn’t go through all the material in that time anyway. So, I grabbed all of the video lessons, PDF’s and other misc. stuff that they had.
Then, I looked to see what else was available and found that there was an Intro to Music Production class running and an Intro to Guitar class as well. Both of them were scheduled for the same timeframe as the DYM class, so I signed up with a click and grabbed all of that material too. I haven’t gone through any of it yet, but just from a preliminary comparison, they’re much more detailed and involved than the DYM class was. So, its not Coursera overall that I found lacking when I went through that first class; it was the class itself.
I’ll write about those other courses later, as I go through the material. I needed to figure out where to go from here though, with the DYM class complete. All of these other aspects of music are interesting, but I don’t want to lose sight of bass. One of my goals this year is to finish material that I’d started a while ago, so I’ve decided that I’m going to work through the Hal Leonard Bass Method by Ed Friedland next. I’d previously started it, and can’t even remember what had made me stop. I liked it a lot when I had started. It was simple in how it progressed, and had me reading music right off the bat, which I really appreciate.
So, my next steps are still the first two objectives on my list to accomplish this year: (1) learn all of the notes on the fretboard, which I need to resume, and (2) work through a bass method.
If I manage to complete Ed’s Bass Method this year, which I actually think is feasible, then I’m going to restart the IIB stuff from Cliff Engel afterwards, as its a heavier course. Its a year for reboots, apparently. But, at least I’m going in with more knowledge than I had when I first started, and also completing the DYM class does make me remember that, even at this age, and with work and the baby, I can progress if I pace myself and put in the effort. Its funny though, blogging about it takes a chunk of time too. I might scale back a bit on how much I’m writing, but we’ll see.
In four days, its going to be 4 years since I started this blog.
Since experiencing this beginner’s music theory class from Coursera, and blogging every day for a solid 5 weeks, I’ve been thinking about how I’d proceed to learn electric bass (notice I didn’t call it bass guitar) if I had to start all over again, or what advice I’d give to other newbies who are trying to get their bearings. The two main roads are self-study and getting a teacher, but there are different lanes on both of these roads.
I don’t believe in the concept of truly independent self-study anymore. This is because, as much as we can feel that we’re teaching ourselves by not having a formalized music education, we self-studiers still rely on outside resources, like books and videos. This is still utilizing a teacher by proxy on some level. Once we begin exploring our options, we’ll discover bass-centric websites, online discussion forums and other resources. We might branch out and look at other generalized music resources as well. The internet is the great enabler here, giving us access to more information, and more misinformation, that any generation before us.
I also think that there are different flavors of formalized education. Enlisting the services of a teacher, taking a class, enrolling in a music school and engaging in online lessons via something like Skype are all different ways of interacting with a flesh-and-blood mentor who can guide us along the path. These are all different though. sitting knee-to-knee with an instructor isn’t the same as being in a classroom with a dozen other students, and both of these differ from pinging electrons back and forth in a semi-static manner like what Coursera offers or a dynamic and visually interactive manner like Skype.
And, of course, there are even midpoints between the two of these, like learning with a friend who’s not well-versed, but who knows more than zero, or having formal music education with one instrument and then trying to apply it to another.
2. Review (2:18)
The video begins with 50 seconds of Professor Russel playing an original song on piano called “Something in C”. Naturally, its name comes from the fact that its in the key of C major. The Professor lets us know that that was the tonal center, or key the song was in. He promises more information about tonal centers and then moves on to a quick review of what was covered in Lesson 1.
He then starts the actual review by asking how many students remember the C major scale and how its constructed, then plays part of that “whole-step, whole-step, half-step song”, which illustrates the intervallic construction of the major scale. Next, he asks what an interval is, and onscreen, we see a definition (the distance between two notes) as well as a treble cleff that shows 8 intervals in the C major scale by name and with their music notation using whole notes.
I’m a little late with this post but I did make Week 3’s chat with Cliff Engel. We can look at that later though. IIB‘s Week 3 lesson focused on 7th chords – which are the next chords after triads. I’ve actually not gotten to go through all of the materials yet because end-of-year client stuff. I’m still working (a bit slowly) on Week 1 and Week 2 materials (learning the notes on the neck and triads – plus their inversions, etc.).
Anyhow, here’s a rundown of what I have to get to from Week 3… thankfully we can go at our own pace with this:
- Seventh Chords
- Chordal Sequences
- Chordal Cells
- A Guide to Chord Symbols
- Bass Notation
- Note Studies – Open Strings – 5th Fret
- Rhythm Studies – Half, Quarter & Eighth Notes
- Ear Training – Seventh Chords
The opening text for this lesson (which also included a ZIP file with 11 folders – each of which has twelve 7th chords in MP3 format) says the following:
In our third lesson, we are going to discuss seventh chords. We will study a collection of the most frequently used chord symbols in charts along with a unique set of markings and symbols that are utilized specifically by bassists in music notation. We will also continue working through a series of note and rhythmic exercises to increase the proficiency of your sight reading skills.
I’ve practiced 7ths a bit before, but not to the extent that this material seems to cover. I’ve only glanced at it, but it looks like it will explore them much more deeply than the 1-2 patterns I’ve taught myself (which were basically a major 7th & minor 7th). Like with the other lessons, repetition is most likely key.
Here’s a breakdown of the topics:
So, I missed this week’s Monday night chat with Cliff Engel and the other students taking classes at IIB. I was editing wifey’s Afrobeat/Black Metal paper. I did grab all of the course materials for the week though, and started looking over them two nights ago. This week’s focus is on triads. The lesson overview says that we’ll go over the following:
- Triad Sequences
- Triad Cells
- Signs & Terms
- Note Studies – Open Strings – 3rd Fret
- Rhythm Studies – Whole, Half, Quarter & Eighth Notes
- Ear Training – Triads
The text in the 2nd opening paragraph says the following:
In our second lesson, we are going to discuss the primary triads. We will study a collection of the most common articulation markings, signs, symbols, dynamics, and terms found in music notation. We will also begin working through a series of note and rhythm recognition exercises to increase the proficiency of your sight reading skills.
Some of this is material I’m a little familiar with. I’ve been practicing chords and scales with some regularity. There is material that I’ve read about but not practiced yet though, like chord inversions. I’m not familiar with sequences yet, but I suspect that they’re related to the major and minor scale sequences that I saw in Bass Guitar Exercises for Dummies. The lessons are a little different from what I’ve been practicing though. The pattern I’ve been practicing for minor triads is different from the one in the lesson. Just like I had a Major Scale Pattern #2, what’s presented is basically a pattern based on something like a Minor Scale Pattern #2.
Here’s a little more detail on some of the week’s lessons.
So I attended my first Monday chat for IIB tonight. It was a bit underwhelming. Cliff Engel was present. He was the admin of the chat. There were 2 other students with me. One of them is a beginner like I am, and is in the Jazz Bass Lines class. The other has been playing for 6 years and I don’t know what class he was enrolled in. Cliff let us know that he’s working on a sight-reading course which will be made available soon.
Overall, not much happened in the chat. The other students are pretty quiet. I did the most talking, and stayed on after the other two dropped off. The chat is scheduled to go on for an hour. I was on for closer to an hour and 40 mins. During the session, a little about the classes was discussed, but nothing really substantial.