News

Sean Malone - Gordian Knot: News

August 15 – New Book Published:

My new book, titled "Music Theory for Bassists", is available from Hal Leonard. The idea of the book is to present a bassist's-eye view of music theory: all of the facts and figures to get you up and running as quickly as possible with the "language of music." In order to facilitate this I've organized the explanations so that they are bassist-oriented, as well as leaving out some of the things you'd otherwise see in a music theory course that might distract a bassist from the essentials. This doesn't mean it's watered-down, rather it's geared toward those topics that immediately apply to the instrument (e.g. there is no section on strict counterpoint per se, but is translated as root and bass movement in chord progressions, etc.). At the end of each chapter, I've included a "topics for further study" section should you decide to continue exploring the topic.

Some friends and colleagues who had a chance to read an advance copy had these things to say:

“For bassists who want to understand the theory behind their playing, this book has it all. Invaluable for beginners, and also lots to learn for players like myself.” – Tony Levin

“A refreshing look at essential musical information that is given much life by Sean’s well thought-out explanations.” – John Myung

“This book is an indispensable resource for any bassist who is serious about his or her craft. With all the information here, you’ll want to keep in on your shelf to refer to for many years.” – Michael Manring

“Music Theory for Bassists lays solid foundations in applied music theory as related to lines, intervals, chords, modes, rhythms, as well as the notation of such. From the ground up, it builds the essential architecture for an aspiring professional bassist.” – Emmett Chapman

August 13 – New DVD Release: "The DrumPad's XX Anniversary "

The DrumPad is a well-known store in Chicago and for their twentieth anniversary, they sponsored the concert where Cygnus (Mike Portnoy, Paul Gilbert, Jason McMaster, and I) played a set of RUSH-only material. They have released a 2-disc set featuring a performance from each group, including "YYZ" from our set. Below are some pictures and click here for a QuickTime excerpt.

If you've been checking here instead of the blog section, you may notice there are few updates here...so for more current news items, be sure to check here.

Coming soon will be the full-DVD of the Cygnus show as well as a CD from MP Productions.

November 28 – New CD Release: "After the Storm"

NEARfest records, the same folks who bring you NEARfest, have assembled a double-CD of unreleased live and studio performances by progressive rock acts, for the purpose of benefitting the victims of Hurricane Katrina. "After the Storm" contains 24 tracks by artists such as Spock's Beard, The Mike Keneally Band, and The California Guitar Trio. I have a song on the CD, an unreleased live performance of the song "Grace", from my appearance at NEARfest 2004. It's a piece for solo Stick, incorporating a Digital Echoplex for accompanying loops.

All profits from sales of the CD will go to Habitat for Humanity toward their ongoing effort to rebuild the homes and lives of those affected by the storm. Please visit the site and consider buying this one-of-a-kind project; here's a chance for the prog community to do its part and show its support.

October 27 – Slide Show

Here is a link for a slideshow (Flash needed) of pictures from the Cygnus concert. These pictures have not been posted anywhere yet. It may take a while to load (it's about 6 megabytes) so be patient if it seems like nothing is happening.

Cygnus Slideshow

October 14 – Jaco

I was contacted by Bill Milkowski, renowned music journalist and author of "JACO: The Extraordinary Life And Times Of Jaco Pastorius" for an interview in the upcoming Bass Guitar Magazine. The article takes a look at the present state of Jaco's influence and how relevant Jaco is to today's generation of bassists. I think it's the January of February issue (I'll check and get back with that) so it should be out within two months or so. Bill's book is the only one of it's kind, and it's coming out in a revised edition, almost double the original size. At any rate, hopefully Bill will include a line or two of what we discussed, though it was exciting just to have been asked about it.

October 11 – "Cygnus" Concert in Chicago, Roadrunner All-Stars CD

The Chicago concert was a lot of fun, and the fans were great! They were essentially there to see Mike, since it was part of an all-day drumming event, but the audience was nonetheless very supportive of the whole band (and very vocal, singing along with each of the songs!) In fact, one audience member, somewhere close to the front row contributed to a small mistake. In the section of Cygnus X-1 where there is a full-stop by the band and vocals come in with "invisible to telescopic eye...) my cue is that first syllable that Jason sings: "In...." rather than eye contact. So the band stops, I'm listening, I hear it, then play my open A. Problem was, Jason wasn't singing it. Someone in the front row was. It's not the kind of gaffe anyone would really notice too much, but it was funny nonetheless. It was a dream come true to play these epic rock songs - 4 songs that took over an hour to play - and it was very satisfying when it was all over. Mike played great and his solo in the middle of YYZ was a brilliant hommage to Peart while at the same time infused with his own unique brand of drumming. Something I've really come to appreciate about Mike over the years is, no matter how big a star he becomes, he's still willing to wear his influences on his sleeve. He let the audience know how much Neil and RUSH have been (and continue to be) an influence and inspiration. There aren't many guys of Mike's notoriety who are willing to be so open about things like that, and so the gig became a really personal statement for all of us.

Paul Gilbert was amazing, playing note-for-note renditions of the songs, which were: 2112 (complete), Cygnus X-1 (book 1), Cygnus X-1 (book 2, complete) and YYZ. Jason McMaster did an incredible job pulling off the high-pitch vocals, as well as being a great front-man. It was fun to work with him as Cynic and Watchtower are often mentioned in the same breath so there was some sub-text to our collaboration. As usual, there's more to the story and more pictures at my blog.The whole show was recorded and filmed and there are plans to release it as a CD and DVD. No news on the dates yet.

In other news, I received copies of the Roadrunner All-Stars 25th Anniversary project. I recorded during the summer, putting bass on one track. The disc really is a who's who in Roadrunner history. It was fun to be a part of it and it was cool working with Jason and Matt at AudioHammer studios. There is a companion DVD with the CD that has a kind of documentary feature; each "team" of writers and the people playing in different locations were filmed and interviewed. Ours is in the Florida section, but don't blink towards the end, you'll miss my eye-popping 37-second appearance. So, my interview is somewhere on the cutting-room floor, but that's OK - all we talked about was bass anyway. Below are some pics from the DVD.

August 16 – Mike Portnoy, Paul Gilbert, Sean Malone, Jason McMaster

You may have heard by now about our concert in Chicago. This is third in a series of tribute concerts Mike has put together, and I'm fortunate enough to have been asked to play this one: a tribute to RUSH.
Sunday, September 18th

At The Vic Theatre In Chicago

The Drum Pad Is Proud To Present A Drumming Event

To Commemorate Our 20th Anniversary!

Performing Live On One Stage:

Terry Bozzio and Chad Wackerman

The Jimmy Chamberlin Complex

Jeff Hamilton

Steve Smith and Zakir Hussain with George Brooks' Summit

Mike Mangini

Mike Portnoy with Cygnus & The Sea Monsters (A Tribute to Rush - featuring Paul Gilbert, Sean Malone and Jason McMaster)

There's more in the blog section about this gig.

The session at Audiohammer went well for the Roadrunner All-Stars project. Even though the bass parts were made on the spot, we ended up with some interesting results. I highly recommend Jason Suecof and Audiohammer studios, whether you're in need of tracking, mixing, arranging - just about anything. It's a very laid-back vibe combined with very knowledgeable and experienced people - for me at least, a crucial combination for any studio project.

May 25

Speaking with Jim recently, the new OSI CD is currently being written. As it stands, a different rhythm section will be employed this time around (though I don't know if things are set as of this posting). Jim's working with Kevin right now and I think they are shooting for this fall/winter. If that changes I'll be sure to update, but that is the extent of the OSI news that I have.

Posting the clinic would require bandwidth/storage allowances that can't be provided at this time. I may take down some of the other old video selections on the site and replace them with a new bunch as a substitute, and chop up that performance song by song.

GKIII? The writing continues but it's still a long way off. Other projects are taking what precious extra time I have and, with GKIII being the last of the cycle, I don't want to rush into anything; I'm hoping it will be the most memorable of the three.

April 23

If I can make arrangements with my ISP then I will try to put this entire clinic available for free download either as VOB files or a disc image of the DVD. Another alternative is to chop things up and save them as MPEG-4/AAC. I don't think there's anyway that the monthly limit could be respected. If worst comes to worst, I'll simply encode at low rates that give the general idea of what went on that night. At any rate, this is an informal clinic/performance I did in Metz, France on a few days off when touring with John Wesley and Mark Kelly. The language is mostly French though I'm sure you're not interested in the on-stage banter. Metz, the one-time capital of France, has a beautiful cathedral, underneath which are catacombs - set up as a small performing venue that has hosted luminaries of jazz from the 1930s onward - pictures of Parker, Coltrane, and the like performing there adorn the walls; a very humbling experience.

I found the video of this and committed it to DVD as I have other shows and clinics. If you happen to have a large hosting space and are interested in helping out, drop me a line. So for right now, don't hold your breath, but I thought this would be the best way to get this "out there" short of duplicating and selling the DVDs myself which, even if I had the time and inclination, would most likely be a frustrating experience for everyone involved.

I hope to have a small trailer by early May if time permits.

March 11

Well, I thought I'd try starting a blog with some free web blog software and see how it goes. If there's enough interest, then perhaps I'll switch over. So, the address is: http://smgk.blogspot.com you can register there (needed to post) and this might solve some email response issues.

March 1

Time marches on (no pun intended) and it's been a long time since I've updated the site so I thought I'd drop by and mention a few things. All in all, there aren't any pressing recordings in the hopper, though Jim Matheos mentioned a few months ago that he'd like to start writing for the next OSI CD. Having said that, please don't take it as a confirmation that there definitely will be a new one, but it seems Jim would like to do one. I'm presuming since he mentioned it to me there's a chance I'd be playing on it, though I'm not taking that for granted either–time will tell but I hope to have some more information by the end of April.

The book "Music Theory for Bassists" is currently in its first edit, with no word on the release date – I'm hoping sometime this fall. Because of the nature of the book - detail upon detail - I have my hands on the editing process a little more than I usually do. Normally, I'm happy to have the editors do their thing and I'll take a look at the next-to-last version – called the approval copy – and make any last-minute changes then, right before it goes to press. More often than not, there's very little to change at that point. With the theory book, my fundamental musical interests - teaching, theory, and bass - are all meeting together, and is the culmination of every minute I've spent studying, teaching, composing, and performing. Instead of being a resource book, it's written more in the manner of a private lesson, as if we're having a conversation. Since it is much better to learn theory in a classroom environment, or at least one-to-one, I wanted the book to come as close to that as possible. It is not as exhaustive as a college text, instead it emphasizes those concepts a bassist would find more important (at first) and includes concepts for further study if you're so inclined. Otherwise, you'd be wading through hundreds of pages of tenuously connected facts and figures, most likely discouraging your progress.

The new book project is "The Hal Leonard Perfect Pitch Method" where I'm writing down the method I've developed for learning perfect pitch (also called absolute pitch). I've taught this method several times at the University of Oregon and it's been incredibly encouraging. I've long believed that absolute pitch is available to anyone who is willing to work on it, and soon you'll be able to give it a try yourself. The book will have 3 CDs with it, unlike some of the other popular products that are mainly CDs in a kind of seminar setting. The book will also be very affordable.

This weekend I'll be at the University of Miami attending the Music Theory Southeast Conference, March 4-6. Being down in Miami always reminds me of the Cynic days - rehearsing in Kendall especially. So to mark the occasion, follow this LINK for an mp3 of two live songs from our 1994 tour; Sentiment and How Could I. This version of Sentiment is one of my favorites since I played Stick on it, whereas on the CD I played bass. In fact, it's the one thing I would go back and change if I could, since I never really felt like I found a solid bass track for that song, but once I tried it on Stick as the tour progressed, I knew that was the instrument to use. So I ended up using it on about half of the shows. Oh well, live and learn.

November 29

It's been a long time since I've updated the site. To be honest, not much has been going on – at least that's been newsworthy – so I've been operating under the "no news is good news" premise.

A new book that I've written is officially available for purchase. Simply titled "Rock Bass" this book is not a method book per se, chiefly since I feel that a 'method' for rock music doesn't (and necessarily shouldn't) really exist. What I mean by that is, rock music is resistant to singular definitions and formulas. If I were to choose a subset of the genre, for example 'acid rock', it would be easier to distill the characteristics common to the genre and devleop a method to teach it. However, even well-defined genres in rock don't hold up well under the scrutiny of 'rules'. Instead, I wanted to approach rock bass by examining the subtle differences between bassists and styles of performing. Second, very few people sit and ponder "I wonder what rock music is" then go out in search of a book to teach them. Rock music is all around us so it seems the logical approach is to take a look at some of this music and see what we find.

For example, a figure we see all the time in rock music is a steady eighth note bass line; it supports the harmony and keeps the motor of the rhythm section going. If we don't look any further we would start to run out of characteristic bass parts pretty quickly. What else is there to look at? Articulation for one. In the book, Sting's bassline to the song "Roxanne" is included and it's noted that during the verses, the bass line is sparse and often articulated in a staccato (detached) manner. By the time the chorus arrives, the articulation opens up in a more legato (connected) style that adds further contrast to the verse section. So, in a very subtle way, Sting adds variety not only by the number of notes, but also by the manner in which they are articulated. Plus, the root notes in the choruses are approached by a slurred step from below on the downbeats. The lesson to take from this is, in applying these ideas to your own music or bass lines to someone else's tune, simple bass lines can be made very interesting by virtue of how sections contrast with each other in obvious ways (many notes versus few notes) and the way they are articulated (staccato versus legato) and how they are approached (by step from below); all of that from what appears on the surface to be a very simple bass line. Signature parts of each song are highlighted and you're given space to come up with variations of your own and play along with the tracks on the accompanying CD.

Continuing with book news, I recently finished the manuscript for a book titled "Music Theory for Bassists." As the title implies, it's a book that approaches the grammar and structure of music "from the bottom up." Often times, people become frustrated with learning theory on their own because a great deal of the information found in texts don't directly apply to the instrument they are playing, and being inexperienced with theory it would be too early to try and decide what should be studied first and what can be put on hold for later. So, this book gets to the heart of the matter with the concepts bassists should learn from the beginning, with commentary on topics for further study if they wanted to expand their knowledge after the contents of the book become familiar. Actually, any one who reads this book would benefit from it, but it's written from the perspective of a bassist for bassists, and contains a 96-track CD with examples from the book. I don't know when it will be printed since right now it's only in first revision. I would say in about six months or so.

The book I'm preparing right now is a method I've developed over the past few years to teach perfect pitch. I'm still gathering some sources and I hope to have the manuscript done around May or so. Here is a link with information about the books I've written and am writing.

Hopefully in the next update will include some information about the Cynic reissue. As for now, thanks for visiting and being patient with the updates!

July 29

I've created a special page for photos from NEARfest, sent in from various photographers, as well as a few we took ourselves. Every effort has been made to indicate photographer's credit, but if you see a picture that has not been properly credited and it happens to be yours, please email me and I'll add it. Thanks to everyone who sent in the pictures. NEARFEST ALBUM

July 16

NEARfest has come and gone, and below are two short clips from Sunday's performance. This was my first trip to NEARfest and it's an exceptionally well-run and well-organized festival. The sheer variety of the acts performing meant that there was something there for everyone (perhaps even fans of solo bass guitar and Stick). Clicking on the images below will open links to some short video clips.

Thanks again to Rob and Chad for inviting me to perform and for the warm welcome - as always, it's interesting to meet, face-to-face, the people behind the avatars and message board nick names. Though I have done many solo performances on Stick, I'm simply not a solo performer, inasmuch the music I've composed, recorded, and released has predominantly been ensemble music. So, I hesitated when I was asked to play NEARfest, since playing solo isn't representative of what I've done (or plan to do), and I have no repertoire with the exception of pieces like Arsis and Grace - and even those are indulgences on my part, though they serve a considered part of the GK landscape. But, there is still a lot to choose from, and I thought of a combination of original and cover material.

For one of the pieces, I chose Continuum by Jaco Pastorius. It seemed fitting given the nature and the context of the concert, plus it's an under-played, beautiful piece of music. For Stick, I chose to play Grace and I'm happy to say everything went OK with the Echoplex. This new Stick continues to amaze me - the new pickups Emmett is using, combined with the composite material, though weighty, is the perfect combination of feel and sound.

As for Gordian Knot, the 'core' part of the group is set and as I continue to write material, decisions will be made regarding guest soloists. However, I estimate it will be at least a year before things move into production.

March 15

Below are two more pictures from NAMM, these taken by Dan Chapman for a video documentary about the Stick. Speaking of The Stick, I'm going to be doing some local, weekly gigs – something I haven't done on the instrument for some years now. I'm interested in approaching the Stick from a fresh angle again, having re-adopted the left-hand bass tuning (though my double-treble Stick still receives equal attention). I'm not sure if the bass side of The Stick will emerge in future GK material, but as for now, it will remain as part of the solo material.

Plans are underway to re-release Cortlandt through the Laser's Edge, though we haven't decided which sub-label. The idea is that this CD never really had a proper first release, and though some copies emerged for sale last year we wanted to make it available as a proper title in the catalog. As it stands, two of the tracks will be re-worked, and I will possibly include the demos for some of the songs. I've never been a fan much of that sort of thing – releasing a prior version of an as-of-then incomplete idea – though there seems to be public interest in demos. I think of Cortlandt very much in the past tense, and part of what seems to be a barely recognizable compositional / playing style; but I suppose this is always a result time and distance provide. When a release date is confirmed, I'll announce it here.

Photo taken from a digital video documentary on Emmett Chapman and The Stick, by Dan Chapman.

January 23

Back from Los Angeles and the craziness of NAMM. It's amazing who you bump into in the midst of thousands of people; Bill Bruford was around as was Gary Willis, along with many other musicians in support of the companies who in turn, support their careers in one way or another.

Of particular interest to me was Stick Night since it was the first time I performed at what has become a NAMM tradition. Many Stick players (Stickists, I suppose) played a few pieces each and it was a reminder of how in everyone's hands, the instrument is all things. Each performer had his own take on technique, composition, effects, etc., and to have so many of us in the same place is a rather unique experience. It is definitely the only gig where you can be assured no one will come up to you and ask "what is that thing, a sitar?"

The focus now returns to authoring - finishing up a theory book, then Progressive Bass, and I'll then be doing a new Jaco book that I'll discuss later, but it involves his technique and approach to the instrument.

A tentative arrangement has been made for a solo performance at this summer's NEARFest. More details to come.

December 16

The NAMM show is looming - January 15th through the 18th. For the uninitiated, it's a melee of merchants displaying their latest products in a gigantic convention hall. Each year, Stick players gather to play and this year is no exception. On Friday, January 16th, in Los Angeles club called The Joint, there will be Stick Night 2003. I'm not sure yet who all will be playing but I'll do a solo performance along with the others. If you are the least bit interested in what the Stick is about and who is making music on it, this will be the place to be. I rarely do solo Stick performances anymore, it's really not my bag, but I'll whip something up for the show.

My latest book will be released at NAMM as well, a book about Rock Bass. Rather than describe it, here is a quote from the introduction:

I. Introduction

         Welcome to the Hal Leonard Rock Bass Method. The purpose of this book is to introduce you to the techniques, styles, and literature of Rock music from the bassist's point of view. This book is meant as a supplement to other method books as well as theory books you may be using in private lessons, school, or on your own. It's meant to dig a little deeper into the style of Rock music, and by means of the accompanying CD, provide an interactive role in learning.

This book is organized a little differently than most method books. Rather than prescribe formulas and recipes that supposedly belong to Rock music (whereby one might inflexibly stereotype a particular style or genre) this book will survey a great variety of Rock songs and distill phrases, forms, gestures, and articulations that make them unique. At the end of the book, you can decide for yourself how much or little you would like to apply these ideas to your own music. In other words, once the basics are covered, you can feel free to pick and choose among the songs in any order you wish - you needn't follow the examples from the first through the last.

            Since this isn't necessarily a theory book, there are some things that this book assumes from the start: that you have some familiarity with the notes on the neck, that you have a basic understanding of key and scale, that you can figure out the notes that belong to a chord, and that you can either read music, and/or manage with bass tablature (or tab as it's called). It's recommended above all else that you strive toward reading notation, as it's the printed language spoken between musicians, but tab is provided as a helpful bridge to get you toward that point. However, don't be discouraged if some or even all of these things are foreign to you. There is plenty to learn by simply playing along, but by understanding how things are put together, you'll get a deeper sense of their meaning and can more easily communicate with other musicians.

How this Book is Organized

                  This book has a simple organization. It begins with explaining some fundamental techniques - those found in the song examples to follow - to make sure the notation and mechanics make sense to you, freeing you to focus purely on the music. Each technique has been recorded on the accompanying CD, and when you see the CD icon with a number in it, this indicates which track to play.

            Following the techniques section is a bassist study, containing detailed examples by well-known Rock bass players. For each song, interesting techniques and figures are discussed. The goal of this section is not only to discover what makes these Rock songs similar (to get a sense of the style) but also what sets them apart . In general, Rock bass lines have a great deal in common, but there are subtle gestures that set both styles and bassists apart. You'll have the opportunity to apply the figures and techniques found in the examples by creating your own variations of the bass lines.

              The next section of the book is a song study. After you have become familiar with the techniques and how they are used, it's your turn to use them. The songs in this section are provided on the CD both with and without the bass line. To get the most out if this section, be sure to try the parts first without listening to the music. The goal here is to get a sense of the music in terms of the techniques and lines taught in the previous chapters, then try them for yourself along with the accompanying tracks. In other words, the song study is where you 'put it all together'.

What is 'Rock' Music?

                  There's no easy answer to this question, but at the same time, we seemingly have no problem identifying Rock from other styles and genres when we hear it. The fact that it's challenging to offer one all-encompassing definition is probably good because it permits Rock music to continue to grow, expand, and innovate. Rock can be divided into many sub-genres, such as Rock-'n-Roll, Hard Rock, Progressive Rock, Acid Rock, and the list goes on and on. Each has their own characteristics, but what they all seem to have in common is a sense of energy and power. A great deal of this energy comes from the rhythm section, and being a bassist, it's up to you to help keep things moving. So one thing we can all agree on is this: the bassist's role - sometimes supportive, sometimes a little more independent - must always lock in with the drums and provide the energetic foundation for the guitars, keyboards, vocals, and any other instruments found on top. After you have worked through the entire book, the question of 'what is Rock' will be revisited, and answered based on what you've learned from the music found within.

Fretted vs. Fretless

            All of the audio examples on the accompanying CD were recorded with a fretted bass; a staple of rock music. Every once in a while you may hear a fretless bass in Rock, but in general, the fretted is more often heard and probably better suited. Why is this, and what are the differences between the two?

            Of course it's impossible to simply declare one must use a fretted bass for Rock, but as it has been mentioned in this book, Rock takes on so many guises it's difficult to simply stereotype the genre. Because of this, there are some things to consider when choosing between fretted or fretless, such as the instrumentation of the band, (the number of guitarists for example) how aggressive the music may or may not be, and how expressive the bass parts are in the music. Perhaps the greatest advantage fretless bass has its range of expression.

            Fretted bass, for its part, offers a more percussive sound due to metal strings hitting metal frets. There is more attack present in the tone, allowing it to cut through heavy guitar textures and sits well with the drums. Also, one needn't be concerned about intonation with a fretted bass - so long as the strings have been tuned each note will ring true. With heavier Rock styles, distorted bass tones seem to hold together a little better with fretted bass, again due to the sharpness of attack.

            Fretless bass can add an exciting timbre to an ensemble without sacrificing any of its duties, but there some challenges as well. Because of its softer attack, fretless bass may become lost in guitar-heavy textures, though in thinner textures it may shine and bring attention to itself in a subtle and beautiful way. This is most evident in melodic passages in the upper register. However, to ensure you are playing in tune requires your constant attention.

            So, in making your decision between fretted and fretless bass, let your ear be your guide for the most part, but also be aware that one or the other may not be better suited for all of the music you play. Fretless bass is still a minority in Rock, but consider giving it a try if you haven't already; you won't be disappointed.

Pick vs. Fingers

            There is little inherent advantage found in either using a pick (sometimes called a plectrum ) or your fingers, so the choice between the two comes down to personal preference. Arguments can be made with regard to speed and dexterity, but one must also consider tone and expression as well. It's true that many bassists in Rock have at one time played guitar, and then moved on to bass, and in doing so just transferred their technique. Bassists who mainly use their fingers have a great variety of options - using one, two, or three fingers for instance - providing an assortment of tones and technique. By using a pick, you will have a sharper attack to your sound; by using your fingers, a softer attack (though some bassists incorporate a bit of their fingernails for the best of both worlds).

            Picks come in a variety of thicknesses and the rule of thumb is, the thinner the pick, the brighter the sound, the thicker the pick, the darker the sound. Using a pick works well in aggressive passages, adding to the rhythmic drive, but may sound heavy-handed in melodic passages, or parts in the higher register in general.

            Fingerstyle, though less aggressive in tone, offers a wide range of expression, as well as advantages when it comes to string crossing. If speed is an issue, it may be hard to one over the other as both offer the means to play with astonishing velocity and accuracy. Many Rock bassists are versatile with both a pick and fingerstyle technique, providing the greatest amount of choice and variety.

Four Strings vs. Five and Six

            Basses are available in several string configurations, the most common are four- and five-string basses. However, anywhere from six- to twelve-string basses are also available. Is there any advantage to more strings? The five-string bass traditionally has a low B string added beneath the E string. The low range can be a powerful addition to any group, so long as there are instruments to fill in the middle register. Sometimes small groups, such as trios, leave too much space in the middle register when the bassist, for example, is playing in the extended low range and the guitar is soloing. But this isn't always the case. With the six-string bass, there is an additional low and high string added. Sometimes, the added high string can cross over a little too far into the guitar register, and the bass starts to exit its territory. As we'll see later in this book, you can take advantage of the newly aquired high register while maintaining the bottom end.

            Ultimately the choice comes down to a matter of taste. Remember though that most of the bassists featured in this book, as well as the majority of Rock bassists from the past four decades used four-string basses exclusively.

In January I'll finish "Music Theory for Bassists" and after that will move onto the book about which I'm the most excited, "Progressive Bass".

That's all for now, try to make it to Stick Night!

October 7

Part 2: to major or not to major

It seems that entering college or university as a musician makes it easy to decide one's major: music, as either a performer or composer (few undergrad programs have theory as part of their bachelor program). At the end of four years (or possibly five, depending on the program) you'll be bestowed with a degree that indicates you play a certain instrument or, that you compose music. Along the way you've learned much about music theory, history, perhaps some elective courses in music technology and taken part in some ensembles. You've undoubtedly learned, but now what do you do? Of course, that all depends on some of the questions you may have asked yourself along the way, (in part 1) and perhaps steps you've taken to achieve those things. But at the end of the day, in some ways, you're back to where you started before you entered school - you came in with your guitar (or clarinet, etc.) and now you're leaving with it; better for having studied of course, but what can this degree do for you?

If you plan to teach - not very much, graduate school is in your future. If you plan to try and get your band signed, go on the road and all that stuff, labels usually aren't very interested or impressed with diplomas. Many undergraduate students in music find themselves wondering what to do as they come close to finishing their degrees, and if the answer doesn't involve more schooling, it sometimes turns into a crisis situation. Again, it all depends on the type of school and program you've entered - if you've completed a tech program in engineering there might very well be a placement program for graduates. What I'm speaking about is the performance degree.

This leads me to recommend something I have seen a few undergraduate students do when they get to this point - something for which you could plan ahead before a crisis occurs: become a music minor, and major in something else. By doing so, you get almost all of the music education you would as a major PLUS training in an area that could help you find a job to support you as you pursue a music career, in whatever capacity.

A combination I often see is majoring in computer science with a minor in music performance. With the tech market still wide open, the chances of getting a job are much better than, say, getting signed to Sony at the moment. By choosing to minor in music, you will still take all of the core classes and ensembles - the main difference is usually in the amount of contact hours you have with private lessons, as well as a smaller recital requirement. This way you get the best of both worlds: the music training you are looking for, and a diploma with which you can actually do something. Immediately upon graduating with a Bachelor's degree, you have employment opportunities that a performance major could only dream of. I know it might seem hard to make this choice, especially since you've been gearing yourself up for your Berklee audition and are dreaming about days and nights spent practicing and jamming with your friends. But, try to see yourself four years from now; what's your next move? Success in the music industry, however that may be measured, has very little to do with actual talent and ability. In many ways, your success sometimes depends on the things you don't do, and the rest is just being in the right place at the right time (but you can take measures to be in the right place...)

So, to summarize, it's possible to receive the music education you've been dreaming about and at the same time, receive training in other areas, making you all the more marketable. I've seen many undergrads take business classes with the idea it will help them both as performers (contracts, etc.) or possibly as band managers. There is also a tech/music combo that makes a musician invaluable to a recording studio - there are so many combinations and possibilities. Just beware of the performance degree if you are a music major - it might very well be it's just the first step on your way to an orchestral career, but if popular music is the field in which you're most interested, take advantage of every opportunity university has to offer.

Most importantly, take advantage of the counselors the university provides. They are the ones that can best help you plan your academic career, and make suggestions if you decide to make changes along the way.

September 6: An Interesting Take...

Canadian pianist Peter Elyakim Taussig has released as part of his ambitious project to record the entire keyboard works of J. S. Bach, Die Kunst der Fuge. Taussig, sadly, has developed carpal tunnel syndrome and is unable to make use of his right hand. With the use of the Yamaha Disklavier Pro, and a process referred to as "Musical Sculpting", he has rendered The Art of Fugue in such a way that each voice is represented with the kind of detail absent in most performances, but unencumbered with the mechanical quality one might suggest MIDI would deliver. Each part is recorded bar by bar with his left hand and "sculpted" to create something quite special.

As an owner of many, many recordings of this work, and having studied it for years as part of my dissertation work, it stands out as something very special so I thought I'd share it with you – click on the CD for more info.

August 28: Todd Grubbs

I've gotten a chance to hear Todd's new CD called "Beautiful Device", his follow-up to "Combination." If you're a fan of instrumental rock you'll want to check out this disc. A lot of variety and texture, and these guys are a tight ensemble, mixed by Maestro Mark Prator. Click the pic to get info.

"We must agree that the beauty of a work of art will always remain a
mystery, in other words, we can never be absolutely sure 'how it's made.'
We must at all costs preserve this magic which is peculiar to music and to
which, by its nature, music is of all arts the most receptive."

-Claude Debussy-

Part 2 is coming soon; the above is something to ponder between then and now. Every once in a while, we need to be reminded by the very composers we investigate, about the nature of music, analysis, and the value and meaning of both.

August 14

A quote from Steve Hackett that seems strangely appropriate. It describes the subtext of his song "Darktown."

...the abuse of power masquerading as education. Congratulations to all who have observed and survived this phenomenon in our Great British schools - "The best years of your life" - which is why half of you are in therapy right now and the other half are probably too drunk to feel the pain anymore.

A question that I'm asked often (usually via the website) is whether or not it's worth it to pursue a college degree. The quick answer is, of course, that I can't possibly know or suggest whether or not it would be worthwhile for you since only you know what it is you're looking to do with your professional life – a life that may or could involve graduate and post-graduate work in music, or perhaps work solely as a professional musician. So in an attempt to address some of these questions with a little more depth than email permits, here are a few thoughts based on my own experiences.

Part 1

A lot of guitarists and bassists are drawn to schools such as Berklee and the like, due mainly to their reputation and to the fact that they seem to specialize in areas that more 'traditional' universities may not even offer. In addition, attendees and graduates of these schools are often in bands that many of you admire. (You might notice often in the résumés of performers that they'll mention Berklee or GIT, but notice the wording: the word "graduated" is seen a lot less often than "attended" - this is an important difference that will be addressed later on.)

The first step in determining if furthering your education is something you'd like to do is ask yourself "what is it that I really want to do as a musician?" The second part is "...and what am I willing to sacrifice in order to get it?" The last component to this preliminary stage is "of those things, what might I be able to achieve outside of the academic environment?" So I'll try to go down this list, fill it in a bit with my own experience, peppered with my own opinions, which, of course, should be taken with a grain of salt because what works (or not) for one may not apply at all to any other person.

As I was finishing high school, I was firmly in music's grip (had my first bass, bought for me by my parents from a department store) but was concerned only with playing, and knew only that I was "supposed" to go to college. You know - everyone says you're "supposed" to go to college...I had no idea why I was supposed to, just that I was. One thing I can say for sure though, was at that point I never wanted to try and be a 'rock star' (whatever that might mean) in any way – I had no interest in running away with the musical circus so to speak. What I was interested in was soaking up as much music as possible since it seemed to be everywhere I turned; Florida is great for that. Prog was certainly that upon which I was cutting my teeth, but jazz, pop, rock, flamenco, Afro/Cuban – you name it – was everywhere to be heard and learned. For whatever reason, bass guitar would be the vessel.

I went ahead and started college, taking the core classes to get them out of the way so that when I decided what it was I wanted to do, my last two years would only be filled with only those classes. So try and get all of your English, Math, and Sciences taken care of up front. In my first year of college (at a community college) the mystery of music theory had me firmly in its grip, but at that point all I wanted to do was learn it. Why? Because I felt that I could not only learn music faster but if I understood it, then I'd really be getting so much more out of my own musical experience, either as a listener, a performer, a composer...anything. Also, learning music theory seemed the key to becoming a musician; a term used often too lightly and too quickly and without consideration. At that point it just seemed like everything was possible. So it occurred to me: although playing and composing would be my priority, I could enjoy and earn a living teaching music. But it was apparent that in order to seriously teach music - I mean at the university level - nothing less than a Ph.D. would be needed, and here I was my first year in college as an undergrad. Where I was and where I needed to get to seemed light years apart...and they were, but that was the good part...

So to answer the question - what is it that I really wanted to do as a musician? I wanted to be a bassist and composer that taught music at the college level, probably music theory. (With the possibility that if Peter Gabriel happened to call somewhere in the mean time, well, you know...)* That sounds a lot more 'together' than it actually was, and for sure, don't feel compelled that as a freshman you need to have a plan worked out through your post-graduate years. Not at all. Even though it's what I would shoot for, many, many bumps in the road would come my way, and I still had no idea what it would take, and what I'd be willing to sacrifice to get it.

This ends installment number one. The next installment will deal with getting through either a 2-year AA degree, or a 4-year BA degree, and whether or not majoring in music is the thing to do (in most cases, it isn't).

* Peter hasn't called. Yet. ;)

August 1

Apparently the concert started earlier than scheduled so there was less than a full house for the set, but it was a great show nonetheless. Fates and DT both sounded great and playing "ShutDOWN" couldn't have been more fun. Everything felt great and it makes me wish we could have taken the disc on the road.Thanks to Fates and DT as well the crew - they were so accommodating and made being there feel like being part of the band - thanks guys. The "OSI" portion was videotaped which I hope to post on my site in due time. Photos by Carolyn Mullin.

July 31 - Intersected

A quick update as things are moving along for Portland. Carolyn returned back from Toronto where she toook some pictures of RUSH at the SARS concert (which I'll post later). However, she did also capture a photo of something I've wanted for years and years and have always forgotten to take, and one that most die-hard RUSH fans may never see in person - a certain intersection made famous in the "Hemispheres" album. So, without further adieu, I give you (well, Carolyn gives you) Danforth and Pape:

P.S Come on time to the Portland show.
P.P.S. If you're going to nab this pic for your own site, at least give Carolyn Mullin the photo credit.

July 21 – Old and New

Recently I've been transferring to Pro Tools all kinds of original master tapes, including Cortlandt and GK 1 as well as the demo versions of "A Shaman's Whisper", "Singularity", and "Rivers Dancing". It was very interesting to hear how differently they sound. Bit by bit I'll mix these songs but I'm not sure if there's any value to them except maybe as some bonus tracks sometime in the future, or as part of some compilation CD. I had been toying with the idea of re-working some Cortlandt tracks (will I ever let this album go?) by re-doing bass tracks and changing the arrangements, I've done so already with "Controversy" and it came out rather nice.

Thanks to everyone inquiring about the auctions, all the items have been sold now.

The Dream Theater/Fates Warning/Queensryche tour will be heading to Portland at the beginning of next month. The day after, Wes and Porcupine Tree will be in town as well and I'm looking forward to catching their show. Hmmm...so many OSI members in the same place at the same time...during a tour....hmmm.....

In the September issue of Metal Maniacs Magazine, there's a Gordian Knot interview by Matt Johnson - a rather sizeable one at that - and is on newsstands now. After it becomes unavailable I'll post a PDF of the interview.

April 30

Michael Rosinski has created a site for Polish fans. Right now, it's all in Polish but he says he'll provide an English translation in due time. Thanks to Michael for putting the site together. Sean Malone Polish web site.

Next weekend, Bill Bruford and his group Earthworks will be performing in Seattle, Washington. Since this is the closest venue to Oregon, I'll be making the trip up for the Saturday show, perhaps I'll see a few of you there. You can check out the tour dates at his site here. I saw Earthworks on their last tour of the states just last year and it was a great show. If you get the chance, it's a must-see concert, but I'm sure I don't need to convince anyone of that.

As I stated before I'm working on a new book, Music Theory for Bassists, but I'm happy to announce that after that book, I'll be doing another titled "Progressive Bass". The general idea is that I will discuss my approach to composing and the role of the bass guitar in the genre. Now, it's impossible to say with any authority (or at least definitively) what role bass plays in progressive music, but through transcriptions of my own music and some of the records I've played on I'll be able to express my point of view. This will fit the need some have had for transcriptions of my work – especially basslines from the Cynic CD. I plan on having some in there. There is no publication date as of yet, but I plan to have it finished by the end of the year. I'm excited about this project because it's the first where I'll be dealing with items that aren't so cut-and-dry. It's not a method book per se, rather it will be my first writing about how I approach my instrument within the genre I feel the most comfortable. It will be nice to publish some transcriptions of my own work too. I will probably make it some kind of workbook, providing grooves within which you can come up with your own lines, based on some compositional restraints, and maybe some bass-less versions of Gordian Knot songs where you can add your own touch. We'll see, it's not completely fleshed-out yet.

April 14

Back from 3 days in Tucson, by way of Los Angeles, attending the Rocky Mountain chapter of the Society for Music Theory annual meeting and presenting some new work. Theory conferences are interesting to say the least, often competitive to say the worst.

I'm hoping to have an FAQ posted soon, and after that, I'd like to get some scans posted from the two books I have available. I need to find out if I'm actually allowed to do this regarding some of the Pastorius scores. There are two reviews I've been told about for which I'll eventually scan and have available in the 'press' section.

8 new pictures have been added and a new movie as well. This one is from 1995 – a concert in Tampa as part of the Southeast Music Conference. The group is Todd Grubbs, with Wes on guitar and Mark Prator on drums. Todd is a great guitarist and if you're into instrumental guitar discs in the vein of Eric Johnson and Joe Satriani, then you should check out Todd's stuff. Mark told me kast week that he's got a new disc finished. His debut is called "Combination" and can be found in the discographyand purchase sections of this site. Here is a link to Todd Grubbs.

As I continue to go through these old videos and transfer them to DVD, I'll put up clips. I found some things that go way back to the early 90s and if I can get over the initial embarrassment, I'll find a few choice excerpts to post. You can't help but cringe when you look and listen to yourself play all those years ago, but at the same time, it's interesting to rediscover how you approached your instrument early on. I started playing in '86 or' 87, and it's funny how there are a few things I did then that I still do today. I was a late starter by most standards, I was 18 or so when I began playing an instrument, but I learned quickly that it doesn't matter when you start so long as you love to play. And if I ever get around to restoring it, I put an audio clip of a tape my friend Dave Cassell lent me of the first time or two I touched a bass...I was an immediate expert at making that 'woooooooooooo' sound by sliding the fret hand up the neck. Unfortunately, that was just about it for the first few weeks...

March 30

5 samples have been added in the products page for the "Dictionary of Bass Grooves" book. They are samples of the audio portion for 5 styles, in mp3 format.

March 27

As you can see, there has been a re-design of this site. There hasn't been much in the news department lately, so I thought I'd try and make the site a little more consistent. There is a lot to finish, but the main feature I wanted to bring your attention to is the "purchase" page. As I have mentioned before, I don't sell my ownCDs, or the CDs I play on, directly (with the exception of the recent copies of Cortlandt). Despite that I still receive money in the mail, so I've provided a page that has some links or at least email information so that the products can be pursued through the proper channels.

I wanted to clear out all the old news as well. I'm not sure how I'll plan the updates – I think I may keep it to a certain number. If you are interested in the previous news posts, there is a PDF you can download here that contains about one year's worth of news postings. In addition I've brought back some requested video clips, posted some new ones, and posted a few more pictures.

It has become harder and harder to reply to all of the email that comes in, especially since the nature of it is often centered around a handful of the same topics. So, in an effort to be a bit more efficient, it seems best to address everyone at once regarding those topics rather than over and over again in email. If you haven't heard from me recently from an email you've sent - I'm trying to catch up. I'm hoping to re-instate the F.A.Q., though other components of the site need attention first. But to answer a few of the current hot topics:1) No, there are no plans for GK to tour, 2) I haven't decided yet on the line-up for GK III, 3) I don't know if OSI will be touring, and 4) you can find out all kinds of things about the Stick at this link.

That's all for now, look for the pages to fill out a bit more over the next month or so. Unless something very new comes along, the news updates probably won't be any more frequent than they have been the last few months – I know, better for me to stick to bass playing than web design/updates, but given time constraints this is about as good as it's going to get. The purpose of the site has shifted a bit from being a means of one-to-one communication, to providing resources that have been consistently requested over the years, namely press-related items and some more media samples.

Thanks for stopping by. More updates as news develops.