TRIFON DIMITROV

The “Jazz Bass Workshop” is a plan for working with groups of all levels upright and electric bass students. I believe that no matter the level and experience of a musician, there is always more to learn. Sometimes it is a matter of discovering other artists approach even if those artists might be at a different level of controlling the instrument. At certain point it is up to the artist’s choice on how to express themselves through the voice of the bass. And that could be very different from other artist’s approach, which can be enriching in my opinion. Or even if it does not work for ones artistic desire and taste, that could also bring more self confidence and save time in exploring something others have discovered already.

I like the philosophy of “Playing bass (upright and electric) is either easy or impossible.”. :) Upright and electric basses are known to be physically demanding instruments. In order to make playing them enjoyable, we need to have as much control as possible. That kind of control is developed with consistent work, the right methods and proper guidance from a teacher/mentor. 

My educational and playing skills are developed and based on years of schooled training as well as a practical experience along with academic knowledge. I’ve been fortunate to use the skills from the classroom onto the stage since very early age. I started performing at age 12 and touring Europe with youth orchestras. While doing my Bachelor’s of music I was also performing at clubs, international festivals, Big bands, TV and Radio shows, doing studio work etc. My big schooling happened on stage. And because learning never stops, I became Maestro Ron Carter’s student. That opened new horizons and enriched me enormously. Leaning from the right source is priceless!

Here is a basic breakdown of what I include in a “Jazz Bass Workshop”:

 

Part 1

 

In a “Jazz Bass Workshop” I present basics and fundamental exercises which could help a player have a solid start and build skills quick and easy. I give exercises and books suggestions on how and what to work on during practicing. Here I focus on producing sound, technique and control. Same exercises could help a beginner, an intermittent or advanced level players. Even though basics, advanced players could go back to those foundations and revisit perhaps old problems, or make current control even stronger, or in some cases they might’ve not even had a solid start. Also in this part of the workshop we talk about setup of the instrument, what to look for and how a proper setup has beneficial impact on our growing as an instrumentalist no matter the level and experience we might have.

 

Part 2

 

This part of the workshop makes the connection from the technical part of playing the instrument to acquiring theory skills and transfer them on the fingerboard. We talk about most efficient ways of learning the fingerboard, knowing it well so it becomes a second nature using it in each register and part of it. I offer exercises that make the process smooth, fun, musical and long lasting. Some of the theory part includes executing scales, arpeggios and harmony. 

 

 

Part 3

 

Here we combine the work from part 1 and part 2 and take the next level by adding rhythm. Rhythm accuracy is especially important skill for bassists. As it should be for any other musicians. But I think we should be prepared and trained for that no less than drummers. The work here presents exercises with metronome and other devices like drum machines, real drummers samples, play alongs etc. 

 

Part 4

 

After becoming comfortable and confident with the skills from the previous 3 parts, we can start talking about the role of the bass in music and building bass lines. I talk about different styles and the ways bass functions in them. For more Jazz focused students, I present methods, concepts and approach in creating bass lines. Some of that includes playing in 2, walking bass, incorporating basic half notes and quarter notes bass lines. The focus in this section is learning basic and solid ways of providing bass lines for basic harmonic structures like jazz blues and typical II-V-I chords progressions.

 

Part 5

 

In Part 5 we start adding more to the basic bass lines. We add more adventurous rhythms and harmonic approach. As the focus is on how to be inventive, creative and yet contributing to the sound of the whole band, without getting in the way of others we are making music with. Here we explore more advanced harmonies and chords progressions. 

 

Part 6

 

This is the part most workshop participants wish is the PART 1. :)

SOLOING

The bass can be a soloing instrument/voice. But! That is not it’s essential function in a band. The basic roll of the bass is to accompany and support the rest of the band. Being able to solo on the bass is fun and an extra skill which others might appreciate and like too. In modern times, there are more and more good soling bassists. And even if we are not required to solo in most musical situations, it is fun, educational and artistically enriching to be able to. As expected, one shall start trying soloing by using most basic ways of phrasing and grow as they are getting more experience doing it. I offer simple and enjoyable exercises to create phrases and make musical decisions with confidence. 

  

Part 7

 

Music is fun and fun is the process of learning it! 

Learning never ends!

LET’S PLAY