Song Style Lesson: Skate by Silk Sonic (Bruno Mars and Anderson .paak)


The new song from Silk Sonic was just released. I decided to transcribe it and record it with my Kala SUB.
I use a magnetic mic and this is part of my testing for an upcoming blog post / YouTube-video on using magnetic mics on a solid body UBass. I think the sound is really great and can mimic the sound of a P-bass or short scale (~30″) bass!

Watch and hear me play the song with my Kala SUB (w/Magnetic mic) (Click the link!)




Learn to play the song here:


NEW RELEASE: ”Reflections” composed by Magnus Sjöquist

Hi,

I hereby proudly present some new music composed with and for solid body UBasses!

“Reflections” (Magnus Sjoquist) started out as a chord progression. The descending chords are played with a simple triplet rhythm throughout. Over this sequence of chords I started to improvise and captured a take. My initial goal was to pick and choose parts of this improvised recording into a crafted melody.
When I revisited the recording later my goal changed. I decided not to mess with it at all and keep it as is. Instead of picking out parts what you hear is that first improvised recorded play-through.

When coming back to this demo later I wanted to flesh out the arrangement and started by adding a shaker and Udo percussion parts.

It wasn’t enough so a string arrangement was made and my old 1950’s Czech upright has a little cameo twice.

The melody and chord parts are played on my custom Kala solid body UBass tuned EADGC and as a final addition my Kala solid body fretless 5, also tuned EADGC, is used for the intro and outro melody.

I hope you will enjoy listening to (and watching, If you read this on YouTube) my new composition: “Reflections”!

Tech talk
Kala Solid Body UBass (fretted)
Kala Round Wound EADGC set

Kala Solid Body UBass (fretless)
Kala/Galli Flat Wound EADGC set (the EADGC-set a special prototype set not yet released!)

Ubasses recorded through my Jule Monique all tube preamp

Check upright recorded with a Ehrlund EAH-M microphone through my Universal Audio 710 preamp

Udo recorded with two Oktava MK 012 small condenser microphones through the built in preamps of my Universal Audio Apollo Audio Interface.

Produced and recorded into Logic Pro X at Studio Silverfish, Nora, Sweden

Video edited with Final Cut Pro

Links
Bandcamp
Apple Music
Spotify
Amazon Music

Silent Night as a solo ubass arrangement!

Learn to play Silent Night as a solo ubass arrangement Link to videos below!

It’s Christmas time and although it has been a crazy year with the ongoing pandemic I hope some Holiday music can help sooth and heal at least a little bit.

I decided to arrange a (fairly) simple solo ubass arrangement of Silent Night by Franz Xaver Gruber composed in 1818.

The arrangement is based on the melody and a simple bass part that has mostly a root motion meaning I go from root to root in the chord progression. I choose the key of A major simply because the possibility to use a lot of open strings for the bass line part of the arrangement. This way I can focus on the melody and also get a bass part with a long legato feel. I want to make a contrast between the melody and bass rhythm is possible.

It would not have been so nice if I used the same rhythm in the melody and bass part throughout the arrangement. Although we as bass players really love bass this technique will let us focusing on the most important part of a song, its melody!

Tricky Bit 1: Playing the “19th fret” harmonic (a D) on the G string

Tricky Bit 1: The highest note of the melody is a D. Since most Ubasses only has 16 frets and the D we want is located at the 19th fret we need to play the D as a natural harmonic. This note can be found where the 19th fret would have been if the fretboard was extended that far. You play a harmonic but lightly touching the string and then play with your plucking hand. You might need to play a little bit harder with the plucking hand than you usually play to get the harmonic to “ring”.

Extra info: If you play a 12th fret harmonic you get the same note as if you press down on the 12th fret. When you play the 24th fret harmonic you get a pitch that is one octave higher. If you can find the spot in between the 24th fret and the bridge you will get a note that is yet another octave higher. And now the crazy bit. If you do the same dividing the string from the 12th fret to the nut you will get the same results as in the 12th fret to the bridge area! More on this in a later blog post.

Tricky Bit 2: Playing the C# as a false harmonic

Tricky Bit 2: To get the C# you need to use a technique called false harmonics. The false harmonic technique is based on the same technique you use when playing a natural harmonic. You want to get the pitch that would have been find on the 18th fret. To get this note you fret the C# at fret 6 on the G-string. Then you find the spot exactly in the middle between the fretted C# and the bridge. You need to play that harmonic with you plucking hand. There are different ways of doing that. Here I’m using the first finger of my plucking hand on that “half-way-point”. (See Extra info!) I then pluck with the ring finger of my plucking hand. This will take some practice to find the right spot and get the note to ring and sound as close to the regularly fretted notes! Play slow and gradually add speed!

Tricky Bit 3: Getting from that passing note bass part to the part where you play those harmonics (Tricky Bit 1 & 2) is a bit challenging too. Aim for the B note…
Tricky Bit 3: Aim set for the B note!

Tricky Bit 3: Getting from to the part with “Tricky Bit 1 & 2” can also be a little challenge since you need to quickly go from the lowest to the highest part of the fretboard. Practice slow and make sure you aim for that B. Best way to do that is to “look ahead” and aim with your eyes. That way you’re helping your brain to gules your hand!

In the performance video I play only one verse of the song. My goal is to work more on this arrangement, maybe add an intro, develop a second verse with the use of other rhythms and maybe some re-harmonization and so on. I decided to record this very short version to give you something to work on during the Holiday’s!

Maybe this will be your first go at playing a solo ubass arrangement? I hope this will inspire you to make your own solo arrangements. The melody and bass approach is a great staring point! Please let me know if you decide to make your own arrangements. I’d love to feature your arrangement on playubass.com if you want to share something!

I wish you all a Merry Christmas And a Happy New 2021! /Magnus

Performance video with standard notation
Lesson video with TAB and last 11 bars in half tempo

How I put on a new set of round wound strings on a solid body ubass

Time to put on a new set of Kala Round Wound strings on my custom sunburst Kala California (EADGC-tuning)

Stringing Guide

1. Remove all the old strings

2. Make sure to tape down the bridge saddle so it doesn’t move

A piece of masking tape helps to keep the bridge saddle in place

3. Remove string back plate (if you have one)

4. Start with unpacking the E (lowest) string (and next time around the A and so on…)

5. Check and see if any metal washers are still in the string barrel. If so remove the one on the new string you’re about to install

When you remove the old strings the old metal washers might still be in the barrel. In that case let it be and remove the washer from the new string.

6. Put the sting through the lowest string slot/barrel

String threaded in the through body bridge barrel/slot.

7. Stretch the string past the string post. I use a cable cutter to measure how long the string needs to be before I cut it. I don’t want to have to much excess string around the post. 2-4 turns around the post is the goal.

I have found that the plastic handles on this cutter gives me enough string for the string post.

8. Put the end of the string into the hole in the middle of the string post. Push it down as far as it goes

This is how much of the string that goes down into the middle of the tuner.
Bend the string (see no. 9)

9. Bend it to the right for the lowest two strings (tuners pointing upwards) and left for the top three strings (tuners pointing downwards

Turn the tuner and make sure you let the string add turns beneath the first!

10. Keep turning the tuning peg to get rid of the slack

11. Use a tuner and tune the string up to approx. one whole tone beneath the goal pitch (ex. D for the E-string)

12. Repeat step 4-11 for all the remaining stings

13. Put the string back plate back

14. Tune the strings up to pitch. Come back and retune until they stay in tune. This can take a day of two depending how much you play and stretch the strings

Using a tuner to tune up to pitch. Notice that I have approx. 2-4 turns around the string post on the strings. Try to get the last winding as close to the base of the tuner as possible. This will help to get a good string pressure over the nut and prevent the stings from “popping out” of the nut slots.

Time to make some new music with a fresh set of strings. Yummy!

Hope this is helpful for your next string changing session!

Summer Ubass Video from Jämtland, Sweden

From the video recording of Jämtlandssången

Hi,

Time for a new Summer Ubass Video! Making a outdoor Summer video is now almost like a little tradition! 🙂

For the second time it is filmed in Jämtland, Sweden. I really love this region and have spent quite a lot of time there. Last year I did a version of the super classic song Summertime. Check out the blogpost and video here.

This year I decided to really pay homage by doing a version of Jämtlandssången, the official song of the region. It is also the first song I played on my new/old mahogany ubass. I found it in a music shop in Östersund the biggest town of Jämtland. This ubass is an early model without the built in preamp. I have looked for an early fretted mahogany model to compliment my first ubass, the spruce fretless I got in 2010.

Detta bildspel kräver JavaScript.

I did a quick arrangement playing mostly melody together with a quite simple bass part. I added some more chord tones in some places to make the harmony come through a bit more. When I got back home to my studio I decided to add a string arrangement to spice it up a little. The strings are recorded with the Strings-instrument-plugin inside of Logic Pro X. Besides the video of me playing the mahogany ubass I added some video footage from 2013 (!) Yes, that’s right I got the original idea of doing a tribute video to Jämtland back in 2013 but I never finished it… That’s why the other footage in the video features my first spruce ubass.

I hope you will enjoy this little video. If your interested in knowing how I arranged this please make a comment below. If there is interest I can make the arrangement available with a little lesson on how it all works! If you want to do this to another songs and melodies please include the titles in the comments too. That way I can include more melodies in future solo ubass arrangement lessons!

 

Playubass goes Dixieland/Trad Jazz at the Classic Car Racing Track

The winning team! ”Hejåhå med Peter” at the Classic Car Racing Show at Gelleråsen, Karlskoga, Sweden

Out of the blue my dear old friend from my music study days in Jönköping, Sweden called me up and asked me if I wanted to SUB for the SOUSAPHONE player in the Dixieland/trad jazz band ”Hejåhå med Peter”. He called last Thursday and the gig was that weekend!

The regular tuba/sousaphone player wasn’t able to make the show. My friend thought about me because I live quite close to the racing track and he thought it would be cool to try using a ubass instead of the tuba/sousaphone. When I was between 13-19 I played a lot of trumpet but tuba is another ball game and I have only tried it a couple of times.

Talking the sousaphone for a little spin! Wow, it has a powerful sound. I’m addicted and have get one so I to play some more!

They did bring a sousaphone and I got to try it. I will try to borrow a tuba or sousaphone because it’s such a fun instrument to play. Since I have my trumpet technique somewhere in the back of my head, and already know the function of the bass and how to play basslines, it would be a great addition to my bass tool palette! If I can at least borrow one and put in some practice it would be so great to once again play with the band – with me on sousaphone!

The band lined up (minus the trumpet player) at the racing track

But this time it was ubass I added to the mix. The first obstacle was to find a suitable mobile amp setup that would be easy to move around and had a powerful enough sound to blend nicely with the rest of the band. The band has a classic dixieland setup with clarinet, trumpet and trombone as lead instrument, banjo and washboard (cow bells, woodblock and cymbal).

My first thought was to only use my Phil Jones Double Four. That amp can be played powered by an external battery. I don’t have a battery yet so I still needed to connect to a power outlet in order to make it work. The gig was outdoor and although the Double Four has a great sound with a fantastic low end response the volume I can get out of it is a bit to low when used outside. I decided to use a combination of the Double Four and my old ”vintage” Gallien Krueger combo amp, that I bought new back in 1987. That way I could use the preamp and main sound of the Double Four and use the GK as a slave amp to get some more power and volume. As you can see in the video below I had some trouble finding power everywhere. But most time it worked out nicely!

My amp-cart setup. A Phil Jones Bass Double Four and an old GK as a slave amp for more power. Maybe not the prettiest setup around but it worked well and sounded very nice!

I put the amps on a cart and together with my friend we came up with a great way to incorporate a long extension power cord that was easy to use at the different locations where we played throughout the weekend.

So what do you need to focus on to sound somewhat close to a brass instrument while playing the ubass? First of all you need to play quite short and staccato-like notes. Almost the opposite as when you play ”newer” jazz (1940-) where a long legato sound is preferred.

Because of the interactive weaving lines from the melody instruments (clarinet, trumpet and trombone) it’s also best to keep the bass lines super simple. That way you won’t get in the way of the interactive in the moment harmony they produce. The chordal instrument (banjo) should also play simple triads with the appropriate dominant seven chords where applicable.

For me this means playing a staccato root fifth motions with the occasional chord or approach notes here and there to build up for a new section or chorus.

Besides using my ”cart rig” I used a Bose L1 PA that was available at one location. In video below you can hear and see what it all sounded and looked like.

It was pure joy playing with these guys. It’s always very rewarding when you get to play music with musicians that have taken time to get inside a certain genre. Besides playing in ”Hejåhå med Peter” the three lead melody instruments plays together in Gentlemen and gangsters a trad jazz group that regularly performed in Sweden, Europe and Asia.

We played a variation of classic jazz tunes with original or new lyrics and some ”Dixieland-ised” Swedish children songs too. Great fun!

Thanks for letting me swing with you guys!

 

 

About the car race

”Velodromloppet Grand Prix” has been around for quite some time. Here’s a movie from the 1959 competitions. (Swedish speaker)

Welcome to a fantastic race weekend for the whole family with lovely race cars and nostalgic feeling of the old days! Historic racing for pre historic, formula, standard, GT and sports cars. Club & car exhibitions, TT motor cycle show, retro and vintage feeling on the track.

Throwback: Jammin’ with Frank Vignola

Me and Frank Vignola after the concert at the jazz club in Hallsberg , Sweden. It was almost 8 years to the day from when I got to jam with him for the first time.

Back in 2011 i attended a workshop with master jazz guitarist Frank Vignola.

A couple of days after the workshop he was going to play a show not to far from where I live. At the workshop he invited the participants to come to the concert and offered the possibility to jam with him, Vinny Raniolo and Eric Bogart.

I talked to a friend and we decided to drive to the concert. I brought my original fretless Kala spruce ubass and a cord…

In the intermission I approached Frank and told him that I’d like to take him up on the offer to jam. We decided on Fly me to the moon and a blues

Set two starten and I was called up on stage after the second song…

I brought my ubass plugged into the PA and of we went. We had not played a single note prior to this and there was somewhere around 150-200 in the audience probably wondering who that guy was taking the stage.

Fly me to the moon flew bye and Frank started to play the head for C-jam blues and after a somewhat shaky start (on my part) we found a nice groove.

I still love the part where I manage to steer us into half-time mode and the audience starts to clap along. Frank plays a smoking solo, I play a solo and we go into trade mode and finally manage to sync the ending pretty nicely!

This was a great experience and has also been great for my “ubass exposure” on YouTube with around 135.000 views to this day.

Last Saturday Frank played at a nearby jazz club and I went there with a friend. It was a fantastic concert. Frank played with top notch Swedish jazz musicians, Eric Söderlind, guitar, Hans Backenroth, upright bass and Joakim Ekberg, drums.

No jam for me this time but I managed to talk to Mr Vignola for a bit, telling him how fun it was when we jammed and that the video of that firat jam back in 2011 has been great for me. It’s nice to be able to give thanks for these things in person.

The sax and trumpet players from the support band was invited to jam. It’s so nice that Frank still pays-it-forward at his concerts!

Original blog posts:

Post 1

Post 2

PS: I have jammed with Frank Vignola and Vinny Raniolo once more. That time we played the Police song Walking on the moon. I played my Rob Allen Guitars MB-2 that time. Check it out here!

Ubass Adventures: Travelogue from my trip to KALA and NAMM January 2018

Chillin’ with a lovely sunset at Helen Putnam Regional Park, Petaluma, CA USA

Here comes a long overdue travelogue…I know almost a year has flown by…

Detta bildspel kräver JavaScript.

In January I traveled to California for the NAMM show in Anaheim to promote the Ubass alongside Kala.
You can read about my experiences from Winter NAMM 2017 here!

Petaluma and Kala Brand Music

My trip started with a visit to Petaluma, CA, the home of Kala Brand Music. This was the second time I visited the Kala headquarters and since the first time in the summer of 2015 a lot has happened. The Ubass has evolved and in October 2017 the company moved to a new and bigger facility that includes a great factory where the California series of the solid body UBasses are built alongside the Elite series of the ukulele models.

Detta bildspel kräver JavaScript.

My focus for this visit was to make some videos with the Kala video crew and also talk about Winter NAMM that was just around the corner. I brought my two custom solid body ubasses with the prototype E-A-D-G-C string sets. I did some videos with them alongside the new Kala Journeyman ubass and a 5-string California koa solid body ubass with regular B-E-A-D-G tuning.

Detta bildspel kräver JavaScript.

Me and my wife really had a wonderful time in lovely Petaluma situated about an hour drive north of San Francisco. The town has a lovely downtown area and a beautiful countryside. We spent some time in the Helen Putnam Regional Park and caught a lovely sunset over the rolling green hills.

Magical sunset at the Helen Putnam Regional Park

I also had the privilege visiting the home of Kala Brand Music president, Mike Upton, and we had a nice little jam in his living room!

Jammin’ at Mike Uptons place

Winter NAMM 2018

We flew down to Anaheim January 24 one day before the four day music trade show would start at the Anaheim Convention Center. From the NAMM.org homepage:

”The 2018 NAMM Show gathered the music, sound and event technology industries for the largest show in NAMM history, welcoming 115,000 registrants, more than 7,000 brands, exciting events and triple the industry education.”
https://www.namm.org/

From NAMM.org: Winter NAMM 2018 Wrap-up

Pre-NAMM-day (January 24)
I went to pick up my name badge and got to see the wonderful Kala booth. It was a lot bigger then last year. Really spacious and beautiful with a genius and practical design!

The big wall of ukuleles at the Kala booth Winter NAMM 2018 (Since I took this photo with the panorama option on my iPhone it looks a bit strange. But it also show you the massive display in its full glory!)

Detta bildspel kräver JavaScript.

Day 1 (January 25)
From the get go there was a steady stream of things happening. Musical highlights was standing a few feet away to one of my musical heroes, the fabulous organ player Joey DeFrancesco, when he played some super lovely organ jazz at the Visconti Organ booth. I told him about that lovely concert I heard him perform in Stockholm many years ago. YES!

He came to Stockholm in October.  I saw the show with some friends. Did he have a bass player with him…no…was it still great… YES!!! 

The evening was spent at the Bass Bash a special bass event, a great hang! The year before I brought a Kala Ubass there for the ”raffle”. This night I heard performances by Abe Laboriel (Open Hands) and the John Patitucci Guitar Quartet with the amazing Nate Smith on drums (Side note: In this video I play to loops from thelooploft.com played by Nate Smith!)

Laboriel and Patitucci both received Lifetime Achievement Awards from Yamaha this night!

Detta bildspel kräver JavaScript.

Day 2 (January 26)
It was great to once again, if super brief, say hi to one of my mentors, Victor Wooten. I attended one of his camps outside Nashville back in 2011. Anthony Wellington was one of the many great instructors at the camp. Joe Craven was a guest at the camp. A super talented multi instrumentalist. So great to meet him again! Also got to meet Christian Fabian, a great bass player born in Sweden but now lives in NYC.

I also met some great musician friends! Please check out Ariane Cap she’s a great bass player and educator (I met her at that Wooten Camp back in 2011) I also met Sam Montooth a great singer, bass player, teacher based, as well as Ariane, in the LA area.

One of my Ubass ”papas” Bakithi Kumolo is always such a great hang. We had some nice talks and jams at the Kala booth. He performed at the Bass Bach on the second day of NAMM and almost played my solid body ubass! 🙂
I also met some new friends and they were also Bakithi admires!

I got to meet and great Mr Funk, Bootsy Collins! And check out the great Manou Gallo!

Oscar Cartaya a great latin bass player and ubass artist visited the booth and also played at the Bass Bash.

I ran into Ida Nielsen (played bass with Prince) and Morten Ehlers (the founder of Bass Buddha, a bass shop in Denmark.

I met Christopher Bolte at the Frankfurt Musikmesse back in 2014 and now we finaly meet again. He’s a fellow Gruvgear artist.

Greg Olwell, the editor of Ukulele Magazine, came by the booth. He writes for the Ukulele Magazine and made a great ukulele bass roundup a couple of years ago.

It’s so great to hear talented ukulele players jam. Corey Fujimoto and Andreas David are super musical on their ukuleles! Andreas managed the German ukulele site Gute Ukulele!

Meeting more new friends, Amie Cool, trying out a new pedal by Ruppert Musical Instruments and seeing Jeff Berlin in a nearby booth concludes the Day 2 travelogue.

Detta bildspel kräver JavaScript.

Day 3 (January 27)
Some highlights this day was seeing good friends Ariane and Wolf. We had a nice little lunch away from the crazy show floor.

I got to meet Kala Ubass Artist Nik West. She had her signature ubass on display at the booth.

The duo Go West demoed at the booth. So did Corey, Andreas and myself.

I don’t have any pictures but have to mention the wonderful Jule amps the Jule Potter makes!

I would finally be able to meet Richard Mari Cocco Jr, (president) and Eric Cocco (vice president) for the great string maker LaBella

I got to meet great friend and ubass player Greg Gohde too! While walking outside after a long day we heard som crazy energic funky music performed by Kyotaro and Rikuo, a Japanese rhythm section duo. We closed out the day with some great food at the Disney Resort.

Detta bildspel kräver JavaScript.

Day 4

So it’s time for the final show day!
Bakithi came by the booth again so did bass player/actor Sekou Bunch. He did some great jams. I will probably share some of that later! Divinity Roxx, former musical director with Beyoncé, came by too.

The great Ukulenny demoed at the booth. My new friend Simon Poulton tried the Kala Journeyman. The Japanese bass player from Kyotaro & Rikuo from Day 3 visited the booth too.

I went to see Christopher Bolte demo at the gruvgear booth and got to met good friend Jay Baldemor. Gruvgear make a really nice and sturdy gigbag for ubass!

I also went to the Elrick booth to try out some lovely basses built by Rob Elrick

It was so great to work alongside my great Kala Family once again! See you soon!

Detta bildspel kräver JavaScript.

The Acoustic-electric Ubass Walls

Links
Good walkthrough of the updated Ubass line for 2018 by Ryan Haugh
https://www.youtube.com/watch?v=skjsPHn5ig0

The new Jorneyman ubass is one of three new ubasses in a new entry level line. These models are offered in fretted versions and will hopefully be available in fretless versions too later on. I played all three of these and they are a great addition to the existent line of ubasses.
https://kalabrand.com/blogs/u-bass-news/namm-2018-new-u-bass-preview

 

This concludes my travelogue around this wonderful Ubass Adventure!

/Magnus

New video! My version of a true classic – Summertime by George Gershwin

A short background to my version
The classic song is, as you probably know, from the opera Porgy and Bess, by George Gershwin. It was first performed in Boston in 1935 before it moved to Broadway, New York.

I was lucky to be a part of a short summary staging of the opera when I attended a music school in Sweden back in 1992. I had the role of Sportin’ Life and sang the song “There’s a boat that’s leavin’ soon for New York” and ”It ain’t necessarily so”. Sportin’ life was the drug dealer, and possessive lover of Bess the main character. Porgy the other main character wanted to rescue Bess from him…

Detta bildspel kräver JavaScript.

Twenty-six years later… I guess it’s about time to do another song from the classic opera
”Summertime”, by far, the most classic and recognizable song from Porgy and Bess. It has been performed by countless of musicians across the globe since 1935 and onwards.

My version is quite short. I present the melody twice, first instrumental with the melody played on my Kala California acoustic-electric fretless Ubass. Then sung and harmonized the second time around. All vocals by yours truly. 🙂

I decided to incorporate my fretting hand tapping plus plucking hand percussive technique that I have used from time to time since 2014.
It all started when playing in the country duo M&M’s Honky Tonk with the great friend and lovely guitar player, Marcus Måttgård. I wanted to add some percussive parts to mimic a drummer and experimented using the body of the Ubass as a percussive acoustic drum.

Recently I started to use a acoustic pickup by Ehrlund microphones to enhance these percussive sounds. Before playing with this technique only really worked in the studio, where I could use a separate mic to pick up the percussive sounds, or in a small intimate live setting where the audience is near the performance.
The pickup is blended with the built in piezo and this makes it possible to play bigger venues and the percussive parts can be heard alongside the tapped bass part. More about this in a later blog post!

Besides the core parts of bass line/percussion played and recorded live on a small dock by the lake Storsjön in Jämtland, Sweden I added vocals and, for the first time in any of my videos, ukulele parts!

I hope you will enjoy my version of the Gershwin classic!

Detta bildspel kräver JavaScript.