Ween's Chocolate and Cheese (33 1/3 Series) by Hank Shteamer

By Hank Shteamer

Ween now sounds like an everlasting fixture at the pop-cultural panorama, but if the band first hit MTV within the early ’90s, their durability wasn’t so safe. approximately 20 years on, even though, Aaron “Gene Ween” Freeman and Mickey “Dean Ween” Melchiondo preside over the most committed cult fan bases in American track. So how precisely did Ween have the ability to go beyond joke-band oblivion?

One resolution is that, within the years following their MTV leap forward, Ween steadily polished their output, turning their staunchly primitive musical sketches into hi-fi work. Chocolate and Cheese, published in 1994, marked Freeman and Melchiondo’s first the most important steps during this path. in response to new, in-depth interviews with either participants of Ween, in addition to manufacturer Andrew Weiss and colleagues starting from Josh Homme (Queens of the Stone Age) to Spike Jonze, this publication explores the song-by-song production of Chocolate and Cheese and the way the album served as a bridge among Ween’s unique two-guys-and-a-4-track incarnation and the wealthy, virtuosic rock & roll strength they'd later become.

Note: acquired without delay from amazon, imported into calibre in AZW3 layout. switched over to Epub, hence no longer marked as retail, yet is in a different way retail caliber.

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Additional info for Ween's Chocolate and Cheese (33 1/3 Series)

Sample text

Otherwise, the only way you can see motion in the tuner’s needle is by watching it jump as you fling it against the wall in frustration. You don’t want to depend entirely on a mechanical device. You need to know how to tune the bass by yourself in case a garbage truck backs up and crushes your tuner as you’re loading your gear into your car. Your own strings When you play alone, you can tune your bass relative to itself, which is referred to as relative tuning. For relative tuning, you use one string, usually the low E, as a reference pitch and adjust the other three so they’re in tune with it.

The strings, strictly speaking, aren’t part of your bass, because you remove and replace them periodically. However, your bass would be absolutely useless without them (except maybe as a “bass-ball” bat). The strings are connected to the tuning machines at one end and to the bridge at the other. The vibration of the strings produces the sound. ✓ The back of the neck refers to the part of the neck where the thumb of your fretting hand rests. The body The body of the bass guitar falls under the dominion of the striking hand (usually the right hand).

Both hands have to be well coordinated with each other. With the exercises in Chapter 3, you can warm up your hands on a daily basis (just like an athlete warms up before a sporting event). Mastering major and minor chord structures Two basic tonalities prevail in music: major and minor. Each tonality has a distinctive sound. Major sounds somewhat happy or bright, whereas minor sounds sad or dark. Musicians use these sounds to express the mood of the song (or themselves, for that matter). As a bassist, you have a unique advantage: The bass is perfectly symmetrical, and all the fingering patterns remain intact no matter where you play them on the neck.

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