The Gap Many Musicians Experience
Many musicians — myself included — spent years learning scales, theory, and musical concepts. But when they pick up their instrument, there’s often still a kind of middleman at work:
You hear something → translate it → then search for the notes on the bass.
That extra step creates friction.
Over time, it gets in the way of fluent, connected playing.
Before
- You hear an idea, then stop to figure out what it is.
- You translate sounds into labels, shapes, or theory before you can play them.
- Playing feels thoughtful, but not always fluid, free, or natural.
After
- You hear an idea and know where it lives on the instrument.
- Your ear leads, and your hands follow more naturally.
- Playing feels connected, musical, and responsive in real time.
The Posido Vega Method
The Posido Vega Method™ is an ear-first framework for building musical fluency on the bass.
Instead of starting with theory and translating it into sound, the process begins by internalizing musical phrases — then connecting those sounds directly to the instrument.
Internalize → Map → Express
Framework Diagram
Three Parts of the Process
Internalize
Hear and absorb musical phrases until you can recall or sing them without relying on theory.
Map
Locate those sounds anywhere on the bass — across strings, fingerings, and octaves.
Express
Use musical vocabulary and theory-based devices to shape and expand the phrases you already hear.
My Approach to Building Fluency on the Bass
My approach is ear-first, phrase-based, and built around helping you connect sound directly to the bass.
It draws from Barry Harris’s 6th diminished concepts, Pat Martino’s parental forms for accessing shapes anywhere on the instrument, and Matteo Prefumo’s pentatonic concepts for a more modern sound.
Simple, Musical Explanations
I use theory and terminology only when they help you hear, understand, or play something more clearly.
Rooted in Your Ear
The goal is to internalize sound first, so your hands learn to follow what you hear.
Musical First, Technical Second
I focus on concepts that sound strong right away — from Barry Harris movement to triad pairs, pentatonics, and approach-note language.
I Learned Music Backwards (Here’s the Practice Method I Wish I Started With)
When I taught my daughter to read at a young age, I used a technique called sentence pyramids. Instead of showing her full sentence, I revealed it progressively: one word, then two words, then…
Sentence Pyramids — But for Learning Music (Music Phrase Pyramids Walkthrough)
A lot musicians are taught music backwards… Myself included. I learned my scales, what chords to apply those scales, arpeggios, different ways to embellish my scales, and techniques for…
The Unexciting Truth About Transcribing Music
There’s a version of music practice that shows up a lot on social media. Someone is playing their bass to a track. It’s often a solo or groove that they transcribed. And they’re…
How Learning the Melody Makes Soloing 10× Easier
For the longest time, my solos were built almost entirely off the chord progression. That’s how I was taught. And that’s probably how most of us are taught. You see the changes, you pick a…
Change the Key Before You Get Comfortable: An Ear-First Bass Practice Tip
For a long time, practicing in different keys was a separate part of my routine. I’d transcribe a line. Lock in the fingerings. Analyze it from a numbers or theory perspective. Then—usually…