Letting the top notes ring to give the blues bass line a fuller sound.
Played on a 5 strings Fbass VF5 bass, but the general idea can be executed on a 4 string apart from the low D.

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A “Larry Graham style” slap line in the key of E minor
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A simple bassline with nice and fairly easy fills using open strings, pulloffs and slides.
We are playing over a C dominant 7 chord and the scale used is mostly Mixolydian (C D E F G A Bb) with the minor third added for bluesy sound (Eb).

Recorded with my Canon T2i (550d) with a mounted Røde Videomic Pro, unfortunately the cameras internal sound limiter overcompress the sound, will fix that for next try (Will probably install the Magic Lantern camera hack )

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I was sitting and practicing the main bass line to Larry Grahams The Jam, its got some rapid 16th note thumb slaps and plucked octaves, that are quite hard to execute.
Inspired by that I made up this little E groove (Has nothing to do with the Jam other than the technique used)

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Jazzy “two five” (Em7 A7) lick
One bar Em7 to one bar A7, but can also be used over a straigth Em7 or A7 groove/solo.
Some examples in the end of the video, where i use snippets of the lick

First a little section about using your singing voice (Im not a singer mind you ) when playing bass.
and also:
Pulloff galore #2.
G groove plus fill in two octaves like in the previous video (L330)

Voice mic very low, shit happens, dont complain, the explanation is really not needed,;-)

E blues groove/lick in with pullofs, vibrato, slides, open strings and good stuff in two octaves

Im playing a Rickenbacker 4003 with bridge pickup only.

Im actually deep down a blues player with funk rhythm

Click here to view the embedded video.

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Funky G minor bassline with minor pentatonic fill.
Sound is from the internal camera microphone, a bit too much compression

Click here to view the embedded video.

Recorded with a Zoom Q3 HD

Im playing a canadian built 5 string F-bass, model VF5

If you have noticed – I have a “playing ramp” installed between the pickups to keep my fingers from getting caught under the strings when using this plucking technique. Gary Willlis invented this contraption I think, if you want to know more search for “ramp” and “gary willis”. Gary Willis have done a video on have to construct a ramp yourself, it can be found on youtube.

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download. ]]> http://playbassnow.com/bass-lick-of-the-day/l323-4-finger-groove-in-dm/feed/ 1 http://playbassnow.com/bass-lick-of-the-day/l322-bb-minor-groove-with-legato-fill/ http://playbassnow.com/bass-lick-of-the-day/l322-bb-minor-groove-with-legato-fill/#comments Sat, 16 Apr 2011 19:40:51 +0000 MarloweDK http://playbassnow.com/?p=9419 Click here to view the embedded video.

A Bb minor groove with a  legato fill with slides and hammerons

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download.

Another go at using the open strings creatively , this time a bluesy lick that can be played in G, D and A.
Unfortunately the video is a bit out of focus, i think i moved accidentally

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download.

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download. ]]> http://playbassnow.com/bass-lick-of-the-day/legato-minor-pentatonic-bass-lick/feed/ 1 http://playbassnow.com/bass-lick-of-the-day/l319-cm-slap-with-open-strings/ http://playbassnow.com/bass-lick-of-the-day/l319-cm-slap-with-open-strings/#comments Thu, 07 Apr 2011 06:22:41 +0000 MarloweDK http://playbassnow.com/?p=8952 Click here to view the embedded video.

Continuing my exploration of using the open string in other keys than the obvious E, A, G, D….
This time a slap line in C# (Db) minor where the open G string becomes the b5 in a blues scale

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download.

Another lick inspired by my (re)discovery of using the open strings more creatively.

Try to play around with this idea using the open D string for other basslines / fills where D occurs, gives it another flavor and in some cases makes the lines more fluent.

Dont get confused because of the 5 string (Fbass) bass used, Im not using the bottom B string at all and the transcription /tab is written for 4 string bass.

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download.

Funky bass groove in D minor , utilizing the open D string

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download.

Sorry for the numbering confusion, the video title says L316 but this IS L317

Im using the right hand 3 finger picking technique – in this case Thumb, middle and ring finger (my index is recovering from a scratch), butthe lick can be played with standard two finger technique too.

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download.

Sorry for the numbering confusion, the video title says L315 but this IS L316

An Aminor slap line with “Wooten style” left hand hammered on notes, and open A string plucks.

Some fresh solo ideas for the good old Major pentatonic scale using larger intervals (4ths and 5ths), to get away from the usual Blues/ Country sound…Not that there’s anything wrong with that!;-)
In the end of the video I’m playing the D Major pentatonic scale straight up and down for reference.

Im playing to a click on 2 & 4

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CORRECTION: The start of the slow version is wrong, the first notes should be

Hammer on from E to G on E string
Pluck/pop octave G on D string
Two thumbed low Gs on E string
Pluck/pop octave open G string

after that the rest of bar one should be ok, do the same for bar two.

UPDATE! I’ve included the correct transcription / TAB below

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A fast triplet lick using 3 finger right hand technique (321, 321…)

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My favorite scale substitution, playing a minor pentatonic from the 5th of a Minor chord (also useful for 7Sus chords).
In this example an E minor pentatonic scale (E G A B D) over an Am7 chord.

The fast triplet fill is with fast “shakes” (i think it is called), very much in the Abe Laboriel vibe:-)

Large iPod friendly .m4v

Medium iPod friendly .m4v

Flash .flv

A little holiday lick, from Afitos in Greece.
Getting heavy into pick playing again, as always inspired by me friend the great Bobby Vega.
Check out the new Bobby Vega fanpage on Facebook, Im administering it together with Bobby himself. Lots of good stuff is goin to happen there;-)

Im using the good old Korg Pandora px4d with some compression and chorus

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A quick lick recorded acoustic with my laptop crappy mic:-)
Im playing my old cheap Maison electro acoustic bass

A lick/run with a lot of slides only using notes from the E minor dorian scale.
A minor version of yesterday’s Major lick
I also show a E minor 7 voicing with harmonics -  from bottom up it is
E (root) – open E string
D  (minor seventh) – 5 fret D string
G  (minor third) – 5 fret G string

Download original quicktime movie here

A quick lick recorded acoustic with my laptop crappy mic:-)
Im playing my old cheap Maison electro acoustic bass
A lick/run with a lot of slides only using notes from the E major scale.
I also show a E maj9 chord voicing – from bottom up it is
E (root) – open E string
B (fifth) – 14th fret A string
F# (ninth) – 16th fret D string
G# (third) – 13th fret G string

Download original quicktime movie here

A lick of the day “Classic”.

Like in the good old days: Korg Pandora px4d, webcam, bad lighting, hum and noise from line input, the original camera angle….:-)

iPod m4v

Flash flv

Emulating a P-bass only using neck pickup on the Sandberg California jj bass.

Backing track used

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Quicktime original

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A more beginner friendly shuffle blues bassline with fill. The third in this series of quickly recorded licks i did one morning.

Just recorded straight into Quicktime player with macbook webcam from Sandberg bass California JJ to Tc electronic rh450 amp to Apogee soundcard.

New Fender Nickel-plated steel roundwound strings, gauge 45 -105.

Its a mono recording but unfortunately saved as stereo recording, so you will only hear one side, i told you its was quick.

I will from time to time do these “low quality” recordings when i dont have patience or time for HD, audio and videoediting.

I now give online One on one lessons at: www.ashburymusichall.com

Quicktime original

Flash flv

Quick and dirty Bluesy lick with chords tutorial.
Three bars of D7 then one bar of C7
Just recorded straight into Quicktime player with  macbook webcam from Sandberg bass California JJ to Tc electronic rh450 amp to Apogee soundcard.
New Fender Nickel-plated steel roundwound strings, gauge 45 -105
Its a mono recording but unfortunately saved as stereo recording, so you will only hear one side, i told you its was quick.
I will from time to time do these “low quality” recordings when i dont have patience or time for HD, audio and videoediting.

I now give online One on one lessons at:

http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Quicktime original

Flash flv

Quick and dirty slap and doublethumb lick tutorial.
Notes are strictly from the E minor pentatonic scale (E, G , A,  B, D ), but im actually only using E, B and G in the lick (but in different octaves)

Just straight into Quicktime player with  macbook webcam from Sandberg bass California JJ to Tc electronic rh450 amp to Apogee soundcard.
New Fender Nickel-plated steel roundwound strings, gauge 45 -105
Its a mono recording but unfortunately saved as stereo recording, so you will only hear one side, i told you its was quick.
I will from time to time do these “low quality” recordings when i dont have patience or time for HD, audio and videoediting.
Support me by downloading the video, audio and TAB download in on package here

A combination of Victor Wooten style left hand slap, John Entwhistle style “typewriter” tapping and Jaco Pastorius style percussive fretboard slide slaps. Talk about (con)fusion:-D

Im playing a Sandberg California JM bass “Masterpiece editon” im trying out.

I now give online One on one lessons at:

http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

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The hammeron slap technique (Laboriel, Wooten…) im working on. Some compression is used to even out the volume between normal thumb slap and hammer on slap.
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Click here to view the embedded video.

This lick is a mixture of major pentatonic, mixolydian and blues scale – in other words just a bluesy lick;-)

But most important its number 300!

That also means that there is a “videospack_201-300 ” in the making;-)

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An example of getting out of the root note box when improvising fills and solos.

Our trusted pentatonic scale – the Major pentatonic (1, 2, 3, 5, 6) is used for more advanced sinister purposes:

Even if you are playing over a Cm7 chord,  STOP thinking dorian and minor pentatonic from the root C, but  think MAJOR and major pentatonic starting on Bb (the b7 of Cm7).

And another way of looking at it :

Cm7 is the second (llm) step/mode of the Bb major scale (l) – so the notes are the same , we just emphasize other scale steps – most important we DONT emphasize the root C

For this fill im using only notes from the Bb Major pentatonic scale to make it even simpler and most bassplayers have that scale in their fingers allready

Totally different patterns will appear on your fretboard , when you think in other scale degrees than the root, and you will make up new hipper lines

Download backing track here

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The slow version is WRONG (sometimes its hard to dissect yourself) – so  ive include a transcription / tab:-)

Mostly blues scale with added major third (its more a chromatic passing note here) – the last part of the four bar pattern is mostly notes from the dorian minor scale.
A good stamina exercise too.

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First an Emaj9 voicing i shamelessly stole from a Bobby Vega youtube video, followed by a B major pentatonic lick (fits EMaj7) – The B Major pentatonic scale consists of the notes B C# D# F# G# which translates to the 5th, 6th, Maj7th, 9th and 3rd step in the E major scale, a nice jazzy/lyric note selection. So when playing over any Major7 chord (EMaj7 in this example), try and play a major pentatonic scale starting on the 5th step (B major pentatonic scale in this example). Lastly im trying to play the chord with “false” harmonics, by using my left hand thumb to lightly touch the string an octave above the last fretted notes and pich the harmonic with a finger (phew, thats hard to put in words, better just look how its done)

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I now give online “One on one” lessons: http://www.ashburymusichall.com/offerings/funk-rock-bass-marlowedk

Can be played over Cm, Cm7, Cm6 . First part is mostly C blues scale (with the 6th added )and second part uses the C diminished chord arpeggiated (contains the 1, b3 , b5 and 6 – all the cool blues notes)

On the tuner display of the RH450 amp you can see the note names – very convenient
Tempo is 111 bpm

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A D7 chord (1,3,5,b7) note based lick with emphasis on the 3rd (F#) in both octaves. You can also look at it as playing selected notes from the D mixolydian scale (1, 2, 3, 4, 5, 6, b7).

You can download the backing track here

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A little vacation lick in A minor, with my cheap SX bass, wiring gone bad during travel, so its only the bridge pickup that is functioning, but masking it with Korg px4d autowah;-) The fast run is just an descending blues scale

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Another exercise for building right hand stamina – aaand left hand stamina too for that matter:-D

Keep those 16ths pumpin’!

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This kind of bouncy bassline can be quite tricky with the pattern of an 8th note (root) followed by two 16ths (octave)

You can hear that kind of  ” umdidi, umdidi, umdidi “  on the Rod Stewart classic “Do you think im sexy”, bassline played by Phil Chen

RH450 settings are the same as on L290, but ive added some chorus to the track  in Garageband

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A relatively simple bassline using only notes from the E minor pentatonic scale – E G A B D.

Im experimenting with my new audio and video setup:

A Creative Vado HD 3rd generation pocket dv cam for video. Not enough light in this shoot, will be better in next video:)

And for audio; a TC electronic RH450 amp direct output into a Apogee Duet soundcard into Garage band (mac)

On the Jazz Bass Im favoring the bridge pickup and rolling back on the tone control (Jaco style setting)

RH450 amp settings for this lick:

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Continuing with the theme from L288, we play 16th notes with muted notes in the same manner a funk rhythm guitarist would do it; playing all 16ths but muting some. Listen to bassist TM Stevens, he is a master of this style.
Right hand picks 1212 1212 1212 etc

Key is C, notes used are C,  Bb, F , F#, G

Play without stop for a few minutes;-)

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Ive started to practice fingerstyle in the same way that i play with a pick – playing all the 16ths available without stop. Its quite challenging stamina-wise -try and do it without stop for just 2 minutes…

This exercise is based on the C minor blues scale (1, b3, 4, b5, 5, b7) and ive included the transcription with tablature – consider it as a small Christmas present:)

Try and play the rhythm just on one note/one string too – example in the pdf – its even harder than playing the line itself!

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A subscriber asked me about a fill i did in the adlib section of L283 Bassline to Csus13 chord, its at the 4:45 mark
The chord is a Csus13, but i play Gm pentatonic over it. This fill takes all the 4th intervals in the scale starting on the root G. Sounds more advanced that it actually is. But be prepared for a blister on your first left hand finger, between 1st and 2nd joint – due to the barring of notes.
Note! I forgot to turn on my preamp, so your hear the boring sound of a clean bass going directly into the soundcard:-)

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Not much to be said about this one, apart it has this walkin’, cruisin’, positive feel to it:-)

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Im playing over a A7 to D9 chord sequence – We can call the tune “The Green Count”;-)
Even though the A7 chord has a major third, you can play minor thirds as well – its Blues!
Scales you can use:
A minor pentatonic / blues scale
A minor dorian scale
D mixolydian
A dimished – actually the A dim chord in arpeggio form
G Major scale – G Maj 7 arpeggio
E minor pentatonic scale

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A rhythmically stranger sounding lick i know, playing 2 sequences of 7 notes in the first part and then landing on firmer ground in the second half;-)

But sometimes its good not always playing on the same ole’  1 – 2 – 3 – 4 beats IMO

The main part of the lick is the A Major pentatonic scale ( or the F# minor pentatonic scale if you want to look at it like that – its the same notes), but in the second 7 note sequence  i play a note from the A major scale (the Major Seventh, the note “G#). I like going in and out of the main Major scale (1, 2, 3, 4, 5, 6, 7)and the simpler pentatonic equivalent (1,2, 3, 5, 6, ).

After the slow version of the lick i play the basic scales – the A Major scale and the A major pentatonic scale

In the end of the video i introduce another scale option – the E major scale and the E major pentatonic scale – try and play that scale over the backing track for a more open sound.

E Major scale = A lydian scale , a major scale with a raised 4th (D#)

In fact try and play the initial lick transposed to E.

Quicktime version

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When constructing a bass line to a Suspended chord (the 4th “suspended” interval replaces the 3rd ), its a good idea to use another scale than the obvious choice C mixolydian, to avoid emphasizing the major third because when Im playing the mixolydian scale the positions and scale patterns I use are so  – root, major third, fifth, seventh based – because im a bassplayer.  So to avoid that very “root position thinking” and at the same time getting fresh ideas i use a  “scale sibling” * -  another diatonic scale based on the same notes.

The Csus13, Csus9, Csus7.. is  normally a substitution for the dominant  C7, C9, C13… chord.

And that chord – the dominant 7th chord / mixolydian scale is derived from the 5th step of the F major scale (ionian)
So if we look at the diatonic scale/chord steps of the F major scale we get:
FMaj7 chord and the F ionian scale (steps 1, 2, 3 ,4, 5, 6, 7)

Gm7 chord and the G dorian scale (steps 1, 2, b3 ,4, 5, 6, b7) The scale I choose in the creation of this bassline

Am7 chord and the A phrygrian scale (steps 1, b2, b3 , 4, 5, b6, b7)

BbMaj7 chord and the Bb lydian scale (steps 1, 2, 3 ,#4, 5, 6, 7)

C7 chord and the C mixolydian scale (steps 1, 2, 3 , 4, 5, 6, b7)

Dm7 chord and the D aolian/natural minor scale (steps 1, 2, b3 , 4, 5, b6, b7)

Em7b5 chord and the E locrianscale (steps 1, b2, b3 , 4, b5, b6, b7)

The thing to notice that all 7 scales contain the same 7 notes (F, G, A, Bb, C, D, E) – its just the F major scale starting on the 7 different steps and they have these funny “greek” names Ionian, dorian etc

But you should actually just think of it as just a Major scale starting on different steps and since most of us have practiced the Major scale a lot ( i personally never got around to the locrian scale;-)), the thing is to recognize the different Major scale steps.

So here we have it

Csus13 substituting C13, see as 5 step of F major, so then when you improvise you can use all the before mentioned scales derived frm th F major scale

Here im playing ogf the Gm7 dorian scale, the 2nd step of the F major scale – im still emphasizing the root note C but otherwise looking at as a G minor dorian scale

That forces me to invent new fresh patterns since i see the same notes in a new fashion.

Heres soem of the scale choices i frequently use could use when playing over dominant sus 7:

The root scale of course – C mixolydian
G dorian minor, G minor pentatonic, D aolian minor , D minor pentatonic, Bb Major lydian,  Bb major pentatonic,,,,

The pentatonic scale are interesting because you allready know that scale so well – try and take one of your blues pentatonic licks and play over this backing track – look above for hints of which you could try

AND REMEMBER ITS THE SAME 7 SCALE NOTES (F, G, A, Bb, C, D, E ), you just view it from different “angles of the fretboard” and trick your brain into playing new awesome licks;-)

* “Scale sibling” is my own expression for a scale derived from the “Mother” of all scales on the western hemisphere – the Major scale)

Ive done the backing track in Mac Garageband using a standard drumloop and playing a Squier Stratocaster;-)

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Still using the same funky backing track as in the previous LOTD videos, this time with an b7th – root – octave pick groove.

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Again we use the funky D backing track from L279 and L280 for more evil doings;-)
Getting ideas from other band instruments – Im dubbing one of the rhythm guitars and adding something extra – the lick at the end.
Actually a LOT of my Lick ideas come from guitar players (well, in instance i also played the guitar, so i inspired myself, ha ha)

iPod version

By using other ways of right hand picking you can come up with new ideas for – in this instance octaves, and then transfer the idea to standard picking if you wish (as in this example)

iPod version

The backingtrack can be dowloaded here

A “James Brown style” funk groove with anticipated notes and the good old 3 note chromatic walk up from the 9th up to the Major third. The bass line starts on the 8th note before the downbeat 1 Ive recorded the backing track in Garageband (Mac), playing the 2 rhythm guitar parts myself and using a premade drumloop from the program.

The bass is fairly simple notewise and technique-wise, but the challenge is locking with the groove and hitting that D right on the 8th note before 1, especially after visiting the high register.

You can of course play the D on the open string, but the sound of the D on the 5th fret of the A string is so much thicker

Im emulating a P-bass by only using the neck pickup and rolling a bit back on the tonecontrol

The backingtrack can be dowloaded here

First part is mainly dorian scale with added major thirds, secon part is minor pentatonic / blues scale

iPod version

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A more guitaristic approach using more legato lines – pay attention to – that im not picking that much with the right hand, but most frasing takes place in the left hand.

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Starting in the upper register i work my way down

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A swinged groove in G using open strings, a double stop (6th, b3) and the G diminished chord notes for the fill.
This scale consist solely of minor thirds and as in the example in G contains the 1 , b3, b5 and 6. You can look at it as selected notes from the bluesscale (1, b3, 4, b5, 5, b7) with the 6th added and can be applied to all bluesy settings when using chords like Gm7, G7#9.

iPod version

Quicktime original

Flash

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When playing in D, E, A and G, remember to sometimes use the open strings, makes certain lines easier to play and more smooth sounding

The fender Pbass is strung with flatwound strings

As an experiment the ipod version has the drumpattern in one channel and the bassline in the other

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These days im trying to change my usual way of playing pentatonic scales (using scalar runs) and instead use more note skipping and playing more legato lines using slides, hammerons and pulloffs.

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Trying something new, using lots of slides and hammerons. This fill is inspired by a great gospel bass player Thaddeus Tribbet i saw on youtube

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Want the transcription + TAB for this bass lick?

Click here to view the embedded video.

Moving up the neck playing all the different positions of the E minor dorian scale, this starts on the 5th (B) and ends on the 9th (F#) .
Notice the use of chromatic notes between the scale notes

Based on a A13 arpeggio (1, 3, 5, b7, 9, 11, 13 ) this fill/lick could be applicable in a shuffle blues setting

Continueing the Em dorian scale in all positions

This position starts on A (the 4th), 5th fret on the G string and ends on the A, 9th fret on the G string.
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Hammerons on downbeats are hard i think, and is still not second nature to me (maybe 5th nature ha ha), but if one wants to grasp the “Wooten style” its pretty essential.

Ahh, weekends in the summerhouse….:-)

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3rd part of this series of the Em dorian scale study in all positions

In this position you can reach from the G (the b3) on the Estring to the D (the b7) on the G string.

The lick is somewhat inspired by Miles Davis solo on his famous tune “So what”, THE study of the dorian minor mode.

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Part 2 of this Eminor dorian scale in all positions series

Still in first position but this time not using open strings, making it easier to transpose to other keys – You should be able to use both since open strings gives other melodic ideas because of the fingering, and its sounds really cool when the open string note overlaps a fretted note, see L255.

I also incorporate some chromatic leading notes in this lick, here the notes fall between the octave E and 9th F#, you can view it as walking from E to F# using the note in between:

E –> F –> F#

Same applies in the next similar pattern, where we have the chromatic run from B to C# spelling B –> C –> C# .

Its one of the keys to make scale patterns sound musical and interesting – adding chromatic notes inbetween the scale notes

TIP when ever you have a scale with whole step intervals (2 frets distance), you can add the chromatic note between – the key is to put it rhythmically right.

As a general rule the chord/scale notes should fall on the down beats and the chromatic on the off beats ie when playing the first pattern slow:

Here with 8 notes:

1 and 2 and 3 and 4 and 1
E F F#

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The first of a series of licks in the 5 different positions of the Em7 dorian scale.

This is the minor scale that is used the most in rock, jax and funk , when playing over minor7 chords.

You can look at it as a mixolydan scale with a lowered third 1 2 b3 4 5 6 b7

Start with the first position using all the open strings, i play a lick using trills and hammerons

The lick ends with a GMaj9 arppegio (or an Em11 arpeggio starting on the third ),which ever way you want to look at it.

Remember that Em dorian is the 2 step of the D major scale, so you could try and play your D major scale or even better the G lydian scale (major scale with raised 4th)

Spelling out the dorian scale

Em dorian inspiration video (Tal Wilkenfeld)

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Always sounds good to repeat your licks in different octaves

This lick mostly use notes from the mixolodian scale ( 1 2 3 4 5 6 b7), except for the minor third (b3) used as chromatic leadin to themajor third (3)

I reuse the pattern from Lick of the day no L229 for many of the ideas

Inspiration video

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Apart from the first plucked note everything is thumbed and doublethumbed

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My ole favorite playing a minor pentatonic from the 5th

So when in A minor apart from playing A minor pentatonic, play the E minor pentatonic – sounds coool

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For those of you who wonder about the location, its from my summerhouse:-)

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I use Thumb, index and middle fingers on my right hand

Groove in Gm and a fill using the Dm pentatonic – my favorite scale substitution.
When playing in a G minor tonality , instead of playing a fill in using Gm pentatonic scale, use the Dm pentatonic scale for variation – another way of thinking it is playing a minor pentatonic a 5th (D) above the root (G)

Inspired by blues guitar

Im imitating the sound of a P bass by only using the neck pickup and rolling the tone knob a fair amount down

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A Bb bluesy 16th swing funk groove w harmonics and doublestop  ala Jaco

Key Bb , The harmonic chord is Bb13 / E7#9

The double stop chord is b7th and 9,a “mini” Bb9 chord

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A bluesy bass fill / lick / solo part using mostly the blues scale with the major 3rd added

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transcription/TAB and mp3 version here

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Distortion and wah effect from Korg px4d

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Normal , slow and playalong version -  I play 4 bars  then you play 4 bars

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All the subtle things that helps your notes  to sound “pro”;-)

Here is an exercise for playing trills (Here in A, but transpose it to other keys)

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Its almosst like cheating playing this shorscale bass with light gauge strings (40 -95), so easy to slap and pop…

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The simulated E9 chord starts out as a D#9 (G C# F from bottom up) chord and slides to the E9 chord (G#D F# from bottom up)

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Sounds good with double octaves – well, root and octave played simultaneously

Still the cheap SX shortscale bass with chorus added – a bit of Neil Jason vibe in this bass line

Sorry for the noise , bad wiring on “vacation bass”

This is recorded on a crap bass with bad wiring, but its recorded from a room in the south of Brazil:-)

Can of course be played over C major too – after all the Am pentatonic scale share exeactly the same notes as the C major pentatonic scale

Im using thumb, index and middle fingers only

NB: Just realized that in the slow version, im changing the rhythm a bit on the sliding parts in bars 2 and 4 , please listen to the normal version for correct timing.

Want the transcription + TAB for this bass lick?

Want the transcription + TAB for this bass lick?

Want the transcription + TAB for this bass lick?

The 4 string bass version of the chord is spelled:
E – root – 0 or 12 fret E string
G# – major third – 11 fret on A string
D – flat seventh – 12 fret on D string
G – Augmented (Raised or #) ninth – 12 fret on G string

The 4 string bass version of the chord is spelled:
E – root – 0 or 12 fret E string
G# – major third – 11 fret on A string
D – flat seventh – 12 fret on D string
G – Augmented (Raised or #) ninth – 12 fret on G string

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