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.

Enjoy!

Click here to view the embedded video.

Click here to view the embedded video.

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You can hear (and buy) the album at http://www.cdbaby.com/cd/jurassikfunk.

I played the groove of the first song called “Jurassic funk”, hope you’ll like it!!

You can download the transcription on my website, bassistik.com

Click here to view the embedded video.

groove inspired by a track on the ost of film “r.e.d.” – check it out great film starred by bruce willis – so this video is dedicated to him, because we were born on the same day, but with 30 years difference !

drum backing tracks
slower version at
http://www.youtube.com/watch?v=HuupeB5g8zY
normal tempo at
http://www.youtube.com/watch?v=0vMCNcgh_fg

Click here to view the embedded video.

Click here to view the embedded video.

In this video, I show how to play extended arpeggios on major 7th chords.
for those unfamiliar with extended arpeggios, they are a continuation of the arpeggios past the 7th. These are called the upper structure notes or “extensions”. These extensions add different flavour to chords and are useful when attempting melodic passages. They are widely used in jazz.

Because bass players love playing in E minor/G major, I’ve put this lesson beginning in G major. The arpeggio includes these notes:

G B D F# A C# E

The C# is not derived from the G Ionian (Major) scale, but C is sharpened to prevent the clashing of the 3rd and the 4th (minor 2nd, ugh…) You will notice that there is a pattern of alternating Major and Minor 3rds. This may help you memorize it easily. The inversions to which I’m referring in this video are simply other 4 note arpeggios found within this extended arpeggio simply by beginning on a different chord tone.

I’ve provided you with a couple of my own exercises. These will build dexterity and fretboard familiarity.

The subtitles should explain what I’m doing, if you’re still stuck, don’t hesitate to ask.

Playing through a couple lines inspired by Jaco. This is making the use of muted sixteenth notes. Pay close attention to the muted notes, I’m almost always playing sixteenth notes, many of them muted.

The lines contain much chromaticism, but being over an E dominant chord, these chromatic notes turn out to be useful extensions. The first lick includes the #11, and b9. The second lick contains the #11, #9, 13th, and major 7th.

I begin by playing at 100bpm, the 80bpm (the video says 60, sorry), and then rubato to give you hints at the fingerings

Click here to view the embedded video.

Click here to view the embedded video.

The original Crazy Country video from early 2011 Merry Christmas everybody.

Click here to view the embedded video.

little groove inspired by and dedicated to a great source of inspiration – the very musical,humble and enthusiastic janek gwizdala

subscribe if you liked it!

drum backing tracks
slower version
http://www.youtube.com/watch?v=43pXrYbmJQg
normal tempo
http://www.youtube.com/watch?v=f0kO8uRBvuU

Click here to view the embedded video.

Click here to view the embedded video.

Thanks for watching. I’ve been doing some different lessons lately on youtube. Check out my channel for more Click Here Don’t forget to subscribe

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chicken picking inspired busy groove with spacy bubbly drums

root notes are D – A# – G – C, watch the right thumb

drum backing tracks
slower version
http://www.youtube.com/watch?v=RGuO99dpLAk
normal tempo
http://www.youtube.com/watch?v=Nqel6AJJdk4

used standard squier jazz bass, with standard pickups
and really old, beaten up rotosound swing 66s
digitech bp-80
copyright rajoe

dedicated to grumpy man andor

Click here to view the embedded video.

funky linley-like, bona like right picking technique with doublestops and left hand workout served with fresh groove and some salads and squirrel meat!

drum backing tracks

normal tempo 88 bpm version at
http://www.youtube.com/watch?v=SBol6awdmLU

slower tempo 68 bpm version at
http://www.youtube.com/watch?v=l1q-Fi9ABWI

Click here to view the embedded video.

Click here to view the embedded video.

The original video this lesson was based on for your perusal at full speed.

Click here to view the embedded video.

The first lesson that makes it to PlayBassNow, using some muted thumb picking used by some Zawinul players, like Bona or
Marthe and some fill also gotten from Linley Marthe.

drum backing tracks

normal tempo 100 bpm version at
http://www.youtube.com/watch?v=MArL5pZfcTA

slower tempo 70 bpm version at
http://www.youtube.com/watch?v=CENEl3DAi-Q

Click here to view the embedded video.

Click here to view the embedded video.

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boom boom, easy as pie!

Click here to view the embedded video.

Hey all, check out this latest installation in our series on chords for bass. This lesson is on what I call “Alpha Voicings” for bass guitar. You should check out a few of the previous lessons to get the most out of this one(Pros/Cons, Close Position Triads, Open Position Triads). Otherwise, enjoy this latest lesson!

Cool!

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Click here to view the embedded video.

Cool!

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Cool!

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The original jam session video …

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3 classic variations on the blues theme for bass, all in the key of B, standard tuning, jammed to the same blues type rhythm track.

Click here to view the embedded video.

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 )

Support me with an optional download of video, mp3, TAB in pdf and guitar pro format

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Support PlayBassNow and download original video, transcription/TAB and mp3 version here

Tablature available on my website

Checking out my new great ‘Bass Mods K6′ six string bass with a Boss looping pedal.

Havent played a six string in a while, so you will hear a lot of unintended string rumble from the low B string – time to shape up on the floating thumb technique:-)

Anyway, still exploring the use of open strings and 3/4 finger picking.
Im playing in the key of Eb, standard 6 string tuning,
Gear used
Pandora px5d into the line in of a Zoom Q3 HD recorder

Tablature available on my website

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

E6add9 chord played with harmonics (from top B, F#, C#, G#, E )
This is a 5 string bass, so you get 4 harmonics and a fingered rootnote E on th B string. For 4 string bass just play the top 3 strings as harmonics (from top B, F#, C#) and play the open E string.
The lick is based on the E major lydian scale (E, F#, G#, A#, B, C#, D# ), but you can *think* F# mixolydian (same notes but starting on F#), that can help with the fingering

Tablature available on my website

Click here to view the embedded video.

THANK YOUI LARRY GRAHAM! FOR THE INSPIRATION!

Tablature available on my website

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Tablature available on my website

Riff of the song “Lights of heaven” (Joe Satriani)

Tablature available on my website

Rock fingerstyle bass groove . I used my Fender Jazz bass 3TS and DUNLOP MXR M-80 DI+. It is mainly used minor pentatonic with added 6 and a little rake. If you need tabs write me an e-mail: mcrtchan@mail.ru

Funky fingerstyle bass groove. I used my Fender Jazz bass 3TS and DUNLOP MXR M-80 DI+. It is mainly used minor pentatonic with added b5, 3, 6 and a little rake. If you need tabs write me an e-mail: mcrtchan@mail.ru

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

This is a funk groove that was transcribed from an obscure video where Ray Brown was showing a college class that he could play funk on the upright.

This was one of many choruses.

Click here to view the embedded video.

Recorded with a Zoom Q3 HD

I slow it down in the 2nd half so you can learn a groovin bass line in E … With Beer and a Beagle. Check out my youtube channel:

http://www.youtube.com/user/Pudsy440

Major 7 arpeggios, like all 7 chord arpeggios as we’ll see, are a bit easier to deal with since you’re not going to be shifting as rapidly, but because there’s one more note than in the triad arpeggios (Major, Minor, Augmented, Diminished) there are a lot more options. This video isn’t exhaustive, but it will give you some ideas for shifting and practicing the shape in one and two octaves.

Enjoy!

-Adam

Click here to view the embedded video.

Groove in 5/8 – G minor scale (G A Bb C D Eb F G)

Tabs and backing track are available in my website (Fingerstyle page)

This is a quick tutorial explaining what walking bass are and more importantly how to get ‘up and running’ with them without having to get into too much theory.

Click here to view the embedded video.

Fast at first then slow, so you can learn it. Pudsy440 original riff … Thanks for watching and to see more bass learning videos check out my youtube channel and please subscribe.

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This is a clip from one of my correspondence lessons. I was demonstrating how to use one tonal key centre over an entire set of chord changes (Auntumn Leaves)… but, altering the dominant chords within the piece. I also used a fair amount of chromaticism to spice things up a little.

A jam at first, then SLOOOWW  with a close up … so you can learn it too.  Be the first kid on the block to Rock Out in “G”

Thanks for watching and to see more bass learning videos and other things check out my youtube channel and please subscribe.

Once again, jamming to a very repetitive drum beat with a repetitive riff in F# and improvising on the fly. Lock in with the basic rhythm and play around with it. A great practice for developing bass endurance and consistency IMO. Thanks for watching and to see more bass learning videos check out my youtube channel and please subscribe.

Bass guitar funk fingerstyle groove with rake.
I used my Fender Jazz bass 3TS and Tech21 NYC SansAmp VT Bass recorded directly in LineIn.

A funky little ditty in the key of A with a change to C.  I slow it down in the 2nd half of the vid so you can learn it easily.  Thanks for watching and to see more bass learning videos check out my youtube channel and please subscribe.

Tabs available here

Bass guitar funk fingerstyle groove. I used my Fender Jazz bass 3TS and Tech21 NYC SansAmp VT Bass recorded directly in LineIn.

Hey everyone, someone here asked whether I could do a tutorial for ‘Sex In A Pan’ By Bela Fleck and The Flecktones. I finally found some time to make the video, so here it is!
Again, this video shows how I play the song, and not necessarily how it’s played by Victor Wooten

Main riff of “Kuru”

Tablature available here

Review of the Musicman Classic StingRay 4 Bass Guitar, Black, 4-String, Single Humbucker, 2-Band EQ, Black Pickguard, Maple Neck.

I’m very much enjoying playing this right now, particularly slap style as the action is perfect and it feels really responsive.

Hope this is a useful insight into what the bass is like, it’s not an exhaustive review, there’s many more sounds that can be got from the bass from your hands and different EQ settings.

Here my composition called “Partage”

You can download the tablature and the playback here

Bass guitar groove with harmonics part 1.
For tabs mail me at mcrtchan@mail.ru

16th note funk groove in E, played on this lovely Music Man Stingray Classic series, inspired by and using Rocco Prestia’s approach to finger style funk. Rocco would use mostly his index finger on his fretting hand and then dampen and mute the strings with his other fingers. I use this technique here for part of the groove and then also use the more traditional finger-per-fret technique.

Hope you enjoy!

The 2nd in my diary entries talking about things I’m learning at the ICMP (Institute of Contemporary Music Performance) in Kilburn where I won the scholarship to study a Bass Higher Diploma. This entry is all about the blues scale based in G. The groove is constructed by purely thinking about inversions and is an exercise in learning to play them fluidly and to improve fretboard knowledge. Click here to download fretboard diagram

Here my composition called “Ancien monde”, for 6 string bass

The bass plays the theme in G major.

You can download the tablature and the playback here

Click here to view the embedded video.

This is video answer on Ed Freedland’s WarwickLX video with slow version

The bass plays the theme in B minor.

You can download the tablature and the playback here

Click here to view the embedded video.

Hey everyone. In this video I will try to show you a way to play ‘The Lesson’ by Victor Wooten. I would like to emphasize that this is how I play the song, and not necessarily how it is played by Victor Wooten himself. Still, I hope it will help you learn the basics of this song.

I broke down the song into eight patterns. I also indicated where you can find those patterns in the studio version of the song. Victor Wooten also does some improvisation in certain parts of the song (be it studio version or live performance), but I will leave that up to you. Feel free to ask questions if something isn’t clear

In some shots it seems that I set up my camera incorrectly, and so my fretting hand is sometimes outside of the shot. I hope you can forgive me for that

Diminished arpeggios are rather tricky just because they aren’t that easy to visualize, and starting on the pinky often leads to rather inefficient fingering if you’re looking to ascend on the fretboard. They’re nice, though, because they’re the first time so far where it really makes sense to use the third finger a lot because of the tritone.

Enjoy!

-Adam

Click here to view the embedded video.

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

Trying to come up with ideas playing over a static Gm7 chord.
Possibilities:
Licks and motifs derived from Gminor dorian, F major scale, Bb lydian, C mixolydian (basically all the different modes of the F major scale)
D minor pentatonic, A minor pentatonic and of course G minor pentatonic.
Tempo is 126bpm and Im over my head in some spots, but its also good to try to play fast sometimes even if you can barely follow the tempo.
Doublestop chords in seconds – inspired by video I saw with Oteil Burbridge

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

Download iPod friendly version

The main riff of a great songs, in 5/4 and 9/8

Free tabs available here

Funk bass groove in Am. Bars 1,3,5,7,etc in 7/8 (seven eighth). Bars 2,4,6,8, etc in 8/8.
For tabs mail me at mcrtchan@mail.ru

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

This lick is inspired by a great flamenco bass player, Carles Benavent.

Download free tabs

In this video i tried to get shuffle feel. I pushed each even 8th beat closer to next odd.
Then added some slides, dead notes, rake… For tabs mail me at mcrtchan@mail.ru.

Nice fingerstyle bass groove with harmonics and hammer on and dead (muted) notes. For tabs mail me at mcrtchan@mail.ru.

Small funk jam…
Tempo 100 bpm
Key of E-minor
Drum machine – BOSS RC-2 loop station
1st track – fingerstyle groove
2nd track – tapping lick
3rd track – something like slap
4th track – slap with doublethumb
5th track – little solo lick
St. Petersburg

Tablature

Click here to view the embedded video.

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

Click here to view the embedded video.

It’s important to stress the fact that no, you don’t have to be actually singing the lyrical content as you play it. You merely use the lyrics as a guide to what you end up playing, and that way it becomes easier to “hear” what you are going to improvise.

Hope you enjoy.

There are many rake notes, harmonics, hammerons. For tabs mail me on mcrtchan@mail.ru. Have a nice playing! )) (St. Petersburg, Neva-river)

Key G-minor. Tempo – 120 bpm. For tabs mail me on mcrtchan@mail.ru.
Have a nice playing! ))

Chords: C – G – Am – F

Scale: C major

Transcription

Click here to view the embedded video.

This is a short bass line I wrote based on a Db9 chord, which is based on the Db mixolydian mode, with a touch of Db blues scale thrown in too. The subdivision is 16th notes, the metronome is clicking on 2 and 4.
Check out my other lessons, articles and videos at www.playbassnow.com, a wonderful website devoted to helping you become a better bassist.

If you have any questions or comments, feel free to leave them here.

Bmaj7 = B major scale
Gmaj7 = G major scale

Tablature

Click here to view the embedded video.

Improvisation over C7 chords (C E G Bb) with two scales:

- C myxolydian mode = C D E F G A Bb C

- C Lydian b7 mode = C D E F# G A Bb C

www.bassebruno.com

Click here to view the embedded video.

Click here to view the embedded video.

Choose a scale, choose a rhythm pattern and go!!

http://img156.imageshack.us/img156/1526/compowork01.jpg

Click here to view the embedded video.

Second part:

Improvisation over C min7 chords (C Eb G Bb) with three scales:

- C aeolian mode = C D Eb F G Ab Bb C

- C dorian mode = C D Eb F G A Bb C

- C phrygian mode = C Db Eb F G Ab Bb C

www.bassebruno.com

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Improvisation over C maj7 chords (C E G B) with two scales:

- C major scale = C D E F G A B C

- C lydian mode = C D E F# G A B C

www.bassebruno.com

Click here to view the embedded video.

Click here to view the embedded video.

Noodling with my MXR bass octave deluxe pedal with a little talk about what I usually play when improvising over a minor tonality. I’m playing a Fender Precision 70′s bass with flatwound strings I’m “babysitting” for a friend.
Regarding “fret noise”:
Its the acoustic sound of the bass strings you hear getting picked up by the microphone, im playing with a very low volume on the amp, hence the string noise

Nice fingerstyle 16th notes groove with dead notes, slides, legato and rake. FOR TABS mail me at mcrtchan@mail.ru

A lick for fretless bass inspired by Steve Bailey, with chords and artificial harmonics

Download tablature

Another fingerstyle groove with lefthand muting, rake, open strings, slides, blues notes.
Mail me at mcrtchan@mail.ru and i send you Tabs for this video

This third lick inspired by Gary Willis uses a A minor pentatonic, with palm mute and dead notes

Download tablature

Get the tab at this link: http://dl.dropbox.com/u/6490588/BL10.jpg

Another Jaco inspired line, utilizing 16th notes and muted notes. I created this as an exercise for practicing string crossing and even 16th note playing. Another thing to note is that the thumb on my right hand shifts resting position as I play on the higher strings, this is a good way of muting unwanted low notes when playing on the D and G.

Click here to view the embedded video.

A practical theory lesson on how i approach improvising over a static m7 chord groove. In jazz, funk and rock, if a solo section consists of a static m7 chord, most often the Dorian minor scale is used (1, 2, b3, 4 , 5, 6, b7). The dorian minor scale is built on the 2nd step of the Major scale.
In this example the D dorian minor scale is 2nd step (or mode) of the C Major scale – or in other words it IS a C major scale just starting on the 2nd step/degree.
So on any given minor7 chord we can improvise a Major scale a whole step below.
ie if we play over a Em7 chord , we can play a D Major scale

Jazz lick with chromatismes over a Em7 chords (E G B D)

Transcription

Small instrument – fat sound

The inspiration from this groove came partly from listening to Opus Pocus by Jaco and partly from the Beatles track Day Tripper. In Opus Pocus, Jaco uses some cool muted notes in the funky section of the song that influenced the muted note rake before the walk-up from F# through G and G#. The notes in the main riff are roughly based on the Day Tripper guitar riff. There’s a few variations in there where I chuck in some extra muted notes and some quick triplets at the end. Enjoy!

Funky pattern using  dead notes. This is achieved by muting the open A string a lot

Played on my new Fender American Standard Precision I love it!

This lick is a II-V-I in C major   (Dm7 – G7 – Cmaj7)

You can use C major scale with some chromatismes.

Download score

www.bassebruno.com

Fingerstyle Dead Note Groove with A-Minor Pentatonic.

Building on top of what we did with the diatonic 3rds to G Minor Pentatonic, we can keep going at it with these non-linear sequences by creating patterns built on diatonic 4ths and 5ths. These are the most “intervallically active” patterns yet, and are physically the most demanding to play.

Check out what I mean by at this here.

Click here to view the embedded video.

Here is a pdf with a lot of ideas for practicing these sequences.

When practicing these, especially the diatonic 5ths, go slowly, play lightly and above all don’t tense up your fretting hand. Remember the list of all the different parameters you can control when phrasing these sequences from last lesson. Try not do what everybody does (myself included!) and just go on autopilot sixteenths (or whatever the subdivision is).

Happy Sequencing!

-Adam

A short jazz lick using G# diminished scale:  G# A# B C# D E F G G#

Download lick

www.bassebruno.com

The second type of pattern we can explore falls under the catch-all title of “non-linear sequence.” Instead of taking consecutive pitches from the scale, we’ll look at other grouping of pitches to move up and down. The first grouping we’ll look at are diatonic 3rds.

Here’s the video of me showing what I mean by that.

Click here to view the embedded video.

Here’s a pdf showcasing some of the ideas I talk about in the video. You need to be a member of playbass.com to see it, so be sure and sign up!

You might notice that this list (and what I cover in the video) is hardly exhaustive as far as what rhythmic concepts are available to us for phrasing these patterns. Here are just some of the parameters we can control and mix/match…

* Pattern direction (ascending, descending)
* Note duration (sixteenth note, triplet, etc)
* Rests, and rest duration
* Repeating 1 or more (or all) notes
* Interpolating other rhythms (throwing in a sixteenth triplet in a sixteenth note pattern, for example
* Doubling note values
* Starting patterns on different syncopations
* etc, etc

You can imagine, there’s a lot to go through! My intention with this isn’t to be exhaustive, however, rather it’s to get you all thinking about new and interesting ways to use the pentatonic scale beyond the clichéd licks that you already might know.

If you have any questions, don’t hesitate to contact me on YouTube PM. Happy sequencing!

-Adam

In fact, it’s too perfect. Intermediate improvisers will often just let there fingers fly up and down the scale without much thought into how to get the most intervallic and rhythmic interest out of those five notes, and then assume that there isn’t anything else to the scale.

One way we can remedy this is by creating patterned material from the scale that doesn’t rely wholly on ascending and descending the scale at your fingers whim (I know I’ve been guilty of this a LOT). The first of these techniques we’ll talk about is called linear sequencing.

Check out what I’m talking about with this YouTube lesson.

Click here to view the embedded video.

Hope you enjoy it! Here’s a pdf full of the sorts of ideas that were covered in the video so you can see how these rhythmic concepts are notated. You need to be a member of playbass.com to see it…so be sure and sign up!

Remember to practice the physical pattern all up and down the neck, and be sure to be familiar with as many different ways to shift positions as possible (you don’t want to get locked into one position and then run out of room). This will take a while to get fluid, but it’s worth it. Then try experimenting with the rhythmic displacements and odd phrases, first slowly and “out of time,” then sped up. Remember to practice these displacements both ascending and descending. I’ve found that starting at quarter note equals 60 is a good benchmark for starting out with a new concept. Don’t feel like you need to practice things as fast as I played them in the video at first – I’ve spent quite a bit of time in the shed, ha. Practicing things slowly is the key to getting them under your fingers and really into your playing.

If you have any questions, don’t hesitate to contact me on YouTube PM. Happy sequencing!

-Adam

„Guajira“ is a cuban rhythm quite similar to the rumba. Its origin is from the canarian islands (Spain), and so „white music“. Mixing with the black influences from african slaves in Cuba the rythm developed to the so called „son“. Guillermo Portabales is a typical composer of guajira songs (just check them out on youtube, f.e. http://www.youtube.com/watch?v=Dat8FA6z45Y&feature=related )

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

Backing track used

Click here to view the embedded video.

Quicktime original

iPod  .m4v

Flash flv

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

Fingerstyle groove with lefthand muting, rake, open strings, slides, blues notes (3b, 3 )…Key of E-minor. Tempo 120 bmp. I used minor pentatonic with adding 3b, 3, 6 (G, G#, C#)

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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Funky bass groove with muted (dead) notes in Am.  It used thumb, index and middle fingers,  vibrato on 7b (note G on d string)

In this second lesson, we have the roots, fifth and octave.

The chords are Cmaj7 – Am7 – Dm7 – G7

www.bassebruno.com

A simple walking bass with root and fifth.

The chords are Cmaj7 – Am7 – Dm7 – G7

www.bassebruno.com

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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Here are some bass lines from a few Big Sir songs. If you are unfamiliar with Big Sir, you may recognize the bass player as Juan Alderete from The Mars Volta. If that still doesn’t ring a bell, I urge you to check out both groups and buy all their music.

I’ve selected four great bass lines that display Juan’s great facility on the fretless bass (I hope I’m doing him justice!). His lines are lyrical and very groovy. You can dance to and sing these bass lines easily. They support the tune, the vocals, and are quite catchy. That is melodicism my friends.

If you are just starting on the fretless, these lines are simple enough for you grasp and to help you develop some of your own ideas, while being melodic. I’ve always felt that the fretless has to be somewhat melodic in order to showcase its distinct tone, otherwise, you might as well use a fretted.

Seeing as these are all fretless bass lines, the hardest part is going to be the intonation. You may want to practice these on fretted first to get the fingerings and proper tuning in your head. This way you won’t develop any bad habits if you attempt the fretless right away. That being said, if you feel confident or if you are already experienced on the fretless, then by all means, go for it.

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

In this second lesson on 6 string bass, we will explore the highs with a little melody in A major.

The chords are: A / D / A / E7

www.bassebruno.com

In this first lesson, a groove with chords in F major.

You will notice that the groove is dampen by the palm of the right hand.

The chords are: F maj7 / Bb maj7 / F maj7 / C7

www.bassebruno.com

Bass groove in G#.  There are many muted notes and rake.  It is used minor pentatonic with added 3, 6, 5b.

Funky shuffled bassline

(bass tuned to D – played as in E)

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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Bass groove over chord progression Bm-Em or B7-E7  (I-IV, Im-IVm).

Bass tuned in D  (1-F, 2-C, 3-G, 4-D) !!!

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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Feel free to ask any questions.

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Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

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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Jeff Berlin has a great passion for classical music and Bach in particular.  Here is a lick inspired by Bach and Berlin’s playing, in C harmonic minor.

C harmonic minor = C D Eb F G Ab B C

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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This exercise is designed to give you a basic understanding of superimposed rhythms known as polyrhythms.

The triplet is the most common polyrhythm- we hear it all the time. So, this exercise is using triplets to illustrate how polyrhythms work.

This particular exercise gives us a 3:2 polyrthythm or 2:3 depending on how you want to feel it. You can also apply this rhythmic application to melodies, solos, lines, and other scales or arpeggios.

If you really want to pursue polyrhythms, tunes like “Eulogy” by Tool or “Frame by Frame” by King Crimson feature some really cool polyrhythmic stuff. However, the undisputed masters of polyrhythms are probably Igor Stravinsky or Frank Zappa.

If the instructions in the video are not clear, leave a comment, to which I will reply.

I’m just playing through this intro for you.

I start by playing it up to speed,
then slowly,
then just the chord shapes (in sequence, this the first step, i just wanted you to hear it first),
then at a medium tempo,
then up to speed.

Coordinate those left hand fingers into getting the chord shapes before adding the melodies in between the changes.

For the right hand, I’m switching between a traditional two finger picking technique and a more guitar player like finger picking, utilizing the thumb,  index and middle fingers. I’m not sure if Tal uses that fingerpicking, but it came instinctually to me.

\This is a great sounding bass part; gorgeous line.
Take your time with it, take it real slow.

Its fun to play when you’ve got it up to speed.  Hope you find this helpful. If you need any clarification, just leave a comment!

Simlarily, I looked at some of Tal’s fingerings for this intro from her performance on Australian TV, which is floating around YouTube for sure. After figuring out the other chords using a Tascam, I watched the video again and verified that these are the shapes she uses.

This is a little insight view of my piece “Raindrop”, that you can watch here: http://www.youtube.com/watch?v=HEClHl_yGmo

1. The complete exercise: execution of the entire exercise inspired by “Raindrop”

2. The first part: this is based on A(E) and G(D), played with artificial harmonics.

3. The second part: it is a melody based on the same two bichord of the first part, adding a F-E passage on the first (A-E) and a chromatic passage between E and D on the second one (G-D).

4. The third part: playing with left hand a root in G, I put some rhythmical ghost notes with the right hand (same thing of the first lesson that you can find on my profile: http://www.youtube.com/ghigo85 ). Then I use harmonics between the fifth and seventh frets on G and D strings, sliding them

5. The fourth part: it’s a very simple melody based on the same bichords built on fifth: A(E), G(D), F(C), D(A) – A(E), G(D), D(A) ::||

6. Harmonics: a brief summary about harmonics: artificial harmonics, natural harmonics and how to slide them.

Hope you will enjoy this little insight view/lesson.

Please, rate, comment, post suggestions

Thank you for your support, more pieces and lessons coming soon

Guido

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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For those of you who still havent visited YouPlayAlong.com

One of my playalongs with a short breakdown of the different sections.

Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

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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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This fast lick in E (tempo 145),  mostly sixteenth notes, combines chromaticism, dead notes and repetead notes.

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.

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This lesson is a little insight view on the main riff of the piece “Impro on fretless bass”, that you can find on my profile: Improvisation on fretless bass on Youtube

This bass line is in G major scale.

New lessons about fretless playing, starting from creating bass riffs to adding flavours to your lines and your playing, will coming soon.

Cmaj7 ionian scale (C-D-E-F-G-A-B-C) First practice the scale in different positions, learn my example, develope your own….

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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This second lick,  in 7/4, must be played very quickly, to 145 in sixteenths. Based on the pentatonic minor, this unusual pattern requires large space from the left hand, but the result is rather interesting. Work as long as possible, you will work your endurance.

Simple A minor groove using the Boss ME20B and the usual funk ingredient, A Minor Pentatonic

Original youtube video

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

Bass riff in A minor on 2 strings using the A on the D string as pedal note, inspired by Geddy Lee from Rush. The thumb of my right hand rests on the A string.

Here’s a quick lesson on how to play the bass line to Use Somebody by Kings of Leon.  This is a great turn for beginners because the majority of the bass line is in a steady 8th note rhythm with mainly the root note as the note being used for each chord.

Here it is:

Click here to view the embedded video.

As always if you’ve got any comments then head over to my how to play bass website and use the comments form.

Cheers

Paul

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

This lick is particularly challenging!

The sound a little strange is obtained through many chromatism.

The basic groove used the A minor pentatonic.

The signature is 4/4 and 5/4.  The solo passage in sextuplets requires a great coordination between right and left hand.

You should work very very slowly!!

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

iPod version

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Here’s another lesson.

This is a lesson on how to play through Brown Eyed Girl by Van Morrison on the bass.  There are some suggestions as to how you can vary the verse up.  There’s no notation or tab for this lesson.

Due to YouTube length constraints this is another two parter.  Here’s Part 1:

Click here to view the embedded video.

And here’s Part 2:

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If you’ve got any questions you can head over to my how to play bass website and use the comment form to ask them!

Enjoy.

Paul

Here’s another of my older lessons.  Again due to length restrictions on the ‘Toob the lesson is split into two parts.

Here’s Part 1

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And here’s Part 2

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Now there’s a sketch PDF that goes with this lesson – to get it all you need to do is jump over to my how to play bass website and sign up for my free monthly Ezine.

As always if you have any questions or comments don’t hesitate to use the contact form at my website or use the comments feature below.

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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Here’s a quick video lesson on how to play the bass line to Jamming by Bob Marley.  It’s a pretty easy tune – there’s only three sections to learn.  There’s no music notation/tab to go with this lesson – but all the notes and note locations are covered in the video – soyou shouldn’t have any problems.

Click here to view the embedded video.

If you’ve got any comments or questions either leave them below or head over to my  how to play bass website and use the comment form.

Cheers

Paul

Here’s another older lesson that I filmed.  The ‘Toob disabled the first part of the video – so it’s nice to put both parts together in one place!  It’s a great tune.

Here’s the First Part:

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And here’s the Second Part:

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Enjoy!

Here’s an older lesson that I filmed on How To Play the bass line to Light my Fire. I’ve got the part in music notation and tab on my HD somewhere – if you need it then head over to my website, use the Contact Form and ask me for it.  Make sure you tell me that you came from Thomas’s Site!

Again due to the ‘Toob’s time restrictions this is a 2 parter.  Here’s Part 1

Click here to view the embedded video.

And here’s Part 2:

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Enjoy!

Paul

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This a continuation of the playing over triads series, go to previous lesson and backing track HERE

In this example i cram almost everything i know in playing the bassline over the progression:

Chordnotes – Major triad 1, 3, 5 sometimes with a 6th added.
Scale notes – When doing the walkup or walkdowns from one chord to the other i just use the notes from C major scale.
Chromatic passing notes in between scale notes – For example, on the F chord, if you are goin from the 3rd A to the 5th C, you can use notes inbetween in passing – A (A# B) C.
Inversions of the chords – the root position of the Major triad (you can add the octave too) is 1, 3, 5, then first inversion 3, 5, 1 and the second inversion 5, 1, 3.
Doublestops (2 note chords) – Playing the root plus the 10th (an octave + a third)

Playing this in a band would surely get me fired for overplaying, but again, its an example of possibilties and inspiration for you to in learning to play over these fairly simple Major chords.
And we havent even touched the use of the 7th, as i basically play over triads with a 6th added here and there, but its the pure major chord sound witch is used a lot in most rock and pop songs.

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So it’s a great lesson in playing for the song – taking that 2 bar line and really digging in and making it groove.

Click here to view the embedded video.

There’s no music notation or tab with this one – but seriously it’s very straight forward and all the info is contained in the video.

If you have any comments you can either head over to my website and use the contact form, or just post a comment directly here!

Enjoy!

Paul

In this lesson we’re going to be looking at how to play the bass line to Pump It Up.  The original bass line was played by the very great and very underrated Bruce Thomas.

This lesson is featured in my free, monthly ezine.  The next issue is published on November 4th – you’ll need to head over to my how to play bass website to subscribe.

Due to the time restraints of YouTube I had to split the video into two parts.

So here’s Part 1:

Click here to view the embedded video.

And here’s Part 2:

Click here to view the embedded video.

If you’ve got any feedback please feel free to either use the contact form on my website or just leave a comment right here!  (Big Thanks to Thomas for inviting me as a guest teacher!).
Enjoy

Paul