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For tabs on this please visit http://dannymstewart.com/free-bass-tutorials.html and search under Slap category; Tabs and notes appear under the video and can be downloaded by right clicking and saving image as….

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

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boom boom, easy as pie!

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Download the PDF TAB

Optional download of video, mp3, pdf and Guitar Pro 5 tab here
http://www.tradebit.com/visit.php/213998/product/-/153244846
To practice Major triads as chords in root, 1st and 2nd inversion Im using Twinkle Twinkle Little Star as example.

Thx to the great bassplayer and Playbassnow.com teacher Adam Neely for opening my eyes with this video:
http://www.youtube.com/watch?v=XfD_tNAfy78&feature=mfu_in_order&list=UL

Check his other videos

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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.

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Download original video lesson from Wupload

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

Tablature available on my website

Tablature available on my website

Tablature available on my website

Click here to view the embedded video.

Tablature available on my website

Tablature available on my website

Tablature available on my website

Tablature available on my website

Bass guitar funk slapstyle groove. I used my Fender Jazz bass 3TS recorded directly in LineIn. If you need tabs write me an e-mail: mcrtchan@mail.ru

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

The chorus bassline from my original song Torn. This line incorporates slap and pop techniques at a moderate – advanced skill level. For tabs on this please visit http://dannymstewart.com/free-bass-tutorials.html and search under Slap category; Tabs and notes appear under the video and can be downloaded by right clicking and saving image as….Backing loop is also available from the media widget below…. Happy slapping!

Interesting slap lines don´t have to be fast. More important are phrasing,
melodie and a combination of all funky “ingredients”: hammer on´s, pull off´s,
slides, triplets etc.

Click here to view the embedded video.

Recorded with a Zoom Q3 HD

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Some funk studies with triplets, hammer-on´s, pull-off´s, doublethumb etc.

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)

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/speed-technique/legato-scale-practice-tips/ http://playbassnow.com/speed-technique/legato-scale-practice-tips/#comments Wed, 20 Apr 2011 21:25:25 +0000 MarloweDK http://playbassnow.com/?p=10362 Click here to view the embedded video.

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/speed-technique/legato-scale-practice-tips/feed/ 0 http://playbassnow.com/theory/alternating-bass-line-and-solo-dmin-reggae-style-047/ http://playbassnow.com/theory/alternating-bass-line-and-solo-dmin-reggae-style-047/#comments Sun, 17 Apr 2011 00:24:32 +0000 federico vassallo http://playbassnow.com/?p=9435 Alternating bass line and solo line is a very useful exercise for developing a good and strong melodic sense.

Click here to view the embedded video.

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/playing-styles/fingerstyle/28-bass-fingerstyle-groove-with-rake/ http://playbassnow.com/playing-styles/fingerstyle/28-bass-fingerstyle-groove-with-rake/#comments Wed, 06 Apr 2011 15:00:10 +0000 Miha MKRT4AN http://playbassnow.com/?p=8895 Click here to view the embedded video.

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

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.

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

Here my composition called “Partage”

You can download the tablature and the playback here

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

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

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

Knowing your major scales in every part of the bass neck in all positions is invaluable and should be practiced daily. The exercises i have given you in the following tutorials will really open up the geometry of the bass neck and if practiced alongside the arpeggio exercises you will truly start to ‘see’ the available harmony for any chord sequence all over the bass. By practicing each different fingering of the major scale and then incorporating the continuous scale exercises you will also be practicing them modally as well.

Take your time and be patient, the continuous scale exercises are tough to start with! Remember, becoming a great musician is a lifetimes worth of study… so enjoy the ride!

Happy shedding,

S.

Part 1

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Part 2

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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.

Slap bass groove in 6/8
For tabs mail me at mcrtchan@mail.ru

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

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

My new slap groove on my new fender jazz bass with doublethumb
For tabs mail me at mcrtchan@mail.ru

The bass plays the theme in B minor.

You can download the tablature and the playback here

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

Sorry bout the poor video and audio quality, Its a video I did for a student a long time ago.

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

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

Download iPod friendly version

For tabs mail me at mcrtchan@mail.ru
Key of B-minor.
Tempo – 100 bpm.
Recorded with Boss LMB-3

The Phrygian minor  tetrachord is a four note scale that can be played with 4 different patterns/fingerings, you should practice them all.

Pattern formula is Half step, whole step, whole step.

A method/series to learn the modes and common scales by dividing an eight note scale into 2 four note scales (the brain has an easier time remembering 1234 1234 than 12345678)

You only need to learn 4 different tetrachords to be able to play all 7 modes :

Ionian Major, Dorian minor, Phrygian minor, Lydian, Mixolydian Major, Aolian minor, Locrian half diminished.

Playlist with the 4 different Phrygian minor tetrachord fingerings and a simple impro piece using the for a Phrygian minor tetrachord:

First all patterns played in sequence, then one by one:

Playlist with Four different fingerings for playing a One octave Phrygian Minor  scale (a C Phrygian minor scale is contructed of two minor tetrachords, the C Phrygian minor and the D Phrygian minor tetrachord)

Go to previous lesson on minor tetrachords 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

Remembering the Gm pentatonic scale in the first two positions.

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.

Shuffled groove in A with bluesy fills using my “alternative doublethumb technique”.

More details on this technique under

Click here to view the embedded video.

For this third lick, a new technique: a right hand percussion with index and middle finger.

Free tabs

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

By popular demand – A series of slap bass lessons covering the basic techniques plus some general playing tips

This lesson will continue with the concepts from lesson 4 and cover the basic “funk/rock scale” – the minor pentatonic scale and trills in addition to thumb slap, pop/pluck, left hand slap and hammerons.

Download iPod friendly m4v version 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 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

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

Anthony Crawford gives examples on how to tap out chords on the bass.

Twitter: http://twitter.com/crawfordbass

Facebook: http://www.facebook.com/pages/Anthony-Crawford/162765698121?ref=search

Myspace: http://www.myspace.com/anthonycrawford

Anthony Crawford gives examples on how to tap out scales on bass

Twitter: http://twitter.com/crawfordbass

Facebook: http://www.facebook.com/pages/Anthony-Crawford/162765698121?ref=search

Myspace: http://www.myspace.com/anthonycrawford

Chords: C – G – Am – F

Scale: C major

Transcription

Click here to view the embedded video.

E maj scale in 4th steps over 2 octaves

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.

The minor tetrachord is a four note scale that can be played with 4 different patterns/fingerings, you should practice them all.

Pattern formula is whole step, half step, whole step.
Here is Pattern 1,  4 notes on 1 string,

A method/series to learn the modes and common scales by dividing an eight note scale into 2 four note scales (the brain has an easier time remembering 1234 1234 than 12345678) You only need to learn 4 different tetrachords to be able to play all 7 modes : Ionian Major, Dorian minor, Phrygian minor, Lydian, Mixolydian Major, Aolian minor, Locrian half diminished.

Playlist with Four different fingerings for a minor tetrachord:

First all patterns played in sequence, then one by one:

Playlist with Four different fingerings for playing a One octave Dorian Minor  scale (a C Dorian minor scale is contructed of two minor tetrachords, the C minor and the D minor tetrachord)

Go to previous lesson on Major tetrachords HERE

The Major tetrachord is a four note scale that can be played with 4 different patterns/fingerings, you should practice them all.  Pattern formula is whole step, whole step, half step.

And when you have learned the Major tetrachord scale you can easily play the Major scale (see video #6 to 13 in the video playlist)

This is a a method/series to learn the modes and common scales by dividing an eight note scale into 2 four note scales (the brain has an easier time remembering 1234 1234 than 12345678).

You only need to learn 4 different tetrachords to be able to play all 7 modes : Ionian Major, Dorian minor, Phrygian minor, Lydian, Mixolydian Major, Aolian minor, Locrian half diminished.

Playlist with Four different fingerings for a Major tetrachord:
First all patterns played in sequence, then one by one:

Playlist with Four different fingerings for playing a One octave (Ionian) Major  scale (a C Major scale is contructed of two Major tetrachords, the C Major and the D Major tetrachord)
and four different fingerings for playing a Two octave (Ionian) Major scale

And you can download the Major tetrachord shape with 4 different fingering options below
And go to the next lesson HERE

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.

Gmaj scale exercise in triads over 2 octaves (african feel)

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

Do you still remember all the different modes?

Here is another example with almost all of them within one tune, in 6/8 groove

Another fast doublethumb groove in G based on minor pentatonic

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

Instead we divide it into 2 parts – so we get two four note scales (called tetrachords) – identical patterns where the first (called the lower Major tetrachord) G A B C:
Whole step (G to A), whole step (A to B), half step (B to C)

And the second (called the upper Major tetrachord) D E F# G
Whole step (D to E), whole step (E to F#) and half step (F# to G).
The beauty of it is that it is easier to remember 2 x 4 notes than 8 notes in a sequence, its easier to get an overview of the fretboard when you condense the scale into smaller scale units.

More info on tetrachords HERE and on www.notreble.com there are some good articles too,  HERE

And you can download the Major tetrachord shape with 4 different fingering options below

Click here to view the embedded video.

Click here to view the embedded video.

Chords are

| Am7 | G7 | FMaj7 | FMaj7 Bm7b5 |

You can play the A minor aolian/A minor pentatonic scale

or see it as

C Major ionian / C Major pentatonic

Favorites also inlude E minor pentatonic (great sound)

Download backingtrack here

Click here to view the embedded video.

A continuation of the theme from previous video (Minor 7 chord improvisation with scale substitution ) , how to improvise over a D minor 7chord, this time using the pentatonic scales contained in the C major scale or any of the modes derived from it – look below

C major ionian and/or C major pentatonic
Dm dorian and/or D minor pentatonic (of course)
Em phrygian and/or E minor pentatonic
F major lydian and/or F major pentatonic
G mixolydian and/or G major pentatonic
Am aolian and/or A minor pentatonic
Bm locrian

These all contain the same notes, but you target the notes differently by cheating the brain to see new patterns

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

Slap lick in E minor.

I use E minor pentatonic

Transcription

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

Transcription

Slap Lick with E-Minor Pentatonic Scale.

Transcription

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

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

Fingerstyle Dead Note Groove with A-Minor Pentatonic Scale and Major Sixth.

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

To improve your own soloing it´s helpful not to listen only to other bass players, but to good solos on any kind of instrument. One of my personal favorites is this piano solo from Kenny Kirkland on „La belle dame sans regrets“ from Sting (Mercury falling). Extraordinary choice of notes and rhythm. In some notes i am not sure. Sorry, no transcription (am to bad in that, at that level…). But this example is only meant to encourage you, to not only check out  bass-solos…..

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Lecture about the foundation of the music we know – the major scale ; its use and why its such a good idea to learn.

Whole thing is almost 30 minutes but ive divided it into three parts, first today – so hang in there;-)

We are “harmonizing” the major scale – building a chord an each step of the scale and numbering them as we move along (this is also known as the “Nashville number system” used by the studio musicians fro writing down songs)
Also an introduction to learning to analyze the most common chords and progressions in songs, so we can learn tunes faster and transpose them easily too .

For further written explanation revisit this lesson on playing bass lines over triads

The 5 positions for the pentatonic scale.

The A minor or C Major pentatonic scale, they share the same notes, so you can look at the 5 notes A C D E G , either as steps of the A minor pentatonic scale:

A = root (1)
C = minor third (b3)
D = fourth (4) E = fifth (5)
G = minor seventh (b7)

Or as steps of the C Major pentatonic scale:

C = root (1)
D = second (2)
E = third (3)
G = fifth (5)
A = sixth (6)

Click here to view the embedded video.

iPod m4v (original)

Flash flv

Click here to view the embedded video.

iPod m4v (original)

Flash flv

Ive attached an image of the 5 positions as 5 colored “boxes”

(Click the image for full size)

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

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#)

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

Dorian Slaplick with doublethumb and Miller style tab….

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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In a nice typical Salsa tune you will never miss a break part, where a very rhythmical theme is played by the piano and/or the brass section. To give them more power, the bass often doubles them like in this example.

Check out the scale at the end, which is called harmonic minor and very often used in Latin+Salsa music.

In this case in F#:

(F#-G#-A-B-C#-D-F-F#). Half tone steps between II-III, V-VI, and VII-VIII, and one and a half tone (!) between VI-VII.

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

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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

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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

Quicktime original

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The Locrian mode has the formula 1, b2, b3, 4, b5, b6, b7. Its tonic chord is a m7b5.(Bm7b5 in the Key of C).

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

Happy new year!

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.

Mixolydian scale G7: G-A-B-C-D-E-F-G  (Merry mixolydian christmas to all the bass-freaks out there….)

Click here to view the embedded video.

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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Lydian scale in F(maj7): F-G-A-B-C-D-E-F. The only difference to a ionian scale is the raised forth. So you can play lydian over

any maj7 or maj7/+11 chord.

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:-)

Quicktime original

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Phrygian scale Em7: E-F-G-A-B-C-D-E  (1, b2, b3, 4, 5, b6, b7). Used often in flamenco+oriental music, but works also on

calypso grooves like this one…..

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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Dm7 dorian scale: D-E-F-G-A-B-C

Try to transpose this lick to all different keys….

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.

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

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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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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This is a lesson 2 in this series, go to lesson 1 HERE or continue after this to lesson 3 HERE

iPod version here

Im just playing the notes from the triads  in a fairly strict up and down fashion over the music in this exercise – in a real playing situation i would of course vary the patterns – mostly put emphasis on root notes, use other rhythms , add scale notes etc..

But this is for you to get equally comfortable with the third (3rd )  and the fifth (5th) as well as the root

Now we use the C, F and G Major triads in a chord progression

Another way to learn this is by looking at at the chords as steps of the major scale (for explanation revisit lesson 1)

We are in the key of C so:
C Major is the 1st step of the C Major scale,
F Major is the 4th step of the C Major scale,
and G Major is the 5th step of the C Major scale

Optionally you could look at -The same chord sheet as above where numbers replaces the letters making it much easier to transpose

The positions revisited:

The C , F and G Major triads played in different positions up to the 7th fret, please memorize them, you will gain a great advantage in being able to break out of the “only playing root notes” box

(Click the image for full size)

iPod version

This is a prepatory exercise for Ch11 Using Major triads in basslines

The C , F and G Major triads played in different positions up to the 7th fret, please memorize them, you will gain a great advantage in being able to break out of the “only playing root notes” box

(Click the image for full size)

Explanation of  why you should learn this;-)

Since most western music harmony is based on the 7 steps of major scale, and that the chords built on the major scale are VERY common and should be memorized and transposed since they cover the foundation of MOST songs you will ever play.

And most pop and classic rock is composed either on a guitar or piano playing simple chords  (often by a non guitarist or non pianist), hence the “easy” keys and chords (C, G, D, Am, Em…) that  are VERY common.

So if we take the 7 steps of the major scale and build a simple chord on each step, in this case a triad (a three note chord):

• 1  C E G – spells a C Major triad – written as C
• 2  D F A – spells a D minor triad – written as Dm or D-
• 3  E G B – spells a E minor triad – written as Em or E-
• 4  F A C – spells a F Major triad – written as F
• 5 G B D – spells a G Major triad – written as G
• 6 A C E – spells a A minor triad – written as Am or A-
• 7 B D F – spells a B dimished triad – written as B0 or Bdim, but is not thatcommon and is often changed to a G Major triad with B in the bass – G/B

To build a triad from a scale, you play every other scale note, ie the C Major triad is the 1st,  3rd and 5th step of the C major scale, the D minor triad is the 2nd,  4th and 6th step, the E minor triad is the 3rd,  5th and 7th step….

So we have:

C, Dm, Em, F, G, Am, Bdim

and if you look it as scale steps from the C major scale, it translates to:

1, 2m, 3m, 4, 5, 6m, 7dim

If we only use the Major chords we get :

C, F, G or the scale steps 1, 4 ,5

Which is a very common progression – ie Blues, Rock ‘n’ roll (Chuck Berry, Elvis…)

| C | C | C | C |
| F | F | C | C |
| G | F | C | G |

Or written as numbers (the scale steps) as the Nashville studio musicians do:
| 1  | 1  | 1 | 1  |
| 4 | 4 | 1 | 1  |
| 5 | 4 | 1 | 5 |

A very wise thing to do since you can transpose to all keys more easy just thinking in scale steps

| 1 | 4 | 5 | 1 | in C is
| C | F | G | C |

And transposed to G is

| 1 | 4 | 5 | 1 |
| G | C | D | G |

Go to next chapter of this tutorial with a song built on the 1st, 4th and 5th step ogf the major scale using the triads you have learnt in the video

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This second lick inspired by Gary Willis, in E minor, combines dead notes, palm mute and chords.

Starting in the upper register i work my way down

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Music theory for understanding the modes of the major scale.

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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Major scale exercises that I talked about in my practice log post previously. Playing scales in 3rds is a great way to improve your chops and general musicality. I’m playing here in g, but they should be practiced in all keys.

A funk lick inspired by Gary Willis.

For 5 strings, this lick is in C minor pentatonic (C Eb F G Bb). If you do not have 5 strings, you can transpose in F minor pentatonic.

Be careful for the dead notes and rhythm. Inspire you to the video to see the work of right hand technique.

Here is a transcription of chipie from great saxophonist Ornette Coleman (1930 -).

This theme is very melodic, and sounds beautiful on fretless bass.

The tone of this song is F major.

A bit of fun with my piccolo bass – a cheap  SX shortscale bass with piccolo strings

A previous piccolo bass jam here

Pack slap 1 – #01

You can find the transcription of this lick here

Click here to view the embedded video.

Click here to view the embedded video.

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?

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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