Click here to view the embedded video.

Download original video lesson from Wupload

Click here to view the embedded video.

Recorded with a Zoom Q3 HD

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

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.

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

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)

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

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

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

Quicktime version

iPod mp4 version

Flash flv version

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

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

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

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

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

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

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

Quicktime version

iPod mp4 version

Flash flv version

Click here to view the embedded video.

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.

Quicktime version

iPod version

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.

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

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

A previous piccolo bass jam here

Im playing over an AMaj7 chord, but using an E major pentatonic scale – ie playing a major pentatonic scale from the 5th (E) of the A major scale. This gives a more hip modern sound – not playing the root (A) and emphasizing the Maj7th, 6 th and 9th – E major pentatonic scale (E F# G# B C#) translates to the (Key of A) 5th, Major 6th, Major 7th, 9th and Major 3rd.

Click here to view the embedded video.

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