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Byron Miller: Reach For It by Alex Wilkerson
Meet Alex Wilkerson
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Reach_For_It_Part_1-Feb2010
This issue’s transcription is the bass solo by Byron Miller on George Duke’s Album: Reach For It. This piece is a great source of ideas for crafting a funky solo, keeping a long solo interesting, and gaining some great pentatonic licks, but most importantly of all, it’s a lesson in phrasing. Any of us who have studied blues greats like B.B. King and Albert King, just to name a few, know how a “simple” four or five note solo can become amazing and complex with the application of masterful phrasing. You have to admit that these guys have proven that phrasing is more important than notes in terms of Blues, R&B, and Funk soloing. Even in the setting where as many notes as possible are crammed into a solo, we must admit that good phrasing is what makes a lot of these notes possible. That being said, the main focus of your study on this transcript should be phrasing. In this article we’ll talk about different licks that appear in the piece, different patterns to use over a scale in your practice and solos, and some techniques that Byron has used.
Before diving too deep though, let’s take some time and talk about some of the notation in this transcript that may be a little confusing. Byron employs a fair amount of bends and playing “outside” the time, and this can make a transcription really challenging. If you look at the pickup bar at the very beginning of the solo you will see what looks like an upside down “V” over two notes. This means that these notes should be played short, but not as short as a staccato. You can just think somewhere in the middle of the road between as short and possible and long. Next in measure one you will see a line trailing off the note. Any line falling from, or rising to a note means that a slide is needed. If it’s falling off a note, then slide down (in sound) with no particular ending note of the slide; just a quick slide. The same applies to the “approaching” slide. There should be no clearly defined starting note of the slide, just a simple slide into the note.
Ok, now onto grace notes and bends. Check out the down beat of four in measure two. This upside down “V” that ties one note to another is a bend. When a single bend occurs, there are two notes involved. One is the note you start from and the other is where you end up. Usually one of these notes is more important than the other. The grace note (tiny note) will tell you this. A grace note is played quickly and doesn’t last long. If both notes get equal weight, then there will be no grace note at all but rather two normal notes. Pre-bends are where you bend the string first, play the note, then release the bend while the note is ringing. This technique can be seen in measure seven. The grace note that doesn’t have a stem and is inside parenthesis is the fret that your left hand should be on. In this case you would be playing a “D” and I would recommend playing this on the 12th fret of the D string. You would then bend this “D” up to an “Eb” before playing the string, then play it and release the bend back down to a “D”. The last symbol that needs explaining is the trill. It looks like a squiggly line as in measure six on beat one. This can be played either as an intense vibrato (moving your finger back and forth but staying in the fret) or as a quick repetitive slide between the starting note and one fret up. This should be performed as quickly as possible.
Now, let’s move on to the licks that you can take from this transcription. Look at measure six. This lick starts at the “a” of three (three, e, and, a) through the end of beat four: C, D, A, C, D. With this lick you start somewhere on the scale (A minor pentatonic in this case), go up one note, then start one note below your starting point and ascend three notes. This lick reoccurs on the “a” of beat one in measure 14, on the down beat of one in measure 27, and the lick occurs “upside down” on the down beat of measure 16. Play these four parts to find the pattern. Lick two is a 16th triplet descending on the minor pentatonic scale and ending on flat three. You can see this lick on the “and” of two in measure three, and on the “and” of one in measure nine, and on the “and” of two in measure 16. The next lick we’ll cover here is the use of six 16th triplets ascending up the minor pentatonic scale. You can see this on the down beat of two in measure five, the “and” of two in measure 6, the “and” of three in measure 17 and a partial in the beginning of measure 20. The last lick is a sweet “jazzy” lick in measure 25. Because of its speed, in the right environment this lick will work on either dominants or minor chords. It contains major and minor thirds but each pass so fast that it really would still work on both. Also try this lick from the one and five of the key.
Now let’s talk about some scale patterns that we can take from this solo. What I mean by pattern is a short motif or concept that can be used over any scale. The first one we’ll talk about occurs on the “and” of three in measure nine. For our discussion I will refer to the major scale by the numbers 1-8. The pattern ascending would be: 1, 2, 1, 3; 2, 3, 2, 4; 3, 4, 3, 5; 4, 5, 4, 6, etc. Also practice this idea descending: 8, 7, 8, 6; 7, 6, 7, 5, etc. Next take a look at the “a” of four in measure 27 and stop on the note “A”. By the numbers, this pattern would look like this: 1, 2, 4, 3; 2, 3, 5, 4; 3, 4, 6, 5, etc. Then of course we should take this descending: 8, 7, 5, 6; 7, 6, 4, 5, etc.
Lastly, let’s discuss a few soloing concepts from this piece. First look at how many phrases are started on the down beat of one. Out of all the phrases only three start on the down beat of one. If you are finding that you begin a lot of your phrases on one, you can just wait an eighth or sixteenth and your phrases are twice as hip. Another great technique here is to play “outside” of the time. To do this you must have a firm grasp on time and a solid internal groove. You can tell when someone doesn’t have good time because when they step out it sounds lame; they aren’t fooling anyone. You can practice this with the scale patterns I gave you above. Practice them with a metronome and when you feel confident, take it out of time a little but bring it back in.
You can see that through the piece, Byron was thinking mostly “A” minor pentatonic instead of chord to chord (chord scales). This technique is very appropriate to the style and it should be noted that this was a conscious choice on the part of Byron and not because he is incapable of playing from chord to chord. Look at his lick in measure 25, his Dorian hints in measures 21 and 22 and how he superimposes a minor triad from the major sixth (F#) ending that lick on the 9. This should state clearly that staying in “A” minor pentatonic is more desirable in this setting as opposed to cramming in endless chord scales and chromatic passing tones. Funk and R&B are more about feel and groove than heady cerebral jazz, which is great too, but the lesson here is to ask yourself what the intention of the song might be? If the song’s intention is soul, then the main focus of your solo should be soul, if it’s cerebral sophistication, then that should be your focus. If the point of the song is to get people to shake their booty, then your solo should make every booty in the room start to shake. In this way you will add the most to the song and not get fired for being inappropriate.
I hope you enjoyed this edition’s selection. I’ll bring you the rest next time, but as you can see there is lot of work to be done here and a lot to be gained. Remember that your focus on this transcription should be phrasing and feel. Enjoy, and see you next time.
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
