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Adam Nitti Technique Series: Practicing With Chord Tones, Part 2: Navigating Changes
In this installment, we are going to continue where we left off in part 1 by practicing over some more complex chord changes. For the exercises in this lesson, we are once again going to limit ourselves to the use of chord tones only. If you have so far been practicing your arpeggio forms and inversions over the entire range of the fingerboard, you should by now seeing some significant improvement in your ability to navigate the fingerboard while outlining harmony. I will present you with 3 new exercises in this lesson to practice improvising over using chord tones. Each of them is modeled after a popular jazz standard and represents common harmonic movement that you might encounter on a regular basis on jazz gigs.
Exercise 1 is a standard 12 bar jazz blues progression in F. An example of a tune that would contain changes like this would be “Straight, No Chaser.” The changes in exercise 2 are similar to the changes in the tune, “Tune Up.” Exercise 3 contains the identical chord changes to the tune, “Autumn Leaves.”
For each of these exercises, you will once again start by playing continuous swing 8th notes using chord tones only. As you will be faced with having to play through many more individual chords and modulations, it is absolutely critical that you look ahead as much as possible. In other words, keep your eyes moving ahead of the measure you are currently playing so that you are able to pre-meditate your position shifts and arrive at each chord change with accuracy and confidence. As we have done in the past with prior challenging exercises, start with very slow tempos and work into a comfort zone before kicking up the speed. For examples of how to play through each exercise, check out the accompanying videos.
Obviously, once you get these progressions down you’ll want to move onto new challenges. One thing you can do to challenge yourself is to try playing tunes you know transposed to new keys. This is vitally important, because if you play the same changes over and over without any variation, your eyes will have a tendency to rely on the same visual cues on the fingerboard and you will find that you are not able to play as well in other keys. Ideally, you should practice playing through these exercises in all 12 keys. If that seems intimidating to you right now, start simpler by trying to improvise over a ii-V-I progression in all 12 keys.
Once you become proficient with controlling placement of chord tones, then you can go back to practicing in a less restrictive manner, for example using only chord tones 3, 5, or 7 on the downbeats of each chord change, and then completing your phrases using combinations of other scale tones or chromaticisms. This ‘chord-tone-boot camp’-like approach that I have shared with you in this lesson is primarily designed to make you much more aware of where the chord tones are found on the fingerboard. Ultimately this helps you to navigate harmonic motion better and will also help you to become a better foundational bassist, as well.
Until next time, keep on chord-toning!
Bass Videos
Interview With K3 Sisters Band
K3 Sisters Band Interview…
It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.
Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music, music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.
Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.
Here is the K3 Sisters Band!
Photo, Bruce Ray Productions
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Bass Player Health
What is a Pinched Nerve? with Dr. Randy Kertz
What is a Pinched Nerve?
In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.
Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!
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Gear News
New Gear: Ashdown ORIGINAL-EVO-C112T-300
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.
Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.
Product Specification-
Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg
For more info please visit www.ashdownmusic.com
Gear News
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary
Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…
The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.
This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.
The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.
It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.
Anticipated Availability: May/June 2024
For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/
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