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Jimmy Garrison’s Bass Line from Crescent
This month’s transcription is Jimmy Garrison’s Bass line from “Crescent”, off John Coltrane’s album Crescent.
I started the transcription at 1:35 where the bass starts walking. Let’s get straight into using this transcription to make you a better player. First, as always, the notes in each line need to be compared with the major scale of the chord for each measure. If you are really familiar with this analytical process, go ahead and skip to the next paragraph, if not then read on. The major scale is always our ruler. We can take our measurements and apply them to literally any situation. Let’s take the lick in measure 19 to explain this process. The chord is some type of Eb chord, in this case, Eb minor seven. Take the Eb MAJOR scale and apply a number for each note, starting with one, and increasing by one until you have labeled the last note (high Eb) as eight. One, two, three, four, five, six, seven, and eight, a number for every scale note. Now take the notes in the measure you are analyzing: Eb, F, Gb, and Bb, and compare them to the major scale by the numbers. This example gives you 1, 2, b3, and 5 (because the Eb major scale starts with Eb, F, G, Ab, Bb). This is your lick. Now in order to apply this super common walking lick to all types of chords, you need to know your chord tones. A minor seven type of chord has the chord tones 1, b3, 5, and b7 when compared to its major scale (our ruler). The lick that we are looking at is 1, 2, b3, 5, but its simplest form is 1, 2, 3, 5. Take this generic pattern and apply it to any chord. You need to know the chord tones for each chord in order to do this. For instance, over a major seven type of chord, this lick will be unchanged. 1, 2, 3, 5 on a G maj 7 chord gives us G, A, B, D. Using the lick on a half diminished chord, aka minor 7 flat five, will give you 1, 2, b3, b5. We’ll not get into chord scales here. So if you know that a half diminished chord has the chord tones 1, b3, b5, b7, then you adjust your lick (1, 2, 3, 5) to fit, which gave us 1, 2, b3, b5. If you were using the lick on an “A half diminished” chord, aka A-7 b5, you would play A, B, C, Eb.
Now that we have a handle on how to use the major scale as our ruler, we need to apply it. First I’ll talk about how to get this transcription into your playing through specific practice techniques. Next I’ll talk about four specific ideas from this piece which include: chromaticism, anticipations, major six on a minor chord, and implying different chords. Last we’ll talk about specific licks from the piece.
This is how I recommend practicing this transcription to get the most out of it. First you have to memorize the form. This piece is a 12 measure chord progression that keeps repeating. The first eight bars of the transcription act as an intro, so look at the chord progression starting from 17 and ending with 28. Take these twelve bars and memorize the chord progression. Here’s what you should be memorizing:
Bb7sus, , Eb-7, , E half diminished, A7b9, D-7, , G7sus, , C-7, ,
Each coma represents a full measure, therefore, a chord that has two commas after it will last for two full measures. If you are still pretty new to memorizing changes, this will be a little difficult, but be encouraged by the fact that it will keep getting easier every time you do it. Memorizing changes is a skill that will improve only through practice. So if this proves difficult for you, take heart in the fact that it will never be this hard again.
Now take measures 17-28 and memorize the bass line. After you have it memorized, analyze these twelve bars against the chord symbols. At this point you should have the bass line memorized, and the chord progression. So now you need to compare each measure, against the major scale for that chord. The first two measures (17, and 18) will give you this:
1 1 b7 6, 56 2 1 61,
Again, I am using comas to represent measures, I will always ignore ghost notes (note heads that are show as an X) because they are not notes, they are percussion. I tried to group notes by each beat. Measure 18 starts with two eighth notes so I put those two numbers right next to each other to try and make it easier to read. You need to analyze this way for the entire 12 measures. Now memorize the number analysis, and combine it in your mind with the bass line that you already have memorized. To put it another way, you will no longer play the line as if you were whistling a melody, you will be thinking of the numerical analysis for every note as compared to every chord, and you will be doing this for every note you play. If you are new at thinking this way, it may seem very difficult at first, but if you want to get good, you can’t avoid this. If it’s really hard, just take one or two measures a day. Now when you play the line, do it slowly, always being conscious of the chords that are occurring, and of the number analysis of what you are playing. Play these 12 measures for about a week until you are comfortable with thinking about these three concepts (chords, numbers, and playing the line). Then take the next 12 measures for the following week and apply the same approach. When you do this, you will internalize these licks and ideas into your own playing. You will greatly increase your facility for memorizing changes, and understanding the notes against the chords. In short you’ll be well on your way to becoming a monster on your bass. These two skills are essential for improvising in either a walking line or a solo.
Now let’s talk about ideas from this transcription. Take note of how often a chromatic note is used on beat four of a measure to lead into the chord tone of the next measure. I counted eight instances of this at measures: 12, 32, 34, 43, 44, 50, 80, and 92. Use this technique on every measure of an easy song to get it in your playing. Next look at how many times Jimmy plays a natural sixth (the note when compared to the major scale) over a minor chord. I counted at least four instances at measures: 2, 12, 23, and 36. The major sixth note will almost always work on a minor chord in jazz, especially if you’re not sure what kind of sixth to use. Now look at how many times Jimmy uses a “push” or anticipation. The most common that I found were pushes on “and of 1” and “and of four”. Examples of this are in measures: 11, 12, 45, 73, 81, 89, 93 and 96. The last idea we’ll talk about is implying a different chord change. Jimmy constantly implies two measures of A7b9 instead of playing one measure on E half diminished, then one measure on A7b9. These chords occurs on measures five and six of the twelve measure progression that you should have memorized. Check out measures: 21, 33, 45, 69, 81 and 93. You can do this on any 2-5 progression, but I don’t recommend doing it every time except in special situations.
Now let’s talk about some licks. First, we’ll look at some licks that Jimmy seems to use often. One lick is: 1 2 3 1. This happens at measures 24, 96, and 99. The next lick is: 1 2 3 5, and occurs at measures: 19 and 84. Another common lick is: 8 7 6 5, and this one happens at: 23, 49, and 83. Take one of these licks and use it on every chord in a simple jazz tune like Autumn Leaves, or All the Things You Are. Remember to adjust each lick pattern to fit the chord tones. You don’t just play 1 2 3 1 on any chord, you have to adjust to the chord tones. On a minor seven chord you would play 1 2 b3 1. All these licks are basic ideas to use as building blocks for walking lines and can be used often in a single song. Now let’s look at some really “flavorful” licks, which should be used more sparingly. Take each lick and analyze against the major scale of the chord in order to use the idea on any chord in your own playing. In measure six, Jimmy plays all fourths, which matches perfectly with what McCoy Tyner is playing on keys. Most likely, Jimmy and McCoy had played this song enough that they both knew they would play this here, and it’s a great touch. Fourths are a distinct sound and produce a really nice effect to add variation in your walking. Next look at measure 12, especially beats three and four. This is a great lick to use on a minor chord to take you back to the root. The “push” on the “and of four” should be included as part of the lick. The next nice lick is measure 34. Beat four of this measure should be analyzed as simply a chromatic note leading into the root of the next measure. Lastly, check out the nice two measure lick at 37. This would be great on any 7th (dominant) chord. You have to take your analysis of each lick, and apply them over a variety of different changes from a real tune before you will see them occur naturally in your own walking. Remember to always adjust the numbers of the lick for the chord tones of the measure that you are playing
That’s it for this month. Just wait for next month when we finish this song out. There’s lots of stuff to work on here, but if you have any questions about anything you can always shoot me a message through the website, or better yet, take it to your instructor. Concepts like these are always better explained and demonstrated in person. The suggestions here will give you real results, but it’s also real work. There’s no magic wand, if you want to sound better, it takes work. But it’s a lot of fun, don’t give up. Remember that it always gets easier the more work you put into it. Until next time.
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
Spector, a leading authority in bass guitar design, unveils new additions to its product line: Euro CST, Euro LX and Euro LX Bolt On basses.
Euro CST:
The Euro CST introduces all-new tonewoods, electronics, and finish combinations never seen in the Euro Series, drawing inspiration from Spector’s Woodstock, NY-based Custom Shop. Each Euro CST instrument is meticulously crafted using premium materials, featuring a striking, highly figured Poplar Burl top, a resonant European Ash body, and a 3-piece North American Maple neck paired with an Ebony fingerboard adorned with laminated Abalone Crown inlays.
Euro CST basses are equipped with a lightweight aluminum bridge for precise and reliable intonation. Premium active EMG X Series pickups deliver the exceptional clarity, attack, and silent operation that defines the Spector sound. These basses also feature the all-new Spector Legacy preamp. Developed in collaboration with Darkglass Electronics, this preamp captures the classic “Spector growl,” heard on countless iconic recordings, with added versatility.
Euro CST basses are available in 4- and 5-string models in four distinct high gloss finishes: Natural, Natural Black Burst, Natural Red Burst, and Natural Violet Burst.
Euro LX and Euro LX Bolt-On:
The Euro LX offers all the features that have made the Spector name famous around the globe. Inspired by the iconic NS-2, Euro LX basses feature a fully carved and contoured body, high-grade tonewoods, and professional-grade electronics and hardware. For the first time ever, players can now choose between neck-thru and bolt-on construction in the Euro LX range.
Each Euro LX bass, regardless of construction, is crafted using premium materials, including a European Alder body, figured European Maple top, and a 3-piece North American Maple neck combined with a Rosewood fingerboard for strength, stability, and sustain. Euro LX basses are then outfitted with a lightweight, aluminum bridge for spot-on, reliable intonation. Premium active pickups from EMG provide the exceptional clarity, attack, and silent operation that Spector is known for. Like the Euro CST basses, these instruments also feature the all-new Spector Legacy preamp.
The newly revised Euro LX range is available in four distinct, hand-rubbed stains, including Transparent Black, Natural Sunburst, Haunted Moss, and Nightshade. Each of these colors features a durable and comfortable matte finish.
John Stippell, Director, Korg Bass Division, remarks, “I’m thrilled to announce the latest additions to the renowned Euro Range. The CST Series, our new premium offering, features new and unique wood combinations and unprecedented features. The beloved LX Series is now better than ever with the introduction of Bolt-On models, vibrant new color options, and the all-new Spector Legacy Preamp, delivering the classic Spector tone with unmatched precision.”
For more information, visit spectorbass.com.
Meet Garry Beers, Luthier and owner of GGB Basses…
Bass Musician Magazine: How did you get your start in music?
Garry Beers: I played acoustic guitar as a kid with my mates at school. We decided that one of us should play bass, so we had a contest where the one who knew the least guitar chords would buy a bass – so I lost the contest, bought my first bass, and became the only bass player in the neighborhood. Soon after, I met Andrew Farriss, who had heard that I had a bass, and a few days later, I was jamming with Andrew and Jon Farriss.
Are you still an active player?
Yes, I am still actively writing music and playing bass sessions. I also have an LA-based original band called Ashenmoon.
How did you get started as a Luthier? When did you build your first bass?
I did woodwork in High School and always enjoyed making all sorts of things out of wood.
After finishing high school, I took a course in electronics for a year or so and learned enough to understand basic circuits in guitars, amplifiers, and effects. The best way to learn is to deconstruct and study, so my dad’s garage was littered with old junked radios and any instrument parts I could find.
My first guitars were more like Frankenstein-type creations made out of parts I found here and there. I didn’t really try to build a bass from scratch until I perfected my Quad pickup design and got my patent.
How do you select the woods you choose to build with?
I only use woods that were used at Fender in the 50s, which are my favorite basses and guitars of all time. All my GGB basses are modeled in some way from my INXS bass- a 1958 Fender Precision bass I bought in 1985 in Chicago. I call her “Old Faithful,” and she has an Alder wood body with a maple neck. All of my GGB basses are select Alder wood bodies that I have had extra dried, so they match the resonance of “Old Faithful,” as she has had 66 years to lose all her moisture and become more resonant and alive-sounding. I use plain old Maple necks that I carefully select, and again, I dry the necks to make them sing a little more.
Tell us about your pickups.
I started working on my Quad coil design back in Australia in the ‘90s and then put it to bed, so to speak, until I found an old pickup winding machine at a swap meet here in LA. I taught myself enough about pickup winding to build my first prototype design and worked towards my patented Quad coil design by trial and error. Nordstrand Audio builds the pickups for me here in SOCAL.
What is the reaction of players who pick up your basses?
I build the basses to feel like an old friend. They look and feel vintage, and when you plug them in, you discover the array of vintage sounds available to you from just one pickup. Most of the players I have contact with are established professional players, and they all love the basses. Freddie Washington and Nick Seymour from Crowded House are a couple of players with GGB Basses in their hands.
What are a few things that you are proud of in your instruments and would consider unique?
I would say I am most proud of the patented Quad pickup design. I own the patent from 4 through to 10-string. So far, I have only built 4 and 5-string pickups, but the design is a winner. Split Humbucker / Reverse Split Humbucker / Full Humbucker / Single coil Neck / Single coil bridge. All these sounds come from one passive pickup. I am very proud that my perseverance and desire to have this pickup have made it a reality. Being able to have these sounds in one bass enables the player to have one bass in the studio and on the stage. The only place you can have the GGB Quad pickup is in one of my GGB Basses.
Which one of the basses that you build is your favorite one?
I offer three body shapes and about ten different color options – all based on the ‘50s and early ‘60s custom guitar and car paint styles. I have always been a lover of P basses, but my favorite bass I build is now my XS-1 model- which is a custom Jazz bass body style. It is pretty sexy and is a light, well-balanced, and great-feeling body shape. The other body styles are the XS-2, which is a custom Jazzmaster body and has been the most popular so far- and the XS-3, which is the standard P bass body style. I also offer an XS-58, which is a replica of my “Old Faithful” ‘58 P bass. They are currently available to order now and should be available soon.
Can you give us a word of advice to young Luthiers who are just starting out?
I don’t really consider myself a Luthier in the traditional sense. I just love to build things and tinker. I was always looking to improve things, whether it was a guitar, an amp, a pedal board, or a car. So my advice is to always be curious and learn the basics of what you want to build, and the rest should follow once you decide what you want to say as a designer/builder. People are lucky these days that you can learn pretty much anything from talented people on the internet, but nothing replaces working with and learning from real people in real situations. Seek out like-minded builders and start a discussion.
What advice would you give a young musician trying to find his perfect bass?
Have a good hard think about what you want to say as a player. What is your style, both musically and as a player? There are so many instruments available. Do the research, play the instruments that fit your criteria, and make a decision. But make sure you try a GGB Bass! With all the sound choices my basses offer, with a simple turn of a knob, you may find it easier to find “your” sound.
What is the biggest success for you and for your company?
Well, the company is brand new, and at this point, it is just me, so getting this far in the manufacturing process and now having these amazing basses in my hands is a great achievement, but now comes all the business stuff!!
What are your future plans?
It’s a work in progress. Right now, it’s all about getting the word out and getting the basses into the hands of interested players. I believe in the basses – and the Quad pickup, so hopefully, GGB Basses can become a go-to bass for demanding studio and live players who want sound choices in a gorgeous vintage-style instrument.
Visit online at www.ggbbasses.com
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 Monomyth bass preamp pedal is designed to offer bassists a comprehensive range of tonal options, combining modern features with practical functionality. With independent channels for EQ and overdrive, as well as useful additions like a cab sim and DI output, the Monomyth aims to be a versatile tool for both live performances and studio sessions. This review will delve into the pedal’s specifications, controls, and overall performance to determine if it lives up to its promise of delivering quality and flexibility at an affordable price.
Specifications:
– Dimensions: 130 * 110 * 50 mm
– Weight: 442g
– Working Voltage: DC 9V
Controls:
The Joyo Monomyth is equipped with a comprehensive set of controls designed to provide maximum tonal flexibility:
– Voice: Adjusts the character of the overdrive, from distortion to fuzz.
– Blend: Balances the dry and effected signals, crucial for maintaining low-end presence.
– Level: Sets the overall output volume.
– Drive: Controls the amount of gain in the overdrive channel.
– Treble Boost: Enhances high and mid frequencies for clarity in complex passages.
– Gain Boost: Adds extra gain, particularly effective at low gain settings to enhance the low e.
– EQ Function Controls: Features a 6-band graphic EQ plus a master control for precise nal shaping.
– Ground Lift Switch: Helps eliminate ground loop noise.
– Cab Sim Switch: Activates a simulated 8×10″ cab sound.
– LED Light Control: Customizes the pedal’s ambient lighting.
Performance:
The Joyo Monomyth shines in its dual-channel design, offering both a transparent EQ channel and a versatile overdrive channel. The 6-band EQ allows for detailed tonal adjustments, preserving the natural character of your bass while providing ample flexibility. The voice control mimics the functionality of the Darkglass Alpha Omega, shifting from distortion to fuzz, with a sweet spot around the middle for balanced tones.
The blend control is essential for retaining the low end when using distortion, ensuring your bass remains powerful and clear. The treble and gain boosts, available on the overdrive channel, further enhance the pedal’s versatility, making it suitable for everything from subtle drive to full-blown fuzz.
Outputs are plentiful, with a DI and XLR out for direct recording or ampless setups, and a headphone out for convenient practice sessions. The cab sim switch adds a realistic 8×10″ cab sound, enhancing the Monomyth’s utility in live and studio environments.
Pros:
– Versatile Control Set: Offers a wide range of tones, from clean to fuzz.
– Blend Control: Maintains low-end presence.
– Robust Outputs: DI, XLR, and headphone outs make it adaptable for various setups.
– Affordable: Provides high-end functionality at a budget-friendly price.
– Sturdy Construction: Durable build quality ensures reliability.
Cons:
– Plastic Knobs: May feel less premium compared to metal controls.
– Boosts Limited to Overdrive Channel: Treble and gain boosts do not affect the EQ channel.
– Cab Sim only on the XLR out: how cool would it be to also have it on the headphone out?
Conclusion:
In conclusion, the Joyo Monomyth stands out as a versatile and powerful bass preamp pedal, offering a range of features that cater to both traditional and modern bassists. Its dual-channel design, comprehensive control set, and robust output options make it a valuable tool for achieving a wide spectrum of tones, from clean and warm to heavily distorted. For bassists seeking flexibility, reliability, and excellent value, the Joyo Monomyth is a top contender.
For more information, visit online at joyoaudio.com/product/267.html
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