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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.
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
