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Jimmy Garrison’s Bass line from Crescent
This month’s transcription is the final half of Jimmy Garrison’s Bass line from “Crescent”, off John Coltrane’s album Crescent. It starts at 4:21 as noted at the top of page one. As always, we’ll be comparing everything to the major scale by the numbers. If you are already familiar with this analysis technique, then go ahead and skip to the next paragraph. If this is new or you need a refresher, then read on.
First, as always, the notes in each line need to be compared with the major scale of the chord for each measure. We can then take our measurements and apply the idea to literally any situation. Let’s take the lick in measure 92 to explain this process.
Click to Download Crescent – Coltrane
The chord is some type of Eb chord, in this case, Eb minor seven. Take the Eb MAJOR scale and assign a number to each note. Start with one, and increase 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 (meas 92): Eb, F, D, and Bb, and compare them to the major scale by the numbers. This example gives you 1, 2, 7, and 5. This is your lick. Now in order to apply this 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, 7, 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, 7, 5 on a G maj 7 chord gives us G, A, F#, D. Using the lick on a half diminished chord, aka minor 7 flat five, will give you 1, 2, b7, 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, 7, 5) to fit, which gave us 1, 2, b7, b5. If you were using the lick on an “A half diminished” chord, aka A-7 b5, you would play A, B, G, Eb. If this discussion is a bit much to handle, try reading only one paragraph a day.
OK, so if you are reading this paragraph, you are feeling comfortable using the major scale as a ruler to apply ideas more universally. In this analysis, we will touch on some common walking licks and ideas that were used, some “fancy” licks that were played, some thoughts about walking over sus chords, and about chords that are more than one measure long.
As mentioned last month, you will notice that the walking line: 1, 2, 3, 1 happens frequently, sometimes appearing with variations. As you are playing through this transcription, you should be comparing every note to the major scale of the chord it happens “under”. You should perform this analysis at least once through the entire transcription, taking your time to understand what you are looking at. It’s perfectly fine to disregard reading at tempo. When you analyze, feel free to pause and really think about what you are playing.
Next I want to very briefly draw your attention to the triplet figure on beat three of measure 94. This rhythmic figure can often be ignored in most walking lines. It’s a useful tool that should not be forgotten.
Next let’s briefly talk about playing chromatic notes that lead into chord tones. Many of us are used to playing these on beat four of the measure, to lead into beat one of the next measure. But not as many are comfortable applying them to lead into beat three of a measure. Check out beat two of measure 128. Yep, that natural sign is correct. Those two D’s are acting as a lead in tone back to the root of Eb minor.
Now it’s time for the “fancy” licks. These are lines that should be used almost as a garnish as opposed to your tried and true foundation walking licks (like 1,2,3,1). Check out beats three and four of measure 101. Analyze this against the Bb major scale and you will see that it’s just chord tones from Bb7. It’s a really nice lick though, and since it is only chord tones, you can apply it freely and without fear to any chord, assuming of course that you adjust the lick for the chord tones in question. Next lick is measure 107. I really like it when a lick jumps up to the 9 (same note as 2) and then resolves back to the root on the next note. 9’s are pretty safe as well. The only time where a natural 9 would be totally wrong, is if the chord says specifically b9.
Now let’s talk about “sus” chords. Should we constantly avoid the thirds of the chord in a walking line? Take a look at the transcription. By analyzing the walking line, it’s clear that Jimmy is treating all the G7sus4b9’s as just G7b9’s, not “sus” chords. He plays a major third (the note B) on most of the places where this chord occurs. Upon further analysis, it’s clear that he is considering all the Bb7sus chords as actual “sus” chords, meaning that the four (of the Bb major scale) takes the place of any third (either D or Db). When you look at the measures where a Bb7sus happens, in most cases, he plays everything except the third. It’s really important to analyze these measures to get some ideas on how to walk over a “sus” chord without playing any type of third. There are places where he does play a third, but if you analyze each case (of Bb7sus), you will see that this is the exception rather than the rule. Now here’s something to chew on: what’s the difference between a G7sus4 and a Dmin7? Not much at all. Without getting too much into a subject that could take a whole article to cover, let me just say that the most important part of each chord is the third and seventh. In a dominant sus, one of the most important tones is missing, the third. So a Dominant sus4 is actually a blend of the 2 and 5 chords (like D-7, G7). Why am I mentioning this? Because if you see two measures on a sus chord that then moves to a chord up a fourth (like Bb7sus to Eb-), you can actually walk a 2-5 to the Eb. You could “superimpose” a measure of F-7, then a measure of Bb7 instead of two measures on Bb7sus. Make sure to adjust the 2-5 combination to either major or minor, depending on the 1 chord to end up on. Or you could just ignore it and not adjust, it’s jazz right? If this is confusing, don’t worry. Just forget it and read on. It’ll make sense later in your jazz studies.
The last item on our agenda is to discus a few ideas for walking over a chord that lasts for more than one measure. This can turn into a problem if you are called to play on a tune that has four or more measures all on a single chord. If you aren’t prepared with some tricks for these situations, a walking line can quickly become stale. One approach is to target chord tones on the down beats of following measures instead of roots. For instance, as in the example of this piece, there are many instances where a chord lasts for two measures. Instead of meandering in a scale, you can plan to target a chord tone on the down beat of the next measure, and construct a walking line that leads into your target. This will give your lines the feeling of having direction and motion in the midst of static harmony. One further trick to ensure that your lines have the feeling of momentum is to introduce chromatic tones that will lead into your targets. If your line is ascending, play a note that is a half step below the target directly before landing on the target. Practice this idea of chromatics leading into target chord tones over a song like “So What”, which has long stretches of measures over a single chord.
Want to take this idea a step further and get totally crazy? I’m not going to take a ton of time to explain this, because this article is already pretty long. Take a Gmaj9 and take away the root. What chord do you have? B-7. This works for every chord. Every chord has a 9th tone that will work on it. Memorize what type of chord is found on the third of each chord. Maj9 = Min7 from its third, Min9 = Maj7 from its third, dom b9 = dim7, dom9 = half diminished 7, half dim = min7. Ok, you have two measures on a D-9. Walk D-7 for the first measure, and walk Fmaj7 on the second measure. They’re both just notes from D-9, but now you’ve introduced a subtly different flavor. If you have four measures on Amaj7 (Amaj9), try a measure on Amaj7, then one on C#-7 and keep alternating. Very cool, but not easy at all.
That’s it for this month. Hope you enjoyed the rest of this great performance. Next time we’ll look at some funk lines.
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
