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The Melody…. God Save the Queen! by Igor Saavedra
This month’s article won’t be a long one, and it will be dedicated to emphasizing which, in my opinion, is the most important aspect within the context of a song or a “normal” musical piece: The Melody; The jewel of the crown, the queen, the point of reference, the context itself, etc. (and I would be able to add many more adjectives to try to define how I see melody within the musical context). Perhaps the last comparison I can make is just to say that if a musical piece or a song is something like a kingdom or much better, “An Empire,” the melody would be the equivalent to “Rome”… that means every road leads to it, everything has to be reported to it and has to be dedicated to it. I think you already know what I mean 😉
Being a bass player myself, I’m conscious that my instrument is mainly a rhythmic based instrument in the first place; I’ve written many articles in here about that specific topic. The rhythm is taking most of our attention while playing, but there’s something even more important than Bass… ohhh how sacrilegious I’m being hahaha! But trust me on this, because “Music” is obviously more important than Bass, and in my opinion Bass has to serve Music and not the opposite.
How I see it, everything we play as bassists has to be related to the melody; let’s see some good examples…
When the melody is actually being played…
– When it comes to dynamics we must lower our volume when the singer or any of the lead instruments is exposing the melody.
– When it comes to esthetics, we have to care about not playing busy while the melody is being exposed, just a few notes, perhaps longer notes… play simple my friends, let the melody shine!
– Also in the esthetics field, play with the proper textures that you may think will help the melody to glow, e.g. palm muting, playing closer to the neck, choosing the proper pickup configuration, etc.
But what happens when the melody was already played and now is time for the solos? Can I just forget about it?
In my opinion the answer must be a gigantic and enormous NOOOOOOOO!
Melody is an entity that should be all the time and every millisecond of the musical piece, acting as the centripetal axis of the song, and the most glorious moment to reflect that concept is on the soloing. But beware, that’ll happen only when it’s time for a really good, musical, and fully mature soloing concept!
Remember the article I wrote some months ago “Think When you Study… Feel When you Play?” well this article is somehow closely related to what I’m saying here.
When we improvise or solo on a song we should be literally “playing” and I want to stress the fact that I’m being absolutely literal here, I mean PLAYING like the kids! We should be singing new melodies and having a great time like kids do as this is not the moment for thinking about the chords that support the song.
Did you see that I said “Chords that are supporting the song?” This is very important, because it’s the main role of the chords. They are not and end in themselves, they are “helping the song,” and more specifically they are helping the melody and any melodic line. So how could anybody relate or base their improvisations on the chords or the harmony? You can immediately notice when a musician starts to do that, because you will start to hear a very identifiable type of solo, which will sound like blocks, pieces, parts of something that are clearly separated from each other, abuse of arpeggios, structured scales, sequences, patterns, etc.; you won’t be able to listen to an idea that’s a whole in itself.
I can literally tell you how I see this…
“When I improvise, I just focus on the original melody of the song, I never think about chords at all. I see the melody as ‘The Real Queen of the Song’ and the point of reference for every note I’ll be playing in my solos.”
When you improvise, you are recreating something, you are relating to a context, and that context is The Melody. While soloing over the melody’s chordal structure, if you are able to abstractly sing the melody in your mind with absolute clearness, thinking about the chordal structure becomes completely unnecessary, and believe me, this is the exact moment for takeoff in your soloing. Try doing it with your voice and you’ll see that in most of the cases it is quite easy, and your consciousness won’t be asking for the chordal structure at all.
And if the song has a special vamp for the solos that has nothing to do with the melody’s chordal structure, well then I suggest you please INVENT A MELODY IN REAL TIME AND RELATE EVERY NOTE OF YOUR SOLO TO IT!
Obviously, translating this concept to an instrument is something harder to achieve, but completely doable. You need to study a lot, play a lot of scales, arpeggios, phrases & chords, organize them, structure them, practice and practice even more. At the end of that cycle, which in average can take from 5 to 20 years, when you are playing and mostly when you are soloing you must be able to purposely “forget” or “take away from your conscious thinking” all you’ve learned.
Remember that I’m not the owner of any truth; I’m just sharing what I’ve learned from my experience. You may agree with it or not, no problem, I love you guys anyway J
Long life to the melody… respect it, serve it, glorify it, help it, love it!
See you on the next!!
Gear News
New Gear: Spector Doug Wimbish USA Custom Series Basses
Spector offers Doug Wimbish USA Custom Series basses…
Spector, a leading authority in bass guitar design, unveils two new Doug Wimbish USA Custom Series basses. Synonymous with bass excellence since 1987, Wimbish collaborated with Spector’s USA Custom Shop to create the DW-4 and DW-5 models, echoing the iconic instruments that have been favored heavily throughout his recording and performing career.
These signature basses faithfully replicate Wimbish’s originals, down to the smallest details like neck contours and nut widths. Customized EMG pickups, developed in collaboration with Wimbish, capture the distinctive sound that has shaped his monumental musical impact. These models invite players to explore the feel and response that have defined Wimbish’s signature style over the years.
Available in 4-string and 5-string versions, each model boasts unique features & finish options. The DW-4 comes in Amber Stain Gloss and Black Stain Gloss options, while the DW-5 offers Dark Blue Stain Gloss and Faded Natural Gloss. Every purchase includes a certificate of authenticity signed by Doug Wimbish. Wimbish comments, “Spector took the time to get every little nuance right, and that to me is dedication and being thoughtful enough to know ‘I want to nail it,’ and they did. I’m able to pick these instruments up for the first time and play them like I’ve already had them for years.”
For more information, visit spectorbass.com/doug-wimbish-usa-signature-series/.
Photo: Doug Wimbish, pictured with the new Spector Doug Wimbish USA Custom Series basses
Bass CDs
New Campaign: Alberto Rigoni, Nemesis Call – Queens Of Strings
Italian bass master and composer ALBERTO RIGONI is thrilled to announce his brand new project “Nemesis Call – Queens Of Strings”.
Nemesis Call – Queens Of Strings features a super talented drummer from Japan (TBA) and tons of female guitarists such as SAKI, Giusy Busetto, Alexandra Zerner (TBC) and many many others (TBA). Furthermore, Alberto has also launched a Fundraising Campaign for the project. 20% of the income will be donated to Lega del Filo d’Oro legadelfilodoro.it/it, an Italian association that helps deaf and blind children!
Alberto shares:
“Hello friends and music lovers! I’m Alberto Rigoni, an Italian composer and.. a BASS GUY! Between 2008 and 2024 I released 13 solo albums, spanning from progressive, rock, ambient to funky and experimental music, which also features contributions from musicians such as keyboard wizard Jordan Rudess (Dream Theater) drummer Gavin Harrison (Porcupine Tree) and Marco Minnemann (the Aristocrats), keyboardist Kevin Moore (ex Dream Theater), singer John Jeff Soto (ex Goran Edman (ex Y. Malmsteen), bassists Nathan East, Stu Hamm (Joe Satriani), Nik West (ex Prince) and many others. I’m also bass player for BAD As, Sunset Groove Society, Kim Bingham, The Italians bands and co-producer of Mistheria’s Vivaldi Metal Project.”
Alberto on the new project Nemesis Call:
“Even if my latest album “Unexpected Lullabies”, dedicated to my newborn Vittoria Parini Rigoni, will be released on June 4th, 2024, when Vittoria came to life I felt the need to compose new music (yes, I really can’t stop!!!!!). This time will be quite challenging because I’m willing to release an instrumental ambient/prog/rock/metal album, that will feature a talented and young drummer (TBA) and tons of female guitarists (that’s why I will call the album “Queens of the Strings”) such as Alexandra Zerner, YOKA and many others (TBA/TBC)). It won’t be easy to manage all such great musicians but I will make it!! Are you ready to face a new prog experience? The album will be released in Digipack CD and in high-quality digital format approximately at the beginning of 2025.”
The Fundraising Campaign:
As an independent artist, Alberto is looking for supporters who can help him reach the budget for the production (recordings, mix, mastering, artwork etc.) of this new album and has started this fundraising campaign that will end successfully on October 15th, 2024.
Get further information about Alberto Rigoni’s new project Nemesis Call Fundraising campaign at albertorigoni.net/nemesiscal
Bass Videos
Artist Update With Bassist Derek Frank
Bassist Derek Frank…
Many of you will remember the last time I chatted with Derek Frank was back in 2017. The main thing that impressed me was how busy Derek was and how he juggled playing with many huge acts.
Now, I am happy to hear that Derek launched a new album last March titled “Origin Story” where he digs deep into his roots and pays homage to Pittsburg.
Join me as we get caught up after all these years and hear the details about the new album, how Derek gets his sound, and his plans for the future.
Photo, Stephen Bradley
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Visit Online:
www.derekfrank.com
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This Week’s Top 10 Basses on Instagram
Check out our top 10 favorite basses on Instagram this week…
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Gear News
New Gear: Alberto Rigoni Signature Bass, the VPR5 by Gaetano Costanzo!
Alberto Rigoni Signature Bass, the VPR5 by Gaetano Costanzo!
Internationally renowned bassist ALBERTO RIGONI (soloist, BAD AS, Vivaldi Metal Project, TwinSpirits, etc.) is proud to announce the release of his signature bass VPR5 made by renowned Italian luthier Gaetano Costanzo!
The bass is entirely handmade in Italy, without the use of CNC or other machinery, and has rather special features. The VPR is a 5-string bass (but also available as a 4-string) with 30 frets, Seymour Duncan pickups, Music Man Alnico style, passive electronics (volume, tone and a switch to select series/parallel/single-coil mode), alder body, and American maple neck and fingerboard. Gotoh tuners that ensure perfect intonation. The bass is totally painted white (nitro finish) but other colors can be requested. The VPR has a weight of about 2.9 kg and suitable for any genre.
For more information contact Gaetanobass77@gmail.com or visit online at www.instagram.com/gaetanocostanzoluthier or www.facebook.com/GaetanoCostanzoLuthier
New Gear: Spector Doug Wimbish USA Custom Series Basses
Artist Update With Bassist Derek Frank
String Instrument Humidifiers
Interview With Bassist Graham Stanush
Review: CrystalBright Rombo Picks
This Week’s Top 10 Basses on Instagram
Artist Update With Bassist Derek Frank
String Instrument Humidifiers
New Gear: Spector Doug Wimbish USA Custom Series Basses
