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Jazz Improvisation for Bass with Andrea Fascetti: Chromatic Approaches Part 13

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Andrea-Fascetti-article-pictireHI MY BASS FRIENDS AND COLLEAGUES! I’M VERY GLAD TO BE HERE AGAIN… BASS MUSICIAN MAGAZINE IS REALLY COOL! GREAT WORK HERE!

TODAY WE GO ON TO USE THIS IMPORTANT TECHNIQUE CALLED CHROMATIC APPROACHES, THAT I LEARNED FROM MY TEACHER CHARLIE BANACOS. I ADAPTED IT TO ELECTRIC BASS USING SOME VERY SIMPLY IDEAS.

ESPECIALLY FOR NEW FOLLOWERS, I LIKE TO BEGIN BY REMINDING READERS WHY I TALK ABOUT JAZZ IMPROVISATION. THE REASON IS THAT IN JAZZ MUSIC, YOU FIND ALL OF THE TECHNIQUES THAT ALL GREAT BASS IMPROVISERS ARE USING. OBVIOUSLY, AFTER YOU HAVE LEARNED ALL OF THE TECHNIQUES, YOU CAN PLAY THE KIND OF MUSIC YOU PREFER… NO PROBLEM HERE.

DURING THE LAST LESSON WE WORKED OVER CMAJb5 CHORDS. TODAY WE USE C7#5 CHORD (C E G# Bb), WHICH IS A VERY STRONG CHORD! PLEASE BE CAREFUL AND PAY ATTENTION TO CHORD TONES.

I STRONGLY URGE YOU (AND I KNOW THAT I’M VERY BORING – SMILE) TO CHECK ALL OF THE PAST LESSONS SO THAT YOU HAVE A WIDE VIEW AND UNDERSTANDING OF THIS WORK.

IF YOU TAKE A LOOK AT THE LAST LESSON, YOU WILL SEE THAT WE HAVE REACHED LESSON NUMBER 12. THIS IS A LONG RUN, SO PLEASE BE PATIENT WITH YOURSELF!

OK… AND NOW IT’S TIME FOR THE USUAL HOMEWORK ASSIGNMENT!

EXERCISES:

Click to download the chromatic approaches technique.C7#5 lesson

1) TAKE THE EXERCISE. WHAT HAPPENS HERE? I USED A C7#5 ARPEGGIO!

REMEMBER, DO NOT USE A METRONOME; ONLY WHEN YOU HAVE THE EXERCISE “UNDER YOUR FINGERS”, CAN YOU USE A METRONOME. AS USUAL PLAY THE EXERCISE AS FAST AS YOU CAN! PLEASE PAY ATTENTION TO THE HIGH G# IN MEASURE 4. UNFORTUNATELY 4-STRING PLAYERS CAN’T USE THIS NOTE BECAUSE IT IS TOO HIGH FOR THE INSTRUMENT…YOU HAVE TO FIT THE EXERCISE USING SOME RESTS…. OR YOU HAVE TO BUY ANOTHER BASS (SMILE).

2) TRANPOSE THE EXERCISE IN ALL KEYS!

3) ANALYZE HOW I USED THE EXERCISE AND THEN TRY TO WRITE AN EXERCISE ON YOUR OWN!

I KNOW THAT IT IS REAL HARD WORK… BUT NO PAIN NO GAIN.

CIAO

SEE YOU SOON

ANDREA

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Bass Edu

BASS LINES: Triads & Inversions Part II

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Jaime David Vazquez - Lessons For Bass Guitar

BASS LINES: Triads & Inversions Part II

Hello bass players and bass fans! In this issue, we are going to study the triads and their inversions.

In the last lesson, we were studying triads in their fundamental position. This time, we are going to study what is known as the first inversion of the triads.

The first inversion consists of the third going on the bass in the triad, as we will see below:

C Major Triad (1st inversion)
E – G – B
C Minor Triad (1st inversion)
Eb – G – B
C Diminished Triad (1st inversion)
Eb – Gb – C
C Augmented Triad (1st inversion)
E – G# – C

See you next month for Part III… GROOVE ON!!!

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Bass Edu

Approach Notes – Part 6 

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James Rosocha

Approach Notes – Part 6 

As we move into lesson six of approach notes applied to chord tones, it’s important to go back and review the previous approaches. The constant review and application of these concepts will add a layer of chromaticism to both your bass lines and solos. The approaches need to be burned into your long term/ permanent memory for them to come out in your playing. 

This first example approaches a third inversion of a G major 7th arpeggio. 

A single chromatic approach from below and a double chromatic approach from above approaches the 7th, continue to the root, 3rd, 5th, single from below and double chromatic from above to the 7th, continue to the root, 3rd, and back down. 

The next example approaches the G major arpeggio in root position.

The next example approaches the root of a G major 7th arpeggio as a single chromatic from below and a double chromatic approach from above -before continuing to the third, fifth, seventh, single chromatic from below/ double from above to the root, continue to the third, fifth, and come back down. 

The next example approaches the first inversion of G major 7th arpeggio. 

A single chromatic from below/ double from above approaches the third, continue to the fifth, seventh, root, single chromatic from below/ double from above to the third, continue up to the fifth and seventh, and back down. 

The third example approaches a second inversion of a G major arpeggio

A single chromatic from below/ double from above approaches the fifth, continue to the 7th, root, 3rd, single from above/ double from below to the 5th, continue to the 7th, root, and back down.

After studying these various approach notes, you will begin to recognize the concepts utilized in your favorite solos. Continue the journey and good luck! 

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Bass Edu

BASS LINES: Triads & Inversions Part I

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Jaime David Vazquez - Lessons For Bass Guitar

Triads & Inversions Part I

Hello bass players and bass fans! In this issue, we are going to study the triads and their inversions.

It is very important for all bassists to understand and master the triads, but it is even more important to understand their different inversions.

In Part I, we are going to learn what the triad is in fundamental position.

The Formula consists of root, third and fifth.

Degrees of the Triad

Major Triad: 1 – 3 – 5
Minor Triad: 1 – b3 – 5
Diminished Triad: 1 – b3 – b5
Augmented Triad: 1 – 3 – #5

Fig.1 – The C, Cm, Cdim & Caug triads
(Fundamental Position)

BASS LINES: Triads & Inversions Part I
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Bass Edu

Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque

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Premiere! Bass Playthrough With Foetal Juice's Bassist Lewis Bridges - From the Album, Grotesque

Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque

Bassist Lewis Bridges Shares…

“Gruesome’s sparse intro marks a stark contrast from the intensity of the rest of the album.  The original intention was to keep the bass simple but colourful, however as I worked on it, the lines grew more expressive and the more striking flourishes began to emerge.  The intensity builds into a harmonic minor passage that takes us into the drop — a signature death grind cacophony.  This is where Foetal Juice thrives.  You’re getting a full-on right-hand barrage to in the face to take you into a groove-laden mulch-fest.

I owe my throbbing bass tone to the Darkglass Alpha Omega pedal borrowed from our sound engineer, Chris Fielding (ex-Conan), mixed with the clarity of the tried and true Ampeg SVT CL.

As mentioned earlier, colourful basslines are important, especially in a one-guitar band. Chucking some funny intervals and odd flourishes here and there brings life into the brutality. There’s no point sounding brutal if it’s not gonna be fucking evil too!

Recording this playthrough was hard work. This was not the fault of James Goodwin (Necronautical), who was kindly filming and is ace to work with, but because in true Foetal fashion, we had stinking hangovers — and that jam room was hot!”

Follow Online

FB @FoetalJuice
TW @FoetalJuice
IG @foetaljuice
Youtube: @Foetaljuice
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Foetaljuice.bandcamp.com

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Bass Edu

Bass Lines: The Circle

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jaime Vazquez

Bass Lines: The Circle…

Hello bass players and fans of bass! This month we’re going to study “The Circle.”

The Circle of Fourths can also be called “The Circle of Fifths or just The Circle.

Practicing the scales, chords, and ideas in general via the circle has been a common practice routine for jazz musicians and highly recommended.

It is a disciplined way of working through all twelve keys.

Plus, many bass root movements to jazz and pop songs move through sections of the circle.

Fig. 1 – “The Circle”

See you next month for more full bass attack!

#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thecircle, #thecircleoffourths, #thecircleoffifths,#scales & #chords.

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