Connect with us

Bass Edu

Jazz Improvisation for Bass with Andrea Fascetti: Chromatic Approaches Part 14

Published

on

Andrea-Fascetti-article-pictireHI MY “BASS FRIENDS” AND COLLEAGUES! IT’S REALLY COOL TO BE HERE AGAIN. BASS MUSICIAN MAGAZINE IS FANTASTIC. UNBELIEVABLE WORK HERE!

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

I RECEIVED SOME PRIVATE EMAILS ABOUT THE USE OF JAZZ  MUSIC AND WHY I ALWAYS 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. PLEASE NOTICE THAT GREAT BASS PLAYERS HAVE FANTASTIC JAZZ MUSIC SKILLS!

DURING THE LAST LESSON WE WORKED OVER C7#5 CHORDS. TODAY WE USE C7b5 CHORD (C E Gb Bb), WHICH IS A VERY UNCOMMON CHORD! PLEASE BE CAREFUL AND PAY ATTENTION TO CHORD TONES.

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

IF YOU TAKE A LOOK AT THE LAST LESSON, YOU WILL SEE THAT WE REACH LESSON NUMBER 13. THIS IS A LONG  RUN…SO PLEASE BE PATIENT WITH YOURSELF 🙂

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

EXERCISES:

1) TAKE THE EXERCISE. Chromatic approaches tecnique.C7b5 ANDREA FASCETTI – WHAT HAPPENS HERE?I USED A C7b5 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!!

2) TRANPOSE THE EXERCISE IN ALL KEYS!!

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

HOPE YOU PRACTICE THIS STUFF. GIVE ME A CHANCE AND I THINK THAT YOU’LL PLAY BETTER 😉

CIAO

SEE YOU SOON

ANDREA

Continue Reading
Advertisement

Bass Edu

Approach Notes – Part 5

Published

on

James Rosocha

Continuing our lesson of Approach Notes, Part 5…

In continuing with the concept of approach notes being applied to chord tones, this lesson approaches the root, third, fifth, and seventh degree of each arpeggio inversion by incorporating a double chromatic approach from above, and a single chromatic approach from below. 

The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and a single chromatic approach from below -before continuing to the third, fifth, seventh, double chromatic from above/ single from below 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 double chromatic from above/ single from below approaches the third, continue to the fifth, seventh, root, double chromatic from above/ single below 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 double chromatic from above/ single from below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above/ single from below to the 5th, continue to the 7th, root, and back down. 

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

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

Be sure to pace yourself with these lessons to avoid burning out.

Being overly ambitious with your practice schedule can lead to unrealistic expectations. Try learning one approach note concept and one chord type a week. Change your practice routine as necessary and tailor it to your needs as a musician. Good luck!

Continue Reading

Bass Edu

BASS LINES – The Blue Notes (Minor Blues Scale)

Published

on

jaime Vazquez

Hello bass players and bass fans! Happy New Year 2024!

In this issue, we are going to study the blue notes.

In blues, jazz, and rock, a blue note is a note that (for expressive purposes) is sung or played at a slightly different pitch from standard. Typically the alteration is between a quartertone and a semitone, but this varies depending on the musical context.

The blue notes are usually said to be the lowered third(b3), lowered fifth(b5) and lowered seventh(b7) scale degrees. The lowered fifth(b5) is also known as the raised fourth(#4). Though the blues scale has “an inherent minor tonality, it is commonly ‘forced’ over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities”.

Blue notes are used in many blues songs, in jazz, rock and in conventional popular songs with a “blue” feeling.

Formula:

The A Minor Blues Scale

1 – b3 – 4 – (#4/b5) – 5 – b7

A – C – D – (D#/Eb) – E – Bb

The grades(blue notes):

b3, (#4/b5), b7

C, (D#/Eb), Bb

See you next month for more full bass attack!

#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thebluenotes, #minorbluesscale & #bluesscale

Continue Reading

Bass Edu

BASS LINES: Staccato for Bass

Published

on

jaime David

Staccato for Bass…

Hello bass players and bass fans! In this issue, we are going to study the technique known as staccato.

When we talk about the staccato technique, we are referring to a form of musical articulation.

In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence.

* In 20th-century music, a dot placed above or below a note indicates that it should be played staccato.

* The opposite musical articulation of staccato is legato, signifying long and continuous notes.

Fig. 1 – An example of a normal notation.

Fig. 2 – Is the same example but now with the staccato articulation

Fig. 3 – A basic groove played and written in a normal notation.

Fig. 4 – The same basic groove using the staccato technique.

So, at the end of the day, you as a bassist will decide what type of technique you will use depending on the effect you want in your performance.

See you next year for more full bass attack!!! Happy Holidays & New Year 2024!!! Groove On!!!

Continue Reading

Bass Edu

BASS LINES: Legato Slide vs Shift Slide

Published

on

jaime Vazquez

Legato Slide vs Shift Slide…

Hello bass players and bass fans! In this issue we are going to study how to read the swing eighths.

When we talk about slide techniques, we are referring to what is known in classical music as the glissando.

• Glissando = a continuous slide upward or downward between two notes.

There are two types of slides, legato and shift.

Legato Slide = strike the first note and then slide the same fret-hand finger up or down to the second note. The second note is not struck.

Fig. 1 – Legato Slide – Upward

Fig. 2 – Legato Slide – Downward

Shift Slide = Same as Legato Slide, except the second note is struck.

Fig. 3 – Shift Slide – Upward

Fig. 4 – Shift Slide – Downward

So, at the end of the day, you as a bassist will decide what type of Slide you will use depending on the effect you want in your performance.

See you next month for more full bass attack!!! Groove On!!!

Continue Reading

Bass Edu

Approach Notes – Part 4

Published

on

James Rosocha

Bass Lesson: Part 4 of Approach Notes…

My previous lessons on the topic of approach notes covered approach notes from above, approach notes from below, and approach notes from below and above. This lesson flips the concept around to approach notes from above and below. Don’t make the mistake of only learning this material in the major keys. As a starting point, these exercises should be applied to major 7, minor 7, dominant 7, minor 7 b5, and diminished 7 in all 12 keys for all inversions. If you are just starting this lesson, I recommend you go back to my first lesson on approach notes and follow them in sequence. My lesson on arpeggio inversions lays the groundwork for the approach note concept to be applied. 

The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and below- before continuing to the third, fifth, seventh, double chromatic from above and below 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 double chromatic from above and below approaches the third, continue to the fifth, seventh, root, double chromatic from above and below 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 double chromatic from above and below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above and below to the 5th, continue to the 7th, root, and back down. 

This final example approaches a third inversion of a G major 7th arpeggio. A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.

These lessons take a very long time to complete so pace yourself and don’t give up. Good luck!

Continue Reading

SUBSCRIBE NOW

Facebook

Trending