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Latin American Bassist Junior Braguinha – by Rajoe {Video}

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Latin American Bassist Junior Braguinha – Lesson 16…

Sorry about the long hiatus, I had a little wrist injury which had to rest a bit before I could practise again soundly.

I’ve noticed recently that every Latin American (rooted) bassist I stumble upon on YouTube is a mind blowing badass… I don’t know what’s different over there, but really, just look up a few guys: Victor ColmeneroNino BezerraPipoquinhaEduardo Barbosaand last but not least  Junior Braginhua …  all jaw-dropping. I’ve decided to feature them since they are more than worth it 🙂

Junior Braguinha is most probably known to you, he is a Ken Smith, MarkBass and a Rotosound endorser so his videos have probably reached you one way or another I just love how effortless and cool this guy does all those mind-melting licks. He is lighting fast but all he does is tasty. You can hear a lot of influences in his playing that are mixed together in this young chap. The three guys that are hear most in his playing are Linley Marthe, Jaco and Matthew Garrison.

The solo pattern I’ve transcribed is one of his signature licks – if you listen closely it comes out of his fingers in several in his solos – there is a song under tha codename (5) where you can hear it very clearly as an interlude fill – so I picked this excerpt and I looped it. The song is in 5/4 which can sound scary to some of you, but if you leave the coungting out and listen to the groove for a few rounds, it should be very straightforward – so that’s why i also transcribed the groove – you can hear that in the lesson as well.

The lick includes a good workout for your hammer-on/pull of skills (that’s the thing from Matthew Garrison) and it ascends on cromatic passing notes and stops on a slightly outside note, than it comes down with a recurring triad-base triplet pattern – simple, solid, effective with a little bit of speed 🙂 Note that the first two bars are played actually an octave higher but i wanted to keep things Jazz Bass friendly for the majority out there 🙂 Have fun!

The video does not intend to violate any laws or copyrights, it is to be used for educational purposes (fair use). The original song is available on Youtube!

Visit Junior Braguinha’s Facebook site and support him!

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Bass Edu

Approach Notes – Part 5

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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!

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Bass Edu

BASS LINES – The Blue Notes (Minor Blues Scale)

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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

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Bass Edu

BASS LINES: Staccato for Bass

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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!!!

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Bass Edu

BASS LINES: Legato Slide vs Shift Slide

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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!!!

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Bass Edu

Approach Notes – Part 4

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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!

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