Connect with us

Bass Edu

Jazz Improvisation for Bass with Andrea Fascetti: Chromatic Approaches Lines In Action

Published

on

Andrea-Fascetti-article-pictireHI MY FRIEND AND COLLEAGUES,

IT’S GREAT TO BE HERE AGAIN!

I HOPE YOU APPRECIATED MY PAST LESSONS. I WANT YOU TO REMEMBER THAT THIS IS A LONG COURSE ABOUT IMPROVISATION, SO STAY TUNED IF YOU WANT TO INCREASE YOUR SKILLS IN THIS AREA.

WE WORKED OVER CHORDS, BASS FINGERBOARD, EAR TRAINING, CHROMATIC APPROACHES PLUS VARIOUS SUGGESTIONS ABOUT TECHNIQUE AND TRANSCRIPTIONS .I THINK THAT IF YOU PRACTICED CORRECTLY, YOU REALLY INCREASE YOUR MUSIC SKILLS.

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 OF MY OWN IDEAS.

THIS TIME WE WILL GO BACK TO MAJOR 7TH CHORD (in key of c : C E G B) WHICH IS THE FIRST CHORD OF THIS GROUP OF LESSONS. IN THIS LESSON I BRING YOU A NEW LINE USING CHROMATIC APPROACHES. REMEMBER THAT YOU CAN USE CHROMATICS TO APPROACH ALL CHORD TONES! IN THE PAST LESSONS I USED ONLY A TYPE OF CHROMATIC APPROACH, BUT NOW YOU CAN TRY TO USE MORE COMBINATIONS OF NOTES. IN FOLLOWING LESSONS WE USE THIS KIND OF LINE OVER ALL CHORD TYPES, SO YOU WILL ADAPT THE NOTES TO VARIOUS CHORD TONES.

OK, IT’S TIME FOR USUAL HOMEWORK ASSIGNMENT:

1) TAKE THE EXERCISE. WHAT HAPPENS HERE? I WROTE A VERY EASY TWO CHORD VAMP JUST TO SHOW YOU HOW YOU CAN PLAY A SIMPLE SOLO OVER A MAJ7 CHORDS LINE USING CHROMATIC APPROACHES.

chromatic approaches - jan2015

REMEMBER: DO NOT USE A METRONOME! ONLY WHEN YOU HAVE THE EXERCISE “UNDER YOUR FINGERS”, SHOULD YOU USE A METRONOME.

AS USUAL PLAY THE EXERCISE AS FAST AS YOU CAN!

2) TRANSPOSE THE EXERCISE IN ALL KEYS!

3) ANALYZE HOW I USED THE NOTES  AND THEN  WRITE AN EXERCISE ON YOUR OWN. IT’S BASIC!

OK. AS USUAL IT’S HARD WORK…….PLEASE DON’T HATE ME 🙂

GOOD LUCK AND HAVE A GOOD PRACTICE TIME!!!!!

ANDREA

Bass Edu

BASS LINES: Triads & Inversions Part II

Published

on

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!!!

Continue Reading

Bass Edu

Approach Notes – Part 6 

Published

on

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! 

Continue Reading

Bass Edu

BASS LINES: Triads & Inversions Part I

Published

on

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
Continue Reading

Bass Edu

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

Published

on

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
Spotify
Foetaljuice.bandcamp.com

Continue Reading

Bass Edu

Bass Lines: The Circle

Published

on

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.

Continue Reading