Connect with us

Bass Edu

Bass Line From John Patitucci’s ‘Got a Match’

Published

on

Bass Line From John Patitucci's Got a Match

Bass Line From John Patitucci’s ‘Got a Match’…

Wow, it took me some time to learn this – sometimes it is surprising even for myself how long it can take to master a piece, even with focused practising – okay, maybe around Christmas, and middle of January, practice time was not really effective nor focused but at least I gained some pounds instead of speed.

So after one and a half month of practising this daily at least for 15 mins (but usually 30-60, sometimes 60-120), I would say i am currently pretty comfortable with this at around 280 bpm any time, can cut it at 304 if warmed up and relaxed, but would probably throw my bass at Chick if this tune was an opening track played slightly above the usual tempo at an outdoor gig in late September 🙂 not quite my tempo, would i probably say. But really, this is a disclaimer, Got a Match is useful and fun stuff, but it is crazy sh*t as well, so be patient with it and with yourself.

For me, learning this theme in its original recorded tempo was the most profitable experience in a long time. I had to watch my every step and become conscious of every move in order to go beyond my barriers. When I was looking for bass players doing this tune, I have seen bass players suffer from this tune live – sometimes even John himself who played on this track for Chick on the record… John himself is a Master – as a teacher, as an artist, musically, theoretically…on many levels. What I really like about him that he is always about music wherever and whenever he plays. His dedication and humility always amazes me – it is always refreshing to see and hear someone continuously grow even though he has been at the top of his game for several decades. John is the one who will always play what he feels and you’ll hear new experiences coming from his music and solos every time you listen to him. I am excited to hear John’s new album which he currently records but until that you fortunately have a lot of albums to listen to going from Fusion to Free Jazz. You’ll definitely know John’s Bach arrangement but his latest album Remembrance is definitely a must-listen, you’ll hear beautiful space and gravity played with a trio featuring Brian Blade and Joe Lovano.

So, back to Got a Match – it is extremely hard stuff. I have recently acquired a 6 string Yamaha and I cannot even imagine how difficult it can be not to make strings make noise while hitting every note of this. Anyway, I basically found two crazy guys on Youtube who nailed this perfectly – only watch these guys if you grabbed your seat:  Rob Gourlay and Mike Pope.

Well. Hats off gentlemen. But how can you approach Got a Match?

 Your survival kit for learning this one:

– organized, focused and regular practise routine – you’ll have to do this daily. Taking 30- 60 mins a day is more than enough. But during this time, focus entirely on the piece. If you do too much, you can become tired and usually that causes you playing bad, then you become frustrated that you haven’t progressed, Small focused steps.

– working out the runs and figuring out fingerings REAL slow, then practising difficult segments seperately – my method was to begin with half speed, play it for 2-4 mins, then increase tempo by 2-4 metronome clicks. Make sure that practise the segment correctly. At higher tempos, sometimes it is better to to increase the tempo only 2-3 times daily. In that way, you’ll feel the progress. You can make yourself weekly tempo goals. If it takes slower to progress, don’t hurt yourself. I have over-strained myself a bit at one time. Resting and recovering your injured hand will take more time. Believe me.

– play light, watch your hand positions and do as little movements with fingers as possible Besides being slow and conscious of your every move, you’ll have to lighten your touch on both hands. As you will see on the video, I play VERY lightly with my right hand – i am resting my thumb on the E string, but when i play with my index and middle, the E string barely moves – when you play hared, it will touch the pickup. You’ll have to avoid that. You can also record yourself, and check the sound waves – where it is louder, you become stiff, you play louder – you’ll have to even that out for yourself. You’ll have to experiment with right hand positions and angles, curving. If you play closer to the bridge and above the pickup, you won’t dig in between the strings too much but there will be more string tension as well. If you move way in the direction of the neck, the strings will move that way you cannot be precise in your motion. Usually you can find a sweet spot for yourself, but sometimes different sections will need slightly different positions as well. Here, I photographed some positions I have experimented with and worked. First one is basically Jacoesque – playing above the pickup and with your very tips of your fingers allows you to play fast and precisely and not dig in too much in between the pickups – yet for some people it strains the hands. Second is modernish-rampish-Willisish hand position – again, while i don’t have a ramp, the goal is to lightly play the strings with the tips of your fingers – this is a more relaxed position, however, it is not convenient for some, since plucking comes not from the root of your fingers, but from the lower joints. The third is a bit inward turned position, you won’t see that much often, nevertheless it is very useful – people whose middle finger is much longer than the pointing finger, will find that with this position they can play more easily and fluidly due to the fingers length aligned with the strings with the angle change. Experiment with these and combine them to find your best position!

keztartas

– immense drive and persistence. If you become discouraged at any point, let it rest a bit – this stuff is definitely challenging. Relaxing and coming back to it later can be refreshing – when you begin with again, you’ll have a fresh perspective and you might notice things that have kept you from progressing. Also, it is useful to practice other stuff as well in order to relax yourself. Or as a different kind of motivation, you can watch a video of a pro bassist suffering from this tune 🙂
–  patience – sometimes it is difficult to acknowledge that even though you are working hard, results are coming slowly. Don’t worry – due to the practice you have done, you have probably developed more speed and accuracy than before. You don’t have to hurry either since you don’t have a gig next week with Chick. (do you?)

So, all in all, have a safe journey fellow bass player and post videos of your Match 😉

Visit John Patitucci’s homepage, Facebook page, Artistworks page and support him!

John Patitucci - Artistworks
There is a free GuitarPro 5 file (tab) for download at www.digthatbass.com

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