Connect with us

Bass Edu

Jazz Improvisation for Bass with Andrea Fascetti: Chromatic Approaches Lines In Action Part 3

Published

on

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

IT’S REALLY COOL TO BE HERE AGAIN!

I HOPE YOU APPRECIATE THESE IMPROVISATION TECNIQUES LESSONS. I WANT YOU TO REMEMBER THAT THIS IS A LONG COURSE ABOUT THE ART OF IMPROVISATION. SO STAY TUNED IF YOU WANT TO INCREASE YOUR SKILLS IN THIS AREA.

WE WORKED OVER CHORDS, BASS FINGERBOARD, EAR TRAINING AND CHROMATIC APPROACHES, PLUS VARIOUS SUGGESTIONS ABOUT TECNIQUE AND TRASCRIPTIONS. I THINK THAT IF YOU PRACTICED CORRECTLY, YOU HAVE DRAMATICALLY INCREASED YOUR MUSIC SKILLS.

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

THIS TIME WE GO BACK TO DOMINANT 7TH CHORD (in key of c : C E G Bb), WHICH IS THE THIRD CHORD OF THIS GROUP OF LESSONS. REMEMBER THAT YOU CAN USE CHROMATICS TO APPROACH ALL CHORD TONES! IN THE PAST LESSONS ABOUT CHROMATICS I USED ONLY A TYPE OF CHROMATIC APPROACH, BUT NOW YOU CAN TRY TO USE MORE COMBINATIONS OF NOTES. IN THE NEXT LESSONS WE WILL GO ON TO USE THIS KIND OF LINE OVER ALL CHORD TYPES, SO YOU’LL ADAPT THE NOTES TO VARIOUS CHORD TONES.

OK, IT’S TIME FOR USUAL HOMEWORK ASSIGMENT:

Chromatic approaches lines in action part3 ANDREA FASCETTI

1) TAKE THE EXERCISE. WHAT HAPPENS HERE? I WROTE A VERY EASY TWO CHORDS VAMP JUST TO SHOW YOU HOW YOU CAN PLAY A SIMPLE SOLO OVER A DOMINANT 7TH CHORD LINE USING CHROMATIC APPROACHES.

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 NOTES AND THEN WRITE AN EXERCISE ON YOUR OWN. IT’S BASIC!

AS USUAL IT’S AN HARD WORK…LET’S GO!!!

 

GOOD LUCK AND HAVE A GOOD PRACTICE TIME!

 

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