Bass Edu
Miki Santamaria, Dangerous Tapping Part – by Rajoe {Video}
Miki Santamaria, Dangerous Tapping Part – by Rajoe {Video}…
Are you into something cool, fresh and musical which can even be referenced to classical music? Here is a lesson for Miki Santamaria’s Dangerous (which is a David Guetta song and Miki did an instrumental cover for it with Anna Sentina and Casey “COOP3RDRUMM3R” Cooper)
Miki Santamaria is a hell of a bass player – I first saw a video of him playing that Silver Modulus bass and then i checked out all the other stuff from him – if you haven’t run into one of Miki’s great Youtube videos you might be from Mars – in that case, welcome on Earth, welcome on YouTube, there are some things you should watch very quickly (Slap bass secrets or a few of his covers and solos for example). Besides being a virtuoso, Miki is also very musical – that not only means that he composes solo bass stuff with taste but he also seems to fit in any band.Check out his work!
So, Dangerous! I never actually listened to the original David Guetta version fully but I dig the cover version so much I transcribed the tapping part! This part immediately caught my ears and i knew i wanted to learn it. Also, it sounded very familiar … After a quick search, it turned out that my suspicion was right- if you are interested in some musical references, just give a listen to the following excerpts 🙂 Ludovico Einaudi’s Andare or Bach Toccata and Fugue in D minor
Actually, the cool thing about this tapping part is that while it sound complicated it is not really. Sure, your fingers might feel some pain at the beginning but after the second day it won’t be a big deal 🙂 Basically, there are 3 parts to know for this song: a one-bar lick that is played many-many times, an intro line which is only played at the beginning of the song, and the refrain part.
The intro part goes from 0.10-0.23 in the original video – in the lesson, i play this part 3 times slow – you’ll see the tabs under the video, but the first bar is basically that one-bar lick which is played everywhere else in the video – so you only have to repeat that most of the time.
The refrain part is first played from 0.55-1.05 in the original – in the lesson, i basically play two rounds, then make a 4 bar rest, then demonstrate two more rounds.- use your ears to spot the refrain part in the song elsewhere!
If you are new to tapping, don’t worry! Let’s check the first bar of the intro – put your left index finger on the 9th fret of G string and move the index or middle of your right above the 16th fret of the G string. As the 9th fret should be sounded first, the first note is actually picked with your right finger and after that 9th fret note is sounded you tap the 16th fret with your right, move your left pinkie to the 14th fret and then when you fret that 14th note, you release your right index. When that 14th note is sounded, you again tap with your right index, you move your left middle to the 12 th fret, release right index…etc. Once you figure this motion out, you’ll only have to move it around – if something is not clear, ask in the comments, or on email! Have fun with it!
The video does not intend to violate any laws or copyrights, it is to be used for educational purposes (fair use). Check out the cover version of Miki, Anna and Casey!
Check out Miki’s Youtube channel and homepage and support him!
For registered DigthatBass members, here is the GuitarPro5 file here!
Cheers,
Rajoe
Bass Edu
BASS LINES: Triads & Inversions Part I
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 Edu
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
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Foetaljuice.bandcamp.com
Bass Edu
Bass Lines: The Circle
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.
Bass Edu
Approach Notes – Part 5
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!
Bass Edu
BASS LINES – The Blue Notes (Minor Blues Scale)
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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Working-Class Zeros: Episode #2 – Financial Elements of Working Musicians
Interview With Bassist Erick “Jesus” Coomes
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