Bass Edu
Rhythm Drill Down!! Part 2
A few of you bass fanatics out there might be old enough to remember the infamous words “fuzzy math”. That’s all fine for the math wizards of the world. But if you are playing bass in the rhythm section then please be kind to your band members and stay as far away from “fuzzy rhythm” as possible!
In my previous video lesson I detailed the use of rhythm-pairs to setup 16-bar exercises in rhythmic contrast. The format of the exercise is to play each rhythm off the other in equal 4-bar sections.
The purpose itself of these rhythmic contrast exercises is to thoroughly learn all of the basic rhythmic values.
You could call these basic rhythmic values the “seven colors of the rhythmic rainbow”:
- Whole notes
- Half notes
- Quarter notes
- Quarter-note Triplets
- Eighth notes
- Eighth-note Triplets
- Sixteenth notes
My claim is that you can make a massive dent in learning these necessary rhythms by investing six-months of daily study at about 20-30 minutes per practice session. Not only that, but you will get excellent practice improvising the phrases as well. Setting up multiple benefits in your practicing is a smart way to go.
An important point that needs to be emphasized for these lessons is that the principle of “restricted note choice” is an incredibly valuable thing to use in your studies. In fact, the use of one, two, and three-note solos is something built into many of the musical studies that I construct for my students.
My experience is that the use of restricted note choice can give a major boost to the quality and effectiveness of many different musical exercises. When you subtract harmony from the equation your awareness of rhythm will skyrocket.
If you are not accustomed to studying a specific rhythm, ie, quarter-note triplets, it can be difficult keeping your focus. Getting lost in the weeds is easy, and trying to solve more than one problem at a time will do it in no-time flat!
The surest two ways to blow an exercise in rhythmic studies is to get tangled up with harmony or to start fishing around the fingerboard. Please work to keep these wayward excursions to a minimum.
There’s no shame in doing one-note solos to lock in your rhythmic values. You will be surprised at how it forces creativity in your phrasing.
Great improvisers can whip an audience in a frenzy with the rhythm and phrasing of a one-note solo!!
Since rhythm is the primary element in music, why not subtract harmony from the equation and concentrate on what’s truly the most important thing of all?
As far as this month’s video lesson is concerned, take note of the fact that although my opening clip pairs quarter-note triplets and sixteenth notes, the actual rhythm-pair of honor today is eighth notes and quarter-note triplets.
Click to Download Link To Play Along mp3s
If you need a streetwise method to get quarter-note triplets under your fingers you can start by simply tapping quarter notes and then singing half notes on top. When you are comfortable with that then simply learn to replace a half-note with three notes and continue from there. Each half note gets a quarter-note triplet. You’ll figure it out!
Notice how you need to almost drag the triplets to get them to slot out evenly in the measure. Indeed, musicians of an earlier age called them “drag triplets”. They seem to float over the rhythm section and have a very particular effect. And when you can learn to subtract one or more of the quarter notes from the triplet you will be getting into some very interesting rhythmic territory.
Words of wisdom to musicians young and old: Please take your time with these materials and cultivate patience in all of your practicing.
ps Don’t forget to download the play along mp3s below if you would like some help with comping materials for the lesson:
Click to Download Link To Play Along mp3s
Visit Me Online at basslessonswithkevin.com/
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!”
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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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