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The Minor Major Sound

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Being bass players, we are often renegades of a sort.

Many of us learn to play when a friend or a cousin or uncle puts a Fender bass in our hands, shows you a 12-bar blues and suddenly you are off and running.

The good part about starting out cold-turkey as a bass player is that you can get good quickly being around seasoned players. The downside is that it’s common to find yourself flying blind half of the time. 

A common situation is when someone calls a minor tune like Summertime or a groove jazz tune with major chords on your blues gig.

If you don’t know much harmony it’s easy to sound like a novice. To move yourself forward as a musician you will want to know how to play a fuller palette of major key and minor key harmony. 

The purpose of the video lesson is to provide an introduction to the minor major sound and minor key harmony, to hear helpful examples of that sound, and also to learn a way to start using it in your daily practice. 

For the bass renegades out there, it is completely possible to become a very convincing bass player before you truly start to understand how to weave chord changes as a walking bassist or a soloist. And there is nothing wrong with that. But sometime in that process you will want to slow down long enough to truly dig into harmony to learn how to resolve a chord progression with confidence. 

Click to download the play along mp3’s – any questions, please visit me online at basslessonswithkevin.com

Want 2 Free Online Bass Lessons? Click Below:

In the opening clip to my video lesson I play bass on the first A section (16 bars) of Nica’s Dream and then blow a solo on the next A. The great thing about this tune for our purposes is that it has twosuccessive minor-major chords up front, Bbm and Abm. And that can help to drive this sound home until you begin to truly feel and hear it.

Make sure to listen to the simple improvisations in the minor 2-5-1 section of the video lesson.

In this particular case I am only using the Bb harmonic minor scale material in a general way to play on a 4-bar vamp using those chords (Cm7b5 – F7b9 – BbmMaj7 – BbmMaj7).

The point is that I’m not demonstrating weaving changes using chord tones. I am just improvising using the scale material and that’s exactly what you can do to get yourself going on playing minor-key harmony. I call it generalizing the harmony and it’s an easy way to start to hear the overall sound, work on good phrasing, and challenge yourself to play the most smokin’ rhythm that you have.

If you’re not getting around that well on your instrument yet, make sure to use the play along 2-5-1 audio files to play long tones – it’s a great way to get used to the sounds in the key. I play quite a few long tones just for you in the playing samples.

Don’t forget to use the download link for some helpful accompaniment material. 

I hope you can appreciate these things and that this lesson inspires you to dig deeper in your musical journey.

Please take your time and enjoy your practicing, make a new friend to get together and play music and always work to bring yourself forward as a musician. 

Thanks for stopping in. 

Remember… if you have any questions, you can always contact me online at basslessonswithkevin.com

Bass Edu

Approach Notes – Part 6 

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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! 

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Bass Edu

BASS LINES: Triads & Inversions Part I

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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
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Bass Edu

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

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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

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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.

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Bass Edu

Approach Notes – Part 5

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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!

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