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Slow Bass… It’s A Thing

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Remember that great bass line you keep coming back to year after year and yet it’s still not where you want it to be?

Your fingers turn into pretzels and you start to think it must be bad bass genetics. 

You need Slow Bass! 

What is Slow Bass? It’s a concept that can transform your practice habits and help you get great results. It’s all about learning how to take your time to develop your playing skills in a careful and conscious manner. 

In the recent generation of bass development there is a new breed of extremely able technicians of the instrument on the scene.

In plain English –  there’s a lot of hotshot bass wizards running around. I’m not saying that’s in any way a bad thing. Realize that the learning of music itself probably hasn’t changed that much over the last few centuries. Every musician still needs to shut everything else out and learn. Deeply. 

The thing that definitely has changed is that with instant information ruling the day, now you absolutely know that the moment you step out your front door in the morning that you might be ground into dust by the shockwaves caused by furious bass fingers working in concert all over the hemisphere. These maniacs are out there! 

Don’t laugh. Structural engineers call it “destructive harmonic vibration”.

You can think of it as Chinese water torture for bridges. Just as the drip, drip, drip finally causes an unruly brain to melt, a series of vibrations add up at the exact right moment to cause the bridge concrete to crack or the steel cables to snap. Not good when you’re on the way to your gig.

Remember that guy who plays in the Devo tribute band that told you he hates blues bass lines? He’s going to be making bank at your funeral in his jobbing band while you get lowered down into Mother Earth. 

All kidding aside bass people.

In a very chaotic world with endless waves of destructive harmonic vibrations, if you can cut out  distractions, concentrate on basic musical materials to start, and bring everything you are playing to mind consciously, methodically, and slowly many times over in an effort to learn the material deeply then one day as your live playing continues you’re going to wake up a much better bass player and you’re going to have a lot more confidence as a musician.

In an effort to prevent any of the previously mentioned bass destruction I have produced a video lesson especially designed to bring a modicum of success, peace, and musical knowledge into your life and the guiding principle is Slow Bass and an F minor blues. 

The lesson requires you to play the 4 or 5 triads of the F minor blues up and back in the first position while grabbing the next appropriate triad tone at the chord change. Scaled way back, it’s the same type of thing that you will need to accomplish harmonically if you are constructing a walking bass line or blowing a solo.

All that you have to do is take your time and work with the process of learning this chord progression and note-names in this particular position while getting your fingerboard hand to behave as you take it all in. Make sure that at sometime in this process you start to sing the roots so that you can get started with driving those notes down into your bass soul. That’s how it works. 

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:

Slow and easy does the trick. Every time.

In fact, I am developing the Slow Bass concept to help players to experiment with more long tones in their playing. It’s great stuff, so please stay tuned. 

You might want to check out my playing clip once again, too. I threw in a bunch a Slow Bass long tones just for you. 

I truly hope that you enjoy this video lesson and that you can appreciate the Slow Bass concept and also the beautiful sounds of the minor blues. That’s one of my personal favorite chord progressions and it’s a great way to get going learning your bass inside and out. 

Thanks for stopping in everyone!

Kevin
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!”

Follow Online

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IG @foetaljuice
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Foetaljuice.bandcamp.com

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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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