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Triadic Mastery – Supercharge Your Bass Playing For Life

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Triadic Mastery

This is an exercise for professional playing ability that will raise your skill set several levels. I guarantee that you are going to have a great time with this! 

If you are seeking to add skills your bass playing there are few that will create the granitelike foundation of triadic materials. In fact, wherever you kick over a rock in the world of music there’s likely to be that triadic glint and glimmer for your prospecting. 

There is a seemingly endless list of musical activities for curious students, yet for bass players triads seem to be at the heart of it all. 

You can take common altered chords and form them from combining two triads. You can play great sounding walking bass lines based on little more than triads and chromatic approach notes. At just the right time in any solo you can use a triad to easily ring the upper structure color of the chord for dramatic effect. The list goes on. 

When you are committed to boosting your bass skills then  serious triad work will go a very long way. Triadic studies put you in a perfect position to start getting your game in great shape. That’s a promise. 

The purpose of the lesson is to urge serious students of bass to undertake an all-keys study of major and minor triadic materials in the open, first, and second positions, and to also give an example that will be easily understood.

LESSON: Triadic Mastery – Supercharge Your Bass Playing For Life

Before getting started, please click the orange button below to sign up for the download materials. There is a nice cache of mp3 audio play-along files and pdf charts of exercises and bass lines from the video lesson. FREE: SIGN-UP FOR LESSON MATERIALS

This is a highly demanding exercise and the prerequisite is that you must identify, note by note, each of the extended major and minor triad positions (grips) in the open, first, and second positions. 

Identifying each and every note of the triad at hand means to slowly trace out the root, the third and the fifth degree of each of the 24 triads going from the lowest possible note in the position up to the highest possible note in the position. 

These extended triads are the so-called “triad grips”. And please be prepared to proceed through the Cycle: 

G, C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D

As per usual I am going to leave the enharmonically named materials up to your own judgment. 

You can play the triad grips without open strings by simply moving up to the second position and covering the open notes A, D, and G that way, and that’s fine. But I do suggest that you also learn to perform the open string positions as well.

To prove the virtue of open string bass lines, try playing Funky Broadway in closed position. Unless your rocking a graphite neck the tone just ain’t there. Word. 

In this study, on a standard 4-string bass there are six triads that will start on the open note E. They are E, Em, C, C#m, A, and Am. Go ahead and identify those right away to start getting into the spirit of the study. Of course, any note will function as a root, third, or fifth degree. 

Open strings ringing away and muddying up your bass activities is an annoying phenomenon but I believe it is a smart move to develop the facility to dampen open strings. It is definitely a subtle technique in its own right. 

In the video lesson I open with a short demonstration using what are called “enclosures” for a closed position G major triad and an open-position Ab major triad. 

Physically speaking, it will help to think of and use each note in the triad as an anchor of sorts. In the case of G major you have the notes G, B, and D. In the case of Ab major you have the notes Ab, C, and Eb. 

Concerning the video lesson itself, my claim to have played the Ab major triad exercise in the open position comes from the fact that once you add in the notes for the enclosure the open strings D and G will pop up. Don’t let it get you down – you can do it. 

Taking something through all keys can give you a ringing headache if you’ve never done it before. Believe it or not that is a good sign. Getting out of your comfort zone shows you are just about to clear out some cobwebs and start learning something of value. 

When you have identified all of the notes of a triad in the position please play them out of time to simply feel what it will take to get every note in the triad to ring out clearly.

This is an important step and take it from me, it’s not going to happen quickly. 

In fact, I recommend trying a bit of “finger meditation” to see just how firmly you need to press into the grip to make it work for you. Teachers of classical guitar use methodology similar to this to help imprint things musically into your hands, so please do take it seriously. 

When you have this lengthy first step under your belt then refer to the video lesson to learn how to add the surround notes. These are the so-called enclosures. You will be approaching truly expert musical skills when you do this. 

Make sure that you find a friend on your musical journey with whom to share this lesson. It is always inspiring to trade lines with your musical cohorts. It’s a lot more fun and I also think it helps you get better faster. 

Thanks to everyone for stopping in. 

Kevin

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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