Fretless Bass Line with Bass TAB – Bass Practice Diary – 30th June 2020
This is a fretless bass line that I wrote recently as part of a piece I’m working on. During the lockdown I’ve been trying to keep my creativity going by writing some music. The drums are provided by my good friend Lewis Davies who has appeared on my channel before.
The Bass Line
The bass line has a triplet feel. I’ve written it in 4/4 but I could have written it in 12/8. If you’ve read my book Electric Bass: Improve Your Groove then you’ll know that I like to count triplets with the syllables ta-ki-ta. Using those syllables, the two ta’s become the beat and off beat in a shuffle or swing feel. But I think it’s how and when you use the other syllable, ki, that can make a triplet feel really pop. Notice that I’ve placed a note on this subdivision after the second beat in every bar of this bass line. To my ears, that is what defines the character of this line.
If you’d like to check out another of my fretless bass lines with bass tab, then you can find one here.
Blues in A with a 10/8 Time Signature – Bass Practice Diary – 24th September 2019
Blues is at the root of so much of what I play. I started out by playing blues as a child. And the blues is also at the root of so much modern music, including jazz, rock, funk, soul… the list goes on. It’s actually incredible when you think about it, how the musical vocabulary of the blues has permeated so much music in the last 100 years or more. But, can you play a blues in an odd meter? That’s what I found myself wondering this week.
Where does blues end and modern jazz start?
Blues has its own rhythmic feels and distinctive harmony. Which have proved very adaptable to other genres of music. And it could be argued that once you break out of these structures, you’re no longer playing the blues. My own musical journey through my teen years took me from blues to modern jazz, simply by a process of trying to expand my harmonic language. It wasn’t a conscious decision on my part to leave the blues behind. I simply started to become interested in upper chord structures and alterations, and expanding my role as a bass player, and modern jazz is where I found myself.
So I’ve no doubt that some people could argue that an odd meter blues isn’t blues, it’s (blues influenced) modern jazz. But I would argue that if you can stay true to the rhythmic feeling, structure and harmony of the blues, while playing an odd meter. Then you can play an odd meter blues. And that’s what I’ve tried to do in this video.
The influence of John McLaughlin
It’s not a completely original idea, although I’ve never heard anyone try to do exactly what I’ve done here. However, I was partly inspired by the jazz guitarist John McLaughlin. There’s a tune called New Blues, Old Bruise on his album Industrial Zen. It’s in 15/8 and I think it’s a brilliantly original approach to playing blues harmonic language. That tune would undoubtedly be classed by most people as jazz fusion, but nevertheless, the blues influence is undoubtedly present.
The other influence of John McLaughlin came from his brilliant DVD called Gateway to Rhythm. In which, he briefly demonstrates a kind of subverted blues shuffle feel in 10/8. The rhythmic phrase he uses is Ta-Ki-Ta Ta-Ki-Ta Ta-Ka Ta-Ka, which is 3+3+2+2. When I heard it I thought it was genius. Because it seemed to capture the feel of a blues shuffle, but it wasn’t a shuffle. I think the phrase originally came from one of his old Mahavishnu Orchestra albums.
Hearing that made me think, if you can capture the feeling of a shuffle in 10/8 then maybe you can play an entire 12 bar blues in 10/8. I haven’t used that particular rhythmic phrase in my blues, because I didn’t want to copy John McLaughlin’s rhythmic phrase. But it did inspire me to come up with the blues in 10/8.
The bass line
The bass line was partly improvised and partly worked out in advance. It turns out that you have to concentrate really hard when you’re playing a 12 bar blues in 10/8. Especially when you don’t just stick to one rhythmic phrase. As I haven’t here, I’ve tried to mix up the rhythms as much as I could. But here is one chorus of transcribed blues bass line in 10/8.
The fretless bass solo
The fretless solo on top was just a bit of messing around. I added it to add some context to the bass line. I found while I was doing it that I had to concentrated really hard on where to start my lines. To make sure they came out in the right place harmonically. I’ve transcribed the solo too and here it is.
Odd Meter Bass Groove – 7/4 Rock Bass Groove with Bass TAB – Bass Practice Diary – 14th May 2019
This week I’ve been working on writing play-along pieces for my upcoming book. It will be my second bass book released by Fundamental Changes. The video features a bassline that I wrote for an odd meter rock piece. It’s a rock bass groove in 7/4 time signature. You can find my video guide to playing bass in odd meters here.
What Are Odd Meters?
The term odd meter simply means any time signature that has an odd number of beats or subdivisions in a bar. Odd meters divide opinion amongst musicians. Some musicians (including me) love them and think they can flow and groove just as well as any groove in 4/4. Others hate playing them.
My approach to playing odd meters is not that different to my approach for playing in any meter. But I think that musicians who are not comfortable playing in odd meters often feel that they have to do something different. And that might be the root cause of why they struggle to play them.
7/4 is an unusual time signature in rock and pop music but there are famous examples of its use. All You Need is Love by The Beatles, Money by Pink Floyd and Times Like These by the Foo Fighters all contain sections in 7/4.
Jazz Fretless Bass Groove on Suspended Chords – Bass Practice Diary – 5th March 2019
This week I’ve been writing original basslines on sus chords. And I’ve featured one of my lines in this video. This is the second time I’ve featured a fretless bass groove in my practice diary, and I’m planning to do many more in a variety of different styles and feels. You can find my first fretless bass groove video here.
When I’m practicing a particular harmony, chord progression or time feel, I like to compose original bass grooves that fit in to what I’m working on. This week I was working on suspended chord sounds. And here is an original bassline I’ve written on four sus chords. Gsus, Bbsus, Dbsus and Esus.
Each chord is two bars, and I’ve written the bass TAB for 4 string fretless bass. I’ll write more about the theory of playing on suspended chords in next week’s practice diary. But for now, this is just a mellow jazzy bassline that you can learn and practice. If you like it!
Sliding Notes on a Fretless Bass – Bass Practice Diary – 22nd January 2019
Sliding between notes is an integral part of phrasing on a fretless bass. This video features an exercise to help you practice sliding accurately between notes by using the pentatonic scale.
When you slide between notes on a fretless bass, the first thing that you need to concentrate on, is keeping the notes in tune. When you slide, it’s very easy to slide too far and go sharp, or not quite far enough and the note will be flat. So my first advice is to start slowly and use a backing track.
Backing tracks are very easy to find for free on Youtube. Here is an example of a backing track in G major that you could use to help you practice this exercise. When you practice with a backing track it’s so much easier to hear when you go a little bit out of tune.
Use the Pentatonic Scale to Practice Sliding Notes on Fretless Bass
The easiest way to play a pentatonic scale is by playing two notes on each string like this.
The reason it’s easy is because it doesn’t involve any position shifts. But it offers very little opportunity to slide between notes.
In order to incorporate slides, you need to keep shifting position, which involves playing at least three notes per string like this.
You can also practice this on a fretted bass. It’s easier on a fretted bass because you don’t need to be as accurate. But position shifting is an important skill for any bass player to practice.
The idea of the exercise is that you always slide with your 1st finger (index finger). Playing three notes on each string, you play the first of the three notes with your 1st finger and then slide up to the second note. You can play the third note on each string with either your third finger or little finger.
Slide Notes With Any Finger
It’s easiest to use your 1st finger to slide. But you want to be able to slide accurately with all of the fingers on your left hand. So come up with your own variations of this exercise and use different fingers to play the slides. Here’s a variation that I demonstrated in the video which uses your 4th finger (little finger) to play the slides.
Another variation that I demonstrated in the video, is to break the exercise down into small sections. Don’t feel like you need to practice the whole scale all at once. Work on each position shift one at a time. Like this.
I think that practicing like this actually replicates what you will play in a real musical situation better than playing the whole scale all at once. You could use the example above as a fretless bass fill on a G major chord. And the example below which starts on a D could also be a fill when you’re playing in the key of G.
Just like any scale exercise, don’t forget to practice this exercise in different positions and different keys. And try to adapt the idea of sliding and position shifting to any other scales, arpeggios or technical exercises that you practice.
Fretless Bass Groove with Bass TAB – Bass Practice Diary – 15th January 2019
This week during my bass practice, I’ve been composing bass grooves in 6/8. This video features one fretless bass groove that I’ve written. I choose to feature this one because it fits nicely on 4, 5 or 6 string bass. So hopefully all bass players will be able to have a go at playing it.
The bassline is in G major. I’ve written some phrasing, by marking some of the slides on the TAB. But my advice is to focus on the rhythm more than the phrasing.
Once you’ve got the rhythm of the groove, I think you’ll find that the phrasing comes quite naturally. And I don’t mind if you phrase it differently to me. I think phrasing is very personal and I rarely try to imitate another musicians phrasing too closely.
Start by practicing slowly. The full speed is 110BPM and I’ve included a slower version at 70BPM. But I would probably advise starting even slower than that. And make sure that the rhythm is accurate. The rhythm in bar two is particularly tricky. It’s like playing on all of the off beats in a bar of 3/4, but the feel is still 6/8.
Learn to Play Triplet Rhythms on Straight 16th Note Bass Grooves – Bass Practice Diary 4th December 2018
I’m currently putting the finishing touches to my second book, which is a follow up to Electric Bass: Improve Your Groove. In the new book, I have a section which is about feeling multiple subdivisions. Meaning, can you play bass grooves that use both straight 8th notes and 16th notes, as well as triplet rhythms?
It’s hard to switch between straight rhythms and triplet rhythms without dropping the groove. This video features a bass groove that I wrote for the book. It has a straight 16th note feel, but it also contains triplets.
Quarter Note Triplets (Crochet Triplets)
The video features two variations of the same groove. Here is the first, simpler variation.
This version of the groove features straight 8th and 16th notes, Ta-Ka and Ta-Ka-Di-Mi. But it also features quarter note or crochet triplets.
Quarter note triplets are a rhythm that many people struggle with. But they don’t need to be any more difficult that 8th note triplets. An 8th note triplet is simply a beat subdivided into three, Ta-Ki-Ta. A quarter note triplet is the length of two 8th note triplets. So, if you can feel 8th note triplets, you should be able to play quarter note triplets.
Think about it like this. Two beats contain six 8th note triplets. Ta-Ki-Ta, Ta-Ki-Ta. If you play on every other syllable, like this Ta-ki-Ta, ta-Ki-ta, then you are playing quarter note triplets.
16th Note Triplets
The second variation of the groove features all of the same subdivisions as the first, but it also contains 16th note triplets.
16th note triplets are easy to understand. They are sometimes difficult to play because they can be very fast, even at moderate tempos.
The first thing to understand about 16th note triplets is that they are essentially the same subdivision as 8th note triplets, Ta-Ki-Ta.
In order to create 16th note triplets you must first feel the straight 8th notes Ta-Ka. Once you have the straight 8th note feel, you must divide each 8th note into triplets, Ta-Ki-Ta.
It’s actually easier to play 16th note triplets on straight grooves like this than it is to play them on triplet feels such as shuffles and swing. The reason is that they are derived from subdividing the straight 8th notes into triplets.
Playing a Bass Ostinato for a Drum Solo – Bass Practice Diary – 11th September 2018
This week I visited my good friend Lewis Davies at his studio in South London. We spent the afternoon practising, just bass and drums. At the end I shot some videos to show what we were working on. One of the things we practised was playing a bass ostinato through a drum solo.
What’s an Ostinato
An ostinato is simply a repeating musical phrase, a bit like a riff. The purpose of playing an ostinato on the bass in this situation, is to hold down a groove while the drummer plays a solo.
The biggest problem with playing solos on either bass or drums, is that it breaks up the groove between the bass and drums. The purpose of the bass ostinato in this situation is for the bass player to take full responsibility for the groove so that the drummer can play a solo without it feeling as if the groove has been lost.
It’s a very high pressure situation for a bass player. The performance entirely depends on your timing and ability to keep the groove going against the potential distractions of a pyrotechnic drum solo. I remember as a young bass player being put in that situation on stage without having practised it. And I found it very uncomfortable. It’s very easy to rely too much on the drummer for the groove when you’re on stage.
A lot of drummers like to solo in this way. The composer and jazz musician Billy Cobham is just such a drummer. He writes and arranges his own compositions. So, he writes the kind of bass ostinatos that he wants to play over. I’ve always enjoyed playing Billy Cobham’s bass lines and in many of his arrangements it’s not only the bass player that plays the ostinatos.
The bass ostinato we play at the end of the video is from Billy Cobham’s classic composition Stratus which originally featured on his seminal jazz fusion album Spectrum.
Lewis is a good friend of mine and a multi talented man. He’s a music teacher, musician and he makes extremely high quality custom guitars. We met at music college when we were both in our late teens. And we’ve played, performed and practiced together a lot over the years.
Stay tuned for some more videos from our practice session in the next few weeks. And for now you can also check out this video we made together at a similar practice session a couple of years ago.