Tag Archives: Bass guitar

Learn a Fretless Bass Groove with Bass TAB – Bass Practice Diary 39

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.

Fretless Bass Groove

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.

Six Eight (6/8) Time Signature

I’ve written before that 6/8 is one of my favourite meters to play in. You can find my guide to playing 6/8 basslines here. I’ve also written about 6/8 in my upcoming book for Fundamental Changes which will be published this year.

A Guide to Harmonics on Bass – Part 2: Artificial Harmonics – Bass Practice Diary 38

Learn to Play Artificial Harmonics

Artificial Harmonics – Play Harmonics on Bass Guitar – Part 2 – Bass Practice Diary – 8th January 2019

This is part two of my complete guide to playing harmonics on bass. This week I’m looking at artificial harmonics (find part one about natural harmonics video here).

The term artificial harmonics relates to various techniques where you use your right hand alone to play the harmonics. Artificial harmonics are more difficult to achieve than natural harmonics because you need to do two things at the same time with your right hand. In this post I’m going to look at three different techniques.

The Jaco Pastorius Technique

Many bass players, myself included, discovered artificial harmonics through listening to Jaco Pastorius. I remember as a teenager listening to Weather Report’s tune Birdland and wondering how the introduction could possibly be played on a bass. I was already familiar with natural harmonics. But Jaco seemed to be playing melodies and bending notes with the fluency of a guitar player.

The secret was, that he was using his right-hand thumb to touch the strings lightly, while his right-hand fingers were plucking the notes. And, at the same time, he was fretting notes with his left hand and imitating the phrasing of a guitarist bending strings by sliding the notes on his fretless bass. A lot of things going on at the same time!

It was Jaco’s technique that I was trying to copy when I first started playing artificial harmonics. But that was only until I found a technique which I found worked much better for me and the way I wanted to play. I haven’t used the Jaco technique in well over 10 years now.

The Steve Bailey Technique

After hearing Jaco, the first time that I saw a bass player doing something significantly different with artificial harmonics was on a DVD called Bass Extremes Live.

I’m sure many of you are already familiar with Victor Wooten and Steve Bailey’s incredible bass duets. But at the time I first saw that film, I knew all about Victor Wooten, but I didn’t know Steve Bailey.

Steve Bailey was making incredible arrangements using artificial harmonics on a six string fretless bass. He was playing chords using bass notes and harmonics played simultaneously, which seemed impossible, even to someone who was already well familiar with Jaco Pastorius’ repertoire.

The Steve Bailey technique involves straightening your index finger on your right hand. And using it to lightly touch the string. Then you can use your third finger to pluck the string at the same time. Meanwhile, your right-hand thumb can be used to play bass notes.

Once I’d learned this technique I never went back to the Jaco technique. Because I found that I could play everything that I was doing before with the Steve Bailey technique but I could also play chords using artificial harmonics. I don’t want to get into a debate about which technique is better or worse. We’re all individuals and Jaco’s technique worked for Jaco and Steve Bailey’s technique works for him. And personally I’ve found that Steve Bailey’s technique works for me as well.

My Own Experiments with Artificial Harmonics

Recently I made a video which I called Improvisation on Three Basses. The idea for that video came because I was playing the chords of Miles Davis’ tune Flamenco Sketches using an artificial harmonics technique that I’ve seen used by guitarists like Ted Greene and Tommy Emmanuel. But I’ve never seen it used by a bass player.

I was wondering if I could adapt it to playing chords on a bass guitar. So I tried out playing one of my favourite chord progressions. I was amazed by how well it worked. And it led me to wonder why I haven’t seen it done before.

The technique involves using your index finger to touch the string. Then plucking the same string with your thumb and then using your third finger to play notes on other strings.

Here is the exercise that I wrote and played in the video using this technique.

Artificial Harmonics Exercise

This is an extended version of the same idea. It uses a chord progression that starts with an Emaj7#11 then F#m11 and G#m11.

Artificial Harmonics Chord Progression

Happy New Year! – Auld Lang Syne Arranged for 6 String Bass – Bass Practice Diary 37

Auld Lang Syne on 6 String Bass – New Year Bass Practice Diary – 1st January 2019

Here’s my bass arrangement of Auld Lang Syne. This is my second New Year as a parent. Since becoming a parent my New Year’s celebrations have become much more mellow. I haven’t taken a New Year’s Eve gig these last two years because parental responsibility takes precedent.

It feels strange, because I’ve been playing somewhere on New Year’s Eve for at least 10 straight years prior to this. But these days I can’t think of a better way to ring in the New Year than with a nice mellow arrangement of Auld Lang Syne on my six string bass.

Auld Lang Syne

There are a number of ways you can approach harmonising this tune, and I didn’t spend very long coming up with this arrangement. I didn’t write the arrangement down, I just worked out a few things by ear before I hit record.

The loose structure of the arrangement is as follows. I played the first half of the song solo, using simple I, IV, V harmony. I intentionally set it in a key where I could utilise the open strings as bass notes. Then I added some jazz chords and alterations in the second half and immediately overdubbed the melody for the second half of the tune.

This was actually one of the quickest videos I’ve done. The shooting of it didn’t take more than five minutes. But I’m happy with the results. Sometimes playing something “off the cuff” is the best way rather than overthinking it.

I hope you enjoy this bit of bassy mellowness, whether your New Year’s Eve is mellow like mine or a bit more exciting. And as I stated in the video, I hope that the coming year gives you many opportunities to play the bass!

Happy Christmas! – Let it Snow, Let it Snow, Let it Snow! – Bass Practice Diary 36

Let it Snow played on Three Basses!

A Christmas Bass Practice Diary – Let it Snow, Let it Snow, Let it Snow! – 25th December 2018

Christmas should be a joyful time. It’s a time for families to get together and eat, drink and be merry! However, if, like me, you feel that Christmas generally doesn’t have enough bass in it. Then this Christmas Bass Practice Diary is for you! Another classic Christmas Standard arranged for three basses! It’s exactly what you need to bring a bit more bass into your Christmas Day!

This week I’ve arranged Let It Snow, Let It Snow, Let It Snow for fretless bass, acoustic bass guitar and double bass. And all that remains is for me to wish you a very Bassy Christmas!

If you’d like to hear another Christmas standard arranged on three basses, then check out my bass arrangement of The Christmas Song (Chestnuts Roasting on an Open Fire) from last weeks Bass Practice Diary video!

The Christmas Song played on Three Basses – Chestnuts Roasting on an Open Fire – Bass Practice Diary 35

The Christmas Song aka Chestnuts Roasting on an Open Fire – Bass Practice Diary – 18th December 2018

It’s one week to go until Christmas! So let me first wish everyone a bass filled holiday season! What else could I do other than arrange a classic Christmas Standard for three basses. This is The Christmas Song (Chestnuts Roasting on an Open Fire) played on fretless bass, acoustic bass guitar and double bass. 

Nat King Cole and Fretless Bass

The reason I choose this song is because the voice of Nat King Cole always makes me want to play my fretless bass. Every time I hear him sing, I think of fretless bass. There’s something about the register he sings in and the way he phrases that just conjure’s up in my mind the warm rich tone of a fretless bass guitar. So I played the melody on my Warwick Thumb SC six string fretless bass after I’d laid down the chords, with a few natural harmonics on my Warwick Alien Deluxe six string  acoustic bass guitar. 

Find my guide to playing natural harmonics on bass guitar here!

The Christmas Song

Chestnuts Roasting on an Open Fire has a 32-bar AABA form like many jazz standards from that era. The song has a jazz ballad feel, which I’ve replicated on all of the A sections. In the B section, I changed the feel, to bring in a bit of variation. I’m using a 4/4 jazz swing feel and the upright bass (double bass) comes in at the B section playing a 4/4 jazz walking bassline. During the B section the two bass guitars also change feel to a swing feel, before all three basses play the final A section with the original straight jazz ballad feel.

For the intro and outro, I’ve used the acoustic bass guitar playing chords using natural harmonics. It’s a technique that I wrote about in my guide to natural harmonics and I think it’s a beautiful sound.

A Guide to Harmonics on Bass – Part 1: Natural Harmonics – Bass Practice Diary 34

Play Harmonics on Bass Guitar – Part 1: Natural Harmonics – Bass Practice Diary – 11th December 2018

I use harmonics a lot in my bass arrangements, so I thought I’d do a complete guide to playing harmonics on bass. It’s too much information for just one video, so I’ve split it into two parts, natural harmonics and artificial harmonics. This video contains everything you need to know about natural harmonics on bass. Including the harmonic series and advice for making chord voicing using harmonics.

Natural Harmonics

I should start by saying that I’m not a big fan of the terms natural and artificial harmonics. To me, they are all just harmonics, they follow the same rules and principles. The distinction is that natural harmonics are created from open strings, whereas artificial harmonics are created from notes that are fretted with the left hand. Calling them natural or artificial makes as much sense as calling notes played on open strings ‘natural notes’ and notes fretted with the left hand ‘artificial notes’.

There is nothing artificial about artificial harmonics, all harmonics exist naturally. However, there is a difference in the techniques that you use to play natural verses artificial harmonics, which I will look at across these two videos. So, I’ll continue to use the terms, natural and artificial, even though I’m not sure they’re ideal.

So, natural harmonics are created by touching the open strings very lightly with your left hand and then plucking the string as normal with your right hand. For the harmonic to be clear, you must avoid the string making contact with any fret, and you should remove both hands from the string immediately after plucking with your right hand. The string should be left to ring as if it were an open string. The difference is that the note you will hear will be much higher than the open string.

The Harmonic Series (Overtone Series)

In order to properly understand and use harmonics, you must first become familiar with the harmonic series. The harmonic series is a sequence of tones that make up a musical note. Musical notes are not simple sound waves. In fact they’re very complex and they comprise a whole sequence of overtones that we call the harmonic series. We can explore this sequence on our basses by playing harmonics.

The harmonic series is, in theory at least, infinite. So it’s impossible to learn or play the entire harmonic series. As you go further up the series, the harmonics become harder and harder to hear and to find on your bass string. So, I’m only really interested in the first few notes of the series.

The series always starts at the exact half way point of the string. This means the halfway point between the nut and the bridge. On your bass, the halfway point is marked by the twelfth fret. You will always find a harmonic at the halfway point of any string that is pulled tight between two points. It doesn’t matter what note you tune the string to and it doesn’t matter what instrument you are playing. The harmonic at the twelfth fret will produce a note that is exactly one octave above the open string.

So, the harmonic series starts with an octave and then is goes up a fifth and then to another octave. This will be a note two octaves above the open string. These harmonics will both occur in two different places on each string. One on the left side of the centre of the string, and one in the same position on the right side of the centre.

The next note in the sequence is a major 3rd above the previous note. So the harmonic series up to this point gives us a kind of major arpeggio.

Natural Harmonics - Harmonic Series on G
Natural Harmonics – Harmonic Series on G

Here is the sequence written out on the first string of a four string bass. So, the sequence is written in G. The sequence goes, G, D, G, B.

Creating Chord Voicings with Harmonics

The same major arpeggio pattern will repeat itself on any open string, Root, 5th, Root, 3rd. Which makes it fairly simple to work out what notes you’re playing when you play these harmonics.

Once you know what the notes are, you can start to combine natural harmonics and normal fretted bass notes to create chord voicings. I gave two examples in the video, both using the harmonics D and G played on the fifth fret of the first and second strings.

When you add the root note Eb to the harmonics D and G it creates an Eb major 7th chord. G is the major third and D is the major seventh. I’ve done that by fretting the Eb on the 6th fret of the third string, but there are other ways you could play this chord. If you change the root note to E, you get an E minor 7th chord. The G and D become the minor 3rd and 7th.

Ebmaj7 Voiced Using Natural Harmonics
Ebmaj7 Voiced Using Natural Harmonics

Em7 Voiced Using Natural Harmonics
Em7 Voiced Using Natural Harmonics

Learn to Play Triplet Rhythms on Straight 16th Note Bass Grooves – Bass Practice Diary 33

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 GrooveIn 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.

Straight 16th Bass Groove with 16th note Triplets

Straight 16th Bass Groove with 16th note Triplets
Straight 16th Bass Groove with Quarter Note Triplets

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.

Straight Triplets 1 Part 2

Straight Triplets 1 Part 1
Straight 16th Bass Groove with 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.

Modal Jazz Improvisation on Three Basses – Bass Practice Diary 31

Modal Jazz Improvisation on 3 Basses – Based on Flamenco Sketches – Bass Practice Diary – 20th November 2018

This week I was inspired by the chord changes of Miles Davis’ modal jazz masterpiece Flamenco Sketches. I used the chords as the basis to improvise using three basses, fretless electric, acoustic upright (double bass) and acoustic bass guitar.

This is the second video I’ve made playing jazz with these three basses. If you’d like to find out more about why I’m using them, then check out my previous video called Playing Jazz with Three Different Basses.

Miles Davis and his Compositions

Once again, I’ve featured a composition by the great jazz trumpeter and band leader Miles Davis. My previous video featured a composition called Solar. It wasn’t a conscious decision to feature the same composer twice. However, it does reflect the influence that Miles Davis’ music has had on me and my own jazz education.

The two compositions, Solar and Flamenco Sketches, actually have very little in common. Other than that they’re written by the same composer. Solar is what jazz musicians would refer to as a Bop tune. And Flamenco Sketches is an example of Modal Jazz. They represent very different stages of Miles Davis’ career even though they were only written about five years apart.

Also, in this video, I’m only using the chord progression for Flamenco Sketches as a basis for improvisation. Whereas, I played the melody of Solar as well as an improvised solo, which is more or less consistent with the Bop style.

The album Kind of Blue, is one of the most famous jazz albums of all time. It was released in 1959 and it marked a complete change of direction in modern jazz. It’s debatable whether or not Miles Davis actually came up with the idea of Modal Jazz. Because there are earlier compositions by other composers, that could be described as modal jazz even though the term wasn’t used to describe them at the time. But Kind of Blue undoubtedly established modal jazz as a major movement in modern music, and it marked a sea-change in jazz.

What is Bop?

The concept of modal jazz is actually very simple. In order to understand it, you must first understand Bop, which had been the prevailing style in modern jazz up until the late 1950’s. Modern jazz really started with a style of music called Bebop, and particularly two gentlemen, Charlie Parker and Dizzy Gillespie.

Check out my video about playing Charlie Parker Bebop melodies on fretless bass here.

Miles Davis began his career as a teenager, playing with Charlie Parker and Dizzy Gillespie in the late 1940’s and early 1950’s. So his background was in Bebop and he continued playing a style of Bop called Hard Bop throughout the 1950’s when he lead his own band. The composition Solar first featured on a Miles Davis album in 1954, and it is typical of a Bop style jazz melody.

The style of Bebop was all about complex melodies and fast moving chord progressions. In order to play it you needed both technical skill, to keep up with the pace, and also exceptional understanding of harmony and ability to navigate fast moving chord and key changes. The Hard Bop movement was a bit less high paced and a bit more soulful, but it still relied upon the melodic and harmonic style of it’s predecessor Bebop.

What is Modal Jazz?

Modal jazz, by contrast, doesn’t rely on chord progressions. Where Bop compositions tend to change chords in virtually every bar. Modal compositions tend to stay on just one chord for extended periods. The improvisers role in modal jazz is not to navigate continually shifting harmony as in Bebop. It’s to create melody from modes.

Modes are essentially scales. Each chord implies an accompanying scale which the improviser can use to create a tune. Flamenco Sketches is a classic example of a modal jazz composition, it is essentially just five chords, or five modes. Very simple in theory, but it’s also one of my favourite jazz compositions.

Flamenco Sketches Chords

Flamenco Sketches starts in C major, I would use a C lydian mode to improvise on this first section. Find my video about Lydian Sounds here. The second chord is Ab7sus4. The sus4 chord voicing is intentionally ambiguous, because it doesn’t define the chord as being either major or minor. Therefore there are a number of different ways you can approach it. Miles Davis uses a major triad starting on the fourth Db, which I’ve tried to emulate in my improvisation.

The third chord is a Bb major chord, and again you can use a lydian mode here. This precedes one of my favourite moments in any jazz composition. Which is a change from the Bb major to a D phrygian dominant mode. This has to be one of my favourite chord changes. I remember seeing Ron Carter’s band play this piece in London in about 2003. It was such a beautiful concert. One moment from the concert that I can still remember all these years later was when the band changed to the D chord in Flamenco Sketches. Ron Carter had an extended range on his fourth string so he could reach a low D on his bass. I’ve tuned the fourth string on my upright bass down to a D in the video to emulate this.

It’s the phrygian dominant mode that gives the piece it’s Spanish flavour. You can find my video about the phrygian dominant mode here. The Spanish sound is integral to the composition. For this reason, this section of the song lasts twice as long as the other four modes. The final chord is a Gm7 chord, you can play a dorian mode here.

Artificial Harmonics

The original idea for this video came because I was practicing a technique for artificial harmonics which I’ve adapted from the guitar. I’ve never done artificial harmonics like this on bass before. I use a different technique usually. I haven’t done a video about artificial harmonics yet, but I will do one soon. So stay tuned to my Bass Practice Diary if you want to learn this technique.

I was using this technique on a guitar and I started wondering if I could use it to play chords on my acoustic bass guitar. Once I found it worked I immediately had the idea of playing the chord changes for Flamenco Sketches using the technique. I recorded it and added the improvisation on double bass and fretless bass, and that’s the video!

 

 

Jazz Blues Lick on Fretless Bass – Bass Practice Diary 30

Jazz Blues Lick on Fretless Bass – Bass Practice Diary – 13th November 2018

This week I’ve done a detailed breakdown of a jazz lick that I played on a Bb blues progression in last week’s Bass Practice Diary. The lick combines the diminished scale with the blues scale which creates a jazz blues sound.

I’ve played the lick on my Warwick Thumb SC six string fretless bass. But I’ve transposed the lick down an octave so it can be comfortably played on a four string bass and I’ve written the TAB for four string bass in standard tuning.

Jazz Blues Lick

The concept of the blues solo that I played last week was combining the diminished scale and the blues scale. The reason why I’ve highlighted this very short lick is because it combines both the blues scale sound and the diminished sound in one very short lick. The Diminished scale provides a jazz sound while the blues scale keeps the lick rooted in the blues.

If you want to know more of the theory then check out last week’s video, but for now I’ll just take you through the lick.

The Lick

Jazz Blues Lick
Bb7 Jazz Blues Lick

The lick is played on a Bb7 chord but it starts on a G. The lick actually starts before beat one. The way I played it last week, you can think of the G as functioning as the major 3rd of the Eb7 chord in the preceding bar. However you could also play the same note on a Bb7 chord and think of it as a 13th.

From that note it goes up using the diminished scale. The second note Ab lands on beat one and it’s a chord tone, the dominant 7th. If you followed the sequence of the scale then the next note would be the root note Bb, but I’ve chosen to skip the root and go to the next note in the scale which is the b9, B natural (Cb).

Then it’s D and F. Two chord tones, major 3rd and 5th. And both feature in the diminished scale.

It’s worth mentioning at this point, that it’s the b9 that’s creating the diminished sound. All of the other notes are chord tones. They exist in the diminished scale, but without the b9, they would just sound like an arpeggio. It’s amazing what the presence of just one outside note can do to change the sound of a harmonic phrase.

For more of the theory about inside and outside notes, check out these two posts.

Everything You Need to Know About Harmony on Bass Guitar

How to Use Outside Notes In Your Basslines

The Blues Scale

The Blues has its own rules when it comes to harmony. The blues scale is essentially a minor pentatonic scale with one extra note. An outside note, the b5.

If you want to define the sound of the blues, then a good place to start is by playing the minor 3rd from the blues scale on a dominant 7th chord containing a major 3rd. You could argue that anytime you mix minor and major 3rds on dominant chords you are playing a blues sound.

Going back to my lick, I’ve just played a major third and then the 5th of the Bb7 chord, F. The note F exists in the Bb blues scale, the Bb diminished scale and the Bb7 chord. So it’s a very safe note. I’m using it here to transition from playing the diminished scale into playing the blues scale.

From the F, the lick simply goes down the blues scale until it gets to the root note Bb. It includes the minor third Db, so the riff includes both major 3rd, D and minor 3rd Db. Which, as I’ve mentioned, creates a blues sound.

In Conclusion

The diminished scale, and especially the b9 from the diminished scale, create a jazz sound. While the presence of both major and minor 3rds creates a blues sound. And both of these sounds are combined in one very short lick, just nine notes altogether. Which I think is quite cool.

I played several licks with a similar idea in last week’s video and I’ve transcribed one full 12-bar chorus. I think that the lick that I’ve chosen is the shortest and most succinct. Which is why I chose this one. I hope you’ve found this helpful!

 

How to Use the Diminished Scale in Jazz – Bass Practice Diary 29

Use the Diminished Scale to Play Jazz – Bass Practice Diary – 6th November 2018

This week I’ve been practising using diminished sounds to play on dominant 7th chords in jazz. If you want to bring a more jazz sound to your playing, using the diminished scale is a great way to do it. Because it creates an interesting series of inside and outside notes when played on dominant chords.

What is the diminished scale?

The diminished scale is what I would call a symmetrical scale. It sounds like it should be something very complicated but it’s actually very simple. In many ways it’s even more simple than a major scale.

Symmetrical scales are scales that use the same intervals repeatedly. In the case of a diminished scale the intervals are a half tone (semi tone) and a whole tone. Symmetrical scales are also called modes of limited transposition or fixed transposition, which sounds even more complicated. But it still isn’t. It simply means that there are a very limited number of different ways you can transpose the scale. For example, because of the repeating intervals a G diminished scale is the same as a Bb diminished scale and Db and E diminished scales. So the idea of playing in 12 keys is a bit redundant. Another example of a mode of limited transposition is the whole tone scale. You can also use the whole tone scale to play on dominant 7th chords, but that’s another video for another day.

There are only two different ways you can play a diminished scale, you can either start with a half tone or you can start with a whole tone. After that it just repeats the same patterns over and over. Which makes it quite easy to play, as I said before, in many ways easier to play than a major scale.

Here is an example of an arpeggiated diminished scale pattern that I featured in the video.

"Arpeggiated

How to practise a diminished scale

In the video I’ve used the example of a Bb7 chord. Here is a diminished scale starting on a Bb and beginning with a half tone.

HalfWhole Diminished Scale Starting on Bb
Half/Whole Diminished Scale Starting on Bb

I don’t always think about the scale starting on the root note. Often I will use the major third (D natural in this case) as a jumping off point. And in that case I will think of the scale as starting with a whole tone.

Another approach that I use is to start on the #9 or minor third. In this case Db. In this case the first two notes of the scale will be the minor 3rd (an outside note) resolving to the major third (a chord tone). This is a real signifier of the blues and it will help give your diminished licks a bluesy flavour.

How to apply the diminished scale in jazz

As I’ve previously mentioned, the diminished scale most commonly gets applied to dominant 7th chords in jazz. Here is the same Bb half/whole scale written out with the intervalic relationships to a Bb7 chord written over each note.

"Bb7

As you can see, the scale gives you all of the standard chord tones in a Bb7 chord. Root, major third, 5th and dominant 7th. However, it also includes one unaltered chord extension, the 13th, and three altered chord voicing, b9, #9 and #11. It’s these altered extensions that give the diminished scale a jazz flavour when you play them on a dominant 7th chord.

The best way to demonstrate this is by playing a jazz blues, because the blues uses dominant 7th chords a lot. I’ve transcribed a chorus of blues solo that I improvised in which I was using both the diminished sounds and the more traditional blues sound of the blues scale.

Check out next weeks Bass Practice Diary 30 if you want to look more at some of the diminished blues licks I’m playing here.

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