16th Note Jazz Lines on 6 String Bass with Bass TAB – Bass Practice Diary – 13th August 2019
This week I’ve written out some 1/16th note jazz lines on a II-V-I chord progression in C major. If you’ve read my book Electric Bass: Improve Your Groove, then you’ll know that I love to practise subdivisions. In fact, I believe it’s probably the most important thing that every bass player should practice. And this week I’ve been working on a tricky little subdivisions exercise. Playing 1/16th notes on a jazz swing feel!
Why is it hard to play 16th notes on a swing feel?
A 1/16th note feel can be described as a straight feel. Straight, in this case means anything with a subdivision that is divisible by two. 1/8th notes, 1/16th notes etc. But a swing feel is a triplet feel. Meaning the subdivision is three not two. So playing 1/16th notes over a triplet (swing) feel requires playing a different subdivision to the rest of the band. And that requires really good time keeping discipline.
You’ll also notice that the 1/16th notes feel fast, even on a quite moderate tempo swing feel. So there are technical challenges in playing these lines accurately. As well as the challenge of getting the timing right. Here are the lines that I wrote out for the video. If you try playing these, I would recommend counting the 1/16th notes using the Konnakol syllables Ta-Ka-Di-Mi as I did in the video.
If you’d like to learn more about practicing subdivisions on bass guitar then check out my book or you can watch this short video!
How to Practice Playing on Difficult Jazz Chord Progressions – Bass Practice Diary – 23rd July 2019
Last week I was practicing Herbie Hancock’s classic composition Dolphin Dance. Which features a unique and quite complicated set of chord changes to improvise on. So, this week I wanted to share my approach to practising playing on tricky jazz chord progressions like this one.
A good starting point for practicing anything difficult is always to start slowly and practice in short sections. And that’s particularly true in this case. Dolphin Dance has quite a long form for a jazz standard. Anything over 32 Bars is unusual. But even a 32 bar standard would usually have repeated sections. Dolphin Dance has hardly any repetition within the harmonic structure, so it does feel like a lot to learn.
How I Use Backing Tracks
When I break a standard down into sections, I will usually practice in 4-8 bar sections. Generally I will create my own backing tracks, either using a loop pedal or by recording piano chords in to Protools. These backing tracks can be very basic. They only need to be good enough to keep the form and the structure. The advantage of creating my own backing tracks is that I can set the exact harmony and tempo that I want to practice. There may be apps that now exist that can do this for you, but I will always prefer to do it myself.
The problem with most commercially available backing tracks is that they usually only feature the entire form played at one tempo. Which makes it harder to practice slowly and in short sections. I do use commercial backing tracks and backing tracks from the internet. But with a tricky tune like Dolphin Dance, I’ll only uses them when I feel ready to take on the entire form after practising with my own backing tracks first.
Write Out Examples
When I’m practising in short sections, I will particularly focus on the most tricky sections of the harmony. In the video I’ve picked out one of the more unusual harmonic sections of Dolphin Dance. The section begins with an Eb7 chord before immediately changing key into G major with a II – V. Then it goes to a Bm7 chord, which could be chord III in G major but that’s followed by an E7 chord so that implies a II – V in A major. But the E7 is followed by Dm7 which doesn’t belong in either G or A major and that’s followed by C#m7 which is chord II in B major.
So, the harmony is jumping around which will keep you on your toes when you’re improvising. I think if you’re going to learn how to improvise melodically on a progression like this, then it really helps to write some ideas down. I usually do this by trying to come up with a melody or rhythmic phrase that I can hear in my head, and then trying to see if I can make that melody fit through the harmony. This might involve making chromatic adjustments to help the phrase fit in with the harmony.
In the video I featured three examples, and here they are.
Dolphin Dance on Three Basses – Bass Practice Diary – 16th July 2019
This week I’ve been studying transcriptions of Herbie Hancock’s classic 1965 recording of Dolphin Dance from the Maiden Voyage album. I’ve always loved it as a piece of music and I think it perfectly captures what Herbie Hancock was about at that time and why he’s a genius. I’ve been attempting to transfer what I’ve studied onto three basses. 6 string fretted and fretless electric basses as well as upright bass.
The harmony is highly complex and jazz musicians have argued for decades over what are the correct chords to play. So, my main interest in analysing the transcriptions was to find out how Herbie Hancock himself voiced the chords, not only for the melody but also behind his own solo.
In spite of the complex jazz harmony, Dolphin Dance is first and foremost, a beautiful tune. And therein lies the genius of the composer. I’d compare it to tunes like Monk’s Round Midnight, Mingus’ Goodbye PorkPie Hat and Coltrane’s Naima. All beautiful melodies that are elevated by unusual and challenging harmonic structures.
Bass Solo Transcription
I’ve transcribed one whole chorus of my bass solo. I’ve written the chord symbols in above the stave for reference. But I would advise you not to take them too seriously. I took the chord symbols from a book, but I wasn’t following them when I played my solo or when I recorded the chords. I was trying to follow the notes that Herbie Hancock actually played, and the chord symbols don’t necessarily represent a completely accurate picture of that.
Practising John Patitucci’s Searching, Finding – Bass Practice Diary – 18th June 2019
Searching, Finding was written by John Patitucci and it featured on his self titled debut album. This week I was reading through a book of John Patitucci transcriptions. It’s an unusual bass book, from the point of view that most of it is written in the treble clef rather than the bass clef. But if you can cope with the treble clef reading, then there are great tunes in it, like this one.
I should point out that the only part of the transcription that I’m playing in the video is the melody. The solos are all improvised by me and I’ve written out one of the choruses of my solo in bass TAB.
How I practice tunes on bass
One of the reasons why I’m posting this video is because it gives an insight into the way that I practice learning tunes. When I say “learning tunes” I don’t just mean learning the melody, I mean melody, bass line, chord progression, structure etc. Everything that’s involved in learning a composition.
The first thing I’ll do is make myself a simple backing track, usually involving drums and chords. I’ll programme the drums in ProTools and add chords on either piano, guitar or six string bass. In this case I played the chords on piano.
When I have my simple backing track I’ll loop it and practice playing the melody, bass line and improvised solos on it. And that’s what you can see me doing in the video. I’m using my fretless six string bass to play a walking bass line and improvise on the modal section. While my fretted six string bass is used to play the bass figure in the modal section and the melody and solos during the choruses.
My solo chorus on Searching, Finding
When I study an artist’s transcription, like John Patitucci’s solo on Searching Finding. I don’t do it so that I can perform his solo or rip off his licks. I do it so that I can study the notes and the phrasing that he uses over the harmony. So that I can then use the information to assist my own improvisation. Before I start improvising I will often write out some lines that fit over some of the trickier harmonic sections. In the first solo chorus in the video, starting at 0:59, you can see me putting some of my ideas into practice. Here is the transcription of that chorus.
Once I’ve analysed an artists solo and tried to assimilate what I can into my own ideas. I will then try to improvise in the purest sense of the word. Meaning that I will try not to think about any pre planned ideas and just improvise off the cuff. This is what you can see me doing in the second chorus of solo starting at 2:24 in the video.
Hopefully at this point I’ve started to internalise the melody, harmony and structure of the composition. And this information will come out in my improvisation without me having to consciously work it out in advance. The solo I played in the video partly demonstrates this, although it isn’t perfect yet.
Jazz Blues Lines and Techniques on Bass Guitar from Tom Kennedy Solo – Bass Practice Diary – 21st May 2019
This week I’ve been trying to transcribe some of Tom Kennedy’s lines on a Bb blues I saw him playing on Youtube. In this video I’m looking at one particular Tom Kennedy lick. And I focus on his left hand technique which he seems to have adapted to electric bass from his years of playing the upright bass.
Tom Kennedy Left Hand Technique
The first time I heard Tom Kennedy play was at Ronnie Scott’s in London. It was more than 10 years ago and I’d gone to see the Dave Weckl band. Tom Kennedy was playing electric bass in the band and straight away I pegged him as an upright bass player because of his left hand technique. I don’t play a lot of double bass but I’ve played enough to recognise the technique. And I’ve seen a lot of double bass players playing electric bass over the years so I’ve learned to recognise what they tend to do.
But that’s not the end of the story. The story is that after about 10 or 15 minutes of the first set the band arrived at the first bass solo. And Tom Kennedy played jazz lines with such incredible speed and intensity that it left me questioning everything that I though I knew about electric bass technique. Who would have thought that you could approach the electric bass in that way and yet play so fast. The only other bass player that I can think of who can do that is Christian McBride. (I know that you’re probably thinking John Patitucci but his left hand technique on electric bass is distinctly different to his technique on upright).
So, why does Tom Kennedy’s left hand technique remind me of an upright bassist? He tends to cover just three frets in each position instead of four, playing notes with his first, second and fourth fingers. He likes to play electric bass in the positions around the first four or five frets, even when playing jazz solos. And when he does shift up the neck he tends to shift up and down on the first string.
Jazz Blues Lick
The lick that I featured in the video is played on the II chord Cm7. It goes like this.
I’ve included the bass TAB so you can see exactly how he played the line. If I saw a line like this written down without TAB I would probably play it something like this.
You could argue that my fingering is more consistent with the way that most jazz electric bass players would approach playing a jazz solo line like this. Notice that my fingering doesn’t take me anywhere near the first position. I’ve arranged the whole thing from the 7th fret and above.
But you could also argue that Tom Kennedy’s approach enables him to come up with lines that other electric bass players wouldn’t think of. And at the same time execute them at high speed. His technique also impacts the way he phrases his lines. So they don’t sound like they would if they were played by another bass player (me, for example).
A chorus of Bb Blues played by Tom Kennedy
Here is one full chorus of the solo that I’ve transcribed. I’ve picked a chorus that doesn’t include any of his super fast 1/16th note lines. Because they provide a serious technical challenge for any electric bass player to execute. But playing this chorus from his solo does give you a really interesting insight into how he arranges lines with his left hand.
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.
Learn a Jazz Bass Lick by Jeff Andrews – Bass Practice Diary – 19th March 2019
I heard the news a couple of days ago that Jeff Andrews had passed away. He really deserves to be remembered as one of the great jazz electric bass players. I know him best from his work with Mike Stern. He played on albums such as Time in Place and Between the Lines which have been among my favourites for a long time. As well as his work with Mike Stern, he’s also played with jazz and fusion greats like Michael Brecker, Bob Berg, Vital Information and Steps Ahead.
After hearing the news, I immediately started listening to some of those albums again. And I also found a really cool compilation of his solos on Youtube. It really struck me what a great musician and improviser Jeff Andrews is. And predictably I started trying to work out what he was playing. What I found was a goldmine of incredible jazz lines improvised on electric bass.
Using Inside and Outside Lines
What struck me about his style was his brilliant use of inside and outside lines. It’s a commonly used technique of many jazz improvisers. Incorporating lines that are both inside the harmony and outside the harmony as a way of creating tension and resolution. Jeff Andrews is an absolute master of this. He improvises lines at high speed that outline the harmony, but then take you way outside the harmony before bringing you back in for the resolution.
Jazz Blues Bass Lick
The lines he creates are so cool, and I could have picked any one of his lines as a demonstration. But I choose this one which is from a Mike Stern tune called Bait Tone Blues.
This line takes place over the last four bars of blues in F. And it starts by clearly outlining a ii – v in the key of F. But then follows a sequence which starts on a B natural and ends with a sort of chromatic run featuring the notes A, Bb, Ab, E and G. That’s an uncomfortable sounding sequence of notes when you play it over a standard blues turnaround in the key of F. But then having played that outside sequence, he immediately brings it back inside the harmony by outlining a C major triad at the end. With the C7 functioning as the V chord in the last bar of the blues.
It’s really hard to analyse some of these outside lines other than to say that when you play the lick through, it just sounds really cool. And it shows that Jeff Andrews had incredible musical instincts as an improviser. He had the ability to throw in outside passages and make them sound like they fit with the inside harmony. He will be missed.
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!
John Coltrane Jazz Lick on Bass Guitar – Bass Practice Diary – 19th February 2019
This week I’m breaking down another jazz lick on bass guitar. And I wanted to take on one of the all time great jazz improvisers, John Coltrane.
So, I was reading through the bass clef John Coltrane Omnibook trying to choose where I should start. And I decided I should start by looking at how he played over what are know as the Coltrane Changes. Or the Coltrane Matrix as it was called when I was taught it at music college.
The Coltrane changes are a sequence of chords that take you through three keys. Each key is a major third away from the previous key. So, the progression always resolves back into the original key. Because an octave divides perfectly into three major thirds.
John Coltrane used this progression as a substitution for a standard II – V – I progression. Coltrane used this substitution in his composition Countdown from the Giant Steps album. The Countdown chord progression is a reharmonisation of the jazz standard Tune Up.
The Lick Arranged for Bass
So, I’ve arranged one of John Coltrane’s licks from Countdown for bass guitar. The lick takes place over three bars and encompasses all three key changes. It starts like this.
The first chord, Cm7, is chord II in the key of Bb major. If you’re going to analyse the first two notes in terms of their relationship to the chord then they would be 5th and 11th. But I feel like in this case, Coltrane was just using two notes from the key of Bb major to lead into the new key. Which is why I haven’t written 5th and 11th above the notes.
The Db7 chord is chord V in the new key, Gb major. From this point on, it’s really interesting to see how many chord tones John Coltrane uses in his line. So I’ve written the chord tone relationships above the notes. Here’s the second bar.
In this bar, the key changes from Gb major to D major (A7). You’ll notice that virtually every note he uses in this lick is either root, third, fifth, seventh or ninth. The only note that isn’t in this bar is the Ab passing note between the root and seventh of the A7 chord.
Using Chord Tones
His approach might seem quite simplistic on the face of it. It would certainly seem like a simplistic way of building lines if you were to apply it to the standard, unaltered II – V – I progression. But, if you look at it in context with the chord progression, it makes complete sense.
He’s using this incredibly cool substitution, which features constantly moving harmony. And he wants his line to reflect the substituted harmony. If he filled his line with chromatic alterations and extensions, then the underlying chord progression could quickly become unrecognisable. Here’s bar three.
In this bar the key returns to the original Bb major (F7). The pattern used on the Dmaj7 chord is very typical of the 1, 2, 3, 5 patterns that Coltrane loved to use around this period. Which is why I’ve put 2nd in brackets next to the 9th, E. Here is the full lick.
John Coltrane Improvisation Style
Analysing these licks is like getting a lesson in jazz improvisation from one of the masters. This lick is very typical off what John Coltrane was playing in the late 1950’s. But, during his career he went through several different stages. Each featuring a different approach to improvising. So I have no doubt that I will be analysing more Coltrane licks in the near future from different stages of his career.
Jaco Pastorius Jazz Lick – Bass Practice Diary – 5th February 2019
This week I’m featuring a lick from Jaco Pastorius’ solo on (Used to be a) Cha Cha from his debut album. It’s one of my favourite Jaco solo’s because it contains incredible melodic jazz lines like the one I’ve featured in the video. Here’s the lick!
Several things stand out to me about this lick. It’s very fast, it takes place over moving harmony, Eb major to D minor and it includes an odd meter bar. I don’t know for sure that he improvised the line, but I believe that he did. And to improvise a line at that speed over moving harmony and an odd meter bar is extraordinary. That solo is one of many moments from that album that really underline why Jaco was such a genius and why his legacy has been so long lasting on the bass guitar.