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.
Extended Arpeggios on 6-String Bass with Bass TAB – Bass Practice Diary – 3rd March 2020
Extended arpeggios are a great way to practice harmony on 6-string bass. All chords and arpeggios derive from scales, and an extended arpeggio is a brilliant way to present the sound of a scale or mode, without it sounding like you’re playing a scale. For that reason, they work brilliantly in solos.
How to work out an extended arpeggio
The extended arpeggio ideas that I’m using in the video are actually much easier to work out than they sound. You can work them out by taking a scale, in this case the C major scale, because I’m using a II-V-I chord progression in C major. And when you have your scale, you can play the extended arpeggios using alternate notes in the scale. There are seven notes in most major and minor scales, so when you’ve played seven consecutive alternate notes, you’ve played every note from the scale as an arpeggio.
Here’s how it works. The notes of a C major scale are C, D, E, F, G, A & B. Imagine you’re playing a two octave scale so each note happens twice, giving you fourteen notes across the two octaves. Take the 1st, 3rd, 5th, 7th, 9th, 11th and 13th notes of that two octave scale. These are notes C, E, G, B, D, F & A, which is your C major extended arpeggio.
NB. Jazz musicians often play a #11, in this case F# on a major 7th extended arpeggio.
Next you could take the 2nd, 4th, 6th, 8th, 10th, 12th & 14th notes of the two octave scale. This will give you a D minor 7th extended arpeggio. This is the arpeggio I featured in the video.
Arpeggios with a chord substitution
Here is the full example that I featured in the video.
I’ve explained how I created the extended arpeggios for the Dm7 and Cmaj7 chords. So, how did I create the arpeggio that I played on the G7 chord? I could have done it using all the notes of a C major scale. But I felt that would sound boring if all three arpeggios used the same set of notes.
Instead, I used the notes of a common chord substitution, the tritone substitution. It’s a harmonic device that jazz musicians love to use on dominant 7th chords. In this case, for the G7 chord, I’ve used an arpeggio for a chord with a root note that is three tones (a tritone) away from G, which is Db7. It works because the 3rd of the G chord, B, is the 7th of the Db chord. And the 3rd of the Db chord, F, is the 7th of the G chord.
So, I harmonised my extended Db7 arpeggio using notes from Gb major. Db7 is chord five in the key of Gb major. This creates a lot of dissonances, some notes in Gb major work in the key of C major, but also some sound quite dissonant. But that’s the point, jazz musicians love to create tension by using dissonances on a V chord before resolving them on the I chord.
Jazz Chord Progressions on 6 String Bass – Part 2 – Bass Practice Diary – 8th October 2019
Here’s Part 2 of the video I started last week about playing jazz chord progressions on six string bass. Last week I was looking at the chord progression I III IV V. And I came up with some diatonic voicings on my six string bass to take me through that progression in a few different keys. This week I’m including some common and simple chord alterations that you can add, to make that chord progression sound more interesting.
I – III7 – IV – V
I mentioned last week that there are two common ways to play through the I III IV V progression. The first is with a minor 7th chord on chord III. Which is the correct voicing if you harmonise all the chords according to the major scale of the key you’re in (diatonic harmony). But there is a common jazz alteration, which is to play the III chord as a dominant 7th chord. Listen to the opening chords on the melody of the jazz standard Someday My Prince Will Come and you’ll recognise that sound.
Here is how I would play that chord progression in the key of E on a six string bass.
You’ll notice that I’ve included either extensions or alterations on each voicing except the very first one. The first chord is E major 7th, which I’ve voiced like this.
There is one obvious alteration that I could make to this chord, which would be a sharpened 4th (commonly referred to as 11th). That chord alteration would change the sound of Chord I to a Lydian sound. The chord would look like this.
Chord III7 and IV
In the example in the video I’ve played the III chord as G#7b13, like this.
But it’s important to understand that it isn’t the b13 note which is the outside note in this key. The G#7 chord is already a chord substitution because the major 3rd, C (or B#) isn’t in the key of E major. The b13 note is actually the note E, which obviously is in the key of E major.
The IV chord I’ve played like this.
The inclusion of the #11 here is a normal diatonic note to play on a IV chord in a major key. A simple chord substitution here would be to play F# minor 7th instead of A major.
Chords V and I
The V chord is where you can really have some fun with extensions and alterations. In my example I’ve used a B7b13 voicing.
But you can also alter the 9th by sharpening or flattening it.
And you can even alter the 5th by flattening it as well. These kind of altered dominant sounds would often be used as chord V in a minor key. Chord V in a major key would be more conventionally played without alterations, such as B9 or B13.
But I really like the use of the b13 in this case, especially because I’ve voiced the final I chord as E major 9th with the ninth at the top.
So those two chords, B7b13 – Emaj9, create a little chromatic melodic movement. The b13 on the B chord is the note G, which drops onto the F# which is the 9th of the E major chord. It could also go chromatically up onto G# which would be the major 3rd of the E major chord. These are chromatic approach notes which are a common melodic device used in jazz.
Keep following my weekly practice diary on Johnny Cox Music for many more videos about jazz chord progressions coming up soon.
Jazz Chord Progressions on Six String Bass – Part 1 – I III IV V – Bass Practice Diary – 1st October 2019
I’ve done a few videos by now about playing jazz chord voicings on the bass. So, this week I wanted to start a series of videos about playing jazz chord progressions. The idea is to take some of the chord voicings that you hopefully already know, and apply them to simple popular chord progressions. It’s the logical next step once you’ve started to incorporate chord voicings into your bass practice regime.
The I-III-IV-V or I-III-IV-V-I Chord Progression
The chord progression I’ve chosen this week is I-III-IV-V. And I’ve resolved all my examples back to the I chord at the end, so it’s actually I-III-IV-V-I. But that often doesn’t happen in real jazz situations. So, in the key of C major, the diatonic chords would be C major, E minor, F major and G dominant. However, in jazz the III chord can also be played as a dominant 7th chord. So, it could be E7 instead of E minor.
Many of these examples were inspired by the jazz guitarist Ted Greene and his book Modern Chord Progressions. The book is obviously written for guitar not bass but I’ve still managed to adapt some of his ideas onto my 6 string bass. I’ve included four examples in the video. Each one is in a different key, and here they are.
There’s also the Oteil Burbridge video which I referred to in the video. And I’ve also done a four part guide to playing chords on the bass. Which is very old and needs to be updated, but it still contains some useful information.
Michael Brecker Jazz Solo Transcription on 6 String Fretless Bass – Bass Practice Diary – 10th September 2019
This week I’m playing a transcription of part of Michael Brecker’s solo on Charlie Parker’s Confirmation from Chick Corea’s Three Quartet’s album. If you saw my video last week, you’ll know that I picked out one lick from this solo already. Because I felt it fitted nicely onto a four string bass. But I actually worked out the transcription on 6 string bass. That’s what I usually do with jazz transcriptions. So, this week I thought I’d feature the solo, or at least as much of it as I’ve transcribed so far, on my fretless 6 string bass.
The Solo Transcription with Bass TAB
This isn’t the complete solo, it’s just the first chorus plus a couple of bars. And I’ve played the transcription one octave below where Michael Brecker plays it. Just because I think it sounds and fits better on a bass guitar in this register. I have seen other transcriptions of this solo but they’re all written in treble clef and in the key of G major for Bb tenor saxophone. As far as I’m aware, mine is the only bass clef transcription in the concert pitch key of F major.
The backing track that I’ve used in the video is not one of my own. If you follow my videos regularly, you’ll know that I often make my own backing tracks. But this was just a convenient backing track of Confirmation that I found. The feel is slightly different to the feel of Chick Corea and Michael Brecker’s original. So I’ve played the feel to fit in with the backing track.
Michael Brecker Jazz Lick on Bass Guitar – Bass Practice Diary – 3rd September 2019
This week I’ve been working out some jazz lines that Michael Brecker played on Charlie Parker’s tune Confirmation. And this week I’m featuring one particular lick that comes from that tune.
The recording that I was working from comes from a Chick Corea album called Three Quartets. And it features Michael Brecker performing a duet with Chick Corea who is playing the drums rather than his more familiar role as a pianist. The performance is notable for Michael Brecker’s brilliant solo. Which features a number of brilliant jazz lines. And I’ve picked out this particular lick, because I think it fit’s nicely onto a four string bass guitar. Although I should point out that I’m playing the lick one octave below where Michael Brecker plays it. Here’s the lick.
The lick happens in the middle 8, and it’s played on a II-V-I in Db major. I recently wrote about the importance of practicing II-V-I’s in my post about applying jazz vocabulary to jazz standards. This lick is a really useful piece of jazz vocabulary. And when you practice these kind of lines, I would strongly recommend practising transposing them into different keys. Here’s the same lick played in Ab major to get you started.
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.