Tag Archives: electric bass

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!

 

 

Rhythmic Subdivisions on Bass Guitar

If You Want to Improve Your Bass Groove, Try Thinking More About Subdivisions

What are rhythmic subdivisions?

Rhythmic subdivisions exist within all music. They are created by dividing beats into smaller sub-beats. In this video lesson I’ll explain why they’re so important and I’ll give you some tips on how to practise them to improve your bass groove.

Why are they important?

Subdivisions are the key to having great timing on the bass. Rhythms are created by playing notes on subdivisions. If you want your rhythms to be accurate and your bass lines to groove then you must place your notes accurately onto them.

How many different subdivisions are there?

Not as many as you might think. In theory you could divide a beat into any number. However, most music divides beats into either two, three or four. If you can execute these three subdivisions accurately then you will have a great groove in virtually all musical situations.

How can I practise subdivisions?

I’m going to use some examples from my book Electric Bass – Improve Your Groove: The Essential Guide to Mastering Time and Feel on Bass Guitar. The first example features an eighth note subdivision, meaning each beat is subdivided into two.

eighth note subdivisions
Subdividing beats into two

Two is the simplest subdivision,  but this is not a simple rhythm. The rhythm features notes played on the beat and off the beat. In order to play the rhythm accurately you must be aware of which notes are on the beat and which are off the beat. Then you need to have a system for hitting the beats and the off-beats accurately.

If you’ve followed my previous posts then you’re probably already familiar with my system for counting beats and off-beats. I use the syllables Ta-KaTa is the beat and Ka is the off-beat. Try playing the example above slowly while reciting Ta-Ka. Make sure the notes played on the beat land on Ta and the off-beat notes land on Ka. If you’re not sure how to do this, refer to the video where I demonstrate this at 1m53s.

Subdividing into three

Have a look at this example. This is a bass groove with the beat divided into three. Listen to it in the video at 3m21s.

Triplet/shuffle subdivisions
Subdividing beats into three

When you subdivide a beat into three, there’s no longer a conventional off-beat as there is with eighth notes. When you divide a beat into three equal subdivisions you get a beat and two different places where you can place a note off the beat. The notes in this example that look like eighth notes are played with a shuffle feel which is a triplet feel.

The added off-beat subdivisions that you get when you subdivide a beat into three and four means that there are so many potential variations of rhythm, it would be impossible to even give an overview in just a single post. So please check out Electric Bass – Improve Your Groove: The Essential Guide to Mastering Time and Feel on Bass Guitar. In it you will find over 140 audio and written examples featuring these subdivisions played in a variety of styles. There are also five play along pieces featuring subdivisions of two, three and four to help you put this into practise.

Subdividing into four

When you divide a beat into four subdivisions, it creates a sixteenth note feel. Here is an example.

sixteenth note subdivisions
Subdividing beats into four

It may seem odd that this sixteenth note example feels less busy than the previous example that is subdivided into three. You might assume that more subdivisions means more notes, but that isn’t necessarily true.

The example above is a sixteenth note rhythm because there are three notes that can only be played if you divide the beats into four. Therefore you must feel the sixteenth note subdivision all the way through the example in order to really groove.

The most important thing to remember about subdivisions is that you must always feel the smallest subdivision all the way through any piece of music you play. Sometimes that will mean dividing the beats into two (eighth notes) and sometimes into three (triplets) and four sixteenth notes.

Please check out the book, if you want to study subdivisions in more detail. And remember, if you want to improve your bass groove, you need to think more about subdivisions.

3D Cover Image Improve Your Groove
Electric Bass – Improve Your Groove

A Guide to Playing Offbeat Bass Grooves

A Guide to Playing Offbeat Bass Grooves

In this video lesson I’m going to explain why offbeats are so important. What is an offbeat and how can you improve your bass groove by playing them more accurately?

Where’s the one?

It’s a question I often hear when I’m teaching rhythms like the one below. It usually means that the bass line in question either doesn’t accent the first beat of the bar, or in this case, doesn’t play on beat one at all.

Cuban Tumbao Rhythm

Offbeat and On the Beat
Bass Groove based on a Cuban Tumbao Rhythm

The rhythm above is based on the Cuban tumbao rhythm. It’s a tricky rhythm because it never plays on the first beat of the bar.

Beats and Offbeats

Bass players shouldn’t define their grooves by beat one. All music with a 4/4 time signature (which is most music) contains four beats and four offbeats in every bar. Every beat and every offbeat is equal, and you must know how to place notes accurately on any of them if you want to have a great groove. Beat one isn’t more important than any of the other seven subdivisions.

The key to making the bass line in the example above groove is the ability to play the offbeats very accurately. Most people can play accurately on beats but playing on the offbeats is harder.

How do I practise playing offbeats?

The following example was written to help you practise playing on the offbeats. The first note of each bar is on beat one and the remaining notes are played on the four offbeats.

Practise playing offbeat bass lines
Offbeat Bass Groove

The next example for you to practise is a funky bass groove that features lots of offbeats.

Bass Line featuring lots of offbeats
Offbeat Funk Bass Groove

How do you improve your offbeat groove?

When you practise the examples above, make sure you play the offbeats very accurately. In order to do this, start by playing slowly in time with a metronome or drum beat. You can find these for free online. Then say Ta-Ka in time with the beat. Ta is the beat and Ka is the offbeat. If your offbeat notes land exactly on the syllable Ka, then you know your timing is good.

It often helps to record yourself playing slowly. You will often notice misplaced notes more when you listen back to a recording than you did when you were playing.

For more examples, check out my new book Electric Bass – Improve Your Groove: The Essential Guide to Mastering Time and Feel on Bass Guitar.

3D Cover Image Improve Your Groove
Electric Bass – Improve Your Groove

Containing over 140 audio examples featuring eighth and sixteenth note grooves in a variety of styles including rock, blues, jazz and Latin. It also features sections on syncopation, shuffle feels, triplets and swing. It has practical advice for grooving with drums and sharing a collective time feel in a group. And it features five pieces with play along backing tracks to help you put these ideas into practice.

8th and 16th Note Bass Lines – Part 2 – Sixteenth Note Bass Grooves

Eighth and Sixteenth Note Bass Grooves

In this video lesson you’ll learn all about sixteenth note bass grooves. How they differ from eighth note grooves and some practical advice for practising them.

What’s the difference between eighth and sixteenth note feels?

I explained in Part 1 of this lesson that when you divide a beat into two, you get an eighth note feel. If you divide each beat and each off-beat into two, so that each beat is divided into four, then you will have a sixteenth note feel.

When you play eighth note grooves, you can place notes either on the beat or off the beat. On Ta or on Ka. When playing sixteenth note grooves you can still place notes on the beat, but there are now three different places where you can place notes off the beat.

There is still a conventional off-beat, as there was with eighth note grooves. This is the point in time exactly equally distant from the beat before and the beat after. However, there are now two other sub-divisions. The first comes between the beat and the off-beat, and the second comes after the off-beat. All four sixteenth note sub-divisions must be equal. None of them is longer or shorter than the others.

Learn to feel all four sixteenth note sub-divisions individually.

In Part 1 I explained that in order to groove in an eighth note feel,  you must feel the beats and the off-beats. So if you want to groove while playing a sixteenth note feel, then you must also feel the other two sixteenth note sub-divisions. And, to have great timing you should be able to accurately place a single note on any sixteenth note sub-divisions.

Each of the four sub-divisions has it’s own unique feel when you place a single note on it. Just as the beat has a very distinct feel from the off-beat. So the other two sixteenth note sub-divisions have their own distinct feel.

How do I improve my sixteenth note groove?

First you need four syllables to represent the four sixteenth note sub-divisions, Ta-Ka-Di-Mi. I used Ta-Ka to represent the beat and off-beat in eighth note grooves. For sixteenth note grooves Ta is the beat, Di is now the off-beat and Ka and Mi represent the additional sixteenth note sub-divisions.

As with eighth note grooves, the key to having great timing is the ability to place a single note very accurately onto a sub-division. If fact that is the key to having great timing no matter what the feel or style of music. So begin by trying the exercise demonstrated in the video. Say Ta-Ka-Di-Mi, making sure you say it in time, with every syllable equal in length. Use a metronome or drum beat to help if you need to. Then try playing a single note on each of the four syllables. First Ta, then Ka, then Di, then Mi. This should help you to experience the different feels of the four sub-division.

Once you’ve done that, try playing this sixteenth note example from the video slowly.

Sixteenth note bass groove
Sixteenth Note Bass Line for Electric Bass

Try reciting Ta-Ka-Di-Mi while you play it, as I’ve demonstrated in the video. Play it as slowly as you need to in order to place all of the notes accurately. Once you can do that, try gradually increasing the tempo. Don’t try playing the example fast until you’ve mastered it slowly.

Why you should always start by practising slowly

A good rule of thumb to remember is this. If you can’t play something in time slowly, your time feel won’t be good when you play faster. I’ve often heard students say that it’s harder to play something slow than fast. It can often feel that way. The reason is that playing something slowly makes all of the little errors of timing very obvious. They’re not so obvious when you play fast. However, if you want to improve your groove, you need to get rid of those little timing errors. Those notes that are placed slightly before or after the sub-division they were meant to be on. And that involves playing very accurately slowly, and then gradually speeding up while maintaining the same levels of accuracy. That’s how you improve your bass groove!

All of the examples in this series of videos come from my book Electric Bass – Improve Your Groove: The Essential Guide to Mastering Time and Feel on Bass Guitar.

3D Cover Image Improve Your Groove
Electric Bass – Improve Your Groove

Click on the link to find the book. https://geni.us/bassgroove.

The book contains over 140  audio examples featuring eighth and sixteenth note grooves in a variety of styles including rock, blues, jazz and latin. It also features sections on syncopation, shuffle feels, triplets and swing. It has practical advice for grooving with drums and sharing a collective time feel in a group. And it features five pieces with play along backing tracks to help you put these ideas into practice.

Happy practising!

 

8th and 16th Note Bass Lines – Part 1 – Eighth Note Bass Grooves

Eighth Note and Sixteenth Note Bass Grooves

This is an important topic for bass players because most music has either an eighth note or sixteenth note feel. So, every bass player should know when and how to use eighth and sixteenth notes.

What are they and how do I master them on bass?

In this video lesson I’ll demonstrate the difference between bass lines with an eighth and a sixteenth note feel. Then, I’ll explain how to improve your rhythmic accuracy when playing these feels so that you will improve your groove.

 

First have a look at these two examples from my book Electric Bass – Improve Your Groove: The Essential Guide to Mastering Time and Feel on Bass GuitarFind the book by following this link.

https://geni.us/bassgroove

Eighth Note Example
Bass line with an eighth note Feel
Eighth Note Bass Line for Electric Bass
Sixteenth Note Example
Bass line with a 16th note feel
Sixteenth Note Bass Line for Electric Bass

Listen to both examples either by watching the video or by using the Mp3 audio tracks that accompany the book. It’s so important to listen to the examples as well as reading them. If you only read them without listening then you’re only getting half the story.

The first thing that I want you to notice about these examples is that they’re quite similar. The speed and chord progression are the same and they contain mostly the same notes. I deliberately wrote them that way because I wanted the only difference to be the rhythmic feel. The first example has an eighth note feel and the second has a sixteenth note feel.

What is an eighth note feel?

An eighth note feel means that every beat is divided into two. So each beat contains a beat and an off-beat.

The off-beat is the point in time exactly equally distant from the beat before and the beat after. The eighth note example above has four beats in each bar so there are four beats and four off-beats in each bar. Therefore there are eight different places in each bar where you can place a note either on the beat or off the beat. Hence it is called an eighth note feel.

It can only be called an eighth note feel if all the notes are placed on either beats or off-beats. If a note is placed on any other sub-division then it’s no longer an eighth note feel.

An eighth note feel does not mean that you have to play eight notes in every bar on all of the eight sub-divisions. It means that all of the notes that you play are placed on either beats or off-beats.

How do I improve my eighth note groove?

In most cases when you’re playing an eighth note feel, you’ll play with an eighth note drum beat. Meaning that the drums are playing the eighth note sub-division. If you want your bass line to groove you need to make sure your notes sit very accurately in time with the drummers sub-divisions.

However, you should also be able to groove playing eighth notes even when you’re not playing with a drum beat. In order to improve your eighth note grooves you need to have a system for feeling the eighth note sub-division when you play.

My system involves using the syllables Ta-Ka. Using this system Ta represents the beat and Ka represents the off-beat. Recite Ta-Ka four times making sure that every syllable has equal length, Ta-Ka / Ta-Ka / Ta-Ka / Ta-Ka. This represents one bar of eighth notes. Four Ta‘s represent the four beats and four Ka‘s represent the four off-beats. Try reciting the Ta-Ka‘s in time with the audio example in the video (you’ll find it at 1m52s). If you can do that and keep it in time, then you are feeling the eighth note sub-division.

How should I practise to improve my eighth note feel?

You will improve your eighth note bass grooves by playing off-beats very accurately. I hear a lot of bass players who play on the beat very well, but they seem to guess where the off-beat is. They play it either too early or too late.

The key to having great timing is the ability to place a single note very accurately onto a sub-division.  Practise this by first placing a note just on the beats (Ta‘s) and then just on the off-beats (Ka‘s). I’ve demonstrated this in the video. If you’re struggling to keep in time while you do this, make sure you practise it slowly in time with  either a metronome or drum beat.

In order to play eighth note grooves really well, you first need to feel the beats and the off-beats and you need to be aware of which notes land on the beats and which land on the off-beats. Then you need to make sure that the notes on the beats land perfectly on the Ta syllables and the notes on the off-beats land perfectly on the Ka syllables. If you do that, your bass groove will be superb when playing eighth notes either with or without a drum beat.

What About Sixteenth Note Grooves?

Please continue to Part 2 of this lesson, you can find it using the link below. In Part 2 you will learn everything you need to know about sixteenth note bass grooves.

8th and 16th Note Bass Lines – Part 2 – Sixteenth Notes

 

 

Everything You Need to Know About Harmony on Bass Guitar

Everything you need to know about harmony on the bass 

Harmony is a lot simpler than most people think.

Like it or not the bass is a harmony instrument, bass lines have been around for centuries before the electric bass was invented and they’re the lowest harmony part. So Harmony and rhythm are our main functions as bass players. Rhythm is a much bigger and (in my opinion) much more interesting topic, but I wanted to make this video to show you exactly how simple harmony is.

Know the Chromatic Scale

The key to understanding harmony is first of all knowing that there are only 12 notes. Chromatic scale is simply a technical term for what you get when you play all 12 notes one after the other. If you’re not yet familiar with the chromatic scale, that is where you should start. It’s easier than learning the alphabet, there are more than twice as many letters in the alphabet than there are notes.

How Do You Avoid Playing Wrong Notes?

As bass players we usually play one note at a time. I know that you can play chords on the bass, I’ve made videos about it, but it isn’t our primary function. The term bass line implies one note at a time.

I am firmly of the opinion that there is no such thing as a wrong note. There are only 12 notes in total so if we start classifying some of these as wrong, we’re seriously limiting our options. There are inside notes and outside notes (I’ll explain these as I go on) and it’s our job as musicians to find ways of using them that makes sense musically.

Learn To Play Arpeggios!

So our job in terms of harmony is to choose which note out of the 12 we play at any one time. And the first thing that every bass player needs to know is chord tones or arpeggios. Arpeggio is just a classical term meaning all the notes of a chord played one at a time. Guitar players have chords and bass players have arpeggios. If you don’t know your arpeggios you will end up playing root notes all the time and your basslines will be boring.

How many notes in an arpeggio depends on the chord in question, but lets take an A7 chord for example. There are 4 notes (demonstrate). 4 out of 12. That’s already 1/3rd of all the notes and the chord tones are the strongest notes you can use in a harmonic situation.

What are Inside and Outside Notes?

Next is scale tones. Scales tend to have seven notes in them (not all I know, but standard major and minor scales and all their modes do). We’ve used four of them already in the arpeggio so there are three others that we can use as passing tones. These are the inside notes, notes that belong in the harmony. The remaining five notes that are not within the scale are the outside notes, you can think of these as chromatic passing notes.

So, Here’s Everything You Need to Know!

And that’s it, there are 12 notes, chord tones, scale tones and chromatic passing tones. It’s that simple. Your job is to learn what each of them sounds like, and the only way to do that is play them as much as you can. So cancel your application for that three year college course on advanced harmony and instead go forth and play your bass!

What Else is There?

Harmony and rhythm are the two biggest worlds in the language of music. And rhythm is much simpler than you might think as well, once you know how to sub-divide a beat into two, three and four. You know most of what you need to know about rhythm, but if you want more detail on rhythm you need to get my book Improve Your Groove. Here’s a link, https://geni.us/bassgroove

Enjoy!

Electric Bass – Improve Your Groove, Out Now!

My New Book Improve Your Groove is Here

3D Cover Image Improve Your Groove
Electric Bass – Improve Your Groove

Electric Bass – Improve Your Groove: The Essential Guide To Mastering Time and Feel on Bass Guitar

  • Crack the code of rhythm and groove
  • Develop incredible note placement and feel
  • Discover the secrets of syncopation
Order Improve Your Groove now via this link https://geni.us/bassgroove

When I started writing Electric Bass: Improve Your Groove in the summer of 2016, I set out to write a book to help bass players improve the most fundamental aspects of playing bass lines. Groove is exactly that. It’s the heart of what it is to be a bass player.

So I started by asking myself, what is groove? Can it be defined and more importantly, can you learn it?

Groove is a combination of many things, first and foremost time feel. To control the feel of your bass lines you must first have excellent timing. This involves firstly understanding rhythms and then having a system for playing them very accurately. So if you want to increase your rhythmic accuracy you must experience rhythmic sub-divisions when you play.

Therefore I decided to explain sub-divisions in the opening chapters of Improve Your Groove starting with the basics. Then I set out my system for improving rhythmic accuracy by using the sub-divisions.

Using Konnakol to Improve Your Groove

My system for experiencing sub-divisions involves first of all borrowing syllables from the ancient Indian system of vocalising rhythms called Konnakol. Which is sometimes called the ‘language of rhythm’. Using three simple sets of syllables from Konnakol you can very quickly learn to differentiate between eighth and sixteenth note grooves as well as triplets, shuffles and swing feels. As a result you will not only learn to differentiate each sub-division and time feel. You’ll also play them much more accurately by placing your notes on the sub-divisions

Finally, each time feel and sub-division is demonstrated using lots of Mp3 audio examples in a variety of styles. All the audio is downloadable for free from www.fundamental-changes.com.

Is there more to groove than great timing?

There certainly is. While timing is essential, there is more to being able to groove than just placing a note accurately onto a sub-division. Another huge aspect of groove is sharing your time feel with the musicians you play with. First of all you must know how to play with a drummer. There is no relationship in a band closer than the bass and drums, hence I’ve dedicated an entire section of the book to playing with drums. You must make the drummers sub-divisions your sub-divisions if you want the music to groove.

The Pieces

The final section of the book involves sharing a collective time feel in a group. For a performance to groove the whole group must groove and not just an individual. Therefore I’ve included five pieces with backing tracks to help you practise locking in with the collective feel.

In Conclusion

Groove is such a huge topic for bass players, so there will be more from me on the subject in the future. In my first book Electric Bass – Improve Your Groove I’ve laid out some approaches to rhythm and playing in a group that I believe will help any bass player to improve their groove.

“I hope that after reading this book you’ll start to think about time and rhythm in a different way and it will give you a deeper understanding of feel and groove and open up your playing to explore new musical cultures.”

I want to thank Joseph Alexander and Tim Pettingale at Fundamental Changes for publishing the book and making it look amazing.

Below is the product description from www.fundamental-changes.com

Improve Your Groove Cracks the Code of Rhythm, Groove and Feel on Electric Bass Guitar

Build your groove and play bass like a master

  • Discover how to groove flawlessly on electric bass in any style of music
  • Understand bass guitar rhythm and placement
  • Play in the pocket, every time.

Every bassist wants to play with great feel. It’s what ties a performance together, moves the music forward, and keeps it “in the pocket”. Therefore groove is what your audience wants to hear.

Electric Bass – Improve Your Groove is a complete course in rhythm  on bass. Groove is built by understanding rhythm, playing accurately and sharing that feel with other musicians.

What you’ll learn:

  • How to play in time on bass guitar
  • Learn to play “in the pocket” and create a tight, grooving performance
  • How to crack the code of rhythm
  • The secrets of syncopation and building your internal clock
  • The Konnakol vocal counting system to help you groove without thinking
  • 5 complete pieces with backing tracks that put theory into practice
  • Over 140 exercises and examples with FREE supporting audio to download

In Electric Bass – Improve your Groove, building perfect time and feel on bass is explained from absolute basics and teaches you how to play bass lines with great rhythm; from the simplest, to the most complex grooves.

You’ll discover grooving bass guitar rhythms and develop devastating accuracy and feel. Rock, Funk, Jazz, Blues and Latin feels on bass are all intimately addressed with over 140 examples and backing tracks.

Hear it!

Electric Bass – Improve Your Groove contains over 140 exercises and supporting audio examples so you can hear exactly how each exciting example should sound. Learn to lock in with the live backing tracks and dramatically boost your progress.

Buy it now and instantly become the bass guitar powerhouse of the band. https://geni.us/bassgroove

 

Johnny Cox & Siemy Di – Bass and Drum Improvisation

Johnny Cox and Siemy Di – Robertinho

This video was shot way back in 2012 by my good friend Remigiusz Sowa of Chouette Films. It features myself and another good friend, master drummer and percussionist Siemy Di. The video was shot live in Siemy’s studio.

Siemy Di and I have worked together since 2006 and we have a fantastic musical relationship. We were introduced when I was in my early twenties by a mentor, Lucky Ranku, leader of the African Jazz All-stars.

In the video I’m using my 6-string Warwick Thumb BO and I’m playing it through a loop pedal. The piece is dedicated to a friend of Siemy Di’s. It’s based on the Brazilian Partido Alto rhythm and the melody was written by Siemy.

Around the time this was filmed, Siemy Di and I were performing live regularly around East London at venues such as The Servant Jazz Quarters, The Vortex, Open The Gate and The Passing Clouds. The gigs were almost entirely improvised and we deliberately did very little preparation for each gig. Some performances were better than others but it was always great fun to play with a great musician like Siemy. This video captures a little taste of what those performances were like. Not perfect but always interesting.

Siemy Di and I are still close friends but we don’t do those gigs anymore. We both have young children now, so spending our evenings at jazz clubs is out of the question these days. Maybe one day in the future we’ll do something similar, although I imagine it will be quite different. This video captures a moment in time that was an important time for both musicians.

Check out Siemy Di’s Drumeo video here. I recorded all the bass and guitar parts for both the first and last pieces.

A Guide to Playing Intervals on Bass Guitar

What Are Intervals and How Do You Play Them On a Bass?

The word “interval” describes the distance (in terms of pitch) between two musical notes. The smallest interval on the fretboard is a semi-tone. It’s the distance between any note and a note that is one fret above or below on the same string. There are 12 notes in an octave which means there are 12 semi-tone intervals. If we play these 12 semi-tone intervals one after the other then we are playing the “Chromatic Scale”. This isn’t a very interesting sounding scale but it’s really important to understand the chromatic scale if we’re going to understand intervals.

One octave chromatic scale starting and finishing  on C

Chromatic Scale Intervals on BassBecause there are 12 semi-tones in an octave, it is possible to play 12 different intervals within an octave (including the interval of an octave itself). Here is a list of all 12 intervals (plus 4 more intervals that are larger than an octave) along with tab showing how to play them on the bass. 

Intervals on Bass

The interval called a “tone” is equal to two semi-tones or you can think of it as the distance of two frets on a single string. Tones and semi-tones can also be called whole-tones and half-tones and also whole-steps and half-steps.

Thirds

An interval of three semi-tones is a minor 3rd and four semi-tones is  a major 3rd. Check out Playing Chords on the Bass – Part 1 where I show you how to make chords by using intervals of major and minor 3rd’s to harmonise scales.

Fourths, Fifths and Sixths

Five semi-tones gives us an interval of a 4th. A 4th is neither major nor minor. This interval is often described as a perfect 4th. Six semi-tones gives us an interval called a sharpened 4th because it’s one semi-tone bigger than a 4th. The same interval can be called a flattened 5th because it’s one semi-tone smaller than a 5th. It’s also sometimes called a tri-tone because six semi-tones is equal to three tones. Seven semi-tones makes a 5th or a perfect 5th. Eight semi-tones creates a minor 6th and nine semi-tones, a major sixth. Check out Playing Chords on the Bass – Part 2 where I use intervals of 4th’s, 5th’s and 6th’s to harmonise scales.

Seventh intervals and larger

Ten semi-tones make an interval called a minor 7th. Eleven semi-tones is a major 7th and twelve semitones is an octave. It’s important to note that after the octave the intervals start to repeat the same notes. However, we do still have different names for intervals above an octave. For example, a flattened 9th interval will give you the same note as a semi-tone. A natural 9th interval will give you the same note as a tone. A minor 10th interval is effectively the same as a minor 3rd and a major 10th is the same as a major 3rd

Playing Chords on the Bass – Part 2

Chords on the Bass – Part 2

In this second part in my series of videos about playing chords on the bass, we’re going to continue looking at how we can make chords by playing double stops (two notes played at the same time) over open strings. In Part 1 we harmonised scales into intervals of a third and in Part 2 we’re going to see how we can get a whole new set of sounds and chords by changing the interval we use to harmonise our scales.

Intervals

If you’re not sure what an interval is or how we play intervals on the bass then check out my video called Intervals which is also available on this site and it will explain everything.

In Example 1 I’m playing a C major scale harmonised into intervals of a fourth.

Part 2 Example 1 Chords on the Bass

In Example 2 I’m playing the same C major scale played in fourths. I’m playing it over an open A string. Then in the following examples I’m still playing a C major scale over an open A string. However, I’m changing the interval that I’m using to harmonise the scale. In Example 3 I’m harmonising the C major scale in fifths and in Example 4 I’m using sixths. You can hear that each different  interval gives us a different sound even though I’m harmonising the same scale over the same note.

Video 2 Examples 2, 3 & 4 Chords on the Bass* I’ve marked some chords * in the above examples because they don’t contain thirds. The Am7 and Am9 chords could also function as A7 and A9 because they don’t contain the note C. Which is the minor 3rd. I’ve labeled them as minor chords because if we were to add a third in this key it would be a minor third C. Not a major third C#. The G9/A chords in Examples 2 & 3 also don’t include the 3rd B but again I’ve labeled them according to what they would be if we added a 3rd in this key. The same is true for the chords marked in the examples below.

Fourths, Fifths and Sixths

The next examples are a similar idea. Only this time I’m harmonising a D major scale and playing it over an open E string. This gives us a Dorian sound. In Example 5 I’m harmonising the scale in fourths. In Example 6 I’m using fifths and in Example 7 I’m using sixths. 

Video 2 Examples 5,6 & 7 Chords on the BassNotice how in Example 7 using the open E string instead of the open A string gives us a different option for fingerings when we play the scale in sixths. We can now play the lower of the 2 notes on the A string. The higher note on the G string while we leave out the D string altogether.

These examples are just a small demonstration of some the sounds that you can come up with using this idea. It wouldn’t be impossible to list here all the possible variations you can achieve by harmonising scales over open strings. So, I really want to encourage you to experiment and come up with ideas of your own.

A melodic minor in sixths

Before I leave you, I’m going to share one more idea. Here’s what the A melodic minor scale that I introduced at the end of Part 1 sounds like when you harmonise it in sixths and play it over an open A string.

Video 2 Example 8 Chords on the BassNow move on to Playing Chords on the Bass – Part 3 – Triads. You’ll learn how we can add extensions to the triads so you can make more interesting sounding chords.