Tag Archives: free bass lessons

John Coltrane Jazz Lick on Bass Guitar – Bass Practice Diary 44

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.

Coltrane Changes

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.

Coltrane Jazz Lick Bar 1

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.

Coltrane Jazz Lick Bar 2

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.

Coltrane Jazz Lick Bar 3

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 Jazz 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.

In the mean time, why not check out this Jaco Pastorius Jazz Lick. Or if you’ve already seen that you can check out one of my own jazz licks here. And here is an example of a diminished jazz blues lick. Enjoy!

How to Practice Sliding Notes on a Fretless Bass – Bass Practice Diary 40

Sliding Notes on a Fretless Bass – Bass Practice Diary – 22nd January 2019

Sliding between notes is an integral part of phrasing on a fretless bass. This video features an exercise to help you practice sliding accurately between notes by using the pentatonic scale.

When you slide between notes on a fretless bass, the first thing that you need to concentrate on, is keeping the notes in tune. When you slide, it’s very easy to slide too far and go sharp, or not quite far enough and the note will be flat. So my first advice is to start slowly and use a backing track.

Backing tracks are very easy to find for free on Youtube. Here is an example of a backing track in G major that you could use to help you practice this exercise. When you practice with a backing track it’s so much easier to hear when you go a little bit out of tune.

Use the Pentatonic Scale to Practice Sliding Notes on Fretless Bass

The easiest way to play a pentatonic scale is by playing two notes on each string like this.

G major pentatonic – two notes per string

The reason it’s easy is because it doesn’t involve any position shifts. But it offers very little opportunity to slide between notes.

In order to incorporate slides, you need to keep shifting position, which involves playing at least three notes per string like this.

Sliding Notes with 1st Finger in G major Ascending
Sliding Notes with 1st Finger in G major Descending

You can also practice this on a fretted bass. It’s easier on a fretted bass because you don’t need to be as accurate. But position shifting is an important skill for any bass player to practice.

The idea of the exercise is that you always slide with your 1st finger (index finger). Playing three notes on each string, you play the first of the three notes with your 1st finger and then slide up to the second note. You can play the third note on each string with either your third finger or little finger.

Slide Notes With Any Finger

It’s easiest to use your 1st finger to slide. But you want to be able to slide accurately with all of the fingers on your left hand. So come up with your own variations of this exercise and use different fingers to play the slides. Here’s a variation that I demonstrated in the video which uses your 4th finger (little finger) to play the slides.

Sliding Notes with 4th Finger in G major Ascending

Another variation that I demonstrated in the video, is to break the exercise down into small sections. Don’t feel like you need to practice the whole scale all at once. Work on each position shift one at a time. Like this.

I think that practicing like this actually replicates what you will play in a real musical situation better than playing the whole scale all at once. You could use the example above as a fretless bass fill on a G major chord. And the example below which starts on a D could also be a fill when you’re playing in the key of G.

Just like any scale exercise, don’t forget to practice this exercise in different positions and different keys. And try to adapt the idea of sliding and position shifting to any other scales, arpeggios or technical exercises that you practice.

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.