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.
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.
I think that one of the best ways to improve as a musician is to work out passages played by great musicians. I often use transcriptions and books written by other people, which are useful tools to use. But I feel that I learn the most when I work it out for myself.
Use open strings to make position shifts
The next challenge, after you’ve worked out a piece of music, is to see what you can take from it and incorporate into your own playing. And the thing that struck me most about Tom Kennedy’s blues solo was the way he was organising his left hand and his use of the open strings.
Can I take some of that and apply it to my own playing? In order to find out, I started writing out jazz lines for my fretless bass that use open strings and position shifts in the way that I’ve seen Tom Kennedy do it.
The theory behind it, is that if you play an open string before you shift position, then that gives you a little bit of extra time to make the shift. And it also gives you a reference note to help you hear if your position shift is accurately in tune. Which is extremely important on fretless bass. It’s a technique that I believe Tom Kennedy has adapted from playing upright bass. But he applies it onto fretted electric bass and he plays jazz lines at ferocious speed.
The fretless jazz lines
My fretless bass is a 6 string. I don’t have another fretless bass because I sold my four string fretless when I bought my 6 string. However, I usually write my TAB’s out for 4 string so that all bass players can use them. So, these three examples are all written for 4 string bass. Even though they’re played on 6 string in the video.
The first one that I played, at the start of the video, is written on the middle eight section of Rhythm Changes. It’s the second most popular chord progression in jazz after Blues changes.
The next line that I shared in the video is meant to be played over the first four bars of Stella By Starlight.
And the final example is over the changes for the first four bars of John Coltrane’s classic composition Moment’s Notice.
Giant Steps Improvisation on Fretless & Fretted 6 String Bass – Bass Practice Diary – 2nd April 2019
Some jazz tunes are so iconic that every jazz musician and enthusiast should know them. John Coltrane’s Giant Steps definitely falls into that category. The chord changes have made it iconic, because they’re notoriously difficult to improvise on. Over the years it’s become a kind of rite of passage for aspiring jazz musicians to learn to play on those changes.
I’ll do a more complete analysis of how I approach playing on Giant Steps next week. But the purpose of this video is to show how I approach practising any tricky piece like this. The first and most important thing when approaching any difficult repertoire is to start slow. If you want to be able to play fast, then practice slow.
Start Slow and Vary the Feel
When I’m approaching any chord progression, I’m trying to internalise the sound of the changes. It’s much harder to do this if the changes are flying past at 300bpm. Coltrane may have played Giant Steps blisteringly fast, but I’d be willing to bet that he practiced it slowly first.
I love practicing playing over slow changes. You can really enjoy playing over each chord and having loads of time to hear the changes go past. And this will really help you to get the sound of the changes into your ears.
Another piece of advice I would offer, is to practice playing the changes over as many different feels as you can. As you can hear in my video I start by using a slow straight 1/16th note feel, and then move on to a faster swing feel. But that only scratches the surface, there are so many different tempos and feels that you can use.
It always amazes me that some jazz musicians seem to only practice improvising in a swing feel. You can always tell who these people are because they instantly sound very uncomfortable playing in anything that doesn’t have a swing feel.
John Coltrane and Giant Steps
Giant Steps was recorded and released in 1959, which was a watershed year in jazz for many reasons. It came from the album which was also called Giant Steps, and that album is seen by many as a masterpiece of jazz Bop style improvisation and composition. In fact it’s seen by many as the ultimate recording in that style of jazz.
It’s certainly possible to believe that Coltrane himself believed that he couldn’t improve upon Giant Steps. Because from that point on in his career he went on to explore other aspects of jazz improvisation such as modal jazz and free jazz. And he never returned to the Bop style vocabulary of the Giant Steps album.
Wild Mountain Thyme – Scottish Folk Melody – Bass Practice Diary – 26th March 2019
This week I’ve done something a bit different. This is an arrangement of a Scottish folk melody called Wild Mountain Thyme. This came about because I did a gig last weekend with a wonderful group called the Soul Sanctuary Gospel Choir.
There aren’t very many opportunities in the UK to get paid to play bass for a Gospel Choir. So, I considered myself very fortunate to get this gig. And needless to say, it was a beautiful show. One of the most enjoyable I’ve played in a long time.
There was quite a lot of preparation that I needed to do for the gig. I had to learn about 14 songs. I often learn more than double that number of songs for a gig. But much of their repertoire was from American Gospel acts like Kirk Franklin, Hezekiah Walker and Isreal Houghton. And if any of you’re familiar with those guys, you’ll know that there’s some serious bass work on those recordings.
One song in the second half was performed by the choir with piano alone. So I’d never even heard it before the concert. It was completely different from their other repertoire. They sang their own arrangement of a Scottish Folk Song called Wild Mountain Thyme. As I sat listening to the choir sing it, I thought it was beautiful.
So when I got home, I started to mess around with it on bass and guitar. And the result is what I’ve shared in the video above. I’m not sure that my version totally captures the rich harmonies of a gospel choir. But it does at least give you an insight into what I do when I hear a melody I like. I hope you enjoy it and make sure you check out the Soul Sanctuary Gospel Choir!
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!
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.
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.
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.
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.
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.
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.
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!
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.
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.