Tag Archives: Sire V7

Altered Pentatonic Jazz Lick on Fretless Bass – Bass Practice Diary – 110

Altered Pentatonic Jazz Lick on Fretless Bass – Bass Practice Diary – 2nd June 2020

Last week I featured a pentatonic scale that you can create by altering just one note in a standard major or minor pentatonic scale. This week I’ve put that altered pentatonic scale into practice. I’ve come up with a jazz lick on fretless bass that features both the standard and altered versions of the pentatonic scale.

The Lick

Jazz Lick using both Standard and Altered Pentatonic Scales
Jazz Lick using both Standard and Altered Pentatonic Scales

I’ve composed the line on a II-V-I-IV progression in the key of C major. I choose to use the IV chord rather than the more common VI7 chord in order to feature two different pentatonic approaches to playing on major 7th chords. On the Cmaj7 chord I’ve played an E minor pentatonic scale. It gives me the 3rd, 5th, 6th, 7th and 9th relative to the root note of the chord. On the Fmaj7 chord, I’ve used the altered version of the scale to create a lydian augmented sound. The notes are E, F, A, B & C#, 7th, root, 3rd, #4th, #5th relative to the F root note. It’s like an F# minor pentatonic scale, with an F natural root note instead of F#. It’s a sound that I featured in last week’s video.

On the II chord I’m using the obvious D minor pentatonic scale. I like to start my jazz lines inside the harmony and then take them outside. The altered version of the pentatonic scale does a really good job of spelling out the sound of an altered dominant chord. It helps me bring in some of those outside notes on the G7 chord V. The notes are G, Bb, B, Eb & F, which is root, #9, 3rd, b13 &7th. It’s like the notes an altered dominant arpeggio. You can think of it as C minor pentatonic scale with the root note lowered by a semitone to B.

Amandla – A Marcus Miller tune Played on Sire Marcus Miller Basses – Bass Practice Diary 81

A Marcus Miller tune with Sire Marcus Miller Basses – V7 & M7 – Bass Practice Diary – 5th November 2019

Recently I’ve been trying out some Sire basses. You may have already seen my review of the M7 fretless 5-string bass that I released last week. And I’ll be following up with a review of the V7 4-string and 5-string versions in the coming weeks. But, it struck me this week, that what a lot of people will want to know is, can you make them sound like Marcus Miller? In an attempt to answer, I’ve recorded one of his tunes, Amandla from the album of the same name.

Do the M7 and V7 sound like Marcus Miller basses?

Yes and no… Yes for the V7 and no for the M7. Not that the M7 is a bad bass. It’s a nice sounding fretless bass, as I covered in my review last week, but it’s a very different style of bass to anything I’ve ever seen Marcus Miller play. The V7, on the other hand, is very much a Marcus Miller style of bass. It’s essentially a Fender Jazz style bass with an active preamp.

I should point out that my style of playing the bass is very different to his, and the basses that I usually play are very different to those that he plays. I love Marcus Miller as both a composer and a musician, but I’ve never tried to imitate his sound before.

So, when you listen to the V7 bass in the video, you should bare in mind that it’s being played by someone who is trying to imitate a playing style that he almost never plays on a style of bass that he very rarely uses. And with that in mind, I’m quite surprised how much the bass tone does remind me of Marcus Miller. I don’t think I’ve ever played a bass before that was so easy to get that kind of tone out of.

Tutu and Amandla

So, the tune in the video is called Amandla, and it’s one of my favourite Marcus Miller compositions. It’s also a great tune for demonstrating these basses, because the original version includes both fretted and fretless basses and both finger style and slap techniques. So it covers a wide range of Marcus’ tones and techniques.

Marcus Miller wrote and produced two albums in the 1980s for the jazz trumpeter Miles Davis, called Tutu and Amandla. He played bass on other Miles Davis albums, but those two were really his albums. Tutu is more well known. It’s probably Miles Davis’ most well known album from the last period of his career. I certainly remember listening to it a lot when I was in my teens. But as the years have gone by, I’ve grown to love the album Amandla more and more. It contains a few of my favourite Marcus Miller compositions including the title track.

If you don’t know them already, I would highly recommend checking out both albums. Many people see Tutu as a Marcus Miller album with Miles Davis on trumpet, even though it’s Miles Davis’ name and face on the cover. But Amandla feels more like a collaboration because there’s more input from Miles’ band. Which at that time included the brilliant improvisers Kenny Garret and Joseph “Foley” McCreary.