Tag Archives: warwick Thumb SC

Playing Jazz on Fretless Bass and Acoustic Bass Guitar – Bass Practice Diary 20

In a Sentimental Mood by Duke Ellington – Jazz Arranged for Fretless Bass and Acoustic Bass Guitar – Bass Practice Diary – 4th September 2018

I love to play jazz on my basses at home when I get the chance. I usually make my own backing tracks and practice by playing along with them. In this video I’ve laid down the chords of Duke Ellington’s In a Sentimental Mood on my acoustic bass guitar and played over the chords on my fretless Warwick Thumb SC.

In a Sentimental Mood

In a Sentimental Mood is one of those great jazz tunes that’s both simple and beautiful. It has a very lyrical melody and some simple but effective chord changes. It was written by Duke Ellington in 1935 and originally performed by his orchestra. But the version that I’ve been listening to was recorded by Duke Ellington with John Coltrane in 1963. I also like Ella Fitzgerald’s vocal rendition of the song, where she sings the melody with just a guitar backing her. I’ve tried to get some of the flavour of both versions in my video. In a Sentimental Mood is also a staple standard of Sonny Rollins sets. He seems to play it a lot and he’s done some wonderful versions of it.

The Basses

The video features two of my favourite basses. The acoustic bass is an Alien Deluxe 6 string acoustic bass guitar. If you’d like to learn more about this bass you can check out my solo arrangement of the jazz standard Autumn Leaves. Or you can check out this demo that I made a few years ago when I first owned the bass.

The Warwick Thumb SC is not only the best fretless bass I’ve ever played, it’s the best bass I’ve ever played. If you’ve seen many of my other videos you’re probably quite familiar with this bass by now. But if you’d like more info, you can find it here.

 

Use Fretless Bass to Play Jazz Solos and Melodies – Bass Practice Diary 12

Jazz Solos and Melodies on Fretless Bass – Bass Practice Diary – 10th July 2018

This week I’m featuring an excerpt from Miles Davis’ solo on the tune So What from the seminal jazz album Kind of Blue. I’m playing it on my Warwick Thumb SC fretless bass.

Why Play Jazz Solos on Bass Guitar

The purpose of this video practice diary is not to copy Miles Davis or any other jazz soloist. Firstly, it’s to try to show how well the fretless bass works as an instrument for playing jazz solos. Especially solos with the type of lyrical phrasing demonstrated by Miles Davis. Secondly, it’s because I believe that anybody that wants to learn how to solo and improvise, should try and work out solos and melodies by as many great musicians and improvisers as they can. Not because you should try to copy other musicians, but simply in order to learn from them.

Jaco Pastorius is the most influential jazz bassist in history and he overwhelmingly favoured playing fretless. He also stated that the first thing he would do when learning any new piece, was learn the melody. He felt that learning melodies was essential to playing bass lines. I strongly agree with him. I’ve stated in a previous post that one of the principle functions of bass lines, is harmony. And in order to really understand a composition and how to harmonise, you must understand the melody.

What is “Lyrical” Soloing

When I use the adjective “lyrical” to describe a solo, it might seem like an odd choice of word. The word seems to imply lyrics which is strange to attach to an instrumental solo.

A dictionary definition of lyrical is “expressing the writer’s emotions in an imaginative and beautiful way”. Which more or less sums up what I mean. But there is a bit more. The word lyrical to me implies being like a human voice. Miles Davis was quite open about this with his soloing, he was trying to use his trumpet to phrase like a singer would. This is what I’m trying to achieve with my fretless bass. And it can work well because you can slide in and out of notes and use vibrato in a way that you can’t on a fretted bass. However, you do have to be careful to not over use any of these things.

Intonation is also a key consideration when playing fretless. Meaning; are the notes in tune? If you put your fingers in even slightly the wrong place on the fret board, the notes will be out of tune. You don’t need to be nearly so accurate on a fretted bass.

Learning How to Play Jazz Solos on Bass

This Bass Practice Diary entry leads on from what I was doing last week, when I was playing Charlie Parker melodies on fretless bass. I believe that the best way to learn how to play jazz solos, is to learn to play as many jazz solos and melodies as you can.

Technical information about chords and scales is useful theory, but it doesn’t teach you how to improvise a jazz solo. Soloing is about creating melody, and melody is about creating musical phrases. The best way to do this is by listening to as much music as you can and working out how to play the melodic phrases.

Preferably, do it by ear. If you find it difficult to work out music by ear, I would recommend starting very simply, by using folk or pop melodies before moving onto jazz. It can be a slow process at first because it takes a lot of trial and error to begin with. So don’t be put off if you’re only starting out. You will get faster with experience.

Charlie Parker Tunes on Fretless Bass Guitar – Bass Practice Diary 11

Playing Charlie Parker Melodies on Solo Fretless Electric Bass – Bass Practice Diary – 3rd July 2018

This week I’m playing Charlie Parker melodies on my fretless Warwick Thumb SC 6 string bass guitar.

Charlie Parker

Charlie Parker is a pioneer of modern jazz and one of the greatest saxophonists in history. Alongside trumpeter Dizzy Gillespie he pioneered the genre called Bebop. His compositions provide a musical and technical challenge to perform on bass, especially fretless bass. But doing so will improve your technique as well as help you learn the language and phrasing of modern jazz.

The Influence of Jaco Pastorius

I first started learning Charlie Parker melodies on bass when I was in my teens after I discovered Jaco Pastorius’ debut, self titled album. Track 1 on the album was Donna Lee. The melody was played by Jaco on a fretless electric bass. Like many other bass players, hearing this was a revelation to me. He took the bass out of it’s traditional role and elevated it to the level of a jazz solo instrument. I immediately decided that I needed to try doing the same thing.

So I used a Jazz Real Book to start working out jazz bebop melodies on my bass. I didn’t start with Donna Lee. It was the concept of playing jazz melodies on bass that I wanted to emulate, not necessarily that particular tune. Although I did get around to learning Donna Lee soon enough.

The first bebop tune I learned was called Tricotism, by the legendary double bass player Ray Brown. I figured I should start with a piece that was created for bass. Having done that I then learned the tune Confirmation by Charlie Parker. You hear me play an excerpt at the end of the video.

Why Play Charlie Parker Tunes on Bass?

I suppose the simplest answer is, because I think they sound really cool. Especially on fretless bass. But there are plenty of other great reasons to try this out. First, it is fantastic for improving your left hand technique. To play these tunes on bass you need to organise your left hand extremely well. Each tune forces you to practise spreading out your fingers, playing one finger per fret positions and shifting quickly and smoothly between these positions.

If you’re not sure what I’m talking about, check out my free video lesson on Left Hand Techniques. The video begins with me playing another Charlie Parker tune called Anthropology on a 4 string bass.

How do You Start Playing Charlie Parker Tunes on the Bass?

Slowly, is always good advice. Take it one phrase at a time and work out good left hand fingerings for each phrase. It’s so important to have a well organised left hand in order to play these melodies.

If you can read music, you can start with a jazz Real Book. That’s how I started, and as I understand it, that’s how Jaco started as well. I don’t know if they had Real Books back in the 70’s but I understand that he had a book with the melodies in. You can get bass clef versions of most of the Real Books now, which is a big advantage. As a teenager I only had a treble clef Real Book and it took me a while to work out the melodies because at that time my treble clef reading was nowhere near as good as the bass clef.

Other books available include the Charlie Parker Omnibook which also comes in a bass clef version. It goes into each tune in a lot more detail than the Real Books because it includes transcriptions of both the melodies and solos. However, it’s not my favourite book because it doesn’t use key signatures. So each transcription contains hundreds of accidentals (sharps and flats) written throughout the music.

If you’re not a reader then the book to get is called Charlie Parker for Bass. It includes TAB and also features solo transcriptions, arranged for 4 string bass.

 

 

Chromatic Jazz Lines – Bass Practice Diary 7

Chromatic Jazz Lines – Bass Practice Diary – 5th June 2018

This week I’m working on chromatic jazz lines and exercises. I’m using a book called 240 Chromatic Exercises + 1165 Jazz Lines. I’m using the edition for bass clef instruments. 

About the Book

The title of the book tells you exactly what to expect. There’s very little text in the book, only in the introduction. So, the main part of the book contains page after page of chromatic jazz lines and exercises all written out in the bass clef. There isn’t any bass TAB so it’s a book for readers or for anyone wanting to work on bass clef sight reading. There’s a lot of information and it would take a really long time to play through the entire book. 

Olegario Diaz

It was written by the jazz pianist Olegario Diaz. If you’re not familiar with him I would highly recommend checking out some of his albums such as The Skyline Session, Basquiat by Night/Day and Aleph in Chromatic. They’re all available on Spotify and they feature some heavy weights of modern jazz such as Randy Brecker, Bill Stewart, Jeff Tain Watts, James Genus, Nate Smith, Bob Franceschini and Alex Sipiagin.

The Exercises

As mentioned previously, the book has lots of musical examples and exercises and not very much in the way of text and description. What you get is a chord symbol with alterations, such as C-7b5+11, and a very brief description, such as, ARPEGGIOS ROOT, b3, b5,♮7. The rest you’re left to work out for yourself from the notated exercise.

At the end of the video I demonstrated five examples. I choose them more or less at random from a page I was working on in the book. The first two examples that I played were both altered scale patterns in the key of C. Then, the third one I played is probably my favourite of the five. It’s the one I referenced in the paragraph above. It involves playing five note arpeggios over a minor/major chord with a flattened fifth (minor third and a major seventh). The arpeggios start on the root, then on the minor third and then on the flattened fifth.

The fourth and fifth examples uses four note major and minor seventh arpeggios with chromatic approach notes. The fourth exercise is played over a major seventh chord, creating a lydian sound and then the fifth exercise is played over a minor seventh chord.

Warwick Thumb SC 6 string fretless

I’m playing all these examples on my Custom Shop  Warwick Thumb SC 6 string fretless. I prefer to use fretless for jazz and melodic playing but I do have to be careful to get the intonation right. So, check out this post if you’re interested in learning more about the instrument.

chromatic jazz lines
Johnny Cox’s Warwick Thumb SC fretless

 

Spanish Phrygian Sounds – Bass Practice Diary 5

Spanish Phrygian Sounds on Fretless Bass Guitar – Bass Practice Diary – 22nd May 2018

This week I’ve been working on Chick Corea’s wonderful composition Spain with my fretless Warwick Thumb SC. In this video I’m demonstrating a little harmonic trick I discovered for playing over the first two chords, G major and F#7. It creates a beautiful Spanish phrygian sound over the F#7 chord. Read on and I’ll explain what that means and how to play it.

Chick Corea’s Spain

Spain is not only one of Chick Corea’s most popular compositions, it’s one of the most popular pieces in all of modern jazz. It was originally recorded in 1972. The following year Spain appeared on the album Light As a Feather by Chick Corea’s band Return To Forever.

It’s popularity has endured and Chick Corea still loves to play Spain at most of his concerts. That’s an unusual situation for a jazz musician with such a varied repertoire and such a wide variety of projects and collaborations. I make a point of going to Chick Corea’s gigs whenever he’s in London on tour and I’ve now seen him play live more times than I can keep track of. There are very few occasions that he hasn’t played Spain in some guise or another.

So why is this composition so popular, why has it’s appeal endured and grown over nearly half a century? For me, the essence of this piece and the secret to it’s enduring appeal is the beautiful Spanish phrygian harmony. It’s an unusual sound to hear in modern jazz and in some ways it’s quite hard to define. But it’s that Spanish phrygian harmonic influence that I’ve tried to get to the bottom of in this practice diary.

What is Phrygian?

Phrygian is the name given to one of the modes of the major scale. Modes are scales with the same combination of harmonic intervals. If I play a phrygian scale starting on F#, it’s the same notes as a D major scale. As I mentioned in the video, you can think of the key for Spain as being D major. And if you play all the notes from a D major scale over the G and F# chords then it will give you a lydian sound over the G and a phrygian sound over the F#.

Check out my Lydian Sounds – Bass Practice Diary here

So, phrygian is the obvious scale to play over an F# root note in the key of D major. But that’s not actually what I’m doing. As I explained in the video, the scale I’m playing is in fact not specifically a phrygian scale. But it does, to my ears, have a phrygian sound.

How Can You Create a Spanish Sound on the F#7 Chord?

The D major scale contains the notes D, E, F#, G, A, B and C#. In the video I use this notes on the G major chord creating a Lydian sound. An issue arises if you try to continue using those exact same notes over the F#7 chord. An F# phrygian scale implies an F#m7 chord because it contains an A natural which is the minor 3rd of an F# chord. The F#7 chord contains an A# which is the major 3rd. You could play an F# phrygian scale over an F#7 chord on the A natural would function as a #9. However, if you try and play this way you will be leaving out one of the most important defining notes of the F#7 chord, the major 3rd. It will be a weaker sound.

If you play the notes of the D major scale, but change one note, A natural becomes A sharp. D, E, F#, G, A#, B and C#. Then you will retain the phrygian sound but also have a much stronger harmony over the F#7 chord. I would call this scale a phrygian dominant scale and it’s actually a mode of the harmonic minor scale.

What Makes it a Phrygian Dominant Scale?

The character of the phrygian sound comes from the semi-tone interval between the root and the second. In this case, the notes F# and G. It’s dominant because it’s played over a dominant 7th chord and contains all the notes of an F# dominant 7th chord, unlike the standard phrygian scale which is minor in it’s tonality because it contains all the notes of a minor 7th chord.

If anything, this scale has an even more Spanish sound than the standard phrygian because it contains all the notes of two major triads a semi-tone apart. If you analyse the notes of the scale, it contains F#, A# and C# (F# major triad) and G, B and D (G major triad). Play these two triads one after the other or any other two triads a semi-tone apart and the sound takes you straight to Spain (the country, not just the composition). It’s the presence of these two triads that give the phrygian dominant scale it’s Spanish sound. The only other note in the scale is the E natural, which is the dominant 7th of F#, making it a Phrygian dominant scale.

Johnny Cox and Arun Maheswaran Jazz and Carnatic Music

Arun Maheswaran with Johnny Cox Mixing Jazz and Carnatic Music

In this video, Carnatic musician Arun Maheswaran is playing Mridangam and jazz musician Johnny Cox is playing his fretless Warwick Thumb SC 6-string bass guitar. Carnatic music is South Indian classical music. We’re playing a composition called Chasing Shadows by Anoushka Shankar.

Can You Mix Jazz and Carnatic Music?

Arun Maheswaran thinks you can. Arun studied Mridangam under his guru Shri K Anandandesan from the age of 10. In addition to performing and teaching the Mridangam, Arun also played the Ghatam and Udu Utar.

Recently Arun invited me to join his band Cosmic Rhythms. Which beautifully mixes Carnatic and jazz music. So, we took some time at a rehearsal to shoot this video together.

It’s been quite an education for me learning about Carnatic music. I’ve had to learn Korvai’s. A Korvai is a rhythmic phrase repeated three times in unison, each time the sub-divisions get smaller giving the impression of getting faster. Therefore, the Thalam or rhythmic structure doesn’t change. Also, Korvai’s are usually played at the end of solos or the final end of a piece.

A Koraipu is a call and response section, and as the Koraipu continues the phrases get shorter. Koraipu literally means reducing.

Why a fretless bass

The fretless bass is essential for combining Jazz and Carnatic music. The ability to bend pitches and slide between notes is essential to the phrasing in both jazz and Carnatic music. I’ve posted plenty of times about my fretless Warwick Thumb SC. I honestly believe that there isn’t a better fretless bass on the planet.