Videos

Black Nylon Tape Wound Strings on Three Basses – Bass Practice Diary 126

Black Nylon Tape Wound Strings on 3 Basses – La Bella 7710N & Warwick Black Nylon – Bass Practice Diary – 22nd September 2020

This week I’ve been experimenting with putting black nylon tape wound bass strings on my basses. I’ve tried playing black nylon strings on bass guitars before, but I’ve never tried putting them on my own bass guitars. And this is my first time trying tapes on an upright bass. In the video, the double bass is strung up with La Bella Jazz Strings and both the fretless and acoustic bass guitar are using Warwick Black Nylon Tapewounds.

The advantages and disadvantages of tape wounds?

The advantages of using nylon tapewound strings over roundwound strings include, lower tension and less friction. The lower tension can be advantageous for your left hand, because it doesn’t need to press the strings down as hard. And the lower friction (the strings are very smooth to the touch) means that you potentially get less unwanted noise than you would get from round wound strings.

I have to say that my opinion was divided when it came to bass guitar vs double bass. The strings really give you surprisingly good sustain considering the lower tension. On the upright, I loved the lower tension and the greater sustain. However, I felt that on bass guitar, with the shorter scale length, the tension was too low. I’ve never liked the sound of loose strings on bass guitar, which is why I don’t own a short scale bass.

A significant disadvantage of changing your bass strings from steel strings to nylon, is that it will significantly change the setup on your bass. The neck will be under much less tension with nylon strings. So, if your bass guitar is set up for roundwound strings, then the action will completely change under the lower tension. The strings will almost certainly rattle an buzz and you’ll need to setup your bass properly for tape wounds before you can use them. This wasn’t a huge issue for me with the electric bass, because it’s easy to setup. But acoustic instruments don’t usually have adjustable bridges, which makes it more of a problem.

My Conclusions

I really liked the tapes on my upright and I’ll be keeping them on for the foreseeable future. I’ve made another video demoing these strings on this bass. You can find it here.

I quite liked them on the fretless electric bass. The lack of friction is really nice when sliding between notes. However, I miss the brightness and the added string tension of roundwound strings.

Nylon tapes are very popular on acoustic bass guitars, but I have to be honest, that I didn’t like them on mine. I’m sure it would help if I got the bass professionally setup with them. But I don’t like them enough to justify doing that. I’m going to go back to using either bronze round wound strings or half rounds on my acoustic bass guitar.

Sire Marcus Miller V7 Vintage Fretless – Bass Practice Diary 125

Sire Marcus Miller V7 Vintage Fretless – Bass Practice Diary – 15th September 2020

I’ve been wanting to feature my Sire V7 Vintage fretless bass in a video for a while. I’ve featured Sire basses in my videos before, but never this one. And this is probably my favourite of all of the Sire Marcus Miller basses I’ve played. This is the only Sire bass that I’ve played that I didn’t need to do any setting up when it came out of the box. It played perfectly from the outset and the setup has remained very stable ever since.

Sire V7 vs V7 Vintage

So, what’s the difference between this Sire V7 Vintage and the regular V7’s that I featured in this video. This bass has a body made from Ash and the fretted V7’s both had Alder bodies. However, all of the V7 models come in both ash and alder versions. This bass has a maple fingerboard, my fretted V7’s have ebony fretboards, but once again, both models come with both options.

To find the differences between the models you have to look a bit more closely, and the differences are small. The position of the bridge pickup is different. It’s closer to the bridge on the Vintage model and further away on the standard V7’s. This does give the Vintage model a slightly tighter sound on the back pickup. The Vintage models have a gloss finish on the neck, the standard V7 neck has a really nice matt feel. I slightly prefer the matt feel of the standard V7 neck, but it doesn’t make much difference to me.

I think those are the important differences. There are cosmetic differences, like the scratch plate looks different and the bridge on the Vintage model has vintage style saddles. But I’m not interested in that stuff. I’m only interested in how it plays and how it sounds.

Why I like the Sire V7 Vintage Fretless

I said that this is probably my favourite Sire bass that I’ve played. The setup is really good, but honestly that’s probably just luck with this particular bass. Sire basses are set up with a low action, which can be great but it can also go wrong, and this particular one came out well.

So, that’s not the reason I like it. The reason I like it is because it gives me something that I never thought I’d have, for a very low price. I grew up listening to legendary bass players like Jaco Pastorius and Marcus Miller playing vintage Fender Jazz basses. But it’s never been my thing to try and recreate a vintage sound. I’ve always looked forward and tried to create a modern bass sound. Investing in a proper vintage Fender Jazz bass, even a reissue, would be very expensive. And it’s not an investment that I’m willing to make when it’s not the sound I’m aspiring to make.

This Sire bass gives me a vintage style passive J style fretless bass for a price that I can justify buying it and keeping it just to have fun with. Honestly, I hardly ever play the bass with the preamp switched on. Not because the preamp isn’t good (it’s really good). But because I just want it to be a vintage Fender Jazz Bass. The fact that it has this preamp on it, which makes it capable of functioning as a modern active fretless bass, is just a bonus. It really adds to the versatility of the instrument.

I’ve even kept the flat wound strings on it, and I never play flats on my fretless basses. To be honest, the bass has the wrong name on the headstock. I know that Marcus Miller is an under rated fretless player. But every time I pick up this bass I just end up playing Jaco lines for hours. I spent years learning Jaco’s catalogue and playing it on basses that sounded nothing like his bass. Now I have the right tool for the job and I love it.

Triplet Timing Exercises for Bass Guitar – Bass Practice Diary 123

Triplet Timing Exercises for Bass Guitar – Bass Practice Diary – 1st September 2020

This is my third video of timing exercises for bass guitar. The previous two videos both involved playing odd number note groupings as 16th notes in 4/4. In this video, I’m changing the subdivision and I’m playing four and five note groupings as triplets in 4/4. All of these triplet timing exercises are written with 8th note triplets. However, if you want to take the exercises a step further, you can make them harder by using quarter note triplets or 16th note triplets.

The Exercises

The first exercise involves playing four note groupings. I’m using two arpeggios in the key of C major, a Dm7 arpeggio and a Cmaj7 arpeggio. You can use any four note grouping to do this. Four note groupings played as continuous triplets in 4/4 will arrive back on beat one after two bars. So, I’ve put the note C on beat one of bar three to complete the exercise. You can loop the exercise as many times as you want to.

Timing Exercise - Triplets in Groups of Four
Timing Exercise – Triplets in Groups of Four

Another way to play four note groupings would be to play a scale, four notes at a time. This is a C major scale played descending from G, the fifth.

Playing five note groupings as triplets is harder. The next exercise lands back on beat one at the beginning of bar 6.

Timing Exercise - Triplets in Groups of Five
Timing Exercise – Triplets in Groups of Five

Finally, this last exercise combines the four and five note groupings. It’s actually a bit more straight forward than playing just the five note groupings, because four and five makes nine. So, this is effectively a grouping of nine. And because nine is divisible by three, it fits into triplet rhythms quite nicely.

Timing Exercise - Triplets in Groups of Four and Five
Timing Exercise – Triplets in Groups of Four and Five

Naima Chords on 6-String Bass – Bass Practice Diary 117

Naima by John Coltrane: Chords on 6-String Bass – Bass Practice Diary – 21st July 2020

Naima is one of my favourite jazz compositions (I have a lot of favourite jazz compositions). I know that a lot of other musicians feel the same way about Naima, because it has an incredibly beautiful and unusual chord progression. It comes from the John Coltrane’s Giant Steps album, which I’ve featured before in my Bass Practice Diary. It was recorded in 1959, the same year as Kind of Blue, and it stands alongside that album as one of the iconic jazz albums of the 20th century.

However, Naima is not the type of composition that most people would associate with that album. Giant Steps tends to be remembered for it’s burning fast bop tunes with furiously fast key changes like the title track and Countdown. Naima is a slow ballad that Coltrane played many times, and I think many people forget that it originally featured on the Giant Steps album. However, Naima does have something in common with those other tunes I mentioned, it has an incredibly innovative chord progression.

Naima Chords

A long time ago I set myself the challenge of arranging these incredible chords on my 6-string bass. I quickly realised that I needed to change the key to get the chords in the B section to work well. The reason being, that there’s a chord in the B section with the melody note Db. The highest fretted note on a 24 fret 6-string bass is C, one semi-tone too low. So, to voice the chord accurately, you need to play the top note way down on the 13th fret of the 1st string. It isn’t wrong to do that, but it just doesn’t sound very good.

So, to make it sound better, I transposed everything down a semi-tone. I played that top note as a C on the 24th fret of the first string. An extra advantage of transposing was that I could use the open A string as the bass note, instead of the Bb in the original key. When I play Naima I also tune my E-string down to a D. I use the open string to play the peddled bass note in the A section. If you want to transpose my arrangement into the original key, then you could tune your bass up a semi-tone.

When you see Naima written in books, you normally see the chord progression in the A section written something like this.

||: Bm7/Eb | Em7 | Amaj7+5/Eb – Gmaj7+5/Eb | Abmaj7/Eb :||

Then the B section is usually written like this.

Bmaj7/Bb | Bb7b9 | Bmaj7/Bb | Bb7b9 |

Bm maj7/Bb | Bmaj7/Bb | Abmaj7/Bb | Emaj7#11/Bb

Changes similar to these feature in the jazz Real Books and the Coltrane Omnibook. I even found them on Naima’s wikipedia page (which I thought was unusual!)

The Major 7th Chords Trick

I’ve never found these Real Book chords helpful. I worked out by ear that you could create the sound of Naima by moving major 7th chords around over the pedalled bass notes. I do understand that when you change the bass note, you change the chord. So, a lot of these chords don’t function as major 7th chords. I gave the example in the video that when you play an Fmaj7 chord over a D bass note, you get the sound of Dm9.

Recently, I was playing Naima with a Saxophonist, and we were using the Real Book chord changes. I mentioned to him that I’ve always thought of the tune as being entirely made up of major 7th chords over pedalled bass notes. He told me that a scrap of paper had been discovered with John Coltrane’s handwritten chords for Naima. They were written out for Tommy Flanagan, the pianist on the original recording. Coltrane had written every chord as a major seventh chord.

I wasn’t sure I believed that this piece of paper really existed. I wanted to believe it, because it tied my way of thinking about the tune to Coltrane’s way of thinking about the tune. But, if such a piece of paper existed, then why do all the books and publications still stick with this unnecessarily complicated way of writing out the harmony? So, today I did some research to see if there was any legitimacy to the story. This is what I found.

John Coltrane's Handwritten Naima Chords
John Coltrane’s Handwritten Naima Chords

It just goes to show the power that the jazz Real Books have had in defining how we think about jazz standards. Once a tune is written in the Real Book. The Real Book chord changes become the definitive chord changes that everyone uses. But often, the changes in the Real Books are very different to actual chord changes.

How I Play the Chords on 6-String Bass

This is how I’ve arranged the chords on my 6-string bass. I can’t pretend that this is 100% like either the Real Book changes or the Coltrane changes. It’s simply the best way that I’ve found to recreate the sound of Naima on a bass guitar.

Naima Chords – A section
Naima Chords – B Section

“Changes in Rhythm” based on Rhythm Changes – Bass Practice Diary 115

“Changes in Rhythm” 6-String Bass Solo based on Rhythm Changes – Bass Practice Diary – 7th July 2020

This morning I released this solo bass piece called “Changes in Rhythm” as a demo of my new Overwater Hollowbody 6-string bass. The demo video featured just the sound of my solo bass playing along with a percussion track. But for those of you that follow my Bass Practice Diary videos, I wanted to release this version of the same video. It includes chords, that I added to help demonstrate the harmonic structure, and bass TAB for 6-string bass.

Transcription with 6-String Bass TAB

I wrote this based on the popular jazz chord progression Rhythm Changes. The chord changes that I’ve included on this version of the video more or less represent what I was thinking about when I wrote it. Although I was often thinking about building lines from chord substitutions that could then be played on the original changes.

Rhythm Changes was very popular in the Bebop era. Charlie Parker wrote a few tunes on this progression. My focus was on putting together a solo that uses some of the Blues and Bebop style of lines from that era, but with a totally different time feel, hence the title.

The middle 8 departs most radically from a traditional Rhythm Changes. I’m using lots of natural harmonics to make chords. But it still follows the cycle of fifths that everyone knows from the middle 8 of Rhythm Changes. Here is the piece in full.

Changes in Rhythm
Changes in Rhythm

Fretless Bass Line with Bass TAB – Bass Practice Diary 114

Fretless Bass Line with Bass TAB – Bass Practice Diary – 30th June 2020

This is a fretless bass line that I wrote recently as part of a piece I’m working on. During the lockdown I’ve been trying to keep my creativity going by writing some music. The drums are provided by my good friend Lewis Davies who has appeared on my channel before.

The Bass Line

Fretless Bass Line
Fretless Bass Line

The bass line has a triplet feel. I’ve written it in 4/4 but I could have written it in 12/8. If you’ve read my book Electric Bass: Improve Your Groove then you’ll know that I like to count triplets with the syllables ta-ki-ta. Using those syllables, the two ta’s become the beat and off beat in a shuffle or swing feel. But I think it’s how and when you use the other syllable, ki, that can make a triplet feel really pop. Notice that I’ve placed a note on this subdivision after the second beat in every bar of this bass line. To my ears, that is what defines the character of this line.

If you’d like to check out another of my fretless bass lines with bass tab, then you can find one here.

My 6-String Warwick Thumb Bass – Bass Practice Diary 108

Warwick Thumb Bass – 6-String Bolt-on Broad Neck – Bass Practice Diary – 19th May 2020

This week I was servicing my 6-string Warwick Thumb bass when I realised that I’ve never featured it in a Bass Practice Diary video. Recently I did a video in which I renovated my first childhood bass. But this Warwick Thumb bass has even more significance to me. It was my first 6-string bass, and I’ve played this bass more than any other instrument in my life. This is probably a slightly self indulgent Bass Practice Diary video, but I thought this might be interesting for my fellow Warwick bass enthusiasts.

A couple of times each year I take this bass out and service it. I change the strings, polish the frets, oil the fretboard with lemon oil and treat the natural oil finish with surface finishing wax. That’s what I was doing this week when I realised that I’ve never featured this bass before in one of my Bass Practice Diary videos. You’ll only recognise this bass if you’ve followed some of my old, old videos from before I started my practice diary.

How I Came to Own It

I’ve owned this bass since I was 19 years old and it was my first 6-string bass. I was at music college at the time and I had a teacher that played 6-string bass. At that time I was still playing mostly 4-string. I owned a cheap 5-string bass, but it wasn’t good and I rarely played it. My main basses were a fretless Mexican Fender Jazz Bass and a Gibson USA Les Paul Bass, both of which I’d picked up second hand.

It was a good time for buying second hand. I couldn’t afford a good new bass and at that time. And you could pick up second hand instruments for a fraction of their value new. These days, I look at the high prices of second hand instruments and I wonder why anybody buys them.

My dream bass in my late teens was a Warwick. I’d never played one up to that point. But they were very popular at that time among pro and semi-pro bassists. So I heard them a lot in the live music venues that I regularly visited. They had a very distinctive tone, and that tone, to me represented what a modern electric bass should sound like.

So I dreamed of buying a Warwick bass and, inspired by my teacher, dreamed of playing a 6-string bass. So, for months I scoured the internet for a second hand 6-string Warwick bass that I could potentially afford, assuming I sold all my other basses.

My Warwick Thumb Bass

It’s a difficult instrument to play. The neck is massive, both deep and wide. It has a 34 inch scale, which is standard on Warwick basses and it has 20mm spacing between the strings, which makes it a broad neck model. Over the years, I’ve seen many bass players try and play this bass and fail. This bass was built for tone not playability. It’s heavy and it doesn’t balance very well on the strap. It balances well on your lap when you sit down and play it which makes it a good bass for recording, but gigging is hard work.

The best way to get it to balance is to put weights on the strap, which adds to the weight of an already very heavy bass. I would always have a very stiff and aching shoulder the morning after any gig. It’s remarkable really that I used this as my number one bass for 10 years. I thought for a long time that this would be my number one bass for my entire career. It was so much a part of my sound and my playing style. But eventually, practical considerations took over, and using a bass that is as heavy and as distinctive sounding as this one is just not practical in many situations.

The bass is made from solid Ovankol, which is a heavy tone wood, similar in it’s tonal characteristics to Rosewood. The fretboard is made from Wenge. The pickups are MEC Soap-bar and the active circuitry features Bass and Treble controls and an active/passive push/pull control on the volume knob.

It’s a bass that really needs to be your number one. It’s hard to play, so if you’re going to master it, you need to spend lots of time with it. If you stop playing it regularly, it’s very hard to pick it up again which is why you don’t see me playing it very much any more. It’s a shame because it’s a bass that means a lot to me, and I learned so much with it.

Vester P Bass Demo With Fender Pickup – Bass Practice Diary 105

Fender Custom 62 Precision Bass Pickup on Vester P Bass Demo – Bass Practice Diary – 28th April 2020

This is a quick demo I recorded this week for my Vester P Bass (Vester Stage Series). The bass sound is completely unedited. I wanted to try and give you the clearest idea of what the bass sounds like now that I’ve installed a Fender Custom 62 Precision bass pickup. The bass was recorded directly from the line out of my Markbass Little Mark III. All the EQ on the amp was set flat. I did no editing after recording and I didn’t add any EQ, effects, compression or anything else.

Last week I ripped all of the rusty old electronics out of this 26 year-old bass and I installed a new Fender Custom 62 Precision bass pickup on it. This week I’ve been playing this bass, the first bass I ever owned, for the first time in about 20 years. It’s bought back all kinds of memories of my childhood. And I’ve found myself remembering things that I used to try and play in those early days of learning to play the bass. That’s why I’ve recorded a shuffle blues here, because my abiding memory of this bass is playing shuffle 12-bar blues when I was 11, 12 & 13 years of age.

My First Childhood Bass

It’s funny, this was the first bass I ever owned, but it’s entirely different to any of the other basses that I’ve owned since. I’ve never owned a Fender Precision (or Squier) and I currently don’t own another bass that has a P style pickup on it. It’s also the only bass that I’ve ever owned that has a maple fretboard.

It’s easy to look back at your first instrument with a kind of misty eyed nostalgia, but the truth is, for me, this bass unconsciously became a kind of blueprint for how I didn’t want my future basses to be. Thinking back to my first ever bass teacher, he played a proper Fender USA made Jazz Bass. My Vester suffered in comparison, and I’m sure that unconsciously coloured my opinions of J and P style basses ever after. Later in my teens, as I started to hear modern style active basses like Warwicks. They became my blueprint for what I thought a great bass tone should be, and I moved further away from P style basses.

I remember that the electronics stopped working when I was in my late teens. I did try to get them working again, with some initial success. By that point, I already owned a newer 5-string bass. And when the electronics stopped working a second time, I didn’t have the money or the expertise to fix it. So, for about 20 years, the Vester Stage Series P Bass sat unused in a flight case in the loft. Only coming out when I moved house, or I needed the flight case to take a different bass on tour.

Vester Stage Series P Bass

What I didn’t appreciate as a child, is that there’s actually some really good things about this bass. The best thing about this bass, by far, is the neck. It’s a really good playable maple neck. I entirely failed to appreciate this as a child because I didn’t have enough experience of playing bass necks. The original bridge on the Vester is also an excellent copy of vintage style Fender P Bass Bridge. It’s still on the bass and in perfect working order, as are the Fender style tuners. It was such a good copy of a Fender P bass that Fender successfully sued them. The basses were no longer manufactured after that.

The biggest problem with the bass originally was that it wasn’t very inspiring to listen to. If only I’d known in the 90’s how easy it is to change the pickup on a P style bass.

Installing a Fender Custom 62 Precision Bass Pickup

Installing the Fender Custom 62 pickup couldn’t have been easier. It was actually much harder to get the old pickup out than it was to put the new pickup in. The screws holding the old pickup in place were so rusty that the screw heads had virtually disintegrated. Meaning that unscrewing them was impossible. I had to break the old pickups to remove them, and then remove the old screws with pliers.

Putting in the new pickup was as simple as, finding the position of the pickups using the old scratchplate, making new holes for the four screws and then soldering two wires. The Fender Custom 62 Pickup comes with a white wire and a black wire. And a diagram showing you where to solder them.

Apart from installing the pickup, the other work I did included changing all of the wiring, pots and input, cleaning and polishing the frets and the fretboard and installing a new scratchplate with access to the truss-rod. The video was shot just before the new scratchplate arrived, so here’s a picture of the finished bass.

P Bass Demo
Vester Stage Series P Bass with Fender Custom ’62 Precision Bass Pickup

The Guitar Solo

The guitar solo in the video is part of a transcription I’ve been working on this week from Frank Gambale. Here is a PDF of the transcription with guitar TAB.

6-String Bass Solo & Chords – Bass Practice Diary 103

6-String Bass Solo & Chords with Bass TAB & Chord Diagrams – Bass Practice Diary – 14th April 2020

This week I’ve transcribed a 6-string bass solo that I played in practice. It follows on from what I was doing last week, finding creative ways to use pentatonic scales in jazz solos. These days I often practice the same ideas on both guitar and bass. In this case I started by playing some pretty chords on the guitar. Then I came up with two pentatonic scales, a tone apart, that worked on each chord. So, each chord had a different pair of scales. I then tried to improvise lines on my 6-string bass using the two pentatonic scales plus a third outside scale that sits exactly between the two scales. Using this idea I was trying to create inside/outside jazz lines in the same way I did for my pentatonic jazz lick last week.

The Chords

Having done this I then switched it around. So, I worked out how to play the chords on my 6-string bass and I improvised solo lines using the same system on the guitar. Here are the chords and scales that I used in the video.

The first chord is Emaj9, and the two inside scales are C# minor pentatonic and D# minor pentatonic. The reason I chose those two chords is that I was thinking of the Emaj9 chord as lydian, and those two scales spell out the E lydian sound very well. The outside scale would have been D minor pentatonic, but I didn’t use it on the solo I included in the video.

I then played a sequence of major chords over a peddled E bass note. D/E creates an Esus chord and I used the B & C# minor pentatonic scales and C minor pentatonic for the outside notes. Then on C/E I used A & B minor pentatonic and Bb for the outside notes and then A/E I used F# & G# minor pentatonic and G for the outside notes. In each one of these slash chords I was thinking of the major chord as being lydian.

Finally I played an Em9 chord which I treated like a II-V-I in D major, exactly as I did last week. In fact, I tried to used the lick from last weeks video on this chord. I didn’t execute it perfectly but the idea still came across.

The Solos

These solos are a long way from being perfect, they represent what I’ve been working on this week, which is the point of my bass practice diary. I’m including the transcriptions here to help you see my thought processes as I tried to create these lines. But I’m sure that you can take these ideas and improve on what I’ve done, which is what I’m going to do as well. It’s actually a great exercise to transcribe your own solos, because you can immediately think about how you would do it better next time. Here is the bass solo I played in the video.

6-string Bass Solo featuring Inside/Outside Pentatonics
6-string Bass Solo featuring Inside/Outside Pentatonics
6-string Bass Solo featuring Inside/Outside Pentatonics

Here is the guitar solo.

Guitar Solo featuring Inside/Outside Pentatonics
Guitar Solo featuring Inside/Outside Pentatonics

Chord Tones in Jazz Solos – Bass Practice Diary 101

Chord Tones in Jazz Solos – Bass Practice Diary – 31st March 2020

When you’re playing a jazz solo, is it better to think about scales or chord tones (arpeggios)? I’ve heard musicians having that kind of debate before, but I’m presenting it here as a bit of a trick question. Because the chord tones exist within the scales so why would you think of them as being two separate things. I think it really helps if you focus on chord tones in jazz solos. You could think of your improvised lines as being lines that connect the chord tones.

Connecting Chord Tones

Chord tones are probably the strongest notes that you can use in a melody. But if you play melodic lines that only use chord tones, they can sound boring and formulaic. So I try to find ways of showcasing the chord tones in my solos by placing them in key places, like at the start and end of phrases. Scales are a great way of connecting up chord tones, so my advice is to always know where the chord tones are, even when you’re using scales.

I’ve featured the altered scale before in my Bass Practice Diary. It’s a great way of creating an outside sound on dominant 7th chords. It works because it features the three strongest chord tones in a dominant 7th chord, the root, 3rd and 7th. But the other four notes in the scale are outside notes or altered notes, b9, #9, b5 and b13. If you feature those altered notes too heavily it can sound very uncomfortable. But if you use them as notes to connect up the three chord tones it can create some really cool tension and release.

So, to take advantage of that, you need to know where the chord tones are. Here’s a C altered scale with the root, 3rd and 7th marked.

C altered scale with C7 chord tones
C altered scale with C7 chord tones

Here are some simple lines I came up with that connect chord tones on a C7 chord. This one starts and finishes on the root.

C7 altered lick – Root to Root

This is the same lick finishing on the 7th.

C7 altered lick – Root to 7th

Here’s one that starts on the root and finishes on the 3rd.

C7 altered lick – Root to 3rd