the online magazine for bass players

Search Menu
  • Should I Bother With Modes?

    Should I Bother With Modes?

    Q: First of all thank you very much for your past reply to my question! Lately while working on improvisation and in particular on linear melody through changes, I started asking myself why I should bother with modes. For instance, if there’s a Fmin7 moving to an Amin7 chord and I want to think about... »

  • Playing Outside the Harmony

    Playing Outside the Harmony

    I often get the question about how to play “outside” the changes. There’s no easy answer to this, but I do have several tips to keep in mind. This week I made a video to dig into how to create tension and release by playing outside of the harmony. »

  • What Scales Do I Use Over a Minor ii-V Progression?

    What Scales Do I Use Over a Minor ii-V Progression?

    Q: I have a question about minor ii-V’s. In a major ii-V7-I progression, each chord is diatonic to the I chord. The ii chord is Dorian, the V chord is Mixolydian and it resolves to a Major tonic. In a minor ii-V, the 1 would be natural minor, which makes the ii chord Locrian (7th... »

  • The Lightbulb Moment: Key Change!

    The Lightbulb Moment: Key Change!

    There comes a time in every player’s life when we listen to a song and are able to identify a perfectly executed lift in tonal center. The energy heightens, the chorus takes on a slightly new character, and the band keeps grooving with a new sense of intention. This extraordinary moment can only be one... »

  • Getting Away from Playing the Root on Beat One

    Getting Away from Playing the Root on Beat One

    Q: I play mostly jazz and am a pretty facile walker, but I’ve gotten into the habit of playing lines that almost invariably lead to the root being on the 1 (or the 3 if it’s a 2-chord measure in 4/4, etc.). While I am guessing that some of the folks I play with don’t... »

  • Advanced Bass: Giant Steps Plays the Blues

    Advanced Bass: Giant Steps Plays the Blues

    “Giant Steps” is well known as a challenging workout for all aspiring jazz musicians to learn. In this lesson, we’ll cover how to superimpose “Coltrane Changes” over the first 4-bars of the Blues with a fingerboard friendly symmetrical pattern that will open doors – both harmonically and stylistically into the world of John Coltrane. Download... »

  • How to Reharmonize a Song

    How to Reharmonize a Song

    Q: I’ve heard jazz musicians talk about “reharms”, which are just reharmonization of a song (or so I’m told). Can you explain how to “reharmonize” a song? A: There was a time where I was also mystified by whatever the process of reharmonizing a tune might be. I figured that it must require some deep,... »

  • Advanced Bass: Playing over Minor II V Patterns

    Advanced Bass: Playing over Minor II V Patterns

    In this Advanced Bass lesson, we’re diving into the realm of playing over minor II V patterns. I’m including a solo etude along with two skill developing drills as we work step by step through a common chord progression. This lesson includes an easy to follow chart (PDF) detailing the specifics of this lesson providing... »

  • Advanced Bass: Diminished II V Substitution

    Advanced Bass: Diminished II V Substitution

    A cool harmonic concept that bebop players have used for years is substituting dominant 7th chords – built in minor 3rds – over the V7 chord of the key. In this lesson, we’ll cover this concept to learn the possibilities of Diminished II V chord substitution over the II V I progression. Follow along with... »

  • Where to Use Whole Tone and Other Scales

    Where to Use Whole Tone and Other Scales

    Q: So, do you play whole tone scales over the ♯5, and altered scales over the dominant chords. Major chords – do use use whole tone? Minor scales – do use use dorian? or a jazz minor? A: Much of what goes into deciding what scale to use over any given chord is all about... »