the online magazine for bass players

Search Menu
  • Should I Be Afraid of Breaking the Rules of Harmony When Composing?

    Should I Be Afraid of Breaking the Rules of Harmony When Composing?

    Q: I have been playing bass for others for years but when it comes to writing my own music I constantly question myself about the rules. I understand if it sounds good play it but, “what key could this be and, can I play a dominant 7 here, and will it still be in a... »

  • The Lightbulb Moment: Substitutions

    The Lightbulb Moment: Substitutions

    For those of you who haven’t noticed, I enjoy learning about food almost as much as I enjoy exploring the bass. Lucky for me, there are plenty of parallels between the world of food and the world of music. Both rely on unique combinations of ingredients in order to make a final product. Both can... »

  • Talking Technique: Drills for Fills – Applied

    Talking Technique: Drills for Fills – Applied

    In episode 22, we introduced a way of practicing scales that uses intervals rather than going up and down the scales themselves. We went over thirds, which gives you great materials for runs, fills, and solos. Someone asked in the comments if I could give some examples of how to use the material in a... »

  • Progressions: A Guide to Making Practice Productive and Fun

    Progressions: A Guide to Making Practice Productive and Fun

    Q: I’m just now three weeks in to my bass lessons so I apologize for the “newb” question. Where can I go to find songs in a specific chord progression that I can play along with? For instance, I’ve learned 12 bar blues in G Major. Now I’m doing web searches to find tunes I... »

  • Exploring Turnarounds

    Exploring Turnarounds

    Q: I really enjoy and find great value in your columns on No Treble. In your last column, you discussed the modal and chordal approaches and mentioned this: “Don’t forget to also practice and transcribe things, which will make you a stronger bassist (walking, common endings and turnarounds, time, various time-feels, and so on.)” Could... »

  • Blues Endings: Tips for Avoiding the Train Wreck

    Blues Endings: Tips for Avoiding the Train Wreck

    Early on in my musical career, a wise man once told me that the mark of a good band is one that starts together and ends together. This doesn’t mean that whatever is played in the middle doesn’t matter, but it alludes to the importance of how well-rehearsed the players are or how well they... »

  • The Blues Shuffle: It’s All About the Feel

    The Blues Shuffle: It’s All About the Feel

    Aside from knowing the 12 bar blues progression, familiarization with different bass patterns and feels becomes crucial. Since many songs have the same progression, the pattern and/or feel is the main characteristic that differentiates one blues from another. This column will focus specifically on the feel, how to differentiate one kind of shuffle from another... »

  • Lesson: Melodic 2-5-1 Mutation

    Lesson: Melodic 2-5-1 Mutation

    In one of my earlier lessons I talked about using melodic minor scales to create different degrees of altered tension over functional dominant seventh chords. I got a request from a No Treble reader named Mark, asking for ii-V-I applications. Mark, this lesson is for you! We’re going to focus on different ways to reharmonize... »