Bass Lessons - Page 3

In this video, Ari opens up the idea factory again: Octaves, chromaticism, peppered with slides and hammer-ons. These are tools to make your grooves to come alive!

In this lesson, we’ll learn how to keep it groovy by palm muting and using our thumb — a slightly different technique compared to standard finger-style playing. To practice this, we’ll play the distinctive intro part to “My Girl” by The Temptations.

Alex Lofoco returns with a new look at one of Jaco Pastorius’s earliest tunes: “Amelia,” which Jaco performed with Wayne Cochran & The CC Riders. Check out the story and transcription.

Today, Ryan Madora keeps it groovy by learning triads, following a chord progression, and applying a walking bass line by taking a page from Paul McCartney’s book and “Eight Days A Week.”

In this “Keep It Groovy” lesson, we take a look at combining our major and minor triad shapes to fit a key and chord progression. We’ll focus on the good ol’ 1-6-2-5 in the key of A.

In this “Keep It Groovy” lesson, we take a look at minor triad shapes on the bass and figure out how to transform them from an exercise to a groove.

In this “Keep It Groovy” lesson, Ryan Madora takes a look at major triad shapes on the bass and figures out how to transform them from an exercise to a groove.

Today’s “Keep It Groovy” lesson is all about versatility, understanding the fretboard, and integrating open strings. This one piggybacks off a previous lesson on playing a slow blues. This time, we’ll find the bass part in a different position.

The final installment of John Ferrara’s excellent “Tapping Technique and Composition” lesson series on No Treble is here. In this episode, John shows one way that we can accomplish playing a melody on top of an arpeggiated chord progression.

In this “Keep It Groovy” lesson, Ryan Madora plays through a very common chord progression in jazz and pop, the 1-6-2-5 chord progression. We’ll learn how to integrate different concepts to begin building a walking bass line.

In this bass lesson, Ryan Madora keeps it groovy with a nice slow blues in the key of C. She focuses on an incredibly common bass pattern for a slow blues that can also be sped up and adapted to a blues shuffle.

For his newest “Tapping Technique and Composition” lesson, John Ferrara says, “Let’s turn the bass into a drum, shall we?” The technique used in this lesson is his new favorite to play with in a solo bass setting.