If there’s one thing we know about Motown, it’s that the grooves are deep and bass legends like James Jamerson and Bob Babbitt have given us some incredible lines to learn from. Ryan Madora runs through “Ball Of Confusion” by The Temptations in this new “Keep It Groovy” bass lesson.
Olivier Babaz is back with another “Bass & Creativity” lesson, and this time, he’s sharing a boot camp on melodic development with three concepts. Utilizing these tools, you’ll be able to come up with tons of ideas to explore.
This week in The Brown’stone on No Treble, Rich Brown is talking about FONK! That’s right, people. This lesson is an exercise in groovin’ and adding some ‘stank’ to your funk game.
Ryan Madora’s newest “Keep It Groovy” bass lesson is here, and she’s featuring one of the all-time grooviest of bass lines: “Cissy Strut” by The Meters and George Porter, Jr.
Ryan Madora has a new bass lesson series on No Treble. “Keep It Groovy” kicks off with a lesson on how to play James Jamerson’s bass line on The Temptations “Ain’t Too Proud to Beg”.
Rich Brown’s students call this bass lesson a game-changer. This week in The Brown’stone on No Treble, Rich takes a look at some Pentatonic sequential patterns that not only sound great but will also open up your fretboard in a colossal way.
This week in The Brown’stone on No Treble, Rich Brown wants to take another look at triads and inversions. In this lesson, he shows how you can use these three notes to play the II-V-I chord progression in a variety of different ways.
The best way to engage listeners is to craft a story with your music. In this “Bass & Creativity” lesson, Olivier Babaz takes a look at ideas and methods to build a story through your improvised solos and compositions.
In this lesson, Rich Brown takes an in-depth look at the Pentatonic scale. We’ll get familiar with the different Pentatonic shapes created on the fretboard and how you can open up the entire fretboard using these simple shapes.
This week in The Brown’stone on No Treble, Rich Brown’s study of triads continues, taking the lessons learned in our last one to create beautiful chords on bass (and use those same shapes to play bass lines).
In Part 2 of this series, Rich Brown continues the study of triads and inversions. You’ll be sure to gain a deeper understanding of the beautiful melodicism found within these three little notes.
Today we will explore simple ways to discretely modify the harmony while maintaining the bass movement. Once again, experimenting with the piano will help underline those modifications, but we will also cover ways to express it on the bass.