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Bass Line Construction Archives

Keep It Groovy: Adding Grace Notes To Your Funky Blues
Keep It Groovy

Keep It Groovy: Adding Grace Notes To Your Funky Blues

In this episode of “Keep It Groovy,” Ryan Madora features a funky bass line over a 12-bar blues progression. She uses the blues box pattern but adds a few grace notes for maximum funk.

Keep It Groovy: How To Create a Groove Using The E Minor Pentatonic Scale
Keep It Groovy

Keep It Groovy: How To Create a Groove Using The E Minor Pentatonic Scale

In this episode of “Keep It Groovy,” Ryan Madora shows us how to build a groove using the e minor pentatonic scale as our groove prompt. It can be extremely helpful to give yourself a starting point, both rhythmically and harmonically.

Keep It Groovy: Basic Tips For Improvising A Bass Line While Jamming Or Recording
Keep It Groovy

Keep It Groovy: Basic Tips For Improvising A Bass Line While Jamming Or Recording

Ryan Madora’s latest “Keep It Groovy” lesson is all about finding a simple yet effective part to accompany a song. Here are some basic tips for improvising a bass line. Always let the chord progression be your guide and keep it groovy!

The Brown’stone: The Funkiest Note in the World!
The Brown’stone

The Brown’stone: The Funkiest Note in the World!

To start off this new Brown’stone lesson, Rich Brown says "We're not messing around today." Why? Because he's showing us the funkiest note in the world (and how to use it in your lines).

Keep It Groovy: Improvising Over The I-V-vi-IV Chord Progression
Keep It Groovy

Keep It Groovy: Improvising Over The I-V-vi-IV Chord Progression

Here’s a fun lesson on improvising over an extremely common chord progression, the “I-V-vi-IV”! We’ll be working in the key of A and I’ll break down the process of moving from chord to chord, connecting notes within the arpeggio, and creating your own bass line.

Keep It Groovy: Adding Accents To Your Pulsing Bass Line
Keep It Groovy

Keep It Groovy: Adding Accents To Your Pulsing Bass Line

Ryan Madora is back with a new “Keep It Groovy” bass lesson. This one focuses on adding variety to eighth note grooves by adding rhythmic and tonal accents to pulsing eighth notes to provide shape and movement to an otherwise "root centric" line.

Keep It Groovy: Adding Accents To Your Pedaling Bass Line
Keep It Groovy

Keep It Groovy: Adding Accents To Your Pedaling Bass Line

Ryan Madora’s new “Keep It Groovy” bass lesson is here, and it’s a follow-up to the previous one about pedaling vs. pulsing eighth notes. In this one, she shares a few ways to add accents and pizzazz to our bass line.

Keep It Groovy: Build Your Bass Groove – Using Octaves And Palm Muting
Keep It Groovy

Keep It Groovy: Build Your Bass Groove – Using Octaves And Palm Muting

In this “Keep It Groovy” bass lesson, and this time around, Ryan Madora is focusing on building your bass groove through the use of octaves and palm muting.

Bass & Creativity: Suspended Chords & Modes, Part 1
Bass & Creativity

Bass & Creativity: Suspended Chords & Modes, Part 1

In this “Bass & Creativity” lesson, Olivier Babaz focuses on the beautiful colors made through suspended voicings. He walks through the basics of sus4 & sus2 chords and their most common use.

Talking Technique: The Magic Behind “Steal My Kisses”
Talking Technique

Talking Technique: The Magic Behind “Steal My Kisses”

You probably already know “Steal My Kisses” by Ben Harper, and the excellent bass line by Juan Nelson. In today’s “Talking Technique” lesson, Ari breaks this down with a focus on “Tenths” over I vi IV V pattern.

Sounding Organic In The Moment
Ask Damian Erskine

Sounding Organic In The Moment

This week a reader asks Damian for advice on how to “organize material and approach a solo without sounding scholastic or predictable.” Check out what Damian has to say on the subject.

Vertical Soloing: Using Minor Pentatonic on Five Chord Types
Vertical Soloing

Vertical Soloing: Using Minor Pentatonic on Five Chord Types

In this lesson, Lorin Cohen illustrates how to use one minor pentatonic scale over five chord types. In this case, using the B minor pentatonic scale to play over a progression. This illustrates what Lorin calls a “vertical” approach to soloing, where we create lines that move swiftly up and across the fingerboard.