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.
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.
What do you think people mean when they say, “play compositionally”? That’s the question a reader sent Damian this week. Check out what he has to say on the subject.
Some people call it “serving the song.” In Ryan’s new “Lightbulb Moment,” she talks about playing inside - and sometimes - outside the box, including covering the literal box patterns on bass.
This week, Damian received a question about creating bass lines with minimalism and implication versus overt and fuller harmonic context. This is a deep question, so instead of just writing about it, he decided to make a video to play through some ideas and talk it out.
In this video from the road, I decided to respond to an email requesting some contextual examples of how I might use a few of the “licks and fills” from my book, Right Hand Drive. After a handful of technical difficulties and the majority of my day off spent filming in a hotel room, I present to you… Real world...
In this video, I’ll talk you through the basics of developing a walking bass line in addition to demonstrating a few approaches. There’s also a nice exercise at the end that’ll really challenge most of you as you explore new ways to navigate chord changes. Enjoy! Follow along with this chord chart I used in this lesson.
This week, we’re diving into the topic of getting to know (and map out across the fretboard) every interval on the bass. We’ll also focus on ways to try and turn them into licks and melodic patterns that you probably wouldn’t have thought of otherwise.
Welcome back to another column, and today we’re diving further into jazz-related harmony with a look at starting to get inside two of the most useful modes from the melodic minor scale. The full line is demonstrated right after the opening title credits, with a little backing groove, and then during the video, I dissect and explain it for you....
In our last series of lessons, we had a look at a chorus of a Bob Mintzer blues over four episodes. Well, today we are putting just two bars of music under the microscope. This line is from a Cannonball Adderley solo on a tune called “Limehouse Blues.” Now the line itself isn’t super tricky, but in this pretty intensive...