Skip to main content

Bass Line Construction Archives - Page 2

Bass Transcription Analysis: Getting Inside Cannonball Adderley’s C7 Lick
Creative Bass Lines

Bass Transcription Analysis: Getting Inside Cannonball Adderley’s C7 Lick

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...

Talking Technique: Sting Groove Workshop
Talking Technique

Talking Technique: Sting Groove Workshop

Inspired by a Sting bass line, I’m bringing you a groove creation workout today. We’ll cover how to create your own bass line using a simple formula that will have you coming up with ideas for workable grooves every time. We also shine a light on the correct use of pentatonic scales and top it all off by learning Sting’s...

What Scales Do I Use Over a Minor ii-V Progression?
Ask Damian Erskine

What Scales Do I Use Over a Minor ii-V Progression?

Q: I have a question about minor ii-V’s. In a major ii-V7-I progression, each chord is diatonic to the I chord. The ii chord is Dorian, the V chord is Mixolydian and it resolves to a Major tonic. In a minor ii-V, the 1 would be natural minor, which makes the ii chord Locrian (7th degree of the major scale)...

Creative Bass Lines: Lydian Triad Pairs
Creative Bass Lines

Creative Bass Lines: Lydian Triad Pairs

Today, we dive into something new – superimposing Major triad pairs derived from Lydian Mode Harmony over a Major 7th chord. The examples on the video are over an F Major 7th chord, and I am using a neat little looper for this. It’s a great practice tool. In the video (and transcription) I take you through the basic major...

Getting Away from Playing the Root on Beat One
Ask Damian Erskine

Getting Away from Playing the Root on Beat One

Q: I play mostly jazz and am a pretty facile walker, but I’ve gotten into the habit of playing lines that almost invariably lead to the root being on the 1 (or the 3 if it’s a 2-chord measure in 4/4, etc.). While I am guessing that some of the folks I play with don’t mind the solid anchor, I...

Advanced Bass: How to Play Across the Bar Line
Advanced Bass

Advanced Bass: How to Play Across the Bar Line

In this lesson, we’ll take a deep dive inside the world of playing across the bar line. Equally as relevant for both your solo lines and your groove playing, we will cover how to play across the bar line by using “Time Signature Superimposition” that will take your phrasing to a whole new and exciting level. Follow along with this...

Creative Bass Lines: The Chameleon Variations
Creative Bass Lines

Creative Bass Lines: The Chameleon Variations

In this lesson, I’ve taken a pretty classic and fairly easy to play bass part from Herbie Hancock’s “Chameleon” and given you a few examples of how to use that as a springboard for creating other bass lines around that core groove. This can be really useful when playing under multiple soloists on the same tune. It’s not always enough...

Talking Technique: Pull Off Pentatonics
Talking Technique

Talking Technique: Pull Off Pentatonics

Pentatonics using hammer-ons and pull-offs sounds great, but maybe you have noticed that if you stay within the same pentatonic pattern, you can only hammer on certain notes. In an effort to go beyond that, we are stringing two pentatonic patterns together so that we can pull off pull offs from every single note. I’ll show you two major pentatonic...

Talking Style: I’ve Got To Use My Imagination
Talking Style

Talking Style: I’ve Got To Use My Imagination

One of the things that I love about doing this column is that I sometimes find unlikely pairings – like this one. I didn’t know that Bon Jovi’s Hugh McDonald played bass on this extremely funky joint, “I’ve Got to Use My Imagination” as performed by Gladys Knight and the Pips. The song was written and originally performed by Barry...

Creative Bass Lines: Funking with the Dorian Mode and the Blues Scale
Creative Bass Lines

Creative Bass Lines: Funking with the Dorian Mode and the Blues Scale

Welcome back to the third installment of Creative Bass Lines. Before we start, I’d like to take a moment to say a fond farewell to the amazing Victor Bailey who sadly left us way too soon a few days ago. Victor was an enormous influence on me, and his highly melodic yet super funky playing made an indelible impression on...

Advanced Bass: How to Use Melodic Quotes in Your Solos
Advanced Bass

Advanced Bass: How to Use Melodic Quotes in Your Solos

The use of melodic quotation is prolific within the genre of jazz and its related modern styles. In this lesson, we’ll cover how to use melodic quotes in your solos and breakdown some of the commonalities used by many great jazz masters. Applying this to two choruses of a B? blues progression, we’ll take a step-by-step analysis which includes taking...

Creative Bass Lines: Beat Displacement
Creative Bass Lines

Creative Bass Lines: Beat Displacement

Here we have the second installment of the Creative Bass Lines, and this month, it’s “Bass Gruv”. For this we’re looking at a Headhunters-esque bass groove I wrote. This would fit the harmony of an E dominant 7th chord, or for a crunchier sound, try setting up a vamp with an E7?9, too. I wanted to introduce some of you...