Bass Line Construction Archives - Page 2

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).

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.

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.

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.

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.

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.

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.

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.