Bass Lessons

The recent protests in Chile inspired Marcelo Cordova to take on “El Derecho de Vivir en Paz” (“The Right to Live in Peace”), a hymn composed by Víctor Jara that Marcelo says “unites all Chileans.” Marcelo turned it into a solo bass piece. Here’s his transcription.

Tim Fletcher’s eleventh entry of the “Unsung U.S. Bassists” series includes his transcription and analysis of Greg T. Walker's bass line on "Highway Song" by Blackfoot.

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.

Tim Fletcher’s tenth entry of the “Unsung U.S. Bassists” series is here. Check out his thorough background, analysis, and transcription of Kasim Sulton's bass line on "You Took the Words Right Out of My Mouth" by Meat Loaf.

In this episode, Ari covers another chromatic workout. These chromatic lines are really fun to play, and they’re also a great technique workout for both our right and left hands. Not only that, they’re basically the musical application of permutation exercises.

Tim Fletcher’s ninth transcription of his “Unsung U.S. Bassists” offers an excellent analysis of Deon Estus’ bass line on “Club Tropicana” by Wham!

Tim Fletcher’s eighth transcription of his “Unsung U.S. Bassists” offers an excellent analysis of Dennis Dunaway's bass line on "No More Mr Nice Guy" by Alice Cooper.

In this new episode of “Talking Technique,” Ari is giving us the ultimate challenge for our right hand technique. Can you alternate your index and middle fingers throughout this demanding plucking exercise?

In this lesson, Lorin Cohen shares an arpeggio exercise that develops our “Vertical” approach to the fingerboard and the ability to ascend swiftly up the neck.

Tim Fletcher is back with his seventh entry of the “Unsung U.S. Bassists” series. Check out his bass transcription and analysis for Ronnie Baker's line on "Bad Luck" by Harold Melvin and the Bluenotes

Here’s another “Chromatic Acrobatic Phantasy” for you to shed your technique. Chromatic approaches sound exciting and driving. How can you use them in your grooves? Can you pull off the fast version while staying relaxed? Have a go at it, it’s worth it.

Tim Fletcher is back with his sixth entry of the “Unsung U.S. Bassists” series. Check out his transcription and analysis for Chris Ethridge’s bass line on “Hot Burrito #2” by The Flying Burrito Brothers.