In this video lesson, we'll practice and explore the harmonic possibilities of combining bass playing with one or two top notes. Follow along with the video and topic outline.
We are all used to seeing younger bassists playing amazing technical things on bass. Tim Fletcher returns with a new transcription focusing on Juliaplaysgroove’s impressive cover of Dua Lipa’s "Don’t Start Now."
Alannah Myles’ iconic tune “Black Velvet” features a fill that is pretty challenging. Originally played with synth bass, we might be tasked to play that line. Ari covers this (and all the benefits) in this episode of “Talking Technique.”
Three-note-per-string patterns offer a lot of opportunities for lightning-fast licks. In this episode of Talking Technique, Ari shows us how to get started with the idea of them by practicing a scale all across the bass in speed lick fashion.
This is the twelfth (and final) entry of the “Unsung U.S. Bassists” series is here, and this one is just in time for the holidays. Check out Tim Fletcher’s transcription and analysis for the bass line on “Christmas Wrapping” by The Waitresses.
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.