Rich Brown is back with the second installment in his “Brown’stone” lesson series. In this lesson, Rich expands on the Metronome Study Series, taking two-note phrases through the 16th note subdivision in a very simple (but very hip) way.
Triads versus four-note chords – which are harder? Your gut reaction to that question may be that four-note-chords are harder. Ari tackles this topic in this bass lesson.
In my very first lesson, I’ll be taking you through some fundamental exercises dealing with time and groove. We’ll start with the basics of playing with a metronome, and we’ll get into more challenging exercises based on the 16th note subdivision.
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.
Tim Fletcher is back with a new bass transcription, and this one also includes an interview and analysis. Check out the transcription (and the story behind it) on Ariane Cap’s “El Soprano Diddle”.
Tim Fletcher and Troy Hughes’ epic project “Kansas: Leftoverture – The Complete Basslines” has reached its fourth chapter, featuring Dave Hope’s work on “Miracles Out Of Nowhere”.
For this lesson, we'll be looking into some alternate Lydian colors. We will take a look at the colors and applications of the Augmented Lydian and Dominant Lydian, both as full modes and as temporary colors integrated within more usual chord sequences.
In this lesson, we take a look at a way to build speed and effectiveness in recognizing intervals. We'll also learn to deduce chords and scales by ear through improvisation. Once again, the addition of piano with the right hand is a great way to expand our options from a bass perspective.
This new lesson focuses on using transposition cycles applied to both chord colors and intervallic shapes to offer an alternative to diatonic harmonization.
Part 3 of Tim Fletcher’s and Troy Hughes’ project, “Kansas: Leftoverture – The Complete Basslines”, features Dave Hope’s bass line for “What's On My Mind.” This includes a full transcription (with tab), analysis, playing hints, and playthrough video.
This Bass & Creativity lesson is the second part about alterations of dominant chords. Today Olivier Babaz takes a look at b9 and #9 added to a 7 chord within a II V I.
One way of applying your tapping skills to either a solo context or with a small ensemble is to create both chordal and bass line accompaniment at the same time. In this new “Tapping Technique” lesson, Josh Cohen covers this topic.