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Bass Lessons - Page 3

Keep It Groovy: Improvising Over The I-V-vi-IV Chord Progression
Keep It Groovy

Keep It Groovy: Improvising Over The I-V-vi-IV Chord Progression

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.

The Brown’stone: Odd Time Signatures on Bass Made Easy
The Brown’stone

The Brown’stone: Odd Time Signatures on Bass Made Easy

This week in The Brown’stone on No Treble, Rich Brown is talking about a subject he gets asked about quite a bit. He’s taking us through his approach to playing so-called “odd-time” signatures.

Keep It Groovy: Ways To Read Music – Notation, TAB, and Charts
Keep It Groovy

Keep It Groovy: Ways To Read Music – Notation, TAB, and Charts

In this episode of “Keep It Groovy,” Ryan Madora covers a variety of ways you might read music, from standard notation to TAB to various forms of shorthand or Nashville Number Charts.

The Brown’stone: The ocaJ Exercise & Bass Lesson
The Brown’stone

The Brown’stone: The ocaJ Exercise & Bass Lesson

This week in The Brown’stone on No Treble, Rich Brown takes us through his favorite Jaco Pastorius exercise. But not only that, he shows us his version of the exercise, played in reverse.

Bass & Creativity: Cycles, Grid & Rhythm Blocks
Bass & Creativity

Bass & Creativity: Cycles, Grid & Rhythm Blocks

In this new “Bass & Creativity” lesson, Olivier Babaz talks about rhythm in improvisation, specifically managing the rhythmic grid with cycles. By changing where we feel the metronome, we can build our inner pulse for more creative ideas.

Keep It Groovy: Super Easy Bluesy/Jazzy Walking Bass
Keep It Groovy

Keep It Groovy: Super Easy Bluesy/Jazzy Walking Bass

This one features a super easy walking bass line that can make your blues progression a bit jazzier and your jazz walking bass line a little more accessible. Think about it as a good gateway between the genres.

The Brown’stone: The Only Arpeggio Exercise You Need
The Brown’stone

The Brown’stone: The Only Arpeggio Exercise You Need

This week in The Brown'stone, Rich Brown says, "This might be the simplest excercise I've ever given... but it'll probably keep busy for the rest of your life.” Check out this lesson Rich calls “The Only Arpeggio Exercise You Need”.

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Keep It Groovy: Adding Accents To Your Pulsing Bass Line
Keep It Groovy

Keep It Groovy: Adding Accents To Your Pulsing 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.

The Brown’stone: The Essential Key to Unlocking the 2-5-1 Chord Progression
The Brown’stone

The Brown’stone: The Essential Key to Unlocking the 2-5-1 Chord Progression

This week in The Brown’stone on No Treble, Rich Brown takes a look at a great way to practice when playing over the II-V-I chord progression. These tips and exercises open up the mind (and the fretboard).

Kansas – “Leftoverture”: The Complete Basslines, Part 7
Leftoverture

Kansas – “Leftoverture”: The Complete Basslines, Part 7

Tim Fletcher’s and Troy Hughes’ epic project “Kansas: Leftoverture – The Complete Basslines” has reached its seventh chapter, featuring Dave Hope’s work on “Cheyenne Anthem”.

Keep It Groovy: Adding Accents To Your Pedaling Bass Line
Keep It Groovy

Keep It Groovy: Adding Accents To Your Pedaling Bass 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.

Bass & Creativity: Rhythmic Phrasing Ideas
Bass & Creativity

Bass & Creativity: Rhythmic Phrasing Ideas

In this new “Bass & Creativity” lesson by Olivier Babaz, we explore two rhythmic directions for building new ideas in our solo phrasing. First up is managing the “one.” The second is examining our length of melodic fragments.