Techniques Bass Guitar

Hi,

The exercise below will help us to understand the fretboard and explore more ways to play the Gmaj 7 arpeggio.













The proposed fingering can be changed to your preference.

Do try the fingering on other major chords like Cmaj7 and etc.

Have fun.

Hi,

If you are bored of playing the same minor pentatonic scale over and over again, try the below exercise.

It is quite a good stretch and breaks away from the standard pattern.

This is the C Minor Pentatonic Scale.




Try reversing the exercise from the 15th fret back to the 3rd fret.

Have fun.

Hi,

Before reading this lesson, you might want to review Basic Walking Bass and Simple ii V I Progression Using Chord Tone.

As I already explained before about using chord tone to construct our walking bass lines, today's exercise is similar but no root note is used.

To avoid using the root note is challenging but the bass lines produced is more interesting.

Below is a simple ii V I IV Jazz progression in key of D.








I used the 3rd as the first note of the chord.

E.g. The notes in Em7 are E(root) G(3rd) B(5th) D(7th).

The first note I used for Em7 is G.

You can choose to play the line on a lower register.

Hope this is clear.

Cheers

The first step to sight reading is to know the notes within the staff.

Some music books use phrases like Good Boys Don't Fight (G B D F) and All Cows Eat Grass (A C E G).

For me, I recognize by chords.

G B D F is a G7 chord and A C E G is an Am7 chord.

Whichever works for you, use it.

Start reading something simple before going into complicated rhythms.

Cheers

Chord Substitution is common in our music today.

We can replace a chord with another related chord.

Often the substituted chord differs by one or two notes from the original chord.

Before you read this post, it will be good to take a look at my previous lesson - Introduction to Chords Substitution

For example, we can replace an Am7 chord with a Fmaj7 chord.

The notes in the Am7 chord are: A C E G

In the Fmaj7 chord the notes are: F A C E

There is only one note difference between these two chords.

If we have an Em7 chord, we can replace it with a Cmaj7 chord.

You can also replace the Em7 chord with a Gmaj7 chord.

The notes in the Em7 are: E G B D and G B D F# for Gmaj7.

Again the difference is only in one note. You can call this a relative chord.

Hope this helps.

Recently I bought an effect pedal and realize that the adapter that comes with it supply only 120v but my country uses 220-240v.

To get a transformer to step up could be quite troublesome and bulky.

I found out that we can use an Universal 9 Volt DC Power Supply.

The auto-sensing circuitry runs off 100-240 volts and can use it anywhere in the world.

Take up only one outlet space and makes it easy to travel.

You can check out '1 Spot' by Visual Sound or 'Power All' by Godlyke.

Hope this information is useful.

Hi,

I would like to share with you the 3 fingers technique which I am trying to improve and apply.

The plucking concept is similar to that of playing on a classical guitar.

You can check out Bass players like Dominique Di Piazza and Damian Erskine for more applications and examples.








T - Thumb
m - middle finger
i - index finger

Practice slow and gradually increase the speed.

Have fun!

Hi,

We know that a basic chord is formed by 1 3 5.

For example, the notes in an A chord will be A (1) C# (3) E (5).

I have tabbed out three different positions of an A chord.

Some of you will know them as inversions.







Remember the shape and shift it around to play other chords.

Hope this is clear.

Have fun.

Dear all,

This video by Russ Rodgers is a good introduction for beginners who are deciding what basses to get.



Hope this is helpful

Cheers

Dear friends,

If G is "I", the "V" is D

If D is "I", A is the "V"

The exercise below is useful when you are playing a lick in G.






All the notes are from the G major scale.

From the G on the 3rd fret of the E string to the G on the 12th fret of the G string.

Try this out and play some variation.

Cheers

Hi,

This post is an attempt to understand basic chords substitution.

This is useful when the chords for both the verse and chorus of a song are the same.

Let's list down the chords in G major.

I II III IV V VI VII
Gmaj7 Am7 Bm7 Cmaj7 D7 Em7 F#m7(b5)

For example, the chords of a song uses I VI IV V progression.

The chords will be Gmaj7 Em7 Cmaj7 D7.

We can substitute I with III.

Instead of playing Gmaj7, we change to Bm7.

The new progression will be Bm7 Em7 Cmaj7 D7

The notes in a Gmaj7 are G B D F#

The notes in a Bm7 are B D F# A

Out of 4 notes, 3 are the same, therefore it will sound correct.

Hope this helps.

Have fun.

Hi,

When we are playing bass, sometimes it is good to start on the root but end on the 3rd (10th)

How do you do it?

Let say you want to improvise over a G chord.

You can follow the notes below:

--------------------------------------------
-------------------------5(root)---9 (10th)-
---------2(3rd)--5(5th)--------------------
-3(root)------------------------------------

You will be surprise by this simple technique.

Cheers

Hi,

There are many ways to sound fast in your bass playing but what I would like

to share is to make use of the open hammer-on.

You may like to use your thumb (slap) to play this exercise.

----------------------------------------
-----------------0-5-7-----------------
---------0-5-7----------0-5-7---------
-0-5-7-------------------------0-5-7--

The above is a simple Em Pentatonic Scale.

Use your thumb to strike the string, than you can use your left index finger to fret the note followed by the hammer-on using your ring finger.

Have fun.

Hi,

A paradiddle is a drum rudiment which consist of a four-note pattern of the form Right Left Right Right(RLRR) or LRLL.

This pattern can help us improve our rhythmic and percussive style of slapping.

Let's try this pattern on the bass where "R" is your right hand slap thumb and "L" is using your left hand to slap the fretboard.

Slapping with your left hand on the fretboard requires some practicing.

Now try the pattern RLRR LRLL and repeat it.

To get the percussive feel, mute all the notes.

Once you are more comfortable, you can increase the speed.

Experiment and you will be surprise what you can do.

Cheers

Hi,

I would like to share a simple tip on improvising on the bass.

When we improvise or solo, one best way is to play chord tone but not using the root note.

e.g. When the harmony is an Am7 chord, instead of playing the root (A), we can play the

third (C) or fifth (E) or seventh (G).

I'm sure most of you are familiar with that.

Now the fun think is using the similar concept and apply it over chord changes.

Let say you want to improvise or solo over Am7 D7, the common approach is to play the

Am7 arpeggio followed by D7 arpeggio.

Instead of doing that, try playing a C arpeggio over the above chord changes.

Notice that C is the third of Am7 and seventh of D7.

To sound nice depend on your "landing".

Hope this approach can open more ideas for creative playing.

Cheers,

Hi,

I was playing with a song with chords like these recently:

E E7 A Am7

If the bass just play the root note, it will be quite boring.

What I did was to play the inversion.

E E7/D A/C# Am7/C

It's a natural walk down bass line and much more interesting than just playing root.

Give it a try.

Cheers

Hi,

Power chords is the most used chords on guitar and can be used on Bass as well.

The best thing about power chord is that the fingering is the same for major or minor chords.

You can choose to pluck, slap or strum the chords on the bass.

Just play the root and the 5th. e.g. C power chord = C + G

Below is a 6 4 1 5 chord progression in key of C.

Some of you might find this tune familiar :)






Have fun.

Hi,

The term diatonic means that the notes come from the same key.

Chords and notes that fall outside those made from these scales are not diatonic.

In the key of G major,the seven notes are– G, A, B, C, D, E, and F#.

A Cmaj7 is a diatonic chord in the key of G major since the notes are - C E G B which fall inside the G major scale.

A Cm7 is not a diatonic chord in the key of G major since the notes are - C Eb G Bb,
where Eb and Bb fall outside of the G major scale.

Hope this is clear.

Thanks

Hi,

Most 4 string bass player will probably tune their bass with the standard E A D G.

We are expose to players like Stanley Clarke and Victor Wooten who tuned their bass to
A D G C(tenor bass).

Some people wonder if they are to tune the G string up to C or how?

For me, I will buy the high C string from a 6 string pack and use it instead.
Another common tuning is the drop D - D A D G. Either you can manually tune down to D or fix in the Drop D hipshot.

Standard 5 string bass tuning is B E A D G, but you can also tune it to E A D G C (standard+tenor bass). Many bassists tune it this way as they wanted to do more melodic stuff on their bass like Steve Swallow and Dominique Di Piazza.

I also see some people tune their 5 string to A E A D G(Drop D concept).

Standard 6 string tuning is B E A D G C. You can also tune it E A D G C F or F# B E A D G.
I personally haven't tried it before but I'm sure it is nothing new.

Michael Manring Hyper Bass is another interesting instrument where the tuning is C F Bb Eb.
Different songs he will tune it differently. He is so scary.
You guys can read up more if you like.

Cheers

Hi,

G D7 Em7 Bm7 C G Am7 D7

Find the above chord progression familiar? Maybe for some of you.

The natural approach for beginners are to play the root note.

To make things more smooth, we can use the walk down approach.

Something like this - G D7/F# Em7 Bm7 C G/B Am7 D7

Bassist will play the slash note on the right - e.g D7/F#, we play the F# note and let the guitarist or pianist play the D7 chord.

Some people call this "inversion".

Basically, instead of playing the root note which is D in the D7 chord,
we play the 3rd which is the F#.

As mentioned in our previous lesson, Dominant chord are formed by the formula 1 3 5 b7

D7 = D F# A C

Therefore we can use the G to D7/F# to Em7, creating a walk down.

Using the same approach we can apply it on the C G Am7 to become C G/B Am7

Since you can walk down, you can also walk up, depending on the chord progression.

Hope you enjoy this lesson.

Cheers