Бас гитар fill in

L 53 How To Fill In Passing Notes Bass Guitar

Загрузил: Bass Lady

Длительность: 9 мин и 57 сек

Битрейт: 192 Kbps

10 Gospel Movements You Must Know As A Bass Player Bass Lesson

3 Steps To Killer Bass Fills For Beginners

Motown Bass Guitar Lesson Embellished Passing Tone Andrew Ford

L 72 Worship Licks On Bm Bass Lesson Licks Basslessons

How To Play Bass Guitar Fills Two Note Transition

eBassGuitar — Online Bass Guitar Lessons

Creating Basslines Over A Chord Progression Bm G Em C

Dan Hawkins — Online Bass Courses

How To Get Those Sexy Notes Using Simple Shapes Bass Lesson With Scott Devine L 71

5 Things Every Bass Player Should Master

L 64 How To Sound Like A Pro Bass Player Movement Basslick Gospel Gospelbass

3 Ways To Make Your Funk Bass Lines Funkier

L 37 How To Play C Major Pentatonic Scale And Mode Explained

Using Chord Substitutions Within Your Bass Grooves Scott S Bass Lessons

How To Play Harmonics On Bass 8 Must Know Shapes

5 Simple Passing Notes To Your 4 Chord Bass Lesson

L 41 Simple Gospel Bass Licks

How To Connect Notes Within Chord Changes Bass Lesson

Learn Bass How To Pluck The Strings

Easy Bass Fills For Beginners

TalkingBass — Online Bass Lessons

Yohan Kim Because Of Who You Are Bass Lesson Teachmehowtoscore Basstutorial

The Truth About Bass Licks Bass Lesson

Бе Ту Хиччо Намерам

Free Xxxtentacion X Nf Type Beat Lonely

Минус Песни Над Полями Зорька Светлая

Все Клипы Тони Раута

Odilbek Obdullaev Onajon Одилбек Обдуллаев Онажон

Эй Дилрабои Дилбар

Нуриддин Хожи Домла Ота Нидоси

Дмитрий Шелег Живой Лед

Ast Friday Night Katy Perry 40S Jazz Vibes Style Cover Ft Olivia Kuper Harris

Эрони Музика 2020 Скачат

Годы Мои Уходят

Limitless Bon Jovi

Нет Почему Открыто Meme Gacha Club

The Ten Hilichurls

Даянч Жумаев 2021

Двічі В Одну Річку Не Ввійдеш Ремікс

Евровидение 2020 Украина

Bangla Waz Arif Maulana Rajapur 1

Final Serie De Desafios Need For Speed Most Wanted

Cina Tersangat Kaya Mahathir Masuk Dap

Volor Flex Contact Lp Mini Visual Preview

L 53 How To Fill In Passing Notes Bass Guitar

Молодежное И Детское Прославление Церковь Источник Жизни Барселона 2 04 2017

Florence And The Machine Sweet Nothing Calvin Harris Live Liverpool Echo Arena 10 12 12

Via Napoli M Marzella M Lampugnani 2 Heart Tibet

Dance Of The Badsaah Of Ebiz Er Gurinder Sir At Panjab Achiever Convocation

Dzikro2019 Dzikropbaunnes Man2Brebes Ah W Noss Muhammad Ilham Azzukhruf Man 2 Brebes

Small Business Owner In Ethiopia Sees A Future In Ag Products

Torneio Mame 60Fps Farofas Mk Fase De Grupos P1 Liperock Vs P2 Chrigor

Nagin Dance Village Argan Baja Band Party Chela Ram Radhe Shyam Pahar Pur

Comparison Of Different Paintball Chest Protectors By Hustlepaintball Com

Как Сделать Переход По Базе И Лаку Полировка Перехода

Let S Play Island Survival Part 10 Crafting Diamond Armor

Драйзер Василий Али Бабаевич Джентльмены Удачи

Юсуф Асхабалиев О Матери На Аварском Языке

Don T Make These Celebrity Skincare Routine Mistakes Kylie Jenner James Charles James Welsh

Cellucor C4 Pre Workout Science Based Overview

Источник

How to Play Funk Bass (YT089)

Welcome to Part 3 of the Walking Bass Series. In this bass guitar lesson I’m going to talk to you through how to play funk bass guitar using the Walking Bass techniques from earlier in this series!

One of the great things about learning Walking Bass is it gives you the knowledge to understand and play so many styles of music — Rock to Pop, Soul to R&B, Country to Latin. even classical music, to name a few.

In Part 1 of the Walking Bass Series I showed the 3 Core Concepts that create Walking Bass Lines and today I’m going to show you how to use the same principals to create fills in a funk feel or groove.

Often on a Jazz Jam musicians will ‘call’ tunes in different styles — not just a ‘4 in bar swing feel’. The great news is all of the fantastic knowledge you obtain from studying walking is DIRECTLY transferable.

Let’s first of all create the basic funk groove, then I’ll show you how to create bass fills using scales, chord tones and chromatics.

If you haven’t already done so, I encourage you to watch Part 1 and Part 2 of the Walking Bass Series to give valuable context for the ideas in this lesson.

Understanding The Funk Groove

Funk Bass in my opinion is one of the best styles of music you can play on the bass guitar. Personally I love it!

There are many, many variations of the funk groove or funk feel from Sly & Family Stone to James Brown, Parliament to Tower of Power, The Meters to The Commodores.

Speaking very broadly Funk music is based on the 16th note subdivision. Understanding how this works will get you considerably ahead of the game.

Seeing the 16th notes visually as a ‘Groove Matrix’ is a great place to start and will definitely help if you’re learning how to play funk bass from the ground upwards.

The ‘Groove Matrix’ shows the strong notes (beats 1,2,3 & 4) as long lines and the 3 further rhythmic note placements you can find ‘inside’ each beat as shorter lines.

If you want to discover more about how this concepts works make sure you check out The 3 Fundamental Grooves Lesson where we will also dig into the Jazz Groove & the Rock Groove

Creating Your First Funk Bass Line

The best place to start creating a simple funk bass line, using the 16th note concept, is playing just 3 notes per bar as follows: Beat 1 | Beat 2a | Beat 3.

Beat ‘2a’ is on the last 16th note of the 2nd beat.

This is what this bass line looks like:

Playing The Funk 12 Bar Blues

To put this idea into context we are going to use it over a Jazz 12 bar blues, played using a funk feel.

The melody played on the track in the video is a Charlie Parker tune called ‘Now’s The Time’.

If you’re already familiar with the ‘standard’ blues sequence make sure you take a good look at the chords and how they have been adapted to work in the jazz context. They can be a lot of fun!

The last two bars of a blues sequence is often called a Turn Around. This is highlighted above with a bracket above it.

The chord sequence moves at 2 chord changes per bar, so I have adapted the bass line to work over this.

Developing The Bass Guitar Funk Groove

As I said earlier there are many, many ways this bass line could be developed.

Some funk bands like to leave their bass lines really sparse others prefer their bass lines much busier. This is purely personal taste and there’s no right or wrong approach.

Here is a simple idea to develop the funk groove in to a 1 bar bass line that can easily be simper-imposed over the first 10 bars of the blues sequence.

In this example we are adding two more notes which are place on the last two 16th notes of the bar.

Using the Groove Matrix above we can call identify these as beat 4& and beat 4A.

We are going to use the classic ‘box shape’ which falls beautifully under the hand and add in the Flat 7th and Octave for each bar / chord.

This will add a little more movement and interest to the bass line.

Creating Funk Bass Fills

The great thing about playing funk bass is there is plenty of scope for creating very tasty bass fills.

To show you one approach I’m going to take the ‘3 Core Concepts’ from Part 1 of the Walking Bass Series and use the following ideas:

• Scale or Scalic Fills
• Chord Tone Fills
• Chromatic Fills

To integrate the fills we are going extend our bass line from a 1 bar groove to a 2 bar groove.

The fill will be placed on beat 3 & 4 of the second bar of the bass 2 bar bass groove.

Above each fill I’ve put a bracket denoting which of the 3 concepts I’m using.

Take each fill apart slowly and analyse each concept note by note. Part 1 of the Walking Bass Series will really help!

The ‘Anthony Jackson’ Big Fours Turn Around

In the previous example, to create further variation, I couldn’t resist adding in one of my favourite all time bass line creation techniques — ‘Big Fours’

I originally picked this up from listening Anthony Jackson records from the late 70s with artists such as Chaka Chan.

The principal of ‘Big Fours’ is simply creating a bass line that used long quarter notes.

In the last example I’ve added the ‘Big Fours’ to the turnaround in bars 11 & 12 and using a simple walking bass line with Lower Chromatic Approach Notes.

The reason this works so well is the Big Fours create musical light and shade . and sound so different to the short ‘funky’ notes we’ve used in the previous 10 bars.

Lesson Wrap Up

This is the end of the 3 part Walking Bass Series — we’ve covered a lot of ground!

As I’ve hope you’ve discovered Walking Bass is a seriously powerful technique and it has capability of helping you understand and play virtually any style of music.

If you’d like to take the ideas further in this lesson make sure you check out The Essential Walking Bass Course inside The Bass Lab PLUS Membership where I take you deep into all of the concepts we’ve discussed in this series.

Источник

4 Simple Bass Fills For Beginners

This is the first video in a series of lessons looking at the basics of bass fills. We’re going to be looking at a simple and common four bar chord progression and working through several bass fills on the final bar of A7.

Bass Fill Basics

You can insert fills wherever you like in a tune but they’re more common as a transition from one section to another. So that could be something dramatic like a verse into a chorus or just to signal the end of a four bar chord sequence.

We’re going to look at a simple four bar chord progression in the key of D Major. We’ll take a progression that outlines the key very well and that gives us a predictable journey back into the tonic chord.

Here we have a I-vi-ii-V progression of Dmaj7 – Bm7 – Em7 – A7:

First we need a bass line…

In terms of the general bass line, I’m playing a simple comp pattern on the root notes around the 5 th to 7 th fret area:

Learn Those Chord Tones!

We’re going to play a bass fill over the A7 chord. That’s going to lead us back into Tonic Chord (Dmaj7) giving us a fill at the end of a predictable four bar sequence.

In this lesson we’re just going to start really simple by using the basic chord tones for our fills. Our fill is over the A7 chord so we’re going to use the notes of the A7 chord:

A C# E G

We can play them here within one octave:

We can play those notes anywhere on the fingerboard. For this lesson we’ll just venture out a few notes, both above and below, to give us a little more real estate to play with:

If you need any help understanding chord tones or how they relate to the bass fingerboard, be sure to check out the Chord Tone Essentials course. You’ll learn the construction of EVERY chord you’ll ever encounter, how to view them over the entire neck of the bass and how to apply them in your basslines, fills and solos. Click Here For More Information!

Bass Fill #1

This first bass fill simply works up and down the A7 arpeggio from our low A at the 5 th fret of the E string. This is a very simple way of applying the chord tones in a bass fill:

Bass Fill #2

When improvising a bass line through a chord progression, it’s unlikely you’ll always be using the same notes on the same frets. This fill starts on the high A at the 7 th fret of the D string which expands our vocabulary a little. It’s always useful to practice working in different areas of the instrument:

Bass Fill #3

Let’s try something with a little more rhythmic interest. This fill covers a wider range and brings a 16 th note triplet into play.

Bass Fill #4

The final bass fill, like our previous example, uses a little more rhythmic interest and a broader range. We also get to use a bass chord by sliding into the major 3 rd and minor 7 th of the chord. This is a VERY common way of applying chords to basslines and fills over a dominant 7 chord.

Ramp Up That Tension!

As an extra tip, try to focus on using syncopated rhythms, like offbeat 8 th and 16 th notes, to generate tension from a rhythmic perspective. Tension is an important element in creating fills of any kind because tension is always looking to resolve. Resolution is created in these examples by landing on beat 1 of the bar on the tonic chord.

Источник

A guitarist’s guide to playing bass: 20 tips to help you think like a bassist

More at home with six strings? This guide will help you demystify the low-end

Bass is more than just a guitar with two fewer strings. It has a different tone, scale length, feel and musical role, and in many cases it requires a different conceptual and technical approach.

Guitarists who are new to playing bass will often double the guitar part one octave lower. There is certainly a place for lockstep octave doubling — just listen to Aerosmith’s Sweet Emotion, Led Zeppelin’s The Ocean and Pantera’s I’m Broken.

But there is so much more that can be done with the bass guitar.

As a bassist who later took up guitar, I have developed 20 general guidelines that I live by when I play the bass. Apply them to the instrument, and hear your playing improve as they help you to think and play like a real bass guitarist.

1. Play for the song

More often than not, solid bass playing requires that you exercise restraint and subtlety rather than showcase your technique and slick moves. In many situations, it’s best to work mostly with the root notes of the chords and lock in with the drummer’s kick and snare drums.

2. Learn to walk

Walking bass originated in jazz and blues, but it has since been adopted in other styles. The term refers to a way of playing in which the bass line remains in perpetual motion as opposed to staying on or reiterating one note. The line walks from one chord’s root note up or down to the next, mostly in a quarter-note rhythm, with the occasional embellishment.

To achieve this, you use transition notes to smoothly connect the dots and bridge the gap between different root notes as the chords change. The transition notes can be any combination of chord tones (arpeggios), scale tones that relate to the chords, or chromatic passing tones.

In general, chord tones are the musically safest bet, as they sound harmonically consonant, while scale tones add a touch of light dissonance when heard against an underlying chord. The more chromatic notes that are used, the more dissonant the line becomes, as these notes momentarily clash with the prevailing chord. Whether this is a good thing or not is up to your discretion and instincts.

FIGURE 1 shows a stock blues walking bass line. Although the line is rhythmically animated, with staccato (short, clipped) swing eighth notes and a triplet fill at the end of each bar, it is fairly tame harmonically, as it uses mostly chord tones (the root, fifth and dominant seventh) with a brief chromatic run-up to the fifth.

By contrast, FIGURE 2 illustrates a jazz-style walking bass line played over these same two chords for which chromatic passing tones are liberally employed. Note the difference in contour between these two examples, the first being very angular and the second being smooth and rolling.

Also note the use of dead notes (indicated by Xs in the notation), which help propel the line. These are performed by picking the string while lightly muting it with the fret hand.

When crafting a walking bass line, it’s best to land on the root note whenever there’s a chord change. If you’re staying on the same chord for several bars, it’s a good idea to play the root on the downbeat of every other bar or every fourth bar, depending on how grounded you want the line to sound.

The walking bass concept isn’t just for swing grooves and can be also employed with great results in a rock context with an even-eighths feel. Inspired by Herbie Flowers’ tasteful bass work on David Bowie’s 1974 hit, Rebel Rebel, FIGURE 3 is a fairly straightforward example of a great way to use scalar passing tones and fills to spice up a bass line over a repeating two-chord progression.

3. Lock in with the drummer

In a rhythm section, part of the bass guitar’s role is to function as a liaison between the drums and the rest of the band. In most cases you want to make the bass and drums sound like one entity, and a great way to do this is to craft bass lines that fit like a glove with the drummer’s kick and snare drums.

Using octave root notes is often an excellent way to do this, the low octave corresponding to the kick drum and the high octave hitting with the snare, typically on beats two and four, which are also known as the backbeats.

Octaves allow you to create an active bass line with an interesting, angular melodic contour without clashing harmonically with the underlying chords, as the octave root note agrees perfectly with the chord.

Grooving doesn’t necessarily mean playing the same thing over and over. John Paul Jones’ playing throughout Led Zeppelin’s The Lemon Song is a perfect case in point, as he embellishes the groove and stays within the bass’ role as a support instrument for six solid minutes without repeating himself once.

4. Use octaves and fifths

After the octave root, the fifth is the most harmonically agreeable note you can play. Many classic bass lines have been constructed using mostly roots, octaves and fifths as the framework. The great thing about this approach is that it allows you to create a bass line that is interesting and melodic, locks in perfectly with the drums and doesn’t clash harmonically with the underlying chords.

FIGURE 4 is an example of this kind of approach, inspired by John Paul Jones’ nimble playing on Led Zeppelin’s Thank You.

5. Tone is in the hands

This old adage could not ring truer for bass playing. Plucking the strings hard and near the base of the fretboard (FIGURE 5a) like Black Sabbath’s Geezer Butler makes them slap against it; plucking the strings near the bridge with just the very tips of your fingers (FIGURE 5b) lets you get that punchy Jaco Pastorius/Rocco Prestia machine-gun 16th-note attack.

You can go from a dull thud to a sharp, funky punch simply by choosing where along the string you pick it and how aggressively you hit it. Between that, your pickup selector (if your bass has one) and tone controls, you have a considerable range of tonal possibilities before the signal even hits the amp.

6. To pick or not to pick?

Not all bassists use their fingers to pluck the instrument. Megadeth’s David Ellefson, Rex Brown of Pantera and Down, Yes’ Chris Squire and Paul McCartney use a pick, and John Paul Jones, the Who’s John Entwistle and Michael Anthony in his Van Halen days were known for switching from fingers to pick depending on the song.

If playing with a pick works for you, go for it. I recommend the large, non-celluloid kind, such as Dunlop’s Tortex Triangle, with a thick gauge (at least 1mm).

The large surface area of the big triangle picks is well suited to the wide spacing of bass strings and will help you keep a grip on the pick. Tortex (or Delrin, depending on the manufacturer) is also sturdier than celluloid and less likely to break, and the thick, unbendable gauge will allow you to get more volume and power out of those thick strings, with less effort.

7. Single-finger technique

Some record producers actually prefer having bass players use a pick because the attack is more even. But if you’re a fingerstyle player and want to achieve a more consistent attack, try using only one finger, such as the index (instead of alternating between the index and middle fingers) as much as possible.

John Paul Jones copped this technique from Motown bass legend James Jamerson and made great use of it on several classic Led Zeppelin tracks, such as Good Times Bad Times and Ramble On.

8. Get your time solid

Someone has to keep the tempo steady, and if the drummer can’t, than the bassist has to. The pocket depends on you, so learn how to be your own metronome. Don’t just count in 4/4 — you should also feel in 8/8, especially when playing ballads, where the tendency to rush the tempo is greater.

To help you land on the beat more accurately, listen to the drummer’s hi-hat or ride cymbal, not just his kick and snare drums.

9. To fill or not to fill?

Fills are the little pieces of ear candy that embellish a solid bass line and help propel a song. Listen to how other bass players set up a new section, and shamelessly jack anything that grabs your ear. Playing fills that conclude one section of a song (such as a verse) and lead into the next (such as the chorus) is a great way to break monotony in a bass part and set yourself apart from whatever the guitarist is doing.

Filling is an art form in and of itself, in that there’s a fine line between adding to the song or groove and obscuring it and detracting from it. In keeping with the “bass-and-drums-as-one” concept, make your fills coincide with a drummer’s so that they sound like the same person’s idea being expressed.

If a drummer plays a fill, it’s usually at the end of every second, fourth or eighth bar, so listen to the drums and pick your spots to fill accordingly. Of course, all your playing decisions should depend on the style of music you’re playing, and some styles, such as hip-hop or club music, are more about maintaining a relentless groove, with very little variation.

For examples of great fills, check out R&B/soul session players such as James Jamerson (countless Motown hits), Chuck Rainey (Aretha Franklin, Steely Dan) and Nathan Watts (especially on Stevie Wonder’s Do I Do), or rock players such as Rex Brown, Stone Temple Pilots’ Robert DeLeo (another Jamerson disciple) and Duff McKagan of Guns N’ Roses. And don’t let genre get in the way — just because it’s a Motown fill doesn’t mean it can’t be used in a rock context, and vice versa.

10. Octave appropriate

Are you playing in the right register (octave)? Perhaps that cool part you came up with sounds badass played down low but may be too heavy for the mood of the song. Or perhaps it’s too high and is interfering with the vocal or guitar part. Make sure your note-range choices are right for the situation.

11. Avoid low-B obsession

If you’re playing a five-string, don’t just play sub-E notes, as it can become annoying. It’s one thing to hit a low B or C every now and then for dramatic effect and to show everyone who’s boss, but unless you’re in a Korn or Type O Negative tribute band, don’t live there.

12. Substitute different chord tones

Occasionally playing the third or fifth of the underlying chord instead of its root note can radically change the whole feel of a chord progression, and when done tastefully it can add warmth or tension.

This device has been used for centuries by great classical composers like Bach and Beethoven and creates what are known as chord inversions. Master pop songwriters such as Elton John and Paul McCartney use inversions, via bass line substitutions, to build their chord progressions to a harmonic climax.

Realize that the ear reckons harmony from the ground up, so as a bass player you have the power to dictate how the chord is going to sound and fundamentally change its character.

FIGURE 6 is an example of a common rock chord progression for which the bass line takes a left turn (in bars 2 and 3) to create chord inversions. In the second and third bars, instead of playing the roots (shown in cue-size notes and tab numbers), the third or fifth of the chord are substituted, creating a continually ascending and more melodic bass line in the process.

13. Grease

It’s that grimy, funky stuff that oozes between the beats. With all due respect to hardcore prog-rock bands, for which precision is key, rock and roll has always been more about attitude and spirit.

This isn’t an excuse to be sloppy and unmusical, but more an exhortation to make low, rumbling noises and revel in it. Listen to John Paul Jones’ low-end grumble during the “Hey baby, oh baby, pretty baby” chorus section of Zeppelin’s Black Dog (played with a pick) or Black Sabbath’s Geezer Butler on pretty much any song.

For a more modern take, check out session legend Pino Palladino’s work on D’Angelo’s Voodoo album. In some situations, it’s perfectly okay to make excessive fret noise, be a little behind the beat or slide out of a note perhaps a bit longer than you should, as long as it’s not disruptive to the music and contributes to the intended vibe.

14. Shake it

I’m not talking about a long trill or extreme vibrato but literally shaking a pitch. Fret the note, pick it, then quickly slide, hammer on or pull off to another fret and back, as demonstrated in FIGURE 7.

Regardless of what style you’re playing, the resulting sound is funky and adds a little extra kick to the sound of the rhythm section. Sure, guitarists can do this too, but it just doesn’t sound the same (or as good) on that little instrument.

15. Use dead notes and rakes

Just as you might mute the strings on your guitar with your fretting hand while you strum “chucka-chucka,” the same principle and function applies to bass, whether it’s funk (FIGURE 8) or hard rock (FIGURE 9).

Rakes on a bass are executed a bit differently than on guitar: you perform them by dragging a picking finger across the strings in an upstroke, usually in a specified rhythm, as demonstrated in FIGURE 10.

16. Articulation variation

As a guitarist, you employ all sorts of techniques to convey your musical statements, and you can do that on bass, too. Check out session legend Will Lee’s work in Dionne Warwick’s Déjà Vu.

Lee makes use of rakes, palm muting while picking with his thumb, slapping, and finger slides in addition to plain-old conventional fingerstyle playing (FIGURE 11). And he does it without ever interrupting the groove or getting in the way of the vocal.

17. It’s all bass

A cool bass part is a cool bass part, regardless of what instrument it was played on, be it electric bass, synth or piano, so be open to hearing new ideas. Next time you’re at that bar and hear house or club music blasting over the sound system, listen to the bass lines. No matter how far-flung it is from your preferred musical style, you can translate it to your own bass playing.

18. Less is more

Take September, one of Earth, Wind & Fire’s most enduring tunes. Bassist Verdine White is capable of playing so much more, but in this song his bass line is almost rudimentary. Even so, it’s funky as hell, making great use of rests and staccato phrasing — space between notes — and, without fail, people get up and move as soon as that bass line kicks in.

For a more modern example, listen to Branden Campbell of Neon Trees. His lines never get more complicated than eighth notes with the rare fill, but his fat tone and solid playing more than adequately complement drummer Elaine Bradley’s grooves and help propel the songs.

19. More is more

A master groove monster like Juan Nelson from Ben Harper’s band can lull you into a groove, then hit you with a fill like the one heard at 4:30 in Faded, from The Will to Live album. The groove and lick shown in FIGURE 12 draws its inspiration from this approach.

20. Let it all hang out

What do you want people to hear in your playing? Anger? Joy? Whatever it is, get in that zone and play it like you mean it. Whether you’re a shredder or a feel-driven player, express yourself. Because if you’re not connecting with people, what’s the point?

Источник