For Jazz Double Bassists

Sample Chapter Simple Soloing Method for Jazz Double Bassists (L#24)

Discover Double Bass Study Guide Sample Chapter The first edition of the Study Guide contains detailed transcriptions of the music played in my video lessons (L#1-25). This includes scales, arpeggios and fully notated transcriptions of my improvised solos. There are also written ‘Action Steps’ to give you direction on how to practice the material in my video lessons, as well as suggestions for further study. For the lessons that do not require sheet music, such as those on posture or technique, there are written explanation of the concepts as well as helpful photographs. This sample chapter contains the sheet music and written guide for lesson L#24. The backing track is also in the folder you downloaded. For details of the complete guide please visit the Discover Double Bass Store.

Copyright © 2014 G Chalmers

Simple Soloing Method for Jazz Double Bassists (L#24) Introduction The blues provides a great chord progression to use when practising. Restricting yourself to just the arpeggio notes is a terrific way to outline the harmony and allow yourself to focus on rhythm. Here are a few things to bear in mind. • Use the backing track provided with this lesson to help you hear the chord changes. • Restrict yourself to just the root and third. Find each note in different places on the fingerboard. Ask yourself: Can I play the F on each string? Don’t always revert to playing it on the E string. Many bassists have a position they tend to use for each chord, e.g., F7 played in half position. Identify your habits and explore playing elsewhere on the neck. • Forget open strings. Are you always playing some notes as open? The advantage of using stopped notes is that you can slide in and out of them, as well as use them for their different tone. This is especially true of the open G string which sounds quite different from the same note on the D or even the A string. I find practising with and without open strings is a great exercise. • Use the neck heel to help your tuning when playing the F on the A and G strings. For more information on this essential technique, check out: Unlock the Fingerboard: Neck Heel Method (L#19). • Develop your ideas. Make sure you expand each idea to its full potential. Don’t waste any phrases you play. Experiment with carrying on elements of a phrase into the next phrase. Try doing this first with rhythm and then with note choice. It takes time to develop this skill, so be patient and you will soon be playing lines that relate to each other and provide a thread that runs through your entire solo. • Use contrast. When listening to music, we tend to tire very quickly of an idea, so always think about adding contrast by

Copyright © 2014 G Chalmers

making big changes. For example, you can keep the phrase you’re using the same, but change the dynamics. Similarly, you can go from playing a very busy line to playing one that is simple. It’s a great way to add interest and when combined with developing your ideas, you will keep the listener’s attention. Taking It Further • Use a different blues progressions. Start with the simple three chord blues, but to take it further, you can use a more elaborate version. • Not all blues are in F. Play in different keys. When you practise in hard keys like Ab or B, you will improve your understanding of harmony and be able to adapt to whatever tune you’re playing.

Geoff Chalmers

Copyright © 2014 G Chalmers

G Chalmers

Simple Soloing Technique (L#24) Simple 12 Bar Blues Chord Progression

Dominant 7th Arpeggios:

F7 0

4

B¨7 1

1

0

4

C74

1

2

0

4

1

Fingering:

? b ™™

bœ ? œ œ b œ

œ bœ œ œ

Interval:

Root

3rd

5th

7th

Root

3rd

? œ œ œ bœ b

5th

Root

3rd

5th

7th

7th

Basic 3 Chord Blues Progression

F7

? b ™™ ? ? ? ?

B¨7

F7

? ? ? ?

? ? ? ?

B¨7

F7

?b ? ? ? ?

? ? ? ?

C7

? ? ? ? ? b

? ? ? ?

? ? ? ?

? ? ? ?

? ? ? ?

F7

C7

? ? ? ?

? ? ? ?

Summary of Main Points: -Start by memorising this chord progression. -Restrict your solo lines to only root notes and 3rds. -Use articulations such as slides to add life to your line. -Play the note choices in as many different places on the fingerboard as possible. -Play patterns/phrases both ascending and decending. -Leave space to 'frame' your ideas/phrases. -Add in the 5th. -Add in the 7th.

Copyright © 2014 G Chalmers

™™

2

Start point 00:00

Solo at the start of the lesson. qaa z=[qp ]e

F7

F7 b œ œ œ œ ¿ B¨7 œ œ œ œ™ œ b œ nœ ™ œ œ œ ˙ ? ™™ ‰ J ¿ b J J J J

B¨7

?b ˙

œ ‰ œJ b œ

F7

œ bœ œ œ ˙ ™™

j œ bœ œ bœ œ œ œ

C7

F7

™™ ? b b œ nœ œ œ ¿ œ œ ˙

F7

œ

¿ œ œ ¿ œ ¿ b œ nœ œ œ Œ ‰ ¿ œ œ J J

B¨7

F7

B¨7

˙

3

3

Œ ‰ œJ

F7

? b b œ œ œ œ œ œ œJ œ œ b œ œ œ œ œ œ œ œ ¿ œ œ ¿ b œ œ J 3

j ¿

C7

bœ ¿ œJ œ ¿ œ œ œ œ œ b œ œ œ œ ? b œ œ ¿ œJ J J

B¨7

œ œ™

œ

w

3

C7

?b ‰ j œ œ œ œ œ œ œ œ ¿ œ œ

F7

C7

œ œ œ nœ

œ œ œ œ

Copyright © 2014 G Chalmers

3

Solo Examples (Please note some of these are played out of time as I am describing them). 03:24

Solo Example 1.

B¨7

F7

j j œ ‰ œ œ œ œ™

? b ˙

j œ ‰ œ œ w

œ œ œ ˙

04:00

Solo Example 2.

B¨7

?b œ œ œ œ ‰ œ œ ˙ ™ J

œ œ œ œ œj ‰ œ œ w

04:12

Solo Example 3.

C7

F7

? b œj œ™

j œ™ œ

j œ ™ œ

œ

œ œ œ œ œ œ œ œ œ œ ˙

04:51 Solo Example 4. Moving further round the fingerboard with articulations.

F7

B¨7

F7

œ œ™ œ œ œ œ œJ ‰ œ œ ¿ œ œ œ œ œ œ ? b ¿J J œ

œ ˙™

"Bring the idea through the chord changes". 05:28

Solo Example 5.

B¨7

F7

? b œ œ œ œj œ œ œ œ œ œ ™ J

¿ œ œ œ œ œ J

œ œ™ J

˙

Solo Example 6. 05:41

C7

?b œ

œ

œ

œ

j œ

‰

œ

œ

w

"Use the root note...but think rhythmically".

4 05:49

Solo Example 7.

F7

C7

?b

œ

œ

œ

j œ

j œ

œ

œ

j œ

œ

Ϫ

œ

05:59

Solo Example 8. Adding in articulations.

B¨7

F7

œ ‰ œ œ J

?b ˙

F7

w

œ ‰ œ œ J

˙

II

I

w

II

05:59

Solo Example 9.

B¨7

?b

F7

j œ ‰ œ œ w

˙

œ ‰ œ œ œJ ‰ œJ ‰ J

III

œ œ™ J

Ó

II

06:19

Solo Example 10.

C7

F7

C7

œ™ œ œ j ?b œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ™ 06:56

Solo Example 11. Adding the minor 7th.

F7

? ¿J b

œ bœ

B¨7

œ œ J

F7

˙ ™™

œ J

¿ J

œ bœ

œ œ J

j œ w

07:15

Solo Example 12. Developing the idea.

B¨7

? b ¿J œ b œ

F7

œ œ œ œ ˙ ™™

¿ œ ‰ bœ J J

œ

œ

w

07:27

Solo Example 13. Developing the idea over the next chord.

C7

j j ?b œ œ œ œ œ œ œ ‰

j ‰ œ bœ œ œ œ w

Ó œ™

œ

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5 07:46

Solo With Backing Track.

F7

?b Œ

B¨7

‰ œJ œ

œ œ

F7

w

œ œ œ œ

Ó

B¨7

B¨7

F7

? Œ ‰ j œ b œ ‰ j œ b œ ‰ j œ œ ‰ œ b œJ ‰ b œ nœ œ œ b œ œ œ J C7

? b ‰ œj

C7

œ œ œ œ œ œ ‰ œj ˙ ™™

œ w œ œ œ

œ œ œ B¨7 bF7œ œ ˙ ™™ ¿ J ‰ ?b J ‰

?b Ó

œ œ™ Ó J

F7

B¨7

j œ œ ¿ b œJ ‰ ¿ œJ ‰ œ w

B¨7

C7

?b ∑

Ó

¿ J

F7

F7

œ œ Œ ‰ œJ b œ ‰ œJ œ ‰ ¿J

C7

w

bœj

nœbœj nœ œ œ œ

F7

œ œ œ œ

˙

œ œ™ ˙ J

C7

œ œ J

j œ ˙

‰ œj œ

B¨7 F7 œ œ b œ œ œ b œ œ œ B¨7 œ œ œ œ œ œ™ j œ ¿ ¿ ?b bœ œ œ J Œ ‰ ¿J Œ ‰ ¿J b œ ¿ œ œ™ F7

F7

? b œ œ b œ œJ œ ™

œ œ ¿ bœ œ

F7

?b w

Ó

C7

œ J œ™

Ϫ

j œ œ œ ¿ œ œ œ

C7

Œ

œ œ œ œ J ‰ ‰ ¿j œ œ

Copyright © 2014 G Chalmers

F7 ˙

Ó