MusicLover20015 Posted January 11, 2012 Share Posted January 11, 2012 So i joined this well known band in London right. I mean i'm good at the bass, creating fills here and there have the groove etc. NOT TO BLOW MY OWN TRUMPET Lol. But they gave me a very random chord sheet that someone had given me and i just went blank. I was stuck there playing roots because i couldn't decide what to do. The music we were doing was mostly kind of reggae and jazz as well as some big band stuff. I normally play mostly motown (jamerson) lines but i mean i just went crash into a brick wall ? Taking into consideration this is the first time i have ever played with a full on big band with all the sections you could ask for. I mean is it the lack of me listening to other things, how shall i incorporate different techniques from what i already know ? I mean i can't belive it, i tried some stuff it had fit in but i just ran out of ideas how do you guys do it ? How do you keep your mind from not going blank and producing stuff thats new all the time, not just simple variations such as moving a fill a semitone higher if you understand me. I would love to hear any stories iff you have any like this and answers would be great thanks Quote Link to comment Share on other sites More sharing options...
TheGreek Posted January 11, 2012 Share Posted January 11, 2012 It always takes me ages to settle on a bassline - take the sheet home (get a recording of the tune if poss) and mess around till you're happy with what you've done...your first effort isn't necessarily going to be the best.. Quote Link to comment Share on other sites More sharing options...
OliverBlackman Posted January 11, 2012 Share Posted January 11, 2012 if you study the jamerson book back to front you shouldn't have any problems with many chord charts. Analyse the chord progressions of the motown songs, then find your favourite licks and apply them to other songs. You will find most of jamersons lines are chord tones and chromatic approaches. This isn't something you will be able to get together in a week, the art of improvisation takes awareness and understanding. Also when being handed a chord chart make sure you find out what the groove is. The style is usually written just above the first bar. Quote Link to comment Share on other sites More sharing options...
Dad3353 Posted January 11, 2012 Share Posted January 11, 2012 [quote name='MusicLover20015' timestamp='1326308799' post='1495323']...how do you guys do it ?...[/quote] The age-old traditional method: coke, grass, houch... Quote Link to comment Share on other sites More sharing options...
Blademan_98 Posted January 11, 2012 Share Posted January 11, 2012 I usually just play root / fifth with the odd sliding 4th when playing something I don't know. Doesn't sound stupid at all Groove to the beat etc (although I have never played with a big band) but music is music Quote Link to comment Share on other sites More sharing options...
Len_derby Posted January 11, 2012 Share Posted January 11, 2012 It doesn't sound like you were stupid at all. If all you had was a 'random' chord sheet then going in cold and sticking on root notes was probably the safest option. Were they happy with waht you did? If you had no idea of the arrangement of the songs, what the other instruments were going to do etc. I think maybe you did the right thing. Quote Link to comment Share on other sites More sharing options...
MusicLover20015 Posted January 11, 2012 Author Share Posted January 11, 2012 [quote name='Len_derby' timestamp='1326309899' post='1495345'] It doesn't sound like you were stupid at all. If all you had was a 'random' chord sheet then going in cold and sticking on root notes was probably the safest option. Were they happy with waht you did? If you had no idea of the arrangement of the songs, what the other instruments were going to do etc. I think maybe you did the right thing. [/quote] They were in desperate need of a bassist so i just appeared. Maybe they were satisfied but within myself i'd want to do more than roots and such. I mean when you guys improvise do you stick to a certain scale, because at the momment i am stuck on the pentatonic scale, just do bits like in jackson fives - i want you back, that little bit right at the end of the main riff, (i hope that made sense) Quote Link to comment Share on other sites More sharing options...
MusicLover20015 Posted January 11, 2012 Author Share Posted January 11, 2012 [quote name='Dad3353' timestamp='1326309696' post='1495341'] The age-old traditional method: coke, grass, houch... [/quote] Gotcha Quote Link to comment Share on other sites More sharing options...
mrdreadful Posted January 11, 2012 Share Posted January 11, 2012 (edited) Now, I can't remember the details but I did read somewhere (possibly New Scientist) that occasionally the brain, especially when confronted with stuff like "random chord sheets", will kick in 'learning' mode when it's supposed to be using information it already possesses. This leads to "mind gone blank" situations because you *know* what you're supposed to be doing but the brain is firing all the wrong neurons to make any real use of it. Edited January 11, 2012 by mrdreadful Quote Link to comment Share on other sites More sharing options...
MusicLover20015 Posted January 11, 2012 Author Share Posted January 11, 2012 I'll have a look at that. I mean i'm faced with other things such as random exams in college but i mean you think about it in a logical way so you get the correct answer but this probably means i didn't think about it LOl Quote Link to comment Share on other sites More sharing options...
Blademan_98 Posted January 11, 2012 Share Posted January 11, 2012 [quote name='MusicLover20015' timestamp='1326310402' post='1495357'] I mean when you guys improvise do you stick to a certain scale [/quote] OK, to answer that question, I would play within the key. If it is not obvious or has changing keys then use the scale for each chord in an interesting pattern or root 3rd 4th 5th 7th (leaving 2nd / 6th out) If you can't get to grips with the minor / majors on the fly then forget the third too. It will fit no matter what if you keep in time Quote Link to comment Share on other sites More sharing options...
Blademan_98 Posted January 11, 2012 Share Posted January 11, 2012 oh and plenty of passing notes Quote Link to comment Share on other sites More sharing options...
MusicLover20015 Posted January 11, 2012 Author Share Posted January 11, 2012 [quote name='Blademan_98' timestamp='1326310926' post='1495379'] OK, to answer that question, I would play within the key. If it is not obvious or has changing keys then use the scale for each chord in an interesting pattern or root 3rd 4th 5th 7th (leaving 2nd / 6th out) If you can't get to grips with the minor / majors on the fly then forget the third too. It will fit no matter what if you keep in time [/quote] That's what i was trying to say, i just couldn't find the correct musical terms Another Blank Momment, seems as if they come too often :L Quote Link to comment Share on other sites More sharing options...
Blademan_98 Posted January 11, 2012 Share Posted January 11, 2012 [quote name='MusicLover20015' timestamp='1326311180' post='1495383'] That's what i was trying to say, i just couldn't find the correct musical terms Another Blank Momment, seems as if they come too often :L [/quote] In times like those a pedal tone on the E usually works....... Quote Link to comment Share on other sites More sharing options...
MusicLover20015 Posted January 11, 2012 Author Share Posted January 11, 2012 [quote name='Blademan_98' timestamp='1326311549' post='1495388'] In times like those a pedal tone on the E usually works....... [/quote] You probably have told me before but i'll say it again Im gonna give you a chord sheet, tell me what your going to do, oh and what's running through your mind Quote Link to comment Share on other sites More sharing options...
Blademan_98 Posted January 11, 2012 Share Posted January 11, 2012 I just think................. it's pedal tone on the E time Quote Link to comment Share on other sites More sharing options...
risingson Posted January 11, 2012 Share Posted January 11, 2012 You say you're into your James Jamerson bass lines, but James Jamerson knew his theory... he could read, and he could develop ideas around chord progressions. If you're new to this then you should be starting out simply instead of diving in at the deep end. There is no point trying stuff out until you've got the nuts and bolts of your theory down. Once you've familiarised yourself with some of the sheets, then experiment. If you're well versed in Jamerson's bass lines then its worth noting his use of open strings as stepping stones to get to places, for example in the key of F major, you have your maj 3rd on your A, your maj 6th on your D, and your 9th on your G (also your maj 7th on your open E). He would regularly use his D and G strings in the key of F major as passing notes in order to drop down from his open G > F and D > C, plus every which other way. This is just an example, and there are many other instances where open strings will not be musically relevant to the key in which you are playing. But the human ear is a very forgiving thing, and James Jamerson exploited this by using open strings in order to move from non-relevant notes to relevant one. Chuck Rainey arguably took this even further in subsequent recordings with the likes of Steely Dan. Quote Link to comment Share on other sites More sharing options...
MusicLover20015 Posted January 11, 2012 Author Share Posted January 11, 2012 [quote name='risingson' timestamp='1326312824' post='1495415'] You say you're into your James Jamerson bass lines, but James Jamerson knew his theory... he could read, and he could develop ideas around chord progressions. If you're new to this then you should be starting out simply instead of diving in at the deep end. There is no point trying stuff out until you've got the nuts and bolts of your theory down. Once you've familiarised yourself with some of the sheets, then experiment. If you're well versed in Jamerson's bass lines then its worth noting his use of open strings as stepping stones to get to places, for example in the key of F major, you have your maj 3rd on your A, your maj 6th on your D, and your 9th on your G (also your maj 7th on your open E). He would regularly use his D and G strings in the key of F major as passing notes in order to drop down from his open G > F and D > C, plus every which other way. This is just an example, and there are many other instances where open strings will not be musically relevant to the key in which you are playing. But the human ear is a very forgiving thing, and James Jamerson exploited this by using open strings in order to move from non-relevant notes to relevant one. Chuck Rainey arguably took this even further in subsequent recordings with the likes of Steely Dan. [/quote] Yes i get your point, but i have never thought about the theory behind his lines. His sophistication if just one of the things that had brought me playing the bass lines. i mean i have noticed the open strings, i was made to love her, what's going on, but sure i'll just have a look at them, analyse them in depth hopefully furthering my knowledge. Thanks for that, you've opened my eyes Quote Link to comment Share on other sites More sharing options...
steve-soar Posted January 11, 2012 Share Posted January 11, 2012 [quote name='risingson' timestamp='1326312824' post='1495415'] You say you're into your James Jamerson bass lines, but James Jamerson knew his theory... he could read, and he could develop ideas around chord progressions. If you're new to this then you should be starting out simply instead of diving in at the deep end. There is no point trying stuff out until you've got the nuts and bolts of your theory down. Once you've familiarised yourself with some of the sheets, then experiment. If you're well versed in Jamerson's bass lines then its worth noting his use of open strings as stepping stones to get to places, for example in the key of F major, you have your maj 3rd on your A, your maj 6th on your D, and your 9th on your G (also your maj 7th on your open E). He would regularly use his D and G strings in the key of F major as passing notes in order to drop down from his open G > F and D > C, plus every which other way. This is just an example, and there are many other instances where open strings will not be musically relevant to the key in which you are playing. But the human ear is a very forgiving thing, and James Jamerson exploited this by using open strings in order to move from non-relevant notes to relevant one. Chuck Rainey arguably took this even further in subsequent recordings with the likes of Steely Dan. [/quote]Well put. Quote Link to comment Share on other sites More sharing options...
ras52 Posted January 11, 2012 Share Posted January 11, 2012 [quote name='MusicLover20015' timestamp='1326310402' post='1495357'] They were in desperate need of a bassist so i just appeared. [/quote] They willed you into existence? Wow! Quote Link to comment Share on other sites More sharing options...
Blademan_98 Posted January 11, 2012 Share Posted January 11, 2012 [quote name='ras52' timestamp='1326314396' post='1495442'] They willed you into existence? Wow! [/quote] This made me spill my drink Quote Link to comment Share on other sites More sharing options...
Prime_BASS Posted January 11, 2012 Share Posted January 11, 2012 Considering you've only played this stuff the once and no one said anything bad, you are ok so far. Usually finding what key a piece is in is helpful. If I get stuck I try and keep on the beat and use root and fifths a lot through in an octave every 4th bar or so... At least it seems like I know what I'm doing. Although all the stuff I seem to play (in originals) is in major or minor. Quote Link to comment Share on other sites More sharing options...
chris_b Posted January 12, 2012 Share Posted January 12, 2012 [quote name='MusicLover20015' timestamp='1326308799' post='1495323'] ....I mean i'm good at the bass.... [/quote] [size=4][color=#222222][font=Arial]You don't say you got fired so don't sweat. You just had a wake up call and found out that there are some things you're not good at. [/font][/color][/size][color=#222222][font=Arial][size=1][/size][/font][/color] [size=4][color=#222222][font=Arial] [/font][/color][/size][color=#222222][font=Arial][size=1][/size][/font][/color] [size=4][color=#222222][font=Arial]Now you know where the next lot of lessons and practice sessions should be directed.[/font][/color][/size][color=#222222][font=Arial][size=1][/size][/font][/color] Quote Link to comment Share on other sites More sharing options...
mckendrick Posted January 12, 2012 Share Posted January 12, 2012 (edited) [quote name='MusicLover20015' timestamp='1326311180' post='1495383'] That's what i was trying to say, i just couldn't find the correct musical terms Another Blank Momment, seems as if they come too often. [/quote] [quote name='Blademan_98' timestamp='1326311549' post='1495388'] In times like those a pedal tone on the E usually works....... [/quote] ....at times like those I just pretend the amp's buggered. . Edited January 12, 2012 by mckendrick Quote Link to comment Share on other sites More sharing options...
MusicLover20015 Posted January 12, 2012 Author Share Posted January 12, 2012 [quote name='mckendrick' timestamp='1326329547' post='1495698'] ....at times like those I just pretend the amp's buggered. . [/quote] Hahaaa Lol made me think why didn't i do that ? LOl Quote Link to comment Share on other sites More sharing options...
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