Bass Improvisation
Ideas For Playing Over Changes
From some instruments, the practice of improvising (which we'll define as "spontaneous"/on-the-spot composition) a melody is optional. But for the bass player, improvisation within structure is a necessity. Why is this so? (Answer): Often in band situations, bass players are only given chord changes by which to go by for their "on-the-spot" improvisations, and are expected to come up with an appropriate sounding rhythmic and melodic support within these changes. . . hence the need for improvisational ability.
This lesson will focus on concepts relevant to the learning of "on-the-spot" improvisation. In the process, we'll discuss the most basic material needed to create creative melodic lines--the essential chord changes and an awareness of bass-ic major and minor sounds. From there, we'll discuss many different concepts in the hopes of creating different melodies and rhythmic textures.
This lesson is written within the style of Sly & The Family Stone's "If You Want Me To Stay" (also made popular by The Red Hot Chili Peppers).
Line Concept One--Basic Root Motion Approach
This approach is what I would usually start off with until the changes are memorized. . . and requires nothing more than following the root motion of the chord progression.
Line Concept Two--Root/5th Improvisation
One of the easiest ways to add new "non-offensive" notes into the melodic picture is to alternate roots and 5ths, in some sort of musical way that sounds good to you.
Line Concept Three--Half Step Approach
One of the most effective ways to create melodic interest when getting from one chord to the next is to approach new chords by a half step, above or below. In the example below, note how the eighth note between each new chord change is only a half step away from the root note it resolves to.
Line Concept Four--Root/3rd Improvisation
Further along on the two note improvisation route is the implementation of diatonic thirds--major or minor. In SOUND, major intervals are "happy," when compared to melancholy ("sad") minor tonality. In theory, the major 3rd interval is two notes/two whole steps apart--F to A for example. This interval can be used over top major AND dominant chords. For ease of a closer fingering, it is fingered like this. . .
If we lower a major third note (A) down one half step (F to Ab), that 3rd interval becomes minor. This interval can be used over top minor and dominant chords.
In the following progression, note how I start off on the minor 3rd of Bb (D), then resolve to the root (that's art!).
Line Concept Five--Chord Tone Lines
The following examples approaches the familiar progression in a new way--by making use of chord tones. In the following example, implement major arpeggios (R35) over top major chords, and minor arpeggios (R b3 5) over top minor chords.
Line Concept Six--The Use Of Chromaticism
The word "chromatic" refers to half step melodic movement. We learned about this concept in Line Concept 3 when we resolved to the new chord change by half step. The following example further explores the use chromaticism, in how it can be use to compose a more dynamic bass line.
Line Concept Seven--Rhythmic Variety
"There are so many notes in a scale, but there's and infinite variety of rhythms." Nathan East/Eric Clapton
Through the course of this lesson, we've learned many melodic concepts for "on-the-spot" improvisation to become a reality. THIS IS JUST THE BEGINNING. Try listening to Sly & The The Family Stone's recording of "If You Want Me To Stay." Note the subtleties: how Larry Graham's "8th Note" is articulated. . . the accent pattern that transforms the rhythm into a completely new sound. Any great player is aware of the "percussive influence" on the overall sound, how rhythmic subtleties (and the not so subtle) can take a bass line into a completely new direction. The following example is just a small sampling of what's rhythmically possible. Enjoy!!
Suggested Listening: Melodic Bass
Copyright 2000, Rodney M. Goelz
