For Jazz Double Bassists

8/9/2019 For Jazz Double Bassists

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Sample ChapterSimple Soloing Method for Jazz

Double Bassists (L#24)

http://www.discoverdoublebass.com/term/simple-soloing-method-jazz-double-bassists-l24/

http://www.discoverdoublebass.com/



Copyright © 2014 G Chalmers

Discover Double Bass Study

Guide

Sample Chapter

The first edition of the Study Guide contains detailed transcriptions ofthe 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 topractice the material in my video lessons, as well as suggestions forfurther study.

For the lessons that do not require sheet music, such as those onposture or technique, there are written explanation of the concepts aswell as helpful photographs.

This sample chapter contains the sheet music and written guide forlesson L#24. The backing track is also in the folder you downloaded.For details of the complete guide please visit the Discover DoubleBass Store.

http://www.discoverdoublebass.com/study-guide/

http://www.discoverdoublebass.com/study-guide/




Simple Soloing Method for JazzDouble 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 tooutline 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 indifferent places on the fingerboard. Ask yourself: Can I play the Fon 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 exploreplaying elsewhere on the neck.

• Forget open strings. Are you always playing some notes asopen? The advantage of using stopped notes is that you can slidein and out of them, as well as use them for their different tone.This is especially true of the open G string which sounds quitedifferent from the same note on the D or even the A string. I findpractising with and without open strings is a great exercise.

• Use the neck heel to help your tuning when playing the F on theA and G strings. For more information on this essentialtechnique, check out: Unlock the Fingerboard: Neck Heel

Method (L#19).

• Develop your ideas. Make sure you expand each idea to its fullpotential. Don’t waste any phrases you play. Experiment withcarrying on elements of a phrase into the next phrase. Try doingthis first with rhythm and then with note choice. It takes time todevelop this skill, so be patient and you will soon be playing linesthat relate to each other and provide a thread that runs throughyour entire solo.

• Use contrast.

When listening to music, we tend to tire veryquickly of an idea, so always think about adding contrast by

http://www.discoverdoublebass.com/term/unlock-the-fingerboard-double-bass-neck-heel-method-for-great-tuning-l19/




http://www.discoverdoublebass.com/term/simple-soloing-method-jazz-double-bassists-l24/




making big changes. For example, you can keep the phraseyou’re using the same, but change the dynamics. Similarly, youcan go from playing a very busy line to playing one that is simple.It’s a great way to add interest and when combined withdeveloping your ideas, you will keep the listener’s attention.

Taking It Further

• Use a different blues progressions. Start with the simple threechord blues, but to take it further, you can use a more elaborat eversion.

• Not all blues are in F. Play in different keys. When you practise inhard 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

http://www.discoverdoublebass.com/



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F7F7 B¨7B¨7 C7C7

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Dominant 7th Arpeggios:

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Simple 12 Bar Blues Chord Progression

G Chalmers

Simple Soloing Technique (L#24)

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Basic 3 Chord Blues Progression

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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.

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Start point 00:00 Solo at the start of the lesson.

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

03:24 Solo Example 1.

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

"Bring the idea through the chord changes"."Bring the idea through the chord changes".

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

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05:59 Solo Example 8. Adding in articulations.

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06:56 Solo Example 11. Adding the minor 7th.

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07:15 Solo Example 12. Developing the idea.

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07:27 Solo Example 13. Developing the idea over the next chord.

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07:46 Solo With Backing Track.

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5

For Jazz Double Bassists

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