Improvisation Question.

[fsf347]

When I try to improv or solo, im trying to get away from JUST using chord tones.

The only problem is, when i try to use scale degrees other then R-3-5, i tend to have trouble keeping count in my head, and forget to emphasize the chord tones on the strong beats.

So its either play MOSTLY chord tones with little use to other scale tones, or use mostly other scale tones, and then fail to emphasize the chord tones enough.

Anything i can do to correct this? Just a lot of practice?

[bassybeenz]

work on building a few licks that you always use, just work through them slowly, having a few no brainier moves for a particular progression can give you time to plan the next bar. also if it is a bass SOLO, you don't have to follow the rule to a T, for improvising lines while others solo, its all about getting comfortable, there's nothing wrong with sticking to chord tones while preparing for something more interesting.

[Stumbo]

Here are a few links you may want to check out:
~Getting creative
Where does creativity come from?

Creating bass lines
Target Approach
Walking bass line examples
Ed Friedland on walking bass lines

For a jam
Jammin'

Playing scales

Playing behind/ahead of the beat
"Feel"
Playing "in the pocket"

+1 on not following the "rules" while improvising. If it sounds good, play it, whatever "it" is.

[Nashrakh]

I concur.

One of the main reasons why improvisation is helpful is because we can push the boundaries which confine our daily bass playing routine.

At least I have experienced that improvising has helped me more than I imagined.

For the time aspect, practice. Then practice some more. It takes some time, but will come eventually and will feel like second nature after a while.

[Billnc]

Study approaches to chord tones, chromatic lower approaches, scaler upper approaches then a combination of them. Then learn some substitutions with the chord tones. Practice improvisation no faster than you can think, this is very important, as you want to see patterns. I start off very slowly improvising with new ideas I have just practiced. This is out of time, then I'll gradually go into tempo. None of my students ever seem to realise how SLOW slow is!

[MalcolmAmos]

Can not get around it improvisation is melody. Here are a few thousand words on how to write a melody line:

http://books.google.com/books?id=Hty...age&q=&f=false

Copy the hints that appear on the screen in the following video. For example: Two notes close together followed by a leap of at least a 3rd. The key to all this is what you do after the leap. The article above has the answer to that.
http://video.filestube.com/video,8c7...b6fe603ea.html

See how he weaves pentatonic runs and pieces of melody from old songs into his improv. Breathing spaces instead of a stream of notes, lot of good information on that video.

Good luck.

[eggfan]

Originally Posted by Billnc

Study approaches to chord tones, chromatic lower approaches, scaler upper approaches then a combination of them. Then learn some substitutions with the chord tones. Practice improvisation no faster than you can think, this is very important, as you want to see patterns. I start off very slowly improvising with new ideas I have just practiced. This is out of time, then I'll gradually go into tempo. None of my students ever seem to realise how SLOW slow is!

+1

This is tremendous advice, IMO, and gets to the heart of the matter.
If you simply learn licks by rote and apply them over changes, you may never learn to hear how everything connects, and you won't be creating new melodies but merely recycling other peoples ideas. Not that some licks aren't part of the common vocabulary, but they shouldn't substitute for using your own ear and brain. Play as slowly as you have to, out of time, until it starts to flow. Also, pay attention to tension and release, which is a key element in good improvisation, as in music generally (and painting, and poetry, etc.)

[251]

Nice examples, Malcolm. I saved a pdf of the Goetschius for reference. I'll take a chart for Peace Piece to my next ensemble lesson & set up the changes in a BIAB file for practice. Thx 8-)

[JTE]

So, if by "improvisation" you're talking about soloing, the key is to have good musical ideas and let them lead you. Sounds like you're overthinking this.

So, learn melodies. Listen to great solists (NOT bassists because they're generally not the best source!). Listen to Ella Fitzgerald, Duane Allman, Mike Stern, Miles Davis, Paul McCartney, Dizzy Gillespie, Coleman Hawkins, Lerner/Lowe, Bach, Mozart, Paul Simon, etc.

Here's an ardous but fruitful way to learn. Lock your bass away in its case. Play a recording of the progression you intend to solo over a few times and think about what would sound good as a solo. Then SING a solo over those changes. Record yourself singing that solo. Then, and only then, get your bass out and learn to play EXACTLY what you sang. After you've learned the solo, then analyze it to see what elements you used that made it sound cool.

This method prevents your fingers from leading your ear, but gets it in the right order of ear leading the fingers. It also most closely touches the music of your heart.


John