Adding and using chromaticism in my bass soloing?

[BasistaFunky]

Hello there guys, I have a very serious and important question, because I really need help. I wanna add and use chromaticism in my bass soloing, but I have no idea how to do it. I watched a lot a short clips and videos on YouTube, but it's not explained very well. So can you please tell me how to use it when I am soloing - should I combine the chromatic scale with the pentatonic, blues, the diatonic modes of the major scale and their diatonic arpeggios, or I have to use other scales, modes, arpeggios etc., or any tips, advices and concepts for complete beginner for the solution? I hope you help me, thank you .

 

[onda'bass]

Start with bop scales , they have chromatic parts built in. The look at approach tones.

 

[Wasnex]

There are different formulas/approaches...so the answer is not simple or straight forward. Not really my forte, but it's probably best if you study and significantly master one approach before moving on to the next:

Some ideas to explore:
1. There are a range of different scales with built in chromaticism. Examples include whole tone, diminished, altered, bebop, and blues scales--this is by no means a comprehensive list
2. Tritone subs
3. Formulas for using non-diatonic tones such as chromatic approach and chromatic surround
4. Jazz tends to favor Dorian mode over minor 7th chords, rather than sticking strictly to whatever mode is diatonic
5. Pentatonic substitution

Some approaches are more closely related to others.

Some References:
3.
4. Everything You Don't Know About Minor Harmony • Jazzadvice
5.
5.

Don't be too impatient. IMHO, there is more to learn to learn on this subject than one can reasonably internalize in one life time.

Injoy the journey!

 

[Scottgun]

Collect examples:

 

[mambo4]

TLDR: Emphasize chord tones and use any other tones to navigate between them in a way that is stylistically appropriate to the music you are playing.

No doubt you can google many novel scales and modes , along with pages of theory and examples to justify their use. Often the theory can even be useful to know, it gives you a common name to hang an idea on. But at the end of the day it's a matter of

1. where is the next chord tone and
2. which notes, played when, will sound good on the way

The simplest concept is the chromatic approach note: just before a chord tone, play the note a semitone above or below it as an anticipation
then you can expand on it by adding more chromatic steps to the anticipation: approach form 2 or 3 semitones

It is the stylistically appropriate part that takes some experience and familiarity with the genre. In other words: learn lots of solos that do what you are trying to do.

 

[Groove Doctor]

Simplest starting point is to add chromatic tones as quick passing notes between two scale tones or two chord tones.
eg. C / / D D# | E / / F F# | G

Start by doing this with scales and arpeggios. You’ll quickly fnd what notes & cerain rhythms that work and sound good to your ears.

 

[heafdogg]

Lots of good suggestions here. I would suggest taking something basic like a major triad and experiment by adding different chromatic approaches to the notes of the triad. Start simple with just a chromatic below, one note at a time (ex: f# g b d or g a# b d or g b c# d) then start combining and making your own exercises. It's important to get the sound in your ears and not just in your fingers! Here's an exercise for you outlining a g major triad :

Once you have this down, there are 11 more keys! Also, don't just memorize the finger pattern. Say the name of each note as you play it until you don't have to think about it anymore.
Come up with your own and try this with other triad types (minor, augmented, diminished).

Take you time and good luck!
Heath

PS listen to Charlie Parker, Dizzy Gillespie and Bud Powell. They elevated this stuff to someplace very deep and extremely musical.