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As a bassist how do you work on hearing/feeling the changes?

I found it useful to recognize harmonic patterns by sight and by ear. Here's a book that deeply contributed to this in my life.

Hearin' The Changes by Jerry Coker

This looks useful, thanks!
Practice makes perfect on this one!

My first target is the chord structure/ tonality of the song. After first hearing I often have a go on piano to see how much I get right off the bat. I make it a game. If I "know" I've got it I'll go to bass directly.

Sometimes I just can't hear it, and take a few listens, trying to hear intervals etc to unstick a mental image of the pattern. Often I miss something simple, thinking stuff is harder than it is.

Once I've got a lock on the chord structure, then I put it on bass, with the patterns and fills that fit. All within my skill level, but still able to hold the whole tune.

I only use tabs as total last resort...

PS I saw clip today on YT from the jazz bassist Rufus Reid. He said be "friends" with the piano, for exactly this reason.
This is good stuff thansk. Have a link to that? Rufus Reid is awesome, I find him to be a really solid instructor and he's always on point. I'll see if I can find it too.

Edit: I was thinking of Rufus Philpott, but Rufus Reid is awesome too.
 
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I don't really know the jazzy stuff where chord names get long enough to be an Ibanez model number.
I can play the simpler chords on guitar, so I know the notes that make them up, plus I know the notes that are safe to play.

Root, third, fifth and octave are usually safe bets, even when it's a #11dim13 or some such thing.
When we're talking about creating a bass line in the band rehearsal or at home, I figure out what works best and create a bass line accordingly.
When we're talking about playing unknown material live, I stick to what's safe to play.
 
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Top advice, don’t get stuck by learning the arpeggios only from the root note - learn to play the arpeggio shapes on lower notes than the root, not just from the root upwards.
You can get a very long way with this without unlocking the ‘colour’ notes that a good understanding of ‘modes and scale types’ can provide. Which is fine, but for just a little more study you can add the icecream and gravy to the meat and potatoes!

This is good advice which I hadn't considered. Thanks.
 
Depends on the genre/style....

Lots of distorted guitar can be hard to decipher live in a rehearsal space.
I can pick out more from recordings but I'm certainly no jazz free wheeler.
I like to know what the chords are ideally and then decide on lines that are interesting other than roots.
Inversions can be challenging to pick out.

I'm often surprised guitarists struggle to actually tell me what exactly they are playing, in terms of chords/inversions etc. Some can't seem to say the sequence...eg G/A/C/E.... Have to stop & work it out!!
 
This right here. I used to play with a drummer in college(jazz small group) who would learn the melody of the tunes and sing them to himself while playing. We would be playing through the solos and he would be over there still singing the melody while playing off of what was going on around him. That guy was deeply musical and definitely knew the material.

When I hear these stories it makes me realize I'm not that musical. But then that's not a prerequisite for entry. It'll just take me a lot of work to get even close to that. But that's what we're here for right.
 
1. I’m a fluent guitarist so I play the songs on that to HEAR it.

2. I analyse the song structure.
eg. 32 bars, 4x 8 bars sections, AABA arrangement,
4x 2 bar melody phrases in each section.

3. I analyse the chord progressions
eg. ii-V-I turnarounds, substitutions (tritone, borrowed, etc).

4. Important to note what chord each section or phrase starts and ends on.

5. I analyse the melody, especially what note each phrase starts & finishes on.
Also it’s relation to the immediate chord/ adjacent chird, and the ‘home key’
eg. Misty
- “Look at me” Bb G D melody on Ebmaj7 chord
= 5 3 (7)

6. Analyse melody if it LEADS into the next chord (very helpful) or it FOLLOWS after the chord has begun.

7. Learn to sing the melody & play on guitar.

8. Transpose it to different keys. Great for testing your understanding and memory of the chord progressions, plus ability to transpose on the fly.

If you’re having trouble, transpose it on paper in all 12 keys and check as you go. After 10 or more songs you’ll be fluent & develop confident to transpose on the fly.

9. Sometimes when I find a key that suits my voice, I’ll just use a capo to “change the key.
eg. Misty is in Eb.
Capo 1st fret - play it in D.
Capo 3rd fret - play it in C.

10. I’ll usually have swapped back & forth between guitar & bass throughout this process (which might go on for a week or three).


When studying, To move from short to medium to long term memory, you generally have to repeat something 5 times over three days.
I’ve found it takes a week or two & do 1-2 practice sessions a day.

I might only work on 8 bars at a time as there can be too much to remember and get right.
There’s often one or two little bits that take longer than others to get it in my ear and thru my fingers/ voice. That’s normal IME.
BTW - I thought this thread was about Jazz Standards hence my answer above.


For Pop songs

1. I’ll transcribe by ear, write my own chord/ arrangement chart.

2. Learn the bass line note perfect (my preferred way, not essential).

3. Be able to play beginning to end with no mistakes

4. Memorise it by playing
a. With Audio & chart
b. With audio only
c. With chart only.
d. With neither, purely from memory & “hearing” the rest of the music in my mind/memory. After it I’ll double check I’ve got it 100% right.


YMMV. I’m usually the MD (Music Director) and this is what has worked for me for the last 34 years.
 
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BTW - I thought this thread was about Jazz Standards hence my answer above.


For Pop songs

1. I’ll transcribe by ear, write my own chord/ arrangement chart.

2. Learn the bass line note perfect (my preferred way, not essential).

3. Be able to play beginning to end with no mistakes

4. Memorise it by playing
a. With Audio & chart
b. With audio only
c. With chart only.
d. With neither, purely from memory & “hearing” the rest of the music in my mind/memory. After it I’ll double check I’ve got it 100% right.


YMMV. I’m usually the MD (Music Director) and this is what has worked for me for the last 34 years.

Yeah I'm working on standards, but the pop/rock answers have been helpful too.

I thought this was an interesting point you made; 6. Analyse melody if it LEADS into the next chord (very helpful) or it FOLLOWS after the chord has begun.
 
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When I hear these stories it makes me realize I'm not that musical. But then that's not a prerequisite for entry. It'll just take me a lot of work to get even close to that. But that's what we're here for right.

Believe me I know. I've never gotten there either. He's a professor at a large college now who flies all over the world playing shows. I do restaurant and bar gigs. No big deal. There's a little nugget in there for me too in that I know that I have something to work toward in my own way. The key for me is to continue to enjoy the music and not get bogged down in the things that seem too hard.
 
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Not a deep answer, but I also play guitar (the third instrument I took up, and my main instrument really). Some songs I’m much more interested in as a guitarist, some I much more interested in as a bassist, and some it’s about equal, so my approach varies.

If I’m mainly interested in it on bass, well, if there’s a signature riff involved or some such, I may start there. If it’s a complicated [to me] riff I’m having trouble with, I’ll probably look up tab. But otherwise, if I’m not starting with a riff, I’ll probably try to figure out the roots first to get the progression down, and then work on making my part more interesting from there. If that’s not working, I’ll look up a chord chart (it probably helps if I’ve already taken at least a bit of a stab at it without a chord chart, and then the chord chart fills in the blanks… if it’s a good/appropriate chart, but that’s kind of another topic. I may end up consulting multiple chord charts for the song and make some adjustments to come up with my own chart). However, sometimes the roots aren’t enough for me to really "get" the song and I end up switching to guitar and the full chords and the guitar rhythm, and this may lead to (Oh no!) singing too, if it’s a song with a vocal :)

if I’m mainly interested in the song on guitar, the process is pretty much the same except that I’ll start on guitar. But sometimes I can’t figure out the progression on guitar so I’ll go to bass (or at least the low E and A strings on the guitar) and try to work out the roots first before continuing on.

Once I have the progression down, I’ll typically work on laying it down on a looper, first either on guitar or bass as appropriate, and then the other instrument (whichever I didn’t start with) over that. Then I’ll probably play around with improvising over it, then I’ll probably work on improving my parts and re-recording my loops. At some point, if I’m feeling ambitious (which I haven’t been lately), I’ll work on recording the whole song.

The part that sucks is that I’ve got knee problems that have lead me to give up on drumming, which while not my best instrument, was the most fun instrument for me and which really helped me learn a song in a much fuller way. But anyway, yeah, I often use other instruments, now only guitar really (used to sometimes be piano, but I haven’t been regularly messing with piano in years now), to help me really learn a progression. One could do the chords on bass, but I’m not Mr. Chords on Bass and it’s easier for me to just pick up a guitar (of which, like basses, I have plenty, lol).

So I guess my tips are, learning the roots, deciding on a chord chart I like (including writing the chord chart down myself, possibly modifying it, possibly transposing it, possibly writing it down as Roman Numerals for easier transposition, writing the chords I’ve chosen over the lyrics [if any]), also learning it on a chordal instrument, singing it if there are lyrics, laying down a loop of it, messing around over the loop, formalizing a better part and looping that (perhaps a multi-step process), and then finally either recording the song or jamming it with other musicians (or preferably, both). Compared to what others have shared so far, my unique aspects seem to be incorporation of a looper as a learning tool and also sometimes making a semi-formal recording (probably involving playing multiple instruments), also in part as a learning tool. Introducing it in a jam…

By the way, I’m not claiming I’m great at this or anything, lol. Just sharing what I do :woot:
 
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Yeah it is limited but also you can tap f the extended voices or just play the extended notes for that voicing.
For example voice the 9th or 13 by taping it or revoice and forget about the 3rd. You do not need the 5th to be played


Piano is a better choice for chord visualization.

Also get a cheap 5 string and string that to E-C.. Get full 24 fret so you have access to more notes. Search for Andres Rotmistrovsky on YT

Again no need to play every dang note, use inversions

Examples of how chords work on bass E-C guitar (he also has example playing on a4 string with flats ( I think it was a Norah Jones cover





 
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Yeah it is limited but also you can tap f the extended voices or just play the extended notes for that voicing.
For example voice the 9th or 13 by taping it or revoice and forget about the 3rd. You do not need the 5th to be played


Piano is a better choice for chord visualization.

Also get a cheap 5 string and string that to E-C.. Get full 24 fret so you have access to more notes. Search for Andres Rotmistrovsky on YT

Again no need to play every dang note, use inversions

Examples of how chords work on bass E-C guitar (he also has example playing on a4 string with flats ( I think it was a Norah Jones cover







Ah yeah know this dudes stuff well! Part of the reason I somewhat regret going 4 string on the Bordwell. But oh well I do love it and I love playing a 4 banger.

A cheap 5 string E-C is a good idea, if I find myself really wanting to stay on the bass.
 
I have tried piano but I really do feel way more at home on bass. A 24 fret 4 string means I can work ok through the chords on the bass itself, but I do kind of wish I'd gone 5 string high-C so I could do more inversions.

Wondering how much you think the limited range of chording on a 4 string (i.e., you can get the 10th but that's about it) limits your ability to work on this stuff?
On a 4 string you can get the root, seventh, and tenth (I.e. third) on the E, D, and G strings , or the root, third, and seventh on the A, D, and G strings. That will give you enough of the flavor to hear progressions. You miss out on some of the nuances of higher extensions and alterations (b9, #9, #11, etc), but those are usually less important.
 
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On a 4 string you can get the root, seventh, and tenth (I.e. third) on the E, D, and G strings , or the root, third, and seventh on the A, D, and G strings. That will give you enough of the flavor to hear progressions. You miss out on some of the nuances of higher extensions and alterations (b9, #9, #11, etc), but those are usually less important.

32" scale makes the b9 easy enough to get, especially up the neck a ways. But yeah that and the 10th are about it.
 
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If I need to learn something fast, I always convert my thinking to numbers.
Its so much easier to remember 1,4,5 or 2,5,1 than to remember letters. Also makes transposing keys so much easier.
 
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