Bass Fills

[BowserBass]

How do you guys approach your bass fills? thinking scale of the song or chord, or the note tones of the chord?

I find doing fills using the scale easier, but using the notes of the chord cool sounding but very hard to remember where all the notes of the chord r up and down the fret board.

 

[klokker]

I sing 'em. If there is a piece I need to make up a bass line to, I start humming stuff and then try to translate. If its a fill I sing the line and just let my subconscious do a fill. If that doesn't work I start on all the different intervals from the note I want to end up on. It's not very systematic for me but usually I can come up with something. Start on the beat, or with an 8th note rest or whatever.

It's a bit like this post. Random until something works good.

 

[bass_lord_mutha]

For awhile I'd been stuck in a rut doing mostly fills and solos based off of the blues pentatonic, but over the past 5 years or so I've been working my way through the different modes of the major scale to make my playing less bland. I'm still pretty crummy at the music theory stuff but I'm getting better at playing with chord subs and using proper accidentals to color up my lines while still keeping a groove with the drummer, though I also like to try and do some counter-rhythms with the drummer so I'm not having to stay locked into his particular rhythm.

 

[Duckwater]

I pick a chord tone and try to play something melodic off of it

 

[MalcolmAmos]

I'm Country and Country bass is root five with chromatic runs to the next chord. Fills as such are something I normally do not do, however, at home messing around......

Improvise around the 3's (b3 if minor) is something Hal Galper talks about. I have used it while messing around on keyboard - piece of cake, have not tried it on the bass.

See what you think.

 

[mambo4]

I aim for the root note on the downbeat and try to come up with melodic approaches to that note.
I typically try either a step or a third away or a pentatonic fragment including that note.
I suppose that usuually places me in the scale of that root note, more often than not.
If it sounds bad I try something else.

I also have a meager library in my head of common rock/soul type runs
brazenly pilfered form players greater than I
That I just insert when my ears wants to hear it.

Precursory to all this is avoiding fills
until after I have listened to the rest of the band
while laying down a basic groove
to judge if there are any holes that need filling...

 

[keiththebassist]

How do you guys approach your bass fills? thinking scale of the song or chord, or the note tones of the chord?

I find doing fills using the scale easier, but using the notes of the chord cool sounding but very hard to remember where all the notes of the chord r up and down the fret board.

I use all of these approaches, just chord tones, or a scale. There will almost always be an appropriate scale that the chords are based on. You can use these to guide the fill. Mostly I think of what root (and chord) is being used and where it's going next. If the chord your on has resolution in the next chord then I try to avoid the root or more predictable notes and try to focus on using a line that will incorporate some tension notes so that the resolution that comes with the next chord is all the more dramatic.

In general I try not to use very angular melodies (unless i'm doing prog type rock and the guitar is following), meaning that I try for the most part to either run the riff ascending or descending and maybe with a little tweak thrown in there (again to help bring tension so that the resolution is more profound).

in short, don't stray from the scale that you're playing in and in general you can't go wrong with chord tones, but if you're looking for something with a little more character, use a scale that the chord is based on but not necessarily the same tones that the guitar is playing, different but not dissonant.

I hope that makes sense....

 

[Schpector]

My fills are probably based on some kind of theory or scale, but I wouldn't know it.

In truth, they are based entirely on what sounds good to me. The most fun thing to do is play along with a song that your band is writing and try a bunch of different notes until you find something you like, regardless of whether or not it makes musical sense. I have found awesome overtones and harmonies by doing this. My band mates love it. The key is to not overdo it.

When you start running out of ideas, start improv jamming along with genres of music you don't normally play. A few weeks ago, I couldn't come up with a bassline to one of our new songs in my alt rock band, so I went home, and that night, started jamming along to some Sly and the Family Stone, Commodores, and Earth Wind and Fire (old funk music).

Next practice, I was flooded with new ideas of stuff to try.

In my opinion, playing by ear is not only the most fun way to play bass, it is also by far the most challenging/rewarding in regards to writing.

Be adventurous, experiment. Play notes that you don't think would work (not at practice of course - at home with a recording!) You will be surprised at what you find.

 

[NubScrub]

My fills are all based of the pentatonics of the root.

 

[HolmeBass]

Minor pentatonic or a scale that contains the chord tones (which is usually a mode of the major scale).

 

[Whousedtoplay]

Precursory to all this is avoiding fills
until
1. after I have listened to the rest of the band
while laying down a basic groove
to judge
2. if there are any holes that need filling...

Yes, finding/"sensing" and filling those "holes" without destroying a basic groove or "clashing" harmonically with the main melody/tune- it's a really good piece of advice.
Listen first what other musicians are doing - lead SINGER/S, drum/guitar/keyboard/etc. players -,
and
then decide if you need a fill-in or, maybe, some interaction with other musicians' fills.
(Please disregard my comment if you are Linley Marthe and playing with some less known musicians. Jazz - It's Like a Whole Other Country.)

Accentuating/embellishing/etc... other musicians' fills /or sometimes playing along, increases the overall value of any band.
It, kind of, "staples" the band together/"tightens" it.

P.S. Don't forget about your fills' dynamics.

 

[goeyj]

I like to practice along with a song and just go fill crazy! Obviously, this is not how you will perform, but it allows your creativity to come out a bit. Don't limit yourself to one area of the fret board and make as many mistakes as you like. I'll practice songs like this sometimes and it sounds like a continuous fill. Sounds terrible, but I usually come out of that with several ideas on fills I would like to use in that song or others.

Do learn the notes contained in chords throughout a song and be familiar with the scale(s) that corresponds with the key of the song.

 

[Jack Butler]

Same way I do it. Your last line is the key...sometimes I forget that

I aim for the root note on the downbeat and try to come up with melodic approaches to that note.
I typically try either a step or a third away or a pentatonic fragment including that note.
I suppose that usuually places me in the scale of that root note, more often than not.
If it sounds bad I try something else.

I also have a meager library in my head of common rock/soul type runs
brazenly pilfered form players greater than I
That I just insert when my ears wants to hear it.

Precursory to all this is avoiding fills
until after I have listened to the rest of the band
while laying down a basic groove
to judge if there are any holes that need filling...

 

[Stick_Player]

How do you guys approach your bass fills? thinking scale of the song or chord, or the note tones of the chord?

I find doing fills using the scale easier, but using the notes of the chord cool sounding but very hard to remember where all the notes of the chord r up and down the fret board.

Learn, then know ALL the chord arpeggios (triads through 13th chords) over the ENTIRE fretboard/fingerboard of EVERY chord imaginable. No other way.

 

[bass12]

Learn, then know ALL the chord arpeggios (triads through 13th chords) over the ENTIRE fretboard/fingerboard of EVERY chord imaginable. No other way.

No other way? Tell that to the scores of respected blues guitarists who wouldn't be able to do what you've just described.

 

[lfmn16]

No other way? Tell that to the scores of respected blues guitarists who wouldn't be able to do what you've just described.

They do know it, they may not know how to articulate what they are playing. You can learn it using a formal methodology, or you can use the 'poke and hope' method of making the same mistake often enough that you remember to avoid it or incorporate it into your playing.

 

[Stick_Player]

No other way? Tell that to the scores of respected blues guitarists who wouldn't be able to do what you've just described.

Those guys always play the same riff/fill.

They do know it, they may not know how to articulate what they are playing. You can learn it using a formal methodology, or you can use the 'poke and hope' method of making the same mistake often enough that you remember to avoid it or incorporate it into your playing.

Can you name a few that are able to arpeggiate, oh say a Gb7(b913) chord, the entire range of their instrument?

I certainly don't have the time for "poke-n-hope".

 

[lfmn16]

Can you name a few that are able to arpeggiate, oh say a Gb7(b913) chord, the entire range of their instrument?

I certainly don't have the time for "poke-n-hope".

First of all, I am pro-learning. I think you are always better off having more knowledge. However, blues is not about being able to play complex chords on the entire range of your instrument, it's about being able to play appropriately for the genre. I would name Eric Clapton, Stevie Ray, Freddie King, B.B. King, Buddy Guy and others who can play what they need to play, where they need to play it on their instrument. And I would imagine that if a Gb7(b913) was appropriate for what they were playing, they would be able to figure it out.

 

[Kmonk]

I never even think about them. I just play whatever comes naturally at that moment.

 

[Stick_Player]

First of all, I am pro-learning. I think you are always better off having more knowledge. However, blues is not about being able to play complex chords on the entire range of your instrument, it's about being able to play appropriately for the genre. I would name Eric Clapton, Stevie Ray, Freddie King, B.B. King, Buddy Guy and others who can play what they need to play, where they need to play it on their instrument. And I would imagine that if a Gb7(b913) was appropriate for what they were playing, they would be able to figure it out.

The OP stated this: "... but using the notes of the chord cool sounding but very hard to remember where all the notes of the chord r up and down the fret board."

NOTHING about playing "Blues Licks".

I addressed his point.