Bassist leading the chord changes

[Wasnex]

Yes, that my mentioned "secondary dominant" aspect is only ONE(!) of numerous choices to change (if needed/when needed) chord progression for the jam session. One of numerous only.

It's truly amazing that nobody's mentioned the Rhythmic part, the FORM but so much IMPORTANCE of some chord changes when the bass player decides?

Nobody's has even touched that subject (my favorite) of Developing the bass line like any other composition.
Usually, I would propose to my band some well-known songs/compositions but in a completely - rhythmically-changed (!!!) - genre.

See below.

Even if the harmony and form remain the same, the bass player can have amazing freedom with the groove. In some circles it is common to completely change styles from swing, to samba, to waltz, to reggae, to boogie, to funk, to rock....whatever your heart desires. Course this usually works better if it's not a total surprise.

At the OPs level of experience, I would recommend playing around with simple rhythm variations rather than drastic style changes.

Also if there are cool basslines that you like, you can expand and jam on those. Back in the 90s I made up an extended groove that was probably inspired by the theme of a crappy Sci Fi show called Misfits of Science. I didn't have any idea what the chords were, but it usually didn't take long for good musicians to figure it out.

 

[MalcolmAmos]

In a jam session the key is normally called, a i.e lets do kiss ole Kate in G. From that everyone jumps in and ........

G tells me that G, C & D will probable work. So I start there with a I-IV-V and change chords when I think it's time. Jamming is like throwing gernads - close is good.

 

[Wasnex]

Some of the commentators in this thread accepts the "Jam Session" as some WORK(?).

To me jamming is essentially making stuff up on the fly or playing common repertoire without prep...but that's my definition.

 

[Mannyinnewyork]

I have always found that when I was in jam situation, I prefered to follow the guitarist or pianist simply because I know that I'm listening and looking for a cue. Half the time the other players were just jamming away in their little world with not much interest in what the others are doing. Needless to say, I was never a big fan of the jam thing. Then again I have never played with really accomplished Musician's so that could be the issue.

 

[Heyturnup]

I agree with dreamadream99. Never under-estimate the power of the bass to lead, by runs and note selection, the whole band right where you want them to go. Make it so obvious they can't miss it, unless they are not listening. Good musicians listen.

 

[Wasnex]

I thought about making some simple charts but I think it may be a little too academic for these guys so I'm attempting to do this in a more fluid way and all of the suggestions have been great. We cycle through a twelve bar blues regularly but I'm really trying to find a way to develop those jams that don't have a form, and maybe kind of break the rules a bit.

Basically if they are looking for you to lead, then you have to play a consistent pattern of rhythm and chord changes. In jam sessions, people usually try to figure out the chords on the first cycle through the pattern and then start filtering in and improvising as they gain confidence. The key is you have to lay down a foundation that is predictable and holds everything together...also it has to be simple enough for the people you are playing with to figure out without to much difficulty. Before you begin, you could explain the form and the chords. For example, you could say, "Check out this two bar groove over E7 and D7."

Usually with a simple two bar pattern, you can just play and everyone will follow along. After awhile when every has had their fun, you can introduce a different pattern. One way to do this is just to sit on the E7 for a couple bars to let everyone know your done with E7 to D7. After everyone notices, let the phrase complete and start your next pattern.

I should note that E7 to D7 can be a fun vamp that works at the end of longer more complex patterns.Try it after E blues...it's the Killer Joe Tag.

 

[dreamadream99]

Make it so obvious they can't miss it

Exactly.

The key is you have to lay down a foundation that is predictable

Exactly.

 

[JRA]

jamming with hot players can be invigorating. if your bandmates aren't that accomplished it can become wankery and dissolve into chaos (a risk for experienced players, too!)

i used to do jamming for its own sake, a lot. now i mostly avoid it.*

in one recurring jam group we did this --- so that everyone in the room could see: on a whiteboard or a chalkboard (or paper, whatever) write the changes which will be used--- maybe two or three or four --- but without the bar count --- and go! the bass is the best instrument to lead from one change to the next...and naturally in control!

variants: everyone chooses one 'favorite' chord either in relation to the previous player's choice, or, in secret --- like a ballot --- and then write them on the board. can be both fun and educational!

* most of the best cats i've jammed with are dead

 

[GVisc]

The whiteboard idea is great, I'm going to try that for sure.

 

[mambo4]

My band's warm-up method has been to just start jamming over a chord that I pick

so don't just pick a single chord,
choose a predetermined common chord progression.

 

[MalcolmAmos]

I'm looking for suggestions on how to get my band to move to different chords during the jam section of a song or when we are just warming up, instead of vamping over one chord. My guitarist says that the bassist usually signals these changes but I don't have any experience doing that. For example, we may be playing on the II chord of the scale and I would like to move it to the V or any other chord. Are there some common methods to doing this?

I did not go back and read all the posts, and I'm not sure we stressed the walk. If you use a three note walk to the next chord that walk alerts the guys that a change is coming and the walk itself, be it chromatic or diatonic, moves (walks) everyone into the next chord. So they hear the walk and know a change is coming and the walk itself leads to the next chord.

Brush up your three note walk is my recommendation for letting the guys know a change is coming - and what the next root will be.

Yes before all this knowing the key and having a good idea what the chord progression will be is kinda a must, but, when and how to get to the next chord, and let the guys know a change is coming, can be served with a three note chromatic or diatonic walk.