are there any exercises to help develop melodic sense? for various chord progressions and stuff. thanks. i cant help but sound very dead from all the muscle memory playing even after i try to learn various other melodies. i just cant apply licks to my own playing
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excercise(s) for melodic playing
- Thread starter ameshokostreet
- Start date
Hi there... 
First of all - I am far, far away from being a pro or an expert in this - heck, I don't even know if this makes sense at all.
Just yesterday evening I wrote out this little exercise for myself to get the hang of modes again.
Since modes can be summarized by "where are my halftone steps" I focused on just those (nope, I am not scientific about it). So the idea is to generate some sort of sound pattern by simply remembering the halftone steps in each mode. This can be used to create own melodies for solos, create tensions inside licks, or whatnot...
The exercise does not pertain to any scale or any note, so start where you want - but stay with the primary note to hear the difference the changing halftone steps make.
Please see the attached *.png and *.pdf as reference.
There are seven modes: Ionian/Dorian/Phrygian/Lydian/Mixolydian/Aeolian/Locrian. The tabs show each mode from left to right in that order, separated by a vertical line. I used the hammer-on symbols to denote the halftone steps for each mode.
Cheers,
Rainer
First of all - I am far, far away from being a pro or an expert in this - heck, I don't even know if this makes sense at all.
Just yesterday evening I wrote out this little exercise for myself to get the hang of modes again.
Since modes can be summarized by "where are my halftone steps" I focused on just those (nope, I am not scientific about it). So the idea is to generate some sort of sound pattern by simply remembering the halftone steps in each mode. This can be used to create own melodies for solos, create tensions inside licks, or whatnot...
The exercise does not pertain to any scale or any note, so start where you want - but stay with the primary note to hear the difference the changing halftone steps make.
Please see the attached *.png and *.pdf as reference.
There are seven modes: Ionian/Dorian/Phrygian/Lydian/Mixolydian/Aeolian/Locrian. The tabs show each mode from left to right in that order, separated by a vertical line. I used the hammer-on symbols to denote the halftone steps for each mode.
Cheers,
Rainer
Attachments
Listen/transcribe/analyze melodic bass players. Work on your ear understanding the sound of chord tones and extentions. Start writing out bass lines to chord progression that where you put that ear training to work. Then play the lines you wrote and refine then into lines you like. Than again analyze the lines to find the what the sounds are you like to use. Sing bass lines to song till you get a melodic line you like, then transcribe what you were singing. Study composition and counterpoint.
Basically submerge yourself listening to tunes with melodic bass you line. Don't listen to anything else for a couple weeks. Let your subconscious absorb the sounds you like and you will find the sound creeping into your playing.
Basically submerge yourself listening to tunes with melodic bass you line. Don't listen to anything else for a couple weeks. Let your subconscious absorb the sounds you like and you will find the sound creeping into your playing.
Heck, learn melodies!! Duh- Learn to play song melodies on your bass. That'll open up your ears, and it will get your fingers moving to different places.
Then STUDY the melodies- look at the chords and how the melody notes relate to the chords. Analyze what's going on as the chords change.
Apply that to what you're learning as you follow DocBop's suggestions. I'd dig into some Bach too, in order to see how the bass line functions as a melody and as a supportive line at the same time.
jte
Then STUDY the melodies- look at the chords and how the melody notes relate to the chords. Analyze what's going on as the chords change.
Apply that to what you're learning as you follow DocBop's suggestions. I'd dig into some Bach too, in order to see how the bass line functions as a melody and as a supportive line at the same time.
jte
I'd say the worst thing you can do when learning to play melodies is transcribe bass players. Transcribe some horn players, or better yet, vocalists. Get some Stan Getz recordings, learn his horn lines note-for-note, and I guarantee you'll have a better sense of lyrical and melodic performance.
transcribing by ear is still pretty hard for me. took me hours to do a beatles song. but i think there isnt anything wrong with transcribing bass players. i have always loved jaco's melodic playing. thanks guys. i see how this works now. taking melodic ideas from other through transcribing. guess its up to me to work hard in this aspect then. thanks!last night, i tried to play someday my prince will come on bass and after hearing so many versions of the song i had loads of ideas on spicing up the original melody. so i guess this is what u guys meant am i right?
Sure, as long as they're melodic drummers.
Actually, I agree w/the 'learn melodies' sentiment. I was sitting w/my kids a minute ago, trying to pick out 'Over the Rainbow', 'When you wish uon a star' & a few other very familar(in my head)lines, & it's hard. To me that says it will add something that's not in your arsenal.
I think Mutedeity's referring to the OP asking what "exercises" he can do to learn how to play more melodically. The correct answer is that you don't do exercises to play more melodically...you listen to melodies and absorb them and use what you like about them in your own playing, whereas exercises are for developing the raw motor skills.
Of course, I could be wrong and Mutedeity's could just be acting like a PITA
You can do a search of my name and the terms "melody", "melodic" and anything else associated with it and there is your answer.
As for "enlightening" anyone since you aren't paying me for my time you can make do with the volumes of advice I have already given on this subject.
Jimmy, you are half right. Listening has a lot to do with it. On the other hand melody isn't about how nice something sounds.
He played a while ago in a jazz club I volunteer in. Unfortunately I missed the gig due to a gig I had myself. A drummer I know, pro since 20 years, said after the concert that he now "has seen the light and the future of drumming". He said it was the best and most innovative drumming he's ever seen (heard).
Talk about innovative, that cat is badass. Only guy that could pull off a "solo drum" gig that's not at a drum clinic, and that's saying something.
- May 30, 2000
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- Creator of: iGigBook Sheet Music Manager
Explain what you mean by this.
Every definition of melody that I've seen has the notion of the sound being "pleasing". In the context of what the OP is looking for I think that aspect of the definition of melody is what the OP is looking for.
I like JimmyM's answer better than mutedeity's, but I will do some research. BTW, I wasn't being flippant(I know, odd for me 
), I was sincerely seeking wisdom/experience/an educational nugget, as I am not a terribly meldoic(as little as I may understand the term at present )thinker on the bass; I'd like to stregthen that weak link a bit if possible.
), I was sincerely seeking wisdom/experience/an educational nugget, as I am not a terribly meldoic(as little as I may understand the term at present )thinker on the bass; I'd like to stregthen that weak link a bit if possible. 
