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I throw something in there that fits the song. If it sucks, I don't do it again.
Scott has some great videos, definitely love his stuff and it's all free!!!
On a sidenote, I'm glad to see someone professional use the term "Chord Tones" as well. I first heard Carol Kaye use it and thought it was a commonly understood term. Got lambasted by someone for being a musically illiterate fool for using it. Sorry, just glad I could get closure from your post
I get a lot of mileage out of the major scale, mixolydian (which is just the major scale with a flatted 7th), minor pentatonic, and Dorian (which is just a minor pentatonic with the 2 and 6 added in).
But really most of my thoughts, and I feel the most important ones, are about how things feel, and trying to make things feel groovy through rhythmic concepts. That's how you slay it with R-5-8, it's not the notes per se but where you put them in the flow.
Note density and simplicity vs complexity are big considerations for me; sometimes no fill is the best fill, right? So either matching the drummer or soloist, or contrasting from them, in terms of the density and overall melodic shape of our lines. It's definitely conversational and based on how the groove feels to me.
I often think terms of "staying home" or "heading out". Some drummers stay home a lot, I might head out more often with them. Some drummers head out every chance they get, I'll stay home a lot more with them. Some soloists and singers seem to prefer a stable platform; I'll stay home with them most of the time. Some seem to thrive on the energy when I head out with them to places unknown, I'll do my best to stoke the fires of adventure for them.
The main thing I like is variety. I don't want to play the same feels and stuff over and over. I like to mix things up from tune to tune, and to a lesser extent within the same tune. It's part of why I am serious about soloing. I personally find it boring to listen to the same person take solo after solo all night long, no matter how good they are. Give the drummer some! Let the bass player cut one! Variety is the spice of life. Solos don't have to be complex, they just have to feel good, and if they're melodic that's a huge win.
But really most of my thoughts, and I feel the most important ones, are about how things feel, and trying to make things feel groovy through rhythmic concepts. That's how you slay it with R-5-8, it's not the notes per se but where you put them in the flow.
Note density and simplicity vs complexity are big considerations for me; sometimes no fill is the best fill, right? So either matching the drummer or soloist, or contrasting from them, in terms of the density and overall melodic shape of our lines. It's definitely conversational and based on how the groove feels to me.
I often think terms of "staying home" or "heading out". Some drummers stay home a lot, I might head out more often with them. Some drummers head out every chance they get, I'll stay home a lot more with them. Some soloists and singers seem to prefer a stable platform; I'll stay home with them most of the time. Some seem to thrive on the energy when I head out with them to places unknown, I'll do my best to stoke the fires of adventure for them.
The main thing I like is variety. I don't want to play the same feels and stuff over and over. I like to mix things up from tune to tune, and to a lesser extent within the same tune. It's part of why I am serious about soloing. I personally find it boring to listen to the same person take solo after solo all night long, no matter how good they are. Give the drummer some! Let the bass player cut one! Variety is the spice of life. Solos don't have to be complex, they just have to feel good, and if they're melodic that's a huge win.
I dont remember when was the last time I did a fill, as example, I am playing this Sunday and none of the five songs we are playing have a bass fill in it.
But if I have to do one then it will be determine by the grove of the song, thinking more on the rhythm than the notes.
But if I have to do one then it will be determine by the grove of the song, thinking more on the rhythm than the notes.
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I try to create almost a synchopated melody within the key, with notes that apply to the scale of both the chord I'm on and the chord which is coming next.
One thing that makes me sound like me is that I tend, when playing pop music and playing over a minor chord, to augment the 6 and 7 of the scale while ascending (melodic minor), as would be normally done in classical music. Sometimes I'll even augment the 4 of the scale over major and dominant chords (as is common in jazz)....this is all during fills mind you.
One thing that makes me sound like me is that I tend, when playing pop music and playing over a minor chord, to augment the 6 and 7 of the scale while ascending (melodic minor), as would be normally done in classical music. Sometimes I'll even augment the 4 of the scale over major and dominant chords (as is common in jazz)....this is all during fills mind you.
Match the drummer exactly, lick for lick, every time. Yeah, I cut my teeth on Geddy and Neil. That's how I do it, YMMV.
A lot depends on what kind of fill ?
Like the rest of the band stops and I do my thang for 2 bars ?
Or when the rest of the band is hanging on a chord and I do a run into the next riff ?
It all depends on the song, the situation, etc.
Usually I will let my fingers do the walking and see if my instinct produces something usable.
If not, I will try to map out the chords and use a flurry of notes in the scale that doesn't conflict with the guitar / keys.
Other times I will use a Ritchie Blackmore thing from one of his amazing things, and incorporate it into a bass fill.
That usually works 9 times out of 9 for me.
Like the rest of the band stops and I do my thang for 2 bars ?
Or when the rest of the band is hanging on a chord and I do a run into the next riff ?
It all depends on the song, the situation, etc.
Usually I will let my fingers do the walking and see if my instinct produces something usable.
If not, I will try to map out the chords and use a flurry of notes in the scale that doesn't conflict with the guitar / keys.
Other times I will use a Ritchie Blackmore thing from one of his amazing things, and incorporate it into a bass fill.
That usually works 9 times out of 9 for me.
Oh, also get used to being able the jump up and play your fills above the 12th fret sometimes. Makes for cool tones. Watch what I do right at the beginning of Royal here. (Right after she starts singing...you probably won't hear it well on phone speakers).
buldog5151bass
Kibble, milkbones, and P Basses. And redheads.
I think about the target/down beat, and then look at ways to get to it. Often chord note, like the third, and then walk from there. I also love minor 2nds going down to the root (thank you Jamerson).
It depends a lot on what the drummer is doing, but if I don't really know the exact N4N part, on the & 4 & leading up to the change I often throw in some scale notes (sometimes from the melodic mode) or chromatic passing tones leading up or down to the new chord. I sometimes change the octave of the starting chord to add a little spice.
A little II-III-VI-V or I-VII-dV-IV can add a little tension if resolved quickly. So can sitting on the II or VII for a tad longer than expected, but you gotta be careful with these as they can bite you.
A little II-III-VI-V or I-VII-dV-IV can add a little tension if resolved quickly. So can sitting on the II or VII for a tad longer than expected, but you gotta be careful with these as they can bite you.
It is hard to explain because I just do it when I play. After playing for a couple years, you should have a feel of what you want to play, even on a new song you are just learning. The fills and step notes just seem to pop in by themselves. Don't try so hard, just play and eventually, the fills and step notes will work their way in to the music you are playing. There is no rule of thumb that I am aware of. Sorry, that is the best way I can explain it. 
I got it from the Berklee Bass Dept, so you can tell that person they're up there with the seasick crocodile mentioned in the Grinch theme!Scott has some great videos, definitely love his stuff and it's all free!!!
On a sidenote, I'm glad to see someone professional use the term "Chord Tones" as well. I first heard Carol Kaye use it and thought it was a commonly understood term. Got lambasted by someone for being a musically illiterate fool for using it. Sorry, just glad I could get closure from your post
Develop a very deep vocabulary. Learn the chord tones and scales, sure. But you need to learn different patterns and licks using them.
I personally suggest transcribing horn solos. Tons of transcriptions on youtube. You can see how they approach different chords and progressions and make it your own. I do that a lot. The Charlie Parker omnibook is fantastic for this.
I personally suggest transcribing horn solos. Tons of transcriptions on youtube. You can see how they approach different chords and progressions and make it your own. I do that a lot. The Charlie Parker omnibook is fantastic for this.
I've been wanting to do this. Could you post a link to something? I tried googling, but I'm a dummy.
This is an awesome tidbit. I just tried this and it's wonderful. Now I need to learn all the notes to all the chords. Try it.
Here are the notes for the G chord: G, B, and D
C chord: C, E, G
D Chord: D, F#, A
Just try playing these notes according to the chord in the progression and you will see how excellent bass players add color, harmony, and musicality to a simple root progression. Also, yes, the chromatic in transitioning is a very classic thing which sounds excellent, too. You will see where to throw those in every 4 bars for this.
