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How to make bluesy funk licks using pentatonic

Keas

Keas

Aug 26, 2024
23
21
#1
My band is covering Low Rider by War, and we added a Drum + Bass solo to it. I have enough proficiency to improvise a solo using a pentatonic scale. when we practice, the solo I tend to make a main groove and then do a variation in the other bar(cliché but works great). the only issue is that for the variations, they work well, but they feel just bland; they lack any character. I have this idea in my head of the variations having a feel similar to that of the little lick at 10 secs in Cisco Kid, also by War. So, is it possible to get any pointers/tips on developing fills in that style?
Thanks in advance
 
#2
Keas said:
My band is covering Low Rider by War, and we added a Drum + Bass solo to it. I have enough proficiency to improvise a solo using a pentatonic scale. when we practice, the solo I tend to make a main groove and then do a variation in the other bar(cliché but works great). the only issue is that for the variations, they work well, but they feel just bland; they lack any character. I have this idea in my head of the variations having a feel similar to that of the little lick at 10 secs in Cisco Kid, also by War. So, is it possible to get any pointers/tips on developing fills in that style?
Thanks in advance
Click to expand...
These are but two of a vast number of videos spotlighting Johnny B. Gayden, long time bassist for blues legend Albert Collins…



Even if you’re not big on slapping, I suggest you go down the rabbit hole to glean some other ideas on bringing the funk. He was a standout player for injecting fresh and modern ideas into the often codified and tradition bound realm of blues.
It’s funny, I’ve been to/participated in a number of blues jams over the years, and if there’s a harmonica guy, “Low Rider” often gets called, in spite of it not technically being blues. It’s basically that one riff, so all you have to do is go off on it.
 
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#4
Try adding some chromatic passing notes to the G minor pentatonic scale. B and C# both work well. B because it’s the major third, and using both the major and minor thirds is a very bluesy thing to do, C# because adding that to G minor pentatonic gives you the the G minor blues scale. That’s also what’s happening in that Cisco kid lick: it’s in D minor and uses G# as a passing note.

Also note that the last note of that lick falls on the ‘4-and’ of the bar. Using syncopation like this can also make your licks more interesting.
 
#5
Michedelic said:
These are but two of a vast number of videos spotlighting Johnny B. Gayden, long time bassist for blues legend Albert Collins…



Even if you’re not big on slapping, I suggest you go down the rabbit hole to glean some other ideas on bringing the funk. He was a standout player for injecting fresh and modern ideas into the often codified and tradition bound realm of blues.
It’s funny, I’ve been to/participated in a number of blues jams over the years, and if there’s a harmonica guy, “Low Rider” often gets called, in spite of it not technically being blues. It’s basically that one riff, so all you have to do is go off on it.
Click to expand...

Thanks for the recommendation, it seems like a great bassist. I am sure if I started slapping, the whole band would be annoyed at me, but going to do it anyway, I should clarify it's not a blues jam, but I wanted to add to blues elements to my solo. Still thank you a lot
 
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#6
BismarckHerring said:
Try adding some chromatic passing notes to the G minor pentatonic scale. B and C# both work well. B because it’s the major third, and using both the major and minor thirds is a very bluesy thing to do, C# because adding that to G minor pentatonic gives you the the G minor blues scale. That’s also what’s happening in that Cisco kid lick: it’s in D minor and uses G# as a passing note.

Also note that the last note of that lick falls on the ‘4-and’ of the bar. Using syncopation like this can also make your licks more interesting.
Click to expand...
Thanks for the advice, I already knew about using chromatic passing notes, but still great advice for anyone in a similar situation
 
#7
I learned this song note for note a few years back.

There’s a bit of variation in how BB Dickerson plays the lick. Sometimes he moves up, sometimes he moves down, sometimes he stays level and sometimes he throws a syncopated note or three in.

It’s subtle but it’s there and I’ve never strayed too far from the recipe.

Internet says it’s in G major (myxolydian), so that’ll help you figure out what other notes to choose. Some other ideas:

- try echoing the vocal melody on some phrases

- try the old “chromatic blues walk up” from E to G on the turnaround.

- try doubling the horn part
 
#8
Listen to Marcus Miller. He is a man of many and deep skills, but one constant throughout his career is his judicious use of blues licks — whether played by thumb or overhand fingers.

Check out his classic track with Miles Davis, Tutu. Also the live version of Jean Pierre. It’s on one chord, A, is slow, and is 10 minutes long so you can really get in and hear where Miller throws in these classic licks.

When I was learning to play funk style, I was surprised at how related to the blues it was, but obviously with a higher degree of syncopation, but also like blues, played with its own “attitude”. Marcus Miller is where I started, and I think he’s a great place to start because he literally is a blues guitarist on bass!
 
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#9
it's a fine line between soloing and wanking. Listen to Willie Weeks on "everything is everything" (donny hathaway live). This is how you're supposed to "solo" in a band context- you keep the groove going.
 
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#11
Admiral Akbar said:
Listen to Marcus Miller. He is a man of many and deep skills, but one constant throughout his career is his judicious use of blues licks — whether played by thumb or overhand fingers.

Check out his classic track with Miles Davis, Tutu. Also the live version of Jean Pierre. It’s on one chord, A, is slow, and is 10 minutes long so you can really get in and hear where Miller throws in these classic licks.

When I was learning to play funk style, I was surprised at how related to the blues it was, but obviously with a higher degree of syncopation, but also like blues, played with its own “attitude”. Marcus Miller is where I started, and I think he’s a great place to start because he literally is a blues guitarist on bass!
Click to expand...
Yeah, I know who he is I don't mean to show off, but I got tickets tickets too see him live at Jazz à sète, but thank you for giving insights on his playing style
 
#12
DirtDog said:
I learned this song note for note a few years back.

There’s a bit of variation in how BB Dickerson plays the lick. Sometimes he moves up, sometimes he moves down, sometimes he stays level and sometimes he throws a syncopated note or three in.

It’s subtle but it’s there and I’ve never strayed too far from the recipe.

Internet says it’s in G major (myxolydian), so that’ll help you figure out what other notes to choose. Some other ideas:

- try echoing the vocal melody on some phrases

- try the old “chromatic blues walk up” from E to G on the turnaround.

- try doubling the horn part
Click to expand...
Thank you, this is very helpful
 
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#13
Bass solos often suck for good reason: bassists usually put in far less work learning, transcribing, and developing solo vocabulary compared to most other instruments. So when a bass player goes to solo he's digging deep into a very shallow bag of tricks and the result is clunky, awkward, or lacking in coherent ideas.

The solution is to approach soloing just like other instruments do: transcribe lots of solos, and not just bass solos! Learn vocal melodies, horn lines, harmonies, and if you're writing a solo for a specific song, learn every aspect of that song and incorporate that into your solo. Great soloists, especially in the jazz world, regularly quote from other artists and even work in known melodies from other songs, so that's another easy way to make your solo interesting and accessible to the audience.

Whatever techniques you want to bring out, make sure your tone is appropriate. If you play with a deep, scooped-mid tone all night long and then try to thrown down some Marcus Miller licks for your solo it's going to sound lousy.

Lastly, tell the band how to support you. If you just leave it open they may drop out entirely, which is going to make it way harder even for an accomplished soloist. When I'm working with a band and have a solo section planned in advance I'll tell them exactly what to play, how to support me, and what elements of the groove or bass line I want each person to take responsibility for so I can let that go and focus on playing melodically. The best solos are an extension of the song, not a blank canvas to noodle around in before wandering back to whatever everyone was playing before your solo.
 
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#18
With Low Rider instead of vanilla G minor pentatonic, play G Dorian Pentatonic
G A Bb D F
Or the two varieties of G Pentadominant
G A B D F ( major pent with a b7 instead of the 6)
Or G B C D F ( minor pent with major 3rd instead of minor 3rd)
Bit of variety right there
 
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#19
Add some pungent elements to the Pentatonic scale (assuming its minor, here) by approaching its notes from either 1/2 step above or below. Another trick is to play the same lines/ riff you play, either a whole stop above or 2 1/2 whole steps below, i.e. if the song is in E, a Pentatonic riff in E minor will also work in F# minor and B minor. This is because all their notes are part of E minor Pentatonic's "parent" scale, the E Dorian scale.
 

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