Post sequence runs

[Derrick Shaney]

I don't know what to call these things but I watch a lot of talented bass players do it live. They are playing their groove and they step out of the box after a sequence and start running up and down the neck with a lick. It all sounds good and resolves itself and fits into the groove nicely.

I have been struggling with how to learn to do this properly so everything fits in. I feel like its the big next step that could separate me from an "okay" bass player to a really "good" one but I don't even know what it is called or how to explain it to start learning. Can anybody piece together what I am asking from this description or provide with with an example or lesson online so that I can even get started down that trail.

It would be appreciated! Thanks!

 

[JCooper]

I work on this element continually.

Sometimes when I do two-octave scales/arpeggios(with inversions), I find that I can step into 'the wild of' the upper neck positions, and maintain a groove/rhythmic idea better.
...(I realize, that's barely english…)

Learning someone else's 'run' for ideas or reference is part of learning, to me.

 

[MalcolmAmos]

I don't know what to call these things but I watch a lot of talented bass players do it live. They are playing their groove and they step out of the box after a sequence and start running up and down the neck with a lick. It all sounds good and resolves itself and fits into the groove nicely. It would be appreciated! Thanks!

How much is just right and how much is too much. Here is a video that makes my point.

 

[Mushroo]

Runs, fills, licks... Those are some common terms I have heard. Not sure if there is a formal name.

Best way to learn to do this, in my opinion, is to learn bass lines from your favorite songs. Are there players you feel play particularly tasteful runs? If so, make a playlist of songs you like, and learn the bass lines note for note. Then you will have a musical vocabulary of runs, fills, and licks that you can incorporate into your playing.

It helps if you are also a student of music theory. Do you know how to "transpose"? This is the skill to play music in a different key than the original. For example you could learn a John McVie run in A Minor, and then move that pattern up 1 fret to the key of Bb Minor, or over one string to D Minor, etc. The goal is to be able to easily transpose your musical vocabulary to any key.

Another way that theory helps with learning runs and fills is that you can categorize your musical vocabulary according to chord type. For example you can build a mental library of runs that work over major chords, runs that work over minor chords, runs that work over dominant 7th chords, etc.

An analogy from learning a spoke language like English, is that it's kind of like learning a bunch of jokes that you can tell in different social settings. You wouldn't necessarily tell the same joke to your grandmother as you would to the guys at the gym, for example. Music is like that too: it is important to play runs and fills that are tasteful and appropriate for the song. The larger your musical vocabulary, the easier it will be to create a tasteful bass line that supports the song.

 

[thewildest]

Can anybody piece together what I am asking from this description or provide with with an example or lesson online so that I can even get started down that trail.

It would be appreciated! Thanks!

Hi there: this is a complex question, but a few thoughts:

• From a timing perspective, the basic idea would be for you to start the phrasing before you land on the note/chord. You "anticipate" the upcoming note so it resolves well and on time.
• From a harmonic perspective, the idea is to play notes that are in the realm of the "landing" note/chord to anticipate arriving to it.
• There are multiple ways to play a melody to resolve on a note. A few ideas would be to play the 5th, 2nd-5th, 4th-minor 3rd -major 3rd, 4th-5th... to the infinite
• As you gain control and comfort, keep adding phrasing and each time you like something you created, repeat it several times.
• WiKi "chord progressions", you will see several examples of chords resolving on a note. Play first the tonics of the progressing chords and then add notes of their scales.

Once your playing gets absolutely crowded with passing notes, you will find out that perfection is not when there is nothing else to add, but when there is nothing else to remove; I would then work on the specific notes that you identify better with, played at the right time to make it groovy. One I love, if finishing in C, is to play the arpeggio of the 5th (G7) and then the minor arpeggio of the 4th (fm7) and the C.

I hope this helps, regards

 

[Clef_de_fa]

How much is just right and how much is too much. Here is a video that makes my point.

well the problem is when they "overplay" they aren't listening to each other that much. If they Dream Theater-ised the track it could survive all the creazy stuff.

I really did enjoy what the key, drummer and the bass finger style bring on the table.

To me the songs is just too bare bone ... it is like U2.

 

[JimK]

I don't know what to call these things but I watch a lot of talented bass players do it live. They are playing their groove and they step out of the box after a sequence and start running up and down the neck with a lick. It all sounds good and resolves itself and fits into the groove nicely.

Listen to your inner drummer...or keep your groove "playing in your head" when you do step out of the box.
Know TIME.
Then, if you want to bring the groove back on "1", "& of 1", "2", etc...you're there.

If "the time" is happening...the notes will take care of themselves.

Still one of the best clinics I ever attended-
Larry Bright (drummer) with bassist Gary Grainger.
Displacement was the topic.
Both played a groove together.
Then...same groove but the drummer moved his figure a 1/2 beat "late" vs. the bass groove.
Then...they reversed. Drummer played it straight, bass groove was 1/2 beat "late".
Then...both played displaced grooves against each other.

Some would say it sounded like chaos...both knew exactly where & what they were doing.

Know TIME.

 

[JRA]

you can write/right your turnaround as you play it. practice it: notes and rhythms. play around with it.