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Double Bass Soloing on a blues progression ?

G

guillermo

Oct 1, 2004
49
37
#1
Given the standard blues progression , in lets say F, what would be some "fast and dirty tricks" to solo over the changes ?

things other than using the scale that goes with the chord
( I.E F7 scale when on F7 , Bb7 scale when on Bb7 ) all the time...

I know music cannot be played by using just rules and tricks
but a begginer like me needs to have a set of "tricks" I can
use when I'm lost or in the process of getting lost in a tune

Thanks in advance
Guillermo
 
#2
BigEgoHead says "Seen [Invalid or Expired Link Removed]?"

Check out the 3 sample pages (and check out the nice bass sound Peter Karl got for me on the audio sample) and see if that look slike something you'd like to check out.
 
#3
Here's a "trick" I use. If you want to have a nice bluesy sounding solo, play it like a blues singer would sing.

Listen to any classic blues tunes with vocals. For instance "red house". You'll hear the call and response during bars 1&2, then again in 5&6, and then a final statement in bars 9-12.

Sorry if this wasn't the kind of "trick" you were looking for, but it's what I do to practice solos. For something more "cookie cutter" check out one of those "101 blues licks" books/cds that are written for guitar. Just play the guitar licks on your bass.

Just try singing a solo over a recoded blues progression, then try to play what you sing.
 
#5
Ed Fuqua said:
BigEgoHead says "Seen [Invalid or Expired Link Removed]?"

Check out the 3 sample pages (and check out the nice bass sound Peter Karl got for me on the audio sample) and see if that look slike something you'd like to check out.
Click to expand...

The bass does indeed sound nice. :D
 
#6
Ed Fuqua said:
BigEgoHead says "Seen [Invalid or Expired Link Removed]?"

Check out the 3 sample pages (and check out the nice bass sound Peter Karl got for me on the audio sample) and see if that look slike something you'd like to check out.
Click to expand...


Nice sound, excellent walking, I'll go and get the book
Thanks Ed

Guillermo
 
#7
Ed Fuqua said:
BigEgoHead says "Seen [Invalid or Expired Link Removed]?"

Check out the 3 sample pages (and check out the nice bass sound Peter Karl got for me on the audio sample) and see if that look slike something you'd like to check out.
Click to expand...

What the hell is wrong with you? Don't you play up high in them thumb positions? Who wants to solo on top of them low notes? Don't you know any of them 'pull off' thangs?
I guess you're just old and don't care about expressing your-ownself!
 
#11
It's my German factory bass, with Anima's. I like the bass booth at Peter Karl's, there's just a single Neumann set up about at chest height (well a little lower, about the diaphragm) in the front corner of the booth. It's about maybe approximately a foot and a half from the front of my bass, more towards the G string side.

Yeah, ****ing "Jaco chops". I just have to shake my head sometimes...
 
#12
guillermo said:
Given the standard blues progression , in lets say F, what would be some "fast and dirty tricks" to solo over the changes ?

things other than using the scale that goes with the chord
( I.E F7 scale when on F7 , Bb7 scale when on Bb7 ) all the time...
Click to expand...

You should think of (what I call) major sound and minor sound blues as a start

F7: F G G# A C D F (major sound)

When over F7 use the entire scale. When over Bb7 eliminate the A.

on minor sound blues:

F7: F Ab Bb B C Eb F.

You can play this over F7 but it generally implies a "dark mode" imposition. The best thing would be to continue to develop on the same scales over the Bb to be melodically consistent. Over Bb it implies a Bbsus approach. Stick in a D resolution when it seems appropriate.

For me the V7 still implies I 6/4 therefore probably more of the tonic oriented phrases. It just needs to sound like it your phrase is going to the tonic.

You can also combine the scales so you get this

F G Ab A Bb B C D Eb. This phrase is an example:

pick up F / Ab A Bb B C A F

Once you become thoroughly versed in your phrases, the color choices become more instinctive rather than calculated. You then can add more harmonic, jazz oriented phrases. George Benson is a master of that as well as Herbie Hancock
 
#15
Yeah, the band was
Dan Greenblatt - tenor (there are tracks that you can hear the tenor playing the exercises, and tracks with no tenor. the tracks that have tenor, he's isolated to one side of the stereo picture and you can turn him off.)
Dave Marck - piano
me -you know
Chris Roselli - drums
 
#20
Dan's book is a guide to improvisation through using the two blues scales to get your ear around hearing how to develop a line through changing harmony. I'm working on a book that will focus primarily on building a melodic quarter note walking line.
 

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