When Drums Stop...Bass Solo!

[Ed Friedland]

Another challenge I see many bassists face is getting away from the root motion. We are trained early on to emphasize the roots as our primary function (good), but when it's time to solo many players keep hammering away at the roots because it's all they know (not so good). Here's an idea I discussed in my book "Bass Improvisation" www.edfriedland.com/books.html - I call it the Harmony Grid.

 

Make a column with all the diatonic seventh chords in C major. Then, make columns for the 3rd, 5th, 7th, 9th, 11th, and 13th. Staying within the key of C, fill out the chord types that are built off each chord tone and tension of the original chord. For example, with Dm7 in the Root column, you have Fmaj7 in the 3rd column, Am7 in the 5th, Cmaj7 in the 7th, Em7 in the 9th, G7 in the 11th and Bm7b5 in the 13th column. What this shows is the interconnectedness of all the chords within the diatonic universe. So when you see Dm7 (IIm7 in Cmajor) you can play off an Fmaj7 chord, or any of the aforementioned options.

 

You can use this chart as a tool to develop a full understanding of how the upper structure tensions can be used for soloing. Take a tune and re-write it off the different layers of diatonic harmony and you'll have something new to look at that will make you play completely different ideas.

Try this:

Record a bossa nova (or whatever!) vamp on a Dm7 chord. Now play over it as a Dm7 chord. You probably hang around the D and A alot because they are familiar choices. Now, go back and play it like it was an Fmaj7 chord. Even if you hang on the Root and 5, it sounds more interesting because they aren't really the root and 5.Repeat this with all the different layers and listen to the different textures you create.

 

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www.edfriedland.com

[Wally Malone]

I believe all of you would be suprised if you could hear the latest project I have been working on. The bass solos have comping and a bass line behind them. The group "Bassed on Jazz" consist of three bass players (acoustic bass, Fender fretless jazz, and an Alembic six-string) and a drummer. We all play various roles, sometimes switching throughout the tunes. We all contribute to the arrangements. Some of the material were doing incudes: All Blues, Well You Needn't, Solitude, Goodbye Pork Pie Hat, Self Portrait in Three Colors, and How High the Moon and Orinthology played at the same time. We have taken the time to be creative with our arrangements so as the whole thing doesn't sound like mush. We did our first performance together about two weeks ago at Bass Players Night in San Jose and were very well received by a large group of musicians, mostly bass players. This group has given me the most musical satisfaction I've gotten in some time. It gives me a chance to play solos, melodies, comp and perform the normal role of the bass player. We're currently working on building the repertoire and looking for festival gigs and also an educational program to take into the schools.