The SNEAKY Trick Every Pro Bassist Uses
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- เผยแพร่เมื่อ 29 ก.ย. 2024
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There’s a ‘trick’ that just about every bassist uses that takes their bass lines from ‘OK’ (or even ‘meh’) to extraordinary.
And the best part?
You don’t need an encyclopaedic knowledge of music theory or even to know your fretboard that well.
To use this ‘trick’, you only need 3 frets, but those 3 frets can make a MASSIVE change to your bass lines.
In fact, this technique isn’t truly a ‘trick’; it’s more like an essential component of the language of playing bass.
It’s just that this particular piece of the language is super easy to start using, and it can make a huge difference to how your bass lines sound.
The 7 lines in today’s video from artists like Paul McCartney, Nate Watts and Metallica show just how common it is.
You may even start using this trick yourself and notice it in tons of other bass lines as well. As soon as you know what it is, it’ll start jumping out at you.
Good luck with the lesson and happy playing!
Cheers,
Luke
#becomeabassist #basslesson
The 3-Fret Rule is something I cover on day 19 of my 21-Day Beginner Bass Challenge, so if you want to check out the *_rest_* of the challenge, the link is right here: becomeabassist.com/products/beginner-bass-challenge/
EDIT - Quick correction! At the 6:57 mark, the top graphic should say that you should approach major chords from BELOW, not above. Thanks to @swagner89 for pointing it out.
Thanks Luke. Really valuable.
Funky Funky Yo-Yo
This is a brilliant way of introducing people to walking bass lines. I particularly liked the Carol Kaye example.
funky funk yo-yo!
Carole Kay lies about playing on big hits that she was never in session on. Credit for a lot of other peoples work.
@@AmericanHero-c7janonymous sexist hate & misinformation from someone who can't play a musical instrument.
@@titichartay7216 I studied with some of the best in the world and toured for more than 20 years. There’s nothing sexist about telling the truth. Look it up, Carol Kay claimed credit for things played by Wilton Felder and even James Jamerson. I doubt you know anything about playing an instrument.
@@AmericanHero-c7j yep being classically trained probably doesn't count in the little anonymous world you are hiding in. Also as someone who has worked as a session musician can tell you don't understand the thankless process.
Within the first three minutes, you described the only bass chops I have! 😁 Chromatic runs from one root note to another is about all I got! I'm usually playing hard rock, so pumping the root is what the rest of the band want, the runs at the chord changes are what make me sound like I know what I'm doing.
I was surprised by him not saying the word “chromatic”.
Play what works & your buds will love you.
Same. “Alberta, Alberta” taught me that in slow… then “Mustang Sally” a bit faster, and then an Albert Collins track I forgot the name of, in pretty quick. After that, I joined a band and joined the legion of bassists who pumped root notes 😂
@@tomcoryellyeah, me too.
Yeah. I kind of liked the pedalling on the roots better.
Yikes! I'm 1,000 years old and played bass for around 900 years. I have made a living not having a clue what I'm playing. Only the root and the 1. You have just taught an Old Dog (and Old is Gold) a new trick! The Force is with you & I tip my hat 😮.
Hi Sir Keith Richards!
@@lundsweden 😄
The root and 1 are the same thing. I think you mean the 1 and the 5.
@@blindsquirrel7802I guess he's means exactly this as he says he's no clue 😂
He’s trolling you 1,000 year old style haha
Hey, thanks for the tip. I've been playing bass since November 2022, and looking for new ways to play. I wanted to do more than just play root 5th, and this works!
My bass teacher introduced me to this concept withing my first year. He used the title "leading tones" cuz you're leading into the next part. Fifths are also great for this.
I have been playing bass for 40 years and this is a great video the language and examples really help explain the idea, great teacher subbing because you can never know it all, The minor fall the major lift , no longer a baffled king lol
Luke, great video, thks. I think you need to correct the graphic at 6:58. On screen, it says for Major, approach from 3 frets above - I think you meant Below (for Major)
You're right! That totally got past me during the edit...my bad!
@@BecomeABassistI noticed this too. Wanted to scan the comments to see if someone else had mentioned it
Never thought about it before but seems I’ve been following this 3 fret rule for 40 years.
Thanks for posting! A great way to avoid constantly playing the root note.
Chameleon bassline does this!!! 3 fret walk up!!!!
Ha I thought you were going to include some lines from I Was Made To Love Her by Stevie Wonder. Excellent selection anyway and great lesson!
Nice looking bass
Thank you.
5:28 'premature articulation.' lol
😅😅😅
Why is it that literally every TH-cam video I watch, the very moment I decide to look at the comments (usually several minutes in) I coincidentally end up reading a comment literally saying exactly what I'm hearing in the video. Like I'm not superstitious in the slightest, but good God this happens like every time I go to the comments. Lol
“Premature articulation” LOL!
That caught me off guard too, he used that pun there to be articulate but instead it came off as perverted..lol Freak! 😂😅🤣🤣
In the 70s when Paul Simon won a gramy he thanked Stevie Wonder for not making an album that year wich made his win possible.
Walking bassline is what it’s called. No magic “trick$”
If you sustained this through multiple chord changes for an entire song, then I guess it'd be a 'walking' bass line, but that's not what I'm talking about in this video.
Yeah, that’s the difference Luke.
On the state song of Ohio,...."Beautiful Ohio" this is done going down from the 5
Anyone who can sing and play bass at the same time gets my vote EVERYTIME !
Yes! AND sing 3-part harmonies with two other guys while playing intricate bass lines. Astounding!
@@jsamc Now that is a more challenging thing if you are a good bassist, it took me a long time to get that down as I got more interesting on bass I found I struggled more with singing. I had to sit and practice hearing through both till I could get it on autopilot.
I play keys and easily sing while doing it. When I play Bass, I cant even sing Brown Eyed Girl while doing it 😂
@@MemphisMike901 it is a weird thing because the base has such a big responsibility to keep things moving where other instruments can kind of dance around your singing. The base you have to power through and fully carry on two functions at once. It is probably the instrument you see the fest, people, singing, and playing.
Ok....it's not just me. I just figured I was bad a rubbing my belly and patting my head at the same time. My hands tend to stop moving if I try to sing.
Target chord, approach notes, something I never saw until I started studying jazz bass. It was a huge revelation that a note might be tied to what is coming and not what was.
I'm 68 and just learning walking bass theory. Really is opening my eyes to a lot of new concepts I wish I'd known a long time ago.
@@carltaylor4942 I'm 67 and have played guitar since 1970 and just bought my first bass. I have played a bit in a pinch but now I have one I'm gonna do some research and this is the first video I am studying. Whooo Hooo. Wish me luck.
This kinda wrinkled my brain
I’m 62, and didn’t start playing bass until a senior in high school. I just naturally led into the tonic (root) of the new chord when playing jazz. I discovered it on my own, with the idea that it would help the rest of the band “know” which chord was coming up (never mind that they had the music in front of them, too!). But it just seemed natural to me.
Now I come across this video, and it had never occurred to me to think of it in “physical” or “visual” terms (your “three-fret rule”). Very helpful!
what can be unburdened by what has been
I learned this rule from the start of Smoke On The Water. It only does it that once to introduce the bass but it's so badass. It's the best part of the song.
Great example @stitchgrimly6167!
What Roger Glover does during the solo is pretty nifty too !
end of measure 4, 3 fret walk up
@grantkoeller8911
end of measure 4, 3 fret walk up
My favorite part of the SOTW bass line is that Roger just holds it down with 8th notes on the root (G) throughout the first three bars of the famous riff, until he finally follows the riff on the C-Bb resolution back to G. So simple, but so cool.
Great stuff. Love using approach notes to outline chord changes. Noticeably drives the rhythm of the song. Really a mood changer.
Chuck Rainey on Quincy Jones' "Streetbeater (Sanford & Son Theme)" goes crazy with this trick.
One of the funkiest tunes ever. I especially love the harmonica squalls.
i think the walking up to the minor chord in "i wish" works because the song is in dorian mode...it uses the natural sixth rather than the flatted sixth, so the bassline going 6-b7-7-8 works well in that context. great video!
Exactly @PaulSchwarz! The Dorian minor is one of the exceptions to the rule of thumb - good pick up!
One of the best baselines ever!
Good call! Now I don't have to wait til I get home and get my bass in my hands to figure out why it works.
If you think about it, approaching the target note from 3 notes above, instantly gives it a dorian vibe since the first note of it all is that natural sixth (and of course the interval you do root to 6th). Which might not make it the best choice of bassline if you are in a darker mode of minor (phrygian, aeolian) that has a lot of minor 6ths around to clash. But still useful for those extra fills.
i'm color blind.
Is there a pill I can take for premature articulation?
There is, but you need a prescription from Dr. Funkenstein.
the red pill
That's a great T-Shirt😂 Bass Clef: No I don't suffer from...
This technique is the whole of the Sanford and Son theme song and Barney Miller as well. The beauty of this idea is that you can translate the coming idea/chord to anyone with good ears and they can hear where the song is going next. Pay attention guitar players, this is how the smart old guys expect you to pick these things up. Don’t follow your band. Drive with them. These musical moves are your roadmap. If you shut up and listen, a great band is telling you musically where to go. Then how you arrive is up to you. Not blind luck. Excellent explanation of a sophisticated method to keep everyone on track! Greetings from New Mexico!
100 %, knowing how and when to drive and develop the song is the difference between a good bass player and a great bass player, that’s usually the deciding factor in who gets hired after an audition
I guess McCartney's "Silly Love Songs" bass riff is the most vivid example of 3-fret rule in his repertoire. This whole song is built on that groove.
You’re absolutely right chromatic playing will take your baselines to a whole new level especially for more free form “gig” music. also, when you start using the chromatic runs for actual licks in between the pentatonic tones in a lick, you’ll start getting into the world of re-harmonization: immediately following a root note of a chord or instead of playing the root note of the chord first for example, doing a chromatic walk up to the three and then a chromatic walk to the five or even six or seven.
Enclosures are cool too: you just play a fret about and a fret below and then the note.. so if your playing a c7 groove and you want to play an e, you can approach it like f d# e. I like to hammer on from the d#
Hey Joe by Hendrix is the greatest lesson on chord changes and 3 step runs.
Yeah and Heroes by Bowie too, nothing else than a chromatism starting on the major third since the chord progression is following the circle of fifths
You havent posted for so long, I thought you were dead - murdered by scammers or something 😂
Been doing that since forever but didn't know it was "a rule" !
Great rundown of the idea.
But what sets McCartney apart from all the other bass greats is he sang lead while playing the bass, extra difficult.
Amazing content as always. This is really helpful for me. Thanks!
Just make up a sound in your head and play it....really you're just over complicating things...
As soon as you pick the setup and start playing, all the notes ahead come automatically if you let it
And then there's the John Entwistle 3 frets down, 12 frets up, 6 frets down, 8 frets up, etc with harmonics rule.
Thanks, excellent stuff!
Yeah well he's dead now!
Isn't that just playing music?
I think John Entwistle transcended the concept of "rules".
Guy literally explains chromaticism within diatonic chords in 8 mins.
That’s pretty accurate @user-sh5ol2rw9n
Great video to share knowledge! @@BecomeABassist
I've always called this "walking to the chord/ root". Never heard this called the "three fret rule". Huh!
I don't think you'll find any music text book that mentions the '3 fret rule' @Jason-cm6uh - it was just a catchy and sticky way to frame the idea.
Somehow the TH-cam algorithm bumped me into your channel and I am ever so grateful. I have played bass for 50 years as a second instrument to my guitar playing, and have always tried to separate the personalities that are required to avoid cliches in my recordings.
So now I’m watching all your videos as a refresher course on everything back to the basics!
Wow! A perfect balance of theory, both musical and artistic, is excellent! And then you have simple ways for beginners to understand and play quickly.
Amazing! Thanks so much for sharing your talent and teaching!
Thanks so much @scottybaby8246 - that's really kind of you to say! I'm so glad the TH-cam algorithm served me up to you :D
All these years Ive been calling it a "Turn Around"
We used to sneak stuff like this into our school fight song - on trombones. Very subtle additions that made it a lot more fun to play.
By using the staff lines he's making the explanation of this very simple technique difficult to understand. It's easier to slowly show it on the fret board.
“Premature articulation”. Not when you’re a Motown stud. 🤣
I was gonna mention that😅
My girlfriend has little appreciation for premature articulation.
🤣
I like this technique. I disagree about the original sounding “monochrome” though. It all depends on the song. Maybe a simpler bass line would suit, or maybe the chromaticisms would help it pop.
Mark King is my favourite bass player, his both his finger-style playing and slapping are insane!! 😀👍
It might be interesting to put the chords in a progression context rather than a chromatic up the neck move. Like Beginner level being I - IV - V - I. Add a 6th to tonic and a seventh to V.
Then intermediate level would be close to the same thing but at a iv chord and perhaps a ii7 sub for IV.
And the advanced level use I - viio - iii - vi - ii - V7 - I (add a little 'amen' at the end to include all the diatonic chords).
There are hundreds of variation to these chord and finger exercises, but I personally feel that having a tonal center to the basic exercise and then moving that around the circle of fifths doesn't make the exercise more difficult, and it does teach the neck in a more musical context. Also, repeatedly moving around he circle of 5th (or 4ths, however you like to look at that) is a great foundation for further music theory training.
Did you mean to put this comment on this particular video @charleskleesatel6477? All the examples of this device I mention in this video are placed in the contexts of chord progressions - they’re all real songs after all.
Luke, Where have been?
Becoming a dad @metalmaggot! :D
@@BecomeABassist congratulations 🎉
Thank you Luke, this was really useful ❤❤❤❤
Seems I have been doing that on the merit of it sounding good, glad to know I am in some great company though.
Endorsed. This is a total motown move and you should steal it.
Very cool lesson! Thanks, Luke 😎
I'm not a bassist, but I like to dabble. An example I like from 2 frets below up to a minor is Let The Sunshine In, where occasionally the bass comes off that D triad at the end of the pattern and then does a quick A A# B to get 'back' to the B minor.
Wohoo! Simple - and effective! So, you just add movement regarding the range of tones, creating tension (3 frets below), which you resolve chromatically to the NEXT chord's root - am I getting the drift correctly?
BTW: who is that woman who played this gigantic bass on? "Feelin' alright"? Gotta check her out! Thank you!
Edit: She's a giant: Sam Cooke. Valens' "La Bamba". ...WRECKING CREW!
And I'd never even heard of her before🙈
This is a great video. You took something powerful creative and useful and made it simple so a hack like me can use and understand it.
I'm not joking this is really good stuff!
If I was a bass teacher This is the sort of thing (Gold) I would like to pass on.
I feel so stupid for thinking that playing chromatically was more complicated than this. Now that you've pointed it out... I see it literally everywhere and I feel so dumb I didn't figure it out sooner. Context: I've played bass since I was sixteen and I'm thirty three right now.
This sneaky trick isn't a sneaky trick, it's the blues scale! The blues scale in A standard tuning on the low E string is fingered at E5 E8 A5 A6 A7 D5 D7.
Run this pattern backwards and higher (D11 D9 A11 A10 A9 E12 E7E7 E9E9 ) with that B flair at the end and you get part of the bridge into the solo in the song Iron Man by Ozzy! (played from memory so forgive me if it's a different key... same pattern for sure though!)
It's not 'the blues scale' @jimmio3727 - at least not the way you've described it here or any way that I've seen it described. The 'normal' blues scale has some chromaticism between the 4th and the 5th spanning across 2 frets (A5-A7 in your terms), but what I'm describing here spans across three frets, which is something the blues scale doesn't do.
@ 6:58 your graphic says, "= Major, approach from 3 frets above" and below that says "= Minor, approach From 3 frets above". Threw me off when I was reading one thing and hearing another.
This is a great, but it's also important to play to the tune and sometimes even simple "flowery" embellishments are too much. I wouldn't recommend using a chromatic run of any kind if, for example, you're playing some weird post-punk shiz.
Just a question or observation: At 6:44 you describe the 'three-fret-rule' as scooping up from three-frets-'BELOW' for Major 'target' notes...aaand...descending from three-frets-'ABOVE' for Minor 'target' notes...yet @ 6:58 you show a graphic where the 'RULE IF THUMB' is:
Major, approach from 3 frets above
Minor, approach from 3 frets above
Do you see the confusion ... your graphic states that for BOTH Major & Minor you approach from 3 frets above.
Is your graphic @ 6:58 wrong?
Yeah - the graphic is incorrect. I missed that when I was editing the video
Gmpfff... Sorry, but this is not an ingenious rule, but the first thing that comes to everyone's mind when nothing better comes to mind. A unimaginative/boring standard and usually a sign of too little time to come up with something really good before recording ...or simply laziness on the part of the bassist.
I guess we disagree on what counts as 'unimaginative/boring' then @mr.k905. To a less experienced bassist who feels like they can only get by playing roots or the occasional 5th, then adding something like this to their playing will open up a whole new palette of colors. That's pretty exciting to me.
i'm 61, i've been doing this for 50 years, first on piano age 8 the on bari sax age 13 and now on electric bass.age 41 to 61
When it comes to your rule of thumb, David Bennett Piano has a video about minor not being sad and major not being happy. I think the very song of Stevie Wonder here was used as an example. Perhaps it's when a song is sad or dark or whatever, you want to go from above in a descending direction, but when the song is happy and upbeat, you want to ascend to it. Superstitious is a minor song, but happy and upbeat, so you want to ascend to it, not descend
at 6:50 the words on the screen don't match what was stated right before. Both major and minor chords - the words in the upper right state to come from above, where just before that the demos show major approach is from below, minor is from above the root of the target chord.
Good explanation of something that comes instinctively to bass players that frequently play in front of live audiences. When I played, a long time ago, we used to refer to this simply as using "passing tones" and made no big deal about it, no analysis, just played to please the audience and it worked out great.
In my opinion it would be more instructive to talk about notes and scale degrees. Teaching in terms of frets addresses the mechanics of playing, but not the understanding of music, i.e. why it works.
This video was made for more of a beginning of bassist who wouldn't know what I meant if I said 'Start a minor 3rd below the upcoming target chord and approach it chromatically' @intension4083. It might seem simple to someone at your level, but phrasing it in this way would alienate the very people I'm trying to reach the most.
What I've noticed with all my favorite basslines. Which also includes the basslines you shared is there is a ton of chromatic runs.
I guess that it also depends on the style of music you're playing. For rock, soul, funk... It often works.
If you play pop (the Beatles song you mentioonned isn't really pop), this might sound too "bluesy" I guess.
For sure @mkiswatoo. This is a useful 'flavor', but not every flavor is suitable for every dish.
@@BecomeABassist yes, exactly :)
...I recall doing this, when I was playing Bass on "Can't Get Enough" in a cover band, briefly. Hm.
I always used a ton of chromatics when I played. I would get bored with arpeggios. I guess it helps that PM was my favorite bass player.
The graphic at 6:57 says above twice. Major should be below
Whoops - you're totally right @swagner89. Thanks for noticing!
@@BecomeABassist I'm a professional video editor/motion graphics, and I'm available!
I was just about to say the same. Confused me for a minute until I wound back and listened to what you said. Amazing idea and video, thanks Luke.
Excellent, Luke. This is a clever way of explaining (teaching) the beginnings of "walking the bass".
...all came outta nowhere
Litghtning fast
And they kicked _Chuck Norris_
In his cowboy ass...
Don't do this. Play finger per fret (four fingers = 4 frets) and play across the neck instead of chasing the notes up and down.
How would you play a chromatic approach line 'across the neck' @themobseat? All the examples in the video (Carol Kaye, Nate Watts, Jimi Hendrix etc.) play them on a single string.
This is going over my head. Is this about _playing_ or _writing_? It seems like "the 3 fret rule" is just adding in more notes?
You can use this idea for playing OR writing
Damn and here I was just using the base to add sentiment. Meaning the guitar plays the power chords. Use the bass drum time to hit the root on the bass and spend the rest of the chord sequence playing the 3rd or the mode note. So for a song in D mixolydian when the bass drum plays I’ll hit a root D. For the remainder I’ll either hit F# or C to emphasise that it’s in mixolydian it that it’s a major chord.
For sure - that'd work great too @troystaunton254.
Interesting. My recommendation is to highlight the core that you're playing against and the frets.
man it's embarassing when i'm under pressure to perform, and i have a premature articulation :(
If you just use this “rule” all the time without paying attention to the key you’re wrong often. Know the correct 6th.
Precisely @swperry04039 - that's exactly why I give the rule of thumb at the 6:57 mark.
Luke great vids. Can you please tell me what wood your spector body is made from. I really want to order one.
I believe it's spalted maple @gto1607
Good bass players routinely elaborate around chords without thinking in terms of any technical approaches or rules.
Correct! However, nobody is _born_ knowing this stuff; it's a skill that good bass players have learned, and often learned by thinking in technical terms.
Interleave with root and you become Jaco!
Hearing that first bass line to “I wish” feels so wrong
Interesting. I am using it, but never really thought about it.
It's a super common piece of language @DzeryB - I'm sure you're not alone in using it without thinking about it. It's like using verbs; you don't really think about whether or not you're using them - they just come out when you talk.
Weezer's 'say it aint so' bass line does this. Verse: vi III IV I (if you think of it in a major key). Between the (borrowed) III and IV, it walks up through the III's 7, maj7, root, to the IV chord's root (which is one more semitone up, or 11 frets down). So it's actually 4 in a row.
For me, there are no tricks in music and you should stop Say that... With the bass you can chromatically cross all twelve western notes in order to fill what's missing around... You know, Major scale, minor scale, chromatic scale, modes... No tricks, just play around the fret board and don't stay only on the root note... but really there are no tricks in music, Is Just Melody putting together ... You have to train ears before hands ... You have to listen to the Melody and see what fills the chords
I actually agree @ErasmoManzo-sv4ls, but with what you said in mind, what do you think would be a more appropriate title for this video?
Curious to hear what you have to say @ErasmoManzo-sv4ls :D
I don't know, maybe musical solutions or musical thoughts, maybe I Simply don't like the word trick... Or maybe I'm only a jerk and you should continue to call it like that 😂
I don't think anyone is going to be watching a video with a title 'musical thoughts'...
@@BecomeABassistYeah, sometimes you just have to go for the “clicks” in the title to get the information out there! At least you don't have to go through pages and pages to see a distressing picture of some old star in decline 🤣🤣🤣🤣🤣🤣 Carry on sir! (He says with tears in his eyes, big strong bass player, with tears streaming down his face 😮😂)
So, you could have said: walking bass. That would have made this video 8 minutes shorter
It would also be confusing and misleading though. Simply using chromatics to approach root notes _doesn't_ automatically mean something is a walking bass line.
A walking line is going to be a lot more melodically varied than any of the examples in this video; all of which are relatively repetitive. A walking line will almost always be based around quarter notes, but the examples I showed were based around 8th notes and 16th notes. Most commonly, a walking bass line will also be played with swung 8th notes, which also isn't the case for the examples in the video.
Can this idea be used in a walking bass line? Absolutely! I talk about that idea specifically in this video: th-cam.com/video/ImswmkN-y_c/w-d-xo.html
But just because the concept can be easily used in walking lines doesn't mean that simply using this concept magically transforms anything you're playing into a walking bass line.
If you stick with the C chromatic scale you can't go wrong.
I prefer the Eb chromatic scale. lol
@@BecomeABassist yes! I'll practice that later, should be more of a challenge starting on a flat...😅
I lol'd at "premature articulation". I should probably be ashamed... but I am not.
turn your bass up bra, can't hear what your playing even with no music in background
Are you watching on a phone?
Premature Articulation is one of the most embarrassing things that afflicts bass players
One of the possible reasons that I Wish takes exception to the "Major scoop from below, Minor fall from above" rule of thumb may be that FUNK requires you to funk things up a bit and get sticky where middle of the road would go clean and predictable. That's a thing funk and metal sometimes have in common, a crossroads, if ya will.
Thumbs up for "premature articulation". Yes... I'm a child. A 46-year-old child.
lol - You and me both @JohnMAdams-co5qy
no idea what you're talking about, 3 frets ... lol guess I won't be bassing anytime soon.
Not with that attitude @sallyselman8464, but I think you can do it!
This is cool - but why do these chromatic walks work? What’s the theory?
I don’t know why this has so many likes. You can barely hear over the bass over the stupid background music
Sounds like you’re watching on a phone
Many blues tunes use this. One example is Grand Funk's version of "Some Kind of Wonderful"
Good one, thanks for sharing