Bass Lessons by Matthew Brown
Showing 1-20 of 45 lessons
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Improving Your Time And Feel (#2159) by Matthew Brown (9286)
Once you have mastered the basics, turn your attention to time...and away from brain chemistry.
Jazz ·
Advanced ·
27094 Hits ·
4.37/5 (79 ratings) ·
Last modified: 5/16/2001
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Easy Walking Bass (#2655) by Matthew Brown (9286)
<b>The easiest walking basslines are ostinatos: repeated riffs. These give you a great place to start. This lesson has been edited with chord changes; I welcome input and constructive criticism.
Blues ·
Beginner ·
26727 Hits ·
4.31/5 (93 ratings) ·
Last modified: 4/22/2001
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Right Hand Basics (#7046) by Matthew Brown (9286)
For playing fingerstyle well, nothing beats knowing how...This lesson describes the positions of the hand, different types of attack, and concludes with string-crossing exercises.
Other ·
Beginner ·
22042 Hits ·
4.28/5 (46 ratings) ·
Last modified: 6/3/2002
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Electric Bass: Tips On Walking (#1750) by Matthew Brown (9286)
In addition to getting an authentic sound, the electric bass player will want to consider how to "voice" the walking line. Using open strings helps. This has been updated; I welcome feedback on it.
Jazz ·
Intermediate ·
20625 Hits ·
4.39/5 (62 ratings) ·
Last modified: 3/18/2001
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String Crossing Arpeggios (#2320) by Matthew Brown (9286)
Build a funk bass line, combining arpeggios that cross all four strings. This outlines the chords nicely and gives your right hand a workout.
Theory/Reference ·
Intermediate ·
17157 Hits ·
4.38/5 (32 ratings) ·
Last modified: 3/5/2001
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Raking for Speed (#2864) by Matthew Brown (9286)
This is an explanation of "raking" the fingers across the strings for a quick attack, using using accompaniments to "Caravan" as examples. This has been updated; I welcome input.
Theory/Reference ·
Expert ·
14896 Hits ·
4.62/5 (26 ratings) ·
Last modified: 5/7/2001
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Embellishing Pentatonic Scales (#1525) by Matthew Brown (9286)
Shows the way to creating more interesting melodies based on pentatonic scales.
Theory/Reference ·
Intermediate ·
11726 Hits ·
4.57/5 (21 ratings) ·
Last modified: 1/8/2001
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Arpeggios Squared (#1662) by Matthew Brown (9286)
Every arpeggio contains only its own chord tones; the difference can be the order you play them in. This has been updated, and I welcome feedback...
Theory/Reference ·
Intermediate ·
10534 Hits ·
4.31/5 (16 ratings) ·
Last modified: 6/26/2002
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Using Pentatonics As Upper Extensions (#1954) by Matthew Brown (9286)
Using pentatonics as upper extensions of chords adds color to solos in many genres.
Theory/Reference ·
Advanced ·
10457 Hits ·
4.54/5 (28 ratings) ·
Last modified: 11/15/2001
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Further Halting Steps Toward Walking (#6236) by Matthew Brown (9286)
The lesson progresses from simple chord-based walking bass to linear, step-wise lines thence to pedal points under progressions, using the changes to a G Blues.
Theory/Reference ·
Intermediate ·
10093 Hits ·
4.88/5 (24 ratings) ·
Last modified: 4/16/2002
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Etude Elefunk: Open String Hammer-ons (#7273) by Matthew Brown (9286)
A more elaborate funk line based on techniques from a previous lesson on open string hammer-ons. By using the open E and A strings and hammering combined with rhythmic displacement, you can be the booty mahout.
Funk/R&B ·
Intermediate ·
8829 Hits ·
4.32/5 (57 ratings) ·
Last modified: 6/28/2002
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Arpeggio Study #1 (#13571) by Matthew Brown (9286)
"Broken chord" accompaniment outlines the chord progression using both open and closed arpeggios. Both right and left hands get a workout, with lots of string-crossing.
Other ·
Advanced ·
8556 Hits ·
4.88/5 (8 ratings) ·
Last modified: 1/28/2004
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Leaping Instead Of Walking (#1577) by Matthew Brown (9286)
When playing in smaller ensembles, or when soloing, walking lines with larger intervals can help fill out the sound. Using leaps and double-stops in your walking lines lets your bass act like a pianist's left hand.
Jazz ·
Advanced ·
7486 Hits ·
4.47/5 (15 ratings) ·
Last modified: 3/19/2001
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Using Harmonic Minor In Solos (#2384) by Matthew Brown (9286)
Applying harmonic minor scales to jazz solos adds an interesting flavor because of their unusual leaps.
Theory/Reference ·
Advanced ·
7095 Hits ·
4.00/5 (5 ratings) ·
Last modified: 3/9/2001
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Embellishing Chord Arpeggios (#2122) by Matthew Brown (9286)
I need feedback on this lesson...Chord arpeggios are great by themselves, but embellishing them adds much, both technically and melodically.
Theory/Reference ·
Advanced ·
7074 Hits ·
4.00/5 (5 ratings) ·
Last modified: 4/29/2001
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Funk With Open String Hammer-ons (#2347) by Matthew Brown (9286)
Building on String Crossing and Open String Lessons, this introduces a bassline using both techniques.
Funk/R&B ·
Intermediate ·
6960 Hits ·
4.07/5 (29 ratings) ·
Last modified: 6/4/2001
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Big Arpeggios: Open Voicings (#4378) by Matthew Brown (9286)
Think big! Spreading out the notes in arpeggios makes for a big sound, especially in solo spots or when accompanying one other instrument. An etude has been added to this lesson. Input is welcome!
Theory/Reference ·
Advanced ·
6969 Hits ·
4.14/5 (14 ratings) ·
Last modified: 8/18/2001
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Pedal Tones (#9628) by Matthew Brown (9286)
Using pedal tones you can save yourself a lot work and still sound really cool!
Jazz ·
Intermediate ·
6291 Hits ·
3.89/5 (9 ratings) ·
Last modified: 1/1/2011
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The Sleaze Factor (#2904) by Matthew Brown (9286)
This minor blues lines applies hammer-ons and open strings to fill out the sound; it's sort of a jazz boogie-woogie dedicated to Bill C.
Blues ·
Expert ·
6236 Hits ·
4.29/5 (7 ratings) ·
Last modified: 4/20/2001
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Ear On A G-String, Part I (#5224) by Matthew Brown (9286)
A little one-string funk line concludes a lesson in combining single-string studies with interval training for the ear. This helps with shifting, listening, and on fretless, intonation skills.
Theory/Reference ·
Intermediate ·
5932 Hits ·
3.60/5 (15 ratings) ·
Last modified: 11/11/2001
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