Showing posts with label Blues. Show all posts
Showing posts with label Blues. Show all posts
Sunday, August 23, 2015
Thursday, April 23, 2015
Walking Bass Lines on the Piano - Rhythmic Concepts
A huge benefit a piano player enjoys is the ability to play several musical lines simultaneously. Therefore, in the jazz idiom, it's possible for one piano player to fulfill the roles of not only the melodic/harmonic instruments (typically with the right hand), but also the bassist (in the left hand).
In the following video, I focus in on these left hand bass lines. These lines serve as a strong harmonic and rhythmic foundation. In and of itself, too, a bass line constitutes its own independent melody. (The harmonic progression used in the video is a simple C blues—primary chords: C7, F7, and G7.)
Being an overall foundational component, bass lines are most often constructed with not much more than four well-placed notes per measure. That is to say, quarter notes are the rhythmic bread-and-butter of a sturdy bass line.
Once a strong quarter-note groove has been achieved, though, certain variations can be thrown into the mix in order to spice up the music and add a heightened sense of excitement/momentum to the groove. Here are some of the main rhythmic ideas that I demonstrate in the video:
In the following video, I focus in on these left hand bass lines. These lines serve as a strong harmonic and rhythmic foundation. In and of itself, too, a bass line constitutes its own independent melody. (The harmonic progression used in the video is a simple C blues—primary chords: C7, F7, and G7.)
Being an overall foundational component, bass lines are most often constructed with not much more than four well-placed notes per measure. That is to say, quarter notes are the rhythmic bread-and-butter of a sturdy bass line.
Once a strong quarter-note groove has been achieved, though, certain variations can be thrown into the mix in order to spice up the music and add a heightened sense of excitement/momentum to the groove. Here are some of the main rhythmic ideas that I demonstrate in the video:
- Instead of 4 quarter notes per bar, try using 6 quarter-note triplets to fill up a 4/4 measure.
- Experiment with different groupings of these 6 notes. (e.g. Two groups of 3 or Three groups of 2)
- Eighth note or eighth-note triplets can be played to propel the line toward a target note that you'd like to emphasize. (e.g. Eighth-note triplets preceding beat 4: "1, 2, 3-na-ne, 4")
- Once the RH joins in with your LH's bass line, experiment with placing faster right hand rhythms (triplets and sixteenth notes) atop the LH's quarter notes.
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