THE MUSICARTA PENTATONICS WORKBOOK
The Mix'n'Match Blues

Minor CPTs, Part Three

Assuming you've worked through Page Two of this Mix'n'Match module, we can move on to some serious mixing'n'matching.

Here are the three different bass-line figures used in three different positions. Listen and try to work out what you're hearing - as if you were learning a piece

Pretty straight forward! So let's move on.

The Mix'n'Match Blues bass line

Your challenge is to craft a bass line using a mixture of the three bass figures.

Here's a video describing the process.

Quickly copy the diagram on the white-board - or just mark out the twelve bass figure 'slots' - then listen to the audio performance below and see if you can jot down, using the three symbols, which bass figures are used in the twelve between-the-right-hand slots.

Spoiler alert! Answers below!

Here's the video of the performance.

The twelve bass-line figures, in order, are:

Around, down, around, down

Around, down, around, down

Around, up, around, around.

Copy the new unison (hands-together) ending for your 'options' cupboard.

Make your own variation

Now play a chorus with a different selection of twelve bass figures (that's the fun part!) - and make a note of your choices. If you get stuck for choices, let your fingers make the decision.

You have to use all three bass figures at some point. The low E position is usually a 'Going around' type, but this is not an unbreakable rule.

Come back to your notated choice later and see if you still agree with your particular combination.

(You can do this in your head at any spare moment during the day!)

'Improvising' is usually some slight variation on well-known material, not random notes completely out of the blue. The trick is to have the foundation secure enough to risk the uncertainty without the whole thing falling apart.

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Melody Work and
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