How I Build Bass Solos Using Fundamentals | 500 Miles High by Chick Corea

[00:00:00]I'm going to start off with the first chord, E minor 7. So, here we go. E minor 7.

[00:00:08]We can play, of course, E minor pentatonic.

[00:00:14][music] If you treat this as Dorian, [music] okay, you can play a major [music] or and G major and combine those [music] back to E minor pentatonic.

[00:00:44]That's the kind of stuff I would use on chord one of the song. Minor pentatonic.

[00:00:50]I might play triad pairs. Obviously, you can also play E dorian and a lot of other minor stuff, but I would stick with that for the purposes of this video. So, now what happens next is we take the same chord type, [music] E minor 7, we move up a minor third, G minor 7. Now, what's cool about that is you can play the same stuff of a minor third. So, again, G minor pentatonic [music] >> [music] >> B flat major pentatonic. Same scale.

[00:01:26]B flat major 7. [music] [music] Okay. G Dorian.

[00:01:41][music] He likes to play C pentatonic and F pentatonic.

[00:01:47]in the cliff.

[00:01:50][music] [music] And like we did before, you can play a triad pair. [music] B flat major, C major.

[00:02:11][music] Combine all of those. It's G minor pentatonic, B flat, major 7 or B flat, [music] major 7 add 9, B flat and C major, D minor [music] pentatonic, G dorian.

[00:02:33][music] You've got E minor 7 going into G minor 7. You can create a sequence because it's the same chord type. So what you play on E minor 7, move it to G minor 7.

[00:02:49]Check it out. [music] [music] [music] >> [music] >> That's a really cool way to make your solos make sense and flow because now you're connecting those chords even though they are kind of in different keys. Next chord, B flat major 7.

[00:03:28][music] >> [music] >> So yeah, you can play B flat major 7 [music] [music] B flat Lydian.

[00:03:54][music] >> [music] [music] >> B flat major 7 B flat major 7 A line B flat Lydian. What's really cool as well is because you've come from G Dorian and you're going to B flat major 7, those two chords are kind of connected. So it's e it's nice to flow from your G dorian [music] to B flat major 7 because there's a they they're kind of in the same key. So you can really flow through those changes there which I like. B minor 7 flat 5 to E7.

[00:04:40]Now I'll tell you what I like to do a lot of the time on a B minor 7 flat 5. A lot of people will play Boran [music] which take a listen.

[00:04:53]It's beautiful. [music] So practice there.

[00:04:59][music] So that's one option on that whole progression. Uh you could play B minor 7 flat 5 B Lorian. You can also play D melodic minor. [music] So like, [singing] [music] but you need to be quick here because you got to get to that E dominant 7. So [music] you can play D melodic minor and resolve to E7 flat 9. So you're playing D melodic minor [music] to E7 flat 9 or you can play E frigen dominant there [music] of course then [music] you can start to play your kind of dominant diminish stuff.

[00:05:57][music] And when you have chords that are so tense like this, you can go a lot more out and play a lot more chromatic because there's tension within the music. So you can play more tense vocabulary.

[00:06:15]So here's [music] D melodic minor to E7. Okay?

[00:06:23][music] Or B Lorian to E7. B Lorian or [music] That's more like dominant diminished stuff.

[00:06:38]A minor 7.

[00:06:41]So here I'm playing like a Dorian [music] C Lydian. Same scale, but it's going to get you to the colorful [music] notes.

[00:06:56]So >> [music] >> again because it's Dorian, you can play D major and [music] C major, [music] A minor pentatonic [music] d [music] So you got a minor pentatonic, E minor pentatonic, A Dorian, D major and C major triads and pentatonics, [music] F minor 7 flat 5.

[00:07:52][music] I like to play sometimes almost like F sharp minor blues scale but leave out the fifth. So this is this kind of sound. Okay. Like I like that sound. One flat 3 4 flat 5 flat 7. [music] So take a listen to how that sounds.

[00:08:17][music] Of [music] course, you can play F lock lan. [music] [music] [music] You can play a melodic minor.

[00:08:51]>> [music] >> I like that sound.

[00:08:57][music] Combine them.

[00:09:01][music] You get a really tense, cool sound when you do that. Yeah. On that F minor 7, I would play F Dorian because you're going to the C minor, which is a true natural minor sound.

[00:09:16][music] Okay.

[00:09:18]So F Dorian [music] and then you want to get that legendary lick. [music and singing] And you can see in the in that lick, even though it's on the next chord, [music] you've got that Dorian of F happening.

[00:09:35]That's why I would play Dorian on the F minor, not natural minor. Okay.

[00:09:43][music] >> [music] >> So on that F minor 7, you can play C minor pentatonic, F minor pentatonic, F, Dorian, B flat major, and A flat major.

[00:10:05]And then you're aiming for C minor.

[00:10:12]Oh, and that's just C minor natural minor stuff. So, yeah.

[00:10:23][music] Okay.

[00:10:29]So I would play natural minor there because [music] [music] and lastly in the song you've got B dominant 7. [music] Now there you can play B frigen dominant [music] if you want to and that's going to lead you into the top of the song. So you got the line [music] C minor stuff and then B frigen dominant. So of course when you have this kind of B7 flat 9 stuff, [music] you can play your kind of dominant diminished stuff. Essentially that's the whole song. Something Chicka does on the E dominant 7 is he plays a flat major pentatonic. So that's a nasty sound, but it's very cool. So yeah, you have [music] it's it's so you're just getting all the alterations on that. [music] Make sure when it comes to soloing that you link your ideas and flow through changes. Don't continuously go back to the root and start a new line. Try flow through changes without having the changes dictate how you play rhythmically. I'll try talk while I play.

[00:12:03][music] You see? So [singing] that line is two bars long and it flows through both chords. It doesn't stop in the first chord and then start again in the next chord.

[00:12:19]>> [music] >> It's linking the chords together with one phrase, not chord, phrase, chord, phrase, chord, phrase, chord, phrase.

[00:12:28]Remember that you can play before a chord, on the chord on the beat, or after the chord. Don't always just play on the chord, on the chord, on the chord, on the chord, on the chord.

[00:12:41]Here's an example of playing into the chord. I'm going to leave space and play into G minor 7.

[00:12:50]>> [music] >> You see, I let the E minor 7 go and I played through into G minor. So, I played before the chord. I'm going to play on the G minor 7 as it starts.

[00:13:08][music] Now, I'm going to play after the G minor 7.

[00:13:19]Okay. So, you need to get used to phrasing in all ways. Then you need to link chords together with no breaks in your phrase.

[00:13:30][music] [music] So, you see, I kept playing my phrasing in eighth notes. The chords were changing and changing key, but my phrasing went through the chords.

[00:13:45]Anyways, we're going to get deeper and deeper and deeper into all of