The Making of a Solo Table:

The solo table show the melodic and harmonic qualities in my system. This theory is hidden or superimposed in one single motion. The notes in the triad are arranged in a series within it’s scale octave to octave. Keep in mind these triads are the products of scale development. These notes can spring board melodic and harmonic creations to build your figures in a spontaneous situation. Solo fashions and it’s functions will change over every new chord to mix up the sounds.
Use inversions to enhance tonal patterns. This brings to mind the three fold composite :

1. The note 1. Melody 1. Medium
2. The scale 2. Harmony 2. Song progression
3. The chord 3. Rhythm 3. Variation

C	D	E	F	G	A	B	C
D	E	F#	G	A	B	C#	D
E	F#	G#	A	B	C#	D#	E
F	G	A	Bb	C	D	E	F
G	A	B	C	D	E	F#	G
A	B	C#	D	E	F#	G#	A
B	C#	D#	E	F#	G#	A#	B
C	D	E	F	G	A	B	C

 

 

The theory of my solos are based on scale development and the structures of arpeggios. Unlimited creativity opens up melodic adjustments in a standard composition work flow. Major scales, minor runs, triads, perfect fifths, seventh chord, and ninths builds a strong foundation for my solos. I rather not pick any old thing out of mid air, I like to manufacture a sweet maneuver. The cycles of fifths and its’ rules envelope such beauty.
An important factor of improvisation is to select colorful intervals carefully and respectfully. Understanding harmonic progressions will add an overall approach to chord inversions.

 

 

"Systematic Scale Projection"

A	B	C	D	E	F	G	A
B	C#	D	E	F#	G	A	B
C	D	Eb	F	G	A	Bb	C
D	E	F	G	A	Bb	C	D
E	F#	G	A	B	C	D	E
F	G	Ab	Bb	C	Db	Eb	F
G	A	Bb	C	D	Eb	F	G
A	B	C	D	E	F	G	A

Bb	C#	Eb	F#	Ab

 

This Solo Table I use the most as a Barometer to learn song progressions and develop bass lines for songs. I would go as far to say it's the "cream of the crop" for todays' modern Bass Player.

Plan your riffs by taking a scale and play it across, up and down, and even diagonally. Mix and match the tones and see many creative and exotic scales you come up with.

I Add my accidental table at random ( Bflat, Csharp, Eflat, Fsharp and Aflat).

 

 

 

 

 

Double stops on the Bass Guitar create a myriad of colorful tones and variety of solo scale patterns.

 

Bb/F	C/G	D/A	Eb/Bb	F/C	G/D	A/E	Bb/F

 

I like to use these double stops a lot in my solos, its’ like any given moment I just pull it out of my hat. This is the future of Bass Improvisation and the evolution of music theory. My perspective on programming is to teach the student new concepts which will help them achieve the highest accomplishments on the Bass Guitar. At one time I only thought about soloing over jazz progressions, but as I mature I grown to learn the importance of odd meters and the beauty of world music.

This solo table has melodic and harmonic qualities. The theory is hidden in each scale. Its up to you to dig in and expose the golden nuggets. The notes are arranged in a series, octave to octave my favorite because the producers like the bass to be colorful.

I had a idea to work directly with books and sound materials to explore new possibilities that were available to me as resources for the advancements of my Bass skills. There slap bass technique that I use for the intonation of open strings and the fretted note in comparison to each other of example the fretted “E” and the open “E” string, also the fretted “A” and the open “A” string, and the fretted “D” and the open “D” string, and lastly is the fretted “G” and the open “G” string give you the colors you need to obtain a funk sounding bass. Another point is knowing when to slap and when to pop. Consider your thumb as a thumper selected on an right angle and leverage your elbow as a 90 degree angle from the body. Look for the sweet spot of the thumb and strike the string like a whip-o-snapa. Keep the string from excessive ringing. Develop a rhythmic pulse with your drummer.