You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 Iconic Bass Lines (And Why You Should Learn Them)

Episode Date: April 22, 2021

Peter and Adam list off some of the most important bass lines, and why learning them is so important.Links from this episode:Get the free PDF for this episode hereCheck out all of the tunes mentioned in this episode with our Spotify playlistPrefer your podcasts in video form? Watch the YouTube version of this episode hereInterested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. And be sure to check out our All Access Pass - every course from Open Studio on every instrument.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram

Hey, Peter. Hey, Adam. What do you know about the bass? D-B-A-B-A-S-S? I know. And you're going to fit right in with today's lesson. Oh, yeah. I'm Adam Anas. And I'm Peter Mart.

And you're listening to the You'll Hear podcast. Music advice coming at you. Coming at you today, we are sponsored by Open Studio. Go to Open StudioJas.com for all your jazz lessons needs. Yeah, yeah, yeah. Peter, you know what we're talking about today. Yes, I do. I'm very, what?

I don't know. Dang, I was bluffing. No, I was a rhetorical. because I know you didn't know what we were talking about. I was trying to trick you. But this is going to be one of these fun episodes where like I brought in something for Peter and Peter just gets to react to whatever I've brought in.

I love these. I had an idea though because we've been working on some really cool baselines on the guy to practice sessions on YouTube. Yes. There's various tunes that I've been doing over the past couple months and I've just noticed like so many iconic tunes are centered around an iconic baseline, right? And so I thought we could cover the seven iconic, most iconic even.

It's not in the title, but I'll even say it. These are the seven most iconic baselines. And we could talk about why you should learn them. Even if you don't play bass, like what if you don't play bass? Do you need to know the baseline to something like footprints or something like chameleon? Yes, you do. Even if you are a singer or a saxphonist, or especially if you're a pianist or a guitarist, you've got to know this stuff because it's just so crucial to these iconic tunes.

So we've got seven iconic tunes lined up and seven baselines that go with them. We also have a PDF you can check out in the description here. Go check that out and you can download that for free and follow along for our YouTube folks. We're going to put up some notation here on the video itself, but there's still a PDF to grab for your pleasure to take home. Yeah, I'm excited, man.

I am too. Should we get right into it? Let's get right into it. So we have our first iconic baseline. Now this is something we covered just a couple weeks ago here on the podcast when we were talking about iconic intros. Yes. Because this is an iconic intro.

And actually, this is kind of what sparked this particular episode. This is from Charlie Parker, the complete Savoy Sessions. And this is the intro to... Savoy or Savoy. Either way. Okay. I pronounce it Savoy. Savoy.

That's a very severe way to say Savoy. The complete Svoy sessions. Yeah, boy! This is, of course, Dizzy Gillespie's A Night and Tunisie. Is it Tunisia? Tunisia? Tunisia. I think we were corrected on that.

I think you're correct on that. I don't know. But this is a night in Tunisia. I have the notation there so you can follow along. This is an iconic bass line and this is one that everyone really needs to know. Here we go. Correctly. Like, sorry, this is not, again, we're already off topic.

But can we just listen to where the drummer puts that roll in the groove here in this like, check that out. Listen to where the roll. Sorry, I was noodling there. Oh, good, dude. No, please. I'm a noodleer and courager. So check out where the drummer, check out how the drummer feels this.

This is amazing. I don't know who's playing drums in this. Man, it feels so good. It drives, it comes in, it's both driving and setting within it at the same time. For some reason in my head, it's a little later than where he's actually playing it, and where he's playing it is much better

than what I'm hearing. Right. Amazing. So yeah, so this is a very, and this was actually a very common thing in our intros. It's just an ostinato, right? Mm-hmm. And we talked about how...

How different it is than most people play it. But this is what they're actually playing. Absolutely. And it's just two chords, E flat seven. And just throughout that E flat seven, the baseline just goes up that E flat major arpeggio. Yep. To the seventh.

And then that little chromatic note below. And then that's up a D minor sixth arpeggio. Which is really interesting. And we're going to see this a couple times actually on this. on this episode, same rhythmic figure, but different pattern to the chord and even to the arpeggia. Yep. Yeah. Good stuff.

So that's our first one. I would consider that an iconic baseline. Man, it doesn't get any more. Like, I mean, one way to kind of gauge the iconography of these baselines is... You didn't make up that word, but you might have made up the context just now. I don't know.

I might have made a both, see? No, is that the, if you were to think about, you know, an architectural analysis of the tune and the, or even like a thematic analysis, if, you know, is the baseline as or perhaps even more important than the so-called melody, you know, like, in terms of like, that's a night in Tunisia? Like what makes people say that's a night in Tunisia? Is it the baseline? Is it the drum groove or is it? I think it's all those things. It's all of them. But equally, I mean, like when a baseline rises to the level of at least being in the discussion, that means something. I agree. I totally agree.

Now, but why do you think it's important? Why do you learn so many baselines? Because you know all these. Why do you learn? Why is it important to learn these if you don't play the bass? Because I like to play solo piano. And a lot of times, bass players aren't available. Yeah.

They're a little bit undependable. They're not independent, but they're busy. They're busy. They're busy. They're busy. Most nights of the week, yeah. They're double bass, they're double booked. No, but I think that this really gets to that area of like,

even if you're not covering some of these baselines, it's like the kind of thing of like, why learn some basic drum grooves? Why? I always tell pianists, I'm like, you should be able to sit down at the drums and do ding, ding, ding, ding, so that you under, so that you, was that a train that just drifted by? It sounds like there was a ghost train.

A train. That you're able to play the basics, of the instruments that you want to play with. Yeah. So that even if you never double them or try to play this baseline, even if you always have a great bass player there to play it, you don't really,

it heightens your sense of complimentary playing if you know what they're doing and you can actually do it and play it, even though if you're not playing it. Because now you know how to play everything around it. Yeah. Now you know how to play with that. You know what I mean?

Absolutely. So it's like, it's just like being a, you know, a good teammate on, on, I don't know, like you're playing tennis, doubles, and maybe you're always the one, is this one person always in the back and the others in the front? Sometimes, yeah.

Volleyball, whatever. Yeah, yeah, yeah. But you still have to know how to do that other thing because you're playing with them. You're going to be passing. You got to know what they're doing. You got to know what they're doing. And to go next level.

And this is, I think, a lot of times why we don't get, you know, necessarily hung up on these concepts of like, are you a professional player or amateur? I'm like, I don't see, because I've heard some amateurs, so-called amateurs, self-described amateurs,

that play so much better or more advanced than a so-called pro player, that it's not about those titles. But I would say that if you want to go next level or pro level, whatever you're going to call it, like these are those kind of things. You learn everybody's part. You don't just learn your part. You learn every part.

The way that a conductor, a great conductor, for sure, approaches, like, on the one hand, they're the only ones not playing anything. Right. But they need to know every single part. And I've been around some of these conductors, they can just sit down at the piano and, like, look at the score. Yeah.

Because they know it. They know it. And so part of knowing it is being, able to play it. And that's true for everybody improvising. So if you play saxophone, why is it important that you know the baseline to a night in Tunisia if you're going to play a night in Tunisia? We talk about like basing your

improvisations off the melody, but then you just mentioned, is this baseline just as important as the melody? So if you're going to solo, like give me a little knight Tunisia accompaniment here, and I'll solo. So if you're going to solo on the melody, like around the melody, right? The melody is

right, you can use the melody to kind of base your solo off of. Like, If you're going to do things like that, right, I'm using the melody, but I could also use the baseline. Keep going there. Like that's all just getting information from the baseline. I'm thinking about the shapes. I'm thinking about the rhythm of it. Same thing with the drum part, like you said.

Knowing all of the information is the best way, the easiest way. You don't have to think about anything new. You don't have to create anything. You're giving me, like, you're giving me that information. I can just take that, even if I just take the rhythm. Yeah. It gives me something to go off. off of.

You know what I mean? Yep, absolutely. So great, so great. Yeah. So next up, man, this is, this next one is a lesson in how to play a very specific group. Peter, can I get the right side of this opened up just a hair here? Oh, he's so specific with his. Oh, wait, no, no, no, you're right.

You're right. That's me. I think I'm going to go the other way. Okay, so this is Caravan by the great Art Blakey. Camavan. This is Art Blakey's version of Karen. The tune is by Juan Teasol, of course, from Duke Ellington's band. But this is Art Blakie. version of Caravan from the album Caravan.

If you don't know this album Caravan, holy smokes. Oh man, you're in for a treat. It is so good. You're welcome in advance. So this to me, when I learned this baseline, it really unlocked this very particular groove that Arplaky plays here. It can be kind of hard to feel your way through.

But this baseline, I think they do a great job of setting up with this groove in. It's going to come about a minute in, but we're going to listen to the whole minute before because it's so dang good. Art Blake? Yeah, of course. Intro. Iconic intro right here.

Some of the most stolen drumming over the years. This is jazz phrasing right now. This crash here. Instant groove. This is the groove, right? So getting to know this, if you get to the baseline, here's a little setup baseline. Is it going to that?

It goes to the two and then the five. Oh, Freddy. This is Freddie Hubbard on trouble. Curtis Fuller, I believe. Wayne shorter. It's the Cedars and Ranger. I think it is Cedars. Or maybe Blake.

I mean, come on. If you're near a piano right now, play along. GPS? What's going? Does this feel so good? That's it, man. That is so iconic on these background.

We could actually do a whole episode on this arrangement. It's so good. This record. So this groove here, like I said, go play along with it because it's just that 12-8 groove, right, that Blakey's playing through there. Yeah. Man, it's, what are you doing?

I'm trying to be like Vana White, just highlighting the letter. This, I promise you, if you are having a hard time feeling that, this opens it up in such a clear way and makes it just grooves so damn hard when you learn this, man. So this is what a baseline can do is really kind of unlocked. And for pianists out there, like learning these one note at a time baselines, so good for practicing, like, where you are in the groove, your time, your hand independence, It's all of that stuff. Finger independence.

Absolutely. And you can look at learning these in two hands and then splitting them off and then eventually, you know. Yeah, see if you can play the melody eventually, you know. Peter's going right in on it. It's tough, though. It's tough.

It's not easy. And actually, on this one, a good thing for you guys to practice. So, and I'm glad you ever written in there because it's a cycle, I think, of four times. It's doing ding, diga, dig, de, d' day, do. Beg, get to, get to,

yep. So you got to hear that, like, really getting these bass lines locked in is as much about, about being able to count to feel that rest beat on once. Gang, diga, dick, it's there, but it's not played. Absolutely. Absolutely.

Next up, unknown record. I really, I chose a kind of, I went for like an underdog. So what from Miles Davis is Kind of Blue. Kind of what? Kind of Blue. Also known as K-O-B. K-O-B. I love that we started going.

Kind of Blue. They're all one-size. There's no reason to shorten it. Yeah, K-O-B. K-O-B is the same amount of time. Yeah, it doesn't sound as hip. Yet it's just as... All of the explaining and discussion around it

is wasted more time than anything. That's right. Well, it adds to the charm and humor. I suppose so. The veritable... So I'm surprised, actually, at how many instrumentalists who play this at a jam session

don't know how to play the melody at all because the baseline is the melody in this case. So you might know... But can you do the... Like, very important... to understand. Also, it's a very hit melody. It is. It's a real melody. It's a really, it's fun to play on the piano. Great fingering if you can, yeah, in both keys. So let's, I mean, we have to play it.

Yep. Do we have to play it? Yes. We have to play it. If we have any faults that we reference this recording too often. This intro is going into our, uh, our modal intros. Modal intros of the 20th century. I will be bringing in a camel cigarette next time we listen to this intro. I'm sorry. It's only K-O-B. K-O-B. Cobb.

Jimmy, K-O-B. You know, it's life, baby. It's the human element, man. So again, the bridge is taking up a half step. We have that on the PDF. If you want to download the PDF and see the whole thing, you can check it out.

This is also one of the only songs in the real book that is correctly transcribed, I believe. Well, I mean, you can't get this right. Okay, so... I mean, that is so beautiful, though, man. That's perfect. So one thing that you can't quite capture on the piano, but it's interesting to hear and to try to,

I think at least, is the way the PC, you know, plays because he slides up. And because of the way he's fingering up in that third or fourth position, whatever is between the D and the E is doing. And then he does the exact same finger. He just slides up half a step. Do we do de, so I think you can get close to it. Yeah.

You know what? So we have the PDF of all the bass lines. here that you can download for free. I'll also put, when this is all over, a link to the Spotify playlist. And I encourage everyone to play along with these baselines. That's where you really get some stuff out of it. Well, depending on what states you're living in. Why? Is that legal at all 50? To play along with the baselines? Yeah. Yeah. No, actually, yeah. In some northern states, you can't do that. That's right. Yeah. Idaho, Wyoming. Next up is one that I know you're familiar with, Peter. Yes. You made a whole video called Stop Footprints. And that was some self-editing

there. Stop. Stop farting up footprints, I believe it was a little. And so I kind of stole your chart on this, which is, it looks really nice here. But this is just the baseline. Full screen on that. Look at that. I got to remember. Oh, yeah. Of course.

So there's some great stuff here. The first thing to note, so the baseline itself is easy enough, but check out there when it goes to the four chord. Yeah. What Ron Carter doesn't do is go to F. That's right. Yeah. I don't think he knew that they were on the four cord.

No, I mean, well, no, he does play. I'm kidding. Of course he does. Right. But he doesn't put that, he keeps the C on the bottom. Wait, is it? I might have messed that up. No, it is C. Oh, it's C.

Yeah, yeah. Check it out. Here's footprints. That's intonation. Man, Ron Carter is all over this episode. Dopeo. Man, those changes on the turnaround are amazing. Come on, Miles.

Stick to the melody. It's such a good baseline to know of your pianist because if you, I mean, and a bassist. I encourage bass players to learn that baseline. I've been on a few too many sessions where the bass player didn't know this baseline. Well, I think, and the most common, big shout out to Gerald Clayton, by the way,

at that master class for reminding me how important singing is. Come on. Preach. And then, you know, going up to the four, come on bass players. I mean, it's okay if you know, like you really need this reference point,

though, that's the thing. I don't mean to be dogmatic. No, but you can do it if you know the original, you know, back and forth. It's just such a different thing. Well, you know, it's funny with all of these baselines, and actually, especially the Ron Carter baselines that we're going to listen to today, this being

the first edition, it's not clearly stated every time the same way, right? They definitely are messing around with them as the tune develops, and that's totally cool. Like, that's fine. But for us, as we're learning these tunes, we want to try to establish some kind of

reverence for the original baselines so that we can then work off of it. Yeah, and you know, I remember, so there's, the baseline is really in all of these being, iconic baselines recognizable, very integral, if not the actual melody, or it could be argued as such. But we always want to remember that baselines,

even fancy ones like this, are the foundation at any kind of vertical moment of what the harmonic interpretation is above that. So by that I mean that even if on this one, it's the C minor and then when it goes to F minor, so that's like an F minor over C. So you don't have to play that. I mean, if you're playing so.

piano like this, you know, have a bass player, you probably would. But you want to be able to hear that and use that for your improvisation. So there's like that foundation of the harmony and all the wonderful possibilities that that includes. And I always remember, I didn't understand at the time because I was young and dumb. That's my excuse. But when I had the great fortune and benefit of playing with Betty Carter back in 1991, she would, like, I noticed it was so important for her to be able to hear the bass.

Like more than the piano, like you think a singer. You want to, it's a trio. You want to hear the piano. And, you know, I always be like, I'll make sure she can hear me and I'm playing the right stuff. And she wanted to hear everything. But like she had to hear the bass because Betty was an improviser, you know, always. And so she wanted to hear that foundation, not just what the chord was,

but where the bass player was, if it was in a line like this or if it was just another place they were going or whatever to build, you know, these cascades of harmony for her to choose the melodies on top of that. You know, hear that, feel that foundation and then build on top of it. She was such a master. And you can hear that in her singing as well. But, I mean, just to go off on a little tangent on why that's so wise to do for the vocalist or the person who really is on the top of the sound. Yes.

To want to hear most the bottom of the sound. What that bottom does, it affects mostly what you do. And you can change what you're doing to make it even better and everything in the middle. I mean, it matters as we, I mean, to us it matters a great deal. Of course, of course. But like those, that relationship between the baseline and the melody. is the relationship. Everything in the middle is harmony,

but those two things are really outlining what's happening. Yeah, absolutely. Absolutely. So important. So important. Cool. So next up, no, there's some more Ron Carter here.

This is Freddie Hubbard's red clay. This is amazing. If you don't know this record. A lot of people play this in C minor, which is interesting. I know. You know? You know why?

Easier? Yeah. Yeah. This is in C-sharp minor, the original. Ron's noodling. He's noodling, right? I'm noodling. We're all new.

This is a noodle intro. It's like a ramen. This is a ramen of rock jazz. A noodle. A noodle and courage. A little major third. Oh, come on, Fred. Welcome to the 70s. What?

What? Uh. Here's the first time. Check it out. Top line there on the chart. And then every other time, it's a little different. Herbie on that muted rose. Uh.

Is that iconic enough for you? Come on. So good. There's so many great details in the world. this, but really the baseline is the thing. It's the glue, right? It's the hook. Yeah. I think the baseline is catchier than the melody itself. Keep it rolling

into the solos, because I want to note something there. That vibrato on the roads. Perfect speed. Lenny White. You can hear Ron Carter like mixing it up every time. It's a little different. It's not the same. Ha.

So the changes of the solos are not these changes. That's a party. That's a party. It's a party changes. Yeah. Oh, they're partying at this era. I have a feeling that this band knew how to party. Sounds like you. I'm just going to let Peter Martin roll. I'm noodling.

Isn't that great? Put some meat sauce on me. I'm a noodle. But it is something to note, though. So it's good to know the baseline. But it's also good to know that in the original recording, that doesn't mean that you have to do this when you play it. But in the original recording,

they went to different changes for the solo. That's right. That little 2.5. No, that's part of it. That's part of it. C-sharp minor, 2-5 to A major. It's a big thing. You know what I mean?

It's almost like... Just let it play. We've got... Absolutely. I mean, there's a lot. I saw you on the radio. Hey. And all that was a little later.

Scott, what? What? Sorry. Keep it rolling. They meant keep us rolling or keep the... I know. They wanted to hear you. Okay.

Now they wanted to hear Freddy. Next up, man, we dealt with this in our Herbie episode last week about our... I think this was your pick for Greatest Road solo. But this is by far one of the most... iconic bass lines ever. This is another baseline. If you start playing this baseline, there's no doubt about what's going to be on. You are going to Funky Town.

Come on. I love to put that. And groove. And Clavenet, get ready. Clavenette. I think Clavonet's next. Wait. And we are in.

No, not yet. Okay. Keep it out. Whoa. Sounding good, Mike Clark. Sounding good. And here we go. And the three and a phone.

Mr. Martin. That's a guitar, huh? And wah-wai. This is another one, man. This is another baseline that... Conducting the classics. As simple as it is, you hear played wrong quite a bit. You know what I mean?

It's only six, seven notes. How do people play this one wrong? Really? Or they play badly. Or without the precision. You'll hear this. You might hear. Oh, come on.

Or you might hear... I don't like the interpret. Or you might hear Like, you know, they do the same thing twice It's understandable. Just learn the real one. But you know what? This is very important

that this one be played correctly. It's so simple. It's got to be... So you got bo-do-baw-bum-bo-bo-bo-bo-bo-bo-bo-bo-b. So basically you got doom-dun-b-b. Like that's the connection of that upper melody.

So don't mess it up with, like, disconnecting them in a way. Yeah, you got to keep it true, man. This is another one, just like a night in Tunisia. This is another one where this is, this has to be as equal weight with the melody of the tune. I mean, this is part of the tune.

If you played that on a different tune, it's not like people would, it's not like this. It's not like, you can play this on multiple tunes, right? Right. Yeah. Oh, buba, bobo, boba, squeed out. No, that doesn't work. But if you tried to do this on a different tune,

but it wasn't comming. million. Now you're doing a mashup. You know what I mean? No. That's a mashup. No. No, I'm showing what you wouldn't want to do. You definitely wouldn't want to do that. But you know what? On a serious note, boo-do-boo-do-do-cuh-uh-uh-uh-uh. Like the trick with this

and what makes it iconic, like this is sort of the inner baseball of it that we want to know that so we can really nail this. I mean, the listener, this means a lot. The bass line starts before Mike Clark comes in, the drummer, right? Yeah. But the precision of those do do bo of those

do you have that in there yeah you got it with the 16th note syncopation that's what I thought you can see that's what some people mess up some people like boo do boo boom boom boom boom boom boom you know where it's like it's only dealing with the eighth notes syncopation without that do do

like so you have to already be here yeah you got to be there already you got to be in Funky Town don't be chill in Ladoo or Clayton big shout out to the O2 but come on Do do they owe through whatever it is. Because that book.

And so that's already established. And so when the drums come in and the guitar and the clap and all that. This is another one to practice playing along with the record because you're just going to be doing this forever. It's going to be nine minutes of doing this. Yeah. But again, just to reemphasize, so make sure you get that. Then you can practice like this. Do do, boo, do.

And stop there. Chill. One, two, three. Oh. because like it's a different it's to get down

60 note 8 though right because when you I messed that one of see when you start playing other stuff it's hard so you got to lock that in and so when you do start practice two hands

leave those breaks in between like that's how you get to that point yeah you get lots of repetition You can close that gap down eventually, but you just need some time with it first to lock it in. But if you kind of hear it rhythmically a little bit without that precision, it's not going to be bad, but that's when you're kind of like, wow, it's not quite, what am I not doing right? I got the nose. You got to get the vibe. And it's locked in with that rhythm.

That's what makes it iconic. That's what makes it iconic. Yeah, man. So our final one. That's what makes it a measure of clarity of iconography. I don't know. I don't think that's what you think it means. I don't think it is.

Our last one. Sounds fancy. You got the music up? We have one more. One more. So we're chugging away here through time. I was trying to think of something a little bit more modern. Thanks.

All this old stuff. I thought of this. We know we like this. We know we like this. And this has become an iconic baseline. This is another one that if you start this at a modern jam session, everybody knows what's about to go down. This is one of the great moments.

I'm just going to let it play. You play. You noodle along, bud. You noodle along if you want to. I'm just to let you set it up. Why are we letting the bass player set these things up? Yeah, this is horrible. Let's listen to the real thing.

Oh. Gerald Clayton. This is Gerald Clayton. Montez Coleman on the drums. Is that 16th? No. On that app. Such a great solo.

Man. Gerald Clayton, man. That was a great master class. Denton Bowler on bass for this one, Denton Bowler. Any relation to Phil Bowler, do we know? I had no idea. Phil Baller, a great bass player from the 80s.

I have no idea. Yeah, it's a good question. But, yeah, that whole band, man, Montez and Gerald and Danton, just holding it down. So good. That's real important for those. Again, we've got a little bit of interplay between the eighth note and the 16-note, some divisions. And that gets placed in different places sometimes. Yeah, Buk-dick-doch-do.

And then Montez is always, and, you know, like, there's a lot of interplay off of that as being a down-bub beat eighth note, and then a great opportunity for some upbeat 16-n-node syncopation there. Totally. Yeah, they nail that chord. It's great. And this, so this baseline is a little, has some other, other features that are of interest that we haven't seen with the other ones

in that its iconicness is probably wrapped up around its direct connection with the harmonic movement as opposed to like being more of a singable. Although you can start, do do do do do. Like, because you've got, it's like just defining and moving

diatonically, really with. within the harmony. Right? So if we look at A flat major. But you're right. So this isn't so much like a melodic baseline as it is following the chord changes. Exactly. And it's like a... And almost like pre-defining them a little bit. It's pre-defining and grooving off of the chord changes. Prefinding them. Prefinding. Whereas you're right. The other ones were all sort of very melodic sort of within bigger chord movements, but this is really just outlining chord changes in a groovy way. But I still think because the way the song starts with the baseline, this has become an iconic baseline. Oh no, absolutely. I'm just saying that it's a little bit different

a different pathway to get to that icon. For sure. But it is important for everybody to know this baseline. For the things like you just said, so that when you hit that, like you can hit around that kind of stuff. I hit a wrong chord there. It's jazz. There's no wrong chords. Yeah, yeah.

No, but you know what it is too? That's all wrapped up with how the architecture of the harmony, even more something to the baseline because you got this is all up until that point, everything's diatonic. And then remember on the other tune, like we know Roy Love. in his compositions to have that place. Yeah, he'll end, well, he ends it on this, on that, you know, that sharp 11, sharp, not, whatever it is.

But it's as much about building up something that's grooving. It's all within here. But just like with syncopation, you've got to leave it at some point. That's your big opportunity for drama. The baseline drives it on this one. Awesome. Awesome stuff. So those are our seven iconic baselines and why you should know those iconic baselines.

Like I said, there's a PDF here in the description. Download that. That's yours for free to take. We also have a Spotify playlist I'll add the link here after we're done Thanks everybody for tuning in Thank you Peter Thank you man this was fun

Seven iconic bass lines And why you should learn them Why you must learn them Then you will know them Until next time You'll hear it