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Advanced Gospel Bass Diminished Riff
In this lesson, we’re breaking down a powerful diminished gospel bass lick built from symmetrical arpeggio movement, chromatic tension, and dominant gospel vocabulary.
We’ll cover:
• How diminished arpeggios create tension and movement
• Why this sound works so well in gospel and bebop-inspired bass lines
This is definitely a more advanced concept, but the goal of the lesson is to make these sounds feel musical, usable, and easier to hear in real playing situations.
If you’ve ever heard gospel bass players use those slick “outside” sounding runs and wondered what was happening… this lesson is going to help connect those dots.
5 thoughts on “Advanced Gospel Bass Diminished Riff”
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Wassup Daric! Very nice lick. I understand how you constructed it. However, I’m just seeking clarification on when I could use it. Is it correct to say that when I hear that Dominant 7th chord, I can drop down to the 6th degree and play a diminished to get to the 5th degree of the scale and finish out a lick if I wanted to?
Hey Walt! You are absolutely correct! Thats a perfect way to think of it. I actually would rather you think of it that way in order to have a quicker way to navigate it
Thank you for the confirmation and positive feedback. I really appreciate your musical approach. I tell everyone who asks me about bass tips to check you out. I don’t know if they have or not but if they are serious I know they will. You are such an inspiration. Thanks again. I’m a little curious though, when people like you and your friend Justine Raines come up with these licks, is the road map thought out because of the cords being played, or do you just hear the various options you have based on your theory knowledge, or do you just play and then figure out what it is you played? As I’m asking my guess is that you are going to say all 3 but I’d like to hear your perspective.
NIce Daric Good lesson
Hey Michael Thanks Man!