Drew Gress

1 Hr - Private live video lesson with Drew Gress.

Bassist Drew Gress presents Bottomlands Architecture , a workshop on introducing shape and range to the bassline without sacrificing sound — plus other issues of the bassist's craft. This workshop was presented by David Gage String Instruments in NYC as part of their ongoing Bass Workshop Series.

Bassist Drew Gress presents techniques and concepts for expanding the supportive role of the bass in ensemble music — staying functional while becoming more interactive. Streamed live and recorded at the ISB 2009 Convention in State College, PA. What's covered Activating the functional bass role: creating complete musical statements that stand on their own and integrate into a group Breaking out of the physical "box" patterns the bass tends to groove your hands into Expanding walking lines beyond stepwise, close-interval motion by rethinking chord voicings — skipping chord members (root, 5th, 3rd, 7th) to change the contour Creating tension in a controlled way and ushering it toward resolution Listening and counterbalancing the activity level of the other musicians, demonstrated over standard tunes An intermediate class for bassists who want their supporting lines to say more without abandoning the function of the instrument.

Bassist Drew Gress uses the standard Autumn Leaves to show how to construct walking bass lines and solo lines that go beyond stepwise motion and comfortable "boxy" fingering patterns. Along the way he digs into clarity — of tone, time, and note choice — and how to make sure your ideas actually reach the listener. What's covered Breaking away from typical, default walking bass lines Early and delayed resolutions Working with listener expectations Harmonization and playing with clarity Fast tempos and staying relaxed Practicing — including Drew's habit of taping yourself and listening back to test whether the song form comes across Ideas for soloing over half-diminished chords and the ii–V7–i progression While the demonstrations are on bass, the line-construction and clarity concepts apply just as well to soloists and chordal players.