Chords for Mohini Dey - Bass Tip - Odd Time Signatures and Rhythm on Bass
Tempo:
78.575 bpm
Chords used:
D
A
B
C
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
Hi everyone, this is [D] Mohini Dey here, I'm a bass player from India and I've been playing
the bass for [B] the past 13 years now.
People ask me a lot about my technique, especially my slap techniques and how I implement different
kinds of time signatures over 4-4 or 5-4 or 9-4.
I'm going to show you a simple one, how I interpret different kinds of rhythms because
you know I'm from India and I have a better, not a better but like a different way of interpreting
things when it comes to taking rhythms in.
I have been trained under a lot of Carnatic rhythmic worlds so I know a lot of Takadimi
Takidas if you could understand that.
So for example, if I show this technique, so 1-2-3-4, in my way of understanding I would
say Takadimi, Takadimi, Takadimi, Takadimi.
That's 4 for us, 4 beats.
[C]
And then same way for 3's would be Takida, Takida, Takida, [E] Takida.
There are different possibilities like, [A]
[E] so that's another way or [A] [D] so if you're like on
4-4, 1-2-3-4.
[C]
[Bbm] [B] So that's one way of looking at it.
Or if you want to do like, 1-2-3-4.
So all I'm doing is just thumb, just muted thumb and like plucking.
Whereas if you play a different kind of rhythm, 1-2-3-4, [D] like everything on the 1's.
Obviously if there was a metronome playing then it would be much more easier to understand.
But yeah there are different ways of interpreting [Ab] it or like if I want to play 5's over 4's
would be 1-2-3-4.
[A]
[D] [A]
[B] [D]
[A] So right now I played around with 5's and triplets which was the third time, third range of quintuplets.
So [D]
same [A] [D] [B]
[D] [B] thing if you just play all these phrasings if you just play faster then it just sounds
very cool like the other one that I showed you.
[A]
[D] [A]
And then, [D]
[G] and then, [B]
and even with finger techniques there are so many ways of doing it.
So you just got to find what works for you and you can play something similar to this.
These are ways that I've come up with and been inspired by a lot of other bass players
that I've grown up listening to like Marcus Miller, Jacob Hestorius, Victor Wooten and
in the current times like Hedrian Farod, Anton Davidians, Federico Malamand.
These are all like amazing bass players.
So we all look at each other and we all get inspired and share our techniques and we come
up with this.
This is my voice, find your voice.
[N]
Hi everyone, this is [D] Mohini Dey here, I'm a bass player from India and I've been playing
the bass for [B] the past 13 years now.
People ask me a lot about my technique, especially my slap techniques and how I implement different
kinds of time signatures over 4-4 or 5-4 or 9-4.
I'm going to show you a simple one, how I interpret different kinds of rhythms because
you know I'm from India and I have a better, not a better but like a different way of interpreting
things when it comes to taking rhythms in.
I have been trained under a lot of Carnatic rhythmic worlds so I know a lot of Takadimi
Takidas if you could understand that.
So for example, if I show this technique, so 1-2-3-4, in my way of understanding I would
say Takadimi, Takadimi, Takadimi, Takadimi.
That's 4 for us, 4 beats.
[C]
And then same way for 3's would be Takida, Takida, Takida, [E] Takida.
There are different possibilities like, [A]
[E] so that's another way or [A] [D] so if you're like on
4-4, 1-2-3-4.
[C]
[Bbm] [B] So that's one way of looking at it.
Or if you want to do like, 1-2-3-4.
So all I'm doing is just thumb, just muted thumb and like plucking.
Whereas if you play a different kind of rhythm, 1-2-3-4, [D] like everything on the 1's.
Obviously if there was a metronome playing then it would be much more easier to understand.
But yeah there are different ways of interpreting [Ab] it or like if I want to play 5's over 4's
would be 1-2-3-4.
[A]
[D] [A]
[B] [D]
[A] So right now I played around with 5's and triplets which was the third time, third range of quintuplets.
So [D]
same [A] [D] [B]
[D] [B] thing if you just play all these phrasings if you just play faster then it just sounds
very cool like the other one that I showed you.
[A]
[D] [A]
And then, [D]
[G] and then, [B]
and even with finger techniques there are so many ways of doing it.
So you just got to find what works for you and you can play something similar to this.
These are ways that I've come up with and been inspired by a lot of other bass players
that I've grown up listening to like Marcus Miller, Jacob Hestorius, Victor Wooten and
in the current times like Hedrian Farod, Anton Davidians, Federico Malamand.
These are all like amazing bass players.
So we all look at each other and we all get inspired and share our techniques and we come
up with this.
This is my voice, find your voice.
[N]
Key:
D
A
B
C
E
D
A
B
_ _ [D] _ _ _ _ _
Hi everyone, this is [D] Mohini Dey here, I'm a bass player from India and I've been playing
the bass for [B] the past 13 years now.
People ask me a lot about my technique, especially my slap techniques and how I implement different
kinds of time signatures over 4-4 or 5-4 or 9-4.
I'm going to show you a simple one, how I interpret different kinds of rhythms because
you know I'm from India and I have a better, not a better but like a different way of interpreting
things when it comes to taking rhythms in.
I have been trained under a lot of Carnatic rhythmic worlds so I know a lot of Takadimi
Takidas if you could understand that.
So for example, if I show this technique, _ _ _ so 1-2-3-4, in my way of understanding I would
say Takadimi, Takadimi, Takadimi, Takadimi.
That's 4 for us, 4 beats.
[C] _
And then same way for 3's would be Takida, Takida, Takida, [E] Takida.
There are different possibilities like, _ _ [A] _
[E] so that's another way or _ [A] _ [D] so if you're like on
4-4, 1-2-3-4.
[C] _ _ _
[Bbm] _ _ _ _ [B] _ So that's one way of looking at it.
Or if you want to do like, _ 1-2-3-4.
_ _ _ _ _ _ So all I'm doing is just thumb, just muted thumb and like plucking.
_ _ _ Whereas if you play a different kind of rhythm, 1-2-3-4, _ _ [D] like everything on the 1's.
Obviously if there was a metronome playing then it would be much more easier to understand.
But yeah there are different ways of interpreting [Ab] it or like if I want to play 5's over 4's
would be 1-2-3-4.
_ _ _ [A] _
_ _ [D] _ _ _ _ _ [A] _
_ _ [B] _ _ _ _ _ [D] _
_ _ [A] _ So right now I played around with 5's and triplets which was the third time, third range of quintuplets.
So [D]
same _ [A] _ _ _ [D] _ _ [B] _
[D] _ _ [B] _ thing if you just play all these phrasings if you just play faster then it just sounds
very cool like the other one that I showed you.
[A] _
_ _ [D] _ _ _ _ [A] _ _
_ _ And then, [D] _ _ _ _
_ _ [G] and then, _ _ [B]
and even with finger techniques there are so many ways of doing it.
So you just got to find what works for you and you can play something similar to this.
These are ways that I've come up with and been inspired by a lot of other bass players
that I've grown up listening to like Marcus Miller, Jacob Hestorius, Victor Wooten and
in the current times like Hedrian Farod, Anton Davidians, Federico Malamand.
These are all like amazing bass players.
So we all look at each other and we all get inspired and share our techniques and we come
up with this.
This is my voice, find your voice. _ _ _
_ _ _ _ _ _ _ [N] _
Hi everyone, this is [D] Mohini Dey here, I'm a bass player from India and I've been playing
the bass for [B] the past 13 years now.
People ask me a lot about my technique, especially my slap techniques and how I implement different
kinds of time signatures over 4-4 or 5-4 or 9-4.
I'm going to show you a simple one, how I interpret different kinds of rhythms because
you know I'm from India and I have a better, not a better but like a different way of interpreting
things when it comes to taking rhythms in.
I have been trained under a lot of Carnatic rhythmic worlds so I know a lot of Takadimi
Takidas if you could understand that.
So for example, if I show this technique, _ _ _ so 1-2-3-4, in my way of understanding I would
say Takadimi, Takadimi, Takadimi, Takadimi.
That's 4 for us, 4 beats.
[C] _
And then same way for 3's would be Takida, Takida, Takida, [E] Takida.
There are different possibilities like, _ _ [A] _
[E] so that's another way or _ [A] _ [D] so if you're like on
4-4, 1-2-3-4.
[C] _ _ _
[Bbm] _ _ _ _ [B] _ So that's one way of looking at it.
Or if you want to do like, _ 1-2-3-4.
_ _ _ _ _ _ So all I'm doing is just thumb, just muted thumb and like plucking.
_ _ _ Whereas if you play a different kind of rhythm, 1-2-3-4, _ _ [D] like everything on the 1's.
Obviously if there was a metronome playing then it would be much more easier to understand.
But yeah there are different ways of interpreting [Ab] it or like if I want to play 5's over 4's
would be 1-2-3-4.
_ _ _ [A] _
_ _ [D] _ _ _ _ _ [A] _
_ _ [B] _ _ _ _ _ [D] _
_ _ [A] _ So right now I played around with 5's and triplets which was the third time, third range of quintuplets.
So [D]
same _ [A] _ _ _ [D] _ _ [B] _
[D] _ _ [B] _ thing if you just play all these phrasings if you just play faster then it just sounds
very cool like the other one that I showed you.
[A] _
_ _ [D] _ _ _ _ [A] _ _
_ _ And then, [D] _ _ _ _
_ _ [G] and then, _ _ [B]
and even with finger techniques there are so many ways of doing it.
So you just got to find what works for you and you can play something similar to this.
These are ways that I've come up with and been inspired by a lot of other bass players
that I've grown up listening to like Marcus Miller, Jacob Hestorius, Victor Wooten and
in the current times like Hedrian Farod, Anton Davidians, Federico Malamand.
These are all like amazing bass players.
So we all look at each other and we all get inspired and share our techniques and we come
up with this.
This is my voice, find your voice. _ _ _
_ _ _ _ _ _ _ [N] _