20 Minute Regiment:


I develop the 20 minute married man or woman regiment for bass players. In this regiment, I try to fuse the time where the kids are doing their homework and you running scales on the bass with headphones plug into the amp. While the children are doing their work you should be practicing so by the time they finish you can check their school work. It’s all about keeping a constructed
family environment while preparing for the weekend gig.

The first maneuver is to connect one scale with another for example “g” major to “g: major on the 10th fret if the “a” string and link it to the 12th fret of the “g” string and back again. Fill in the major 3rd the perfect 5th the major 7th and so on. Walk the bass in “g: with open strings.

The second maneuver is the major second and its’ charismatic flavor to arouse the listener. Let’s look at the open “E” on the 7th fret of the “a: string and use a solo block that I have created for my book. “The Creative Formula for the Bass Guitar”
In a slap method you would slur the note when a hammer on is applied. I play the bass from the neck down and up, across and diagonally. (D-E-G-A-B-D-E) plus (G-A-D-E) illuminate the natural tone of the electric bass.

The Third maneuver is taken from my “stair step exercises” with alitte twist. I take one string and school it! In a chromatic fashion down the neck from the 12th fret. Use your open strings as a point of contact or so what as a goal line. Push your self until you feel the tension build up in your waist and then relax.










From The Desk: Brian V. Ellis Editor and Producer



What is The Future of Bass Improvisation?”

The future of Bass Improvisation is when there is no differentiation in a bass player’s style. We tend to become stereotypical by our genre and appearances for example: a musician with a white bow tie and a tuxedo, you would think he’s going to play a classical piano piece by Beethoven. A musician wearing a black leather jacket with tattoos and body piercings you would like to think he’s going to play heavy metal guitar. My goal is to establish a neutral and indecisive ground of musicianship applied with the highest level of performance. So My outlook is no matter if you’re black, white, male, female, straight, gay, religious, or non-religious; if you had your back turn and heard someone playing a funk bass line from Bootsy Collins, it doesn’t have to be an Afro-American, it can possibly be a white female thumpin’ the bass or if you had your back turn and heard somebody playing country music, it can be a Chinese musician. I think you get the idea, by attacking the mind set of what we appear to be the norm; we launch out into the deep realms creative explorations. Just because you’re a certain nationality don’t be pigeon holed into one type of Music. I player to advance to a level in their skills, even if you’re a punk rocker you can still perform at an Bar Mitzvah , even if you’re Latino and play Cuban jazz or maybe you don’t speak English very well, you still will be able to read the music chart for a Pop rock studio session. These methods I have acquired over the years from my adventures and explorations on the Bass have proven to be astonishing.

Yours Truly,

Brian Ellis: The Creative Formula for the Bass Guitar  




Bass Solo Table 3

This new bass table is the driving force of the Creative Formula for the Bass Guitar. I created this system several years ago for my students to gasp the beauty of different styles of music.
The response has been overwhelming with great developments in ear training skills. The student should play these scales across, up and down , diagonally , backwards , from the bottom up and even from the center out to transform each line into a colorful array of melodic tones for soloing.

Many students haven’t seen these scale patterns explained in such a profound manner. It helps them get excited about Music theory. I became fortunate enough to lock into my own bass technique and approach to share with the world.

By Brian Ellis

This new approach to Creative Bass Guitar intervention and Application for Improvisational studies, "Bass Milk Series"








“Don’t Play another Man’s Bass”


My idea behind “Don’t Play another Man’s Bass” is to stay focus on the style of Music that has made you a Great Bass Player. For instance if you play a slap style Bass, appreciate the work you put into perfecting your sound. Maybe someone plays the Upright Bass with a big band, you shouldn’t try to copy a Bass player’s style and vice versa. The same thing if a Bassist Love’s to Tap the Bass and performs it quite well. It’s easy to try to play a style in a live performance you haven’t practiced or studied and sound awful. I have learned to accept and be encouraged by everyone’s special Musicianship. Traveling around New York and listening to Bassists perform, I have notice Bass Players take years to develop a certain style. My self-included. We master particular nuisances for Soloing, Chords, Harmonics, Sight Reading and the perfection of Tone. If you’re having trouble playing different styles of Music this can make a lot of sense “Don’t Play another Man’s Bass” so let me clarify my position on Gender. By all means I Express love for Women Bass Players who have taken the Music industry by storm. So with all due respect I could easily have called this article “Don’t Play another Person’s Bass” keeping Mankind in full view meaning, Man, Women, Boys and Girls. While performing in a Gospel Show, there were 5 choirs on the bill and each Choir had a Bassist. Without a firm foundation you can be easily sway to forget the format of your choir‘s show and start to show off. But what I noticed is when my solo came up, the other Bass players were very supportive even through is wasn't their style. I on the other hand was equally supportive of each Artist performing traditional gospel, Rap, and Quartet sounds. Don’t get side track, and try to walk the Bass when you know you play at Slap style, Don’t try to solo on the Bass when you know you play pocket. Keep in mind you can be establish on you instrument and be musically astute in all styles. Especially if you’re like myself who plays World Music with many different bands. My point is to be prepare for the awakening of the Bass Guitar Expositions. Where for the Bassist is almost required to take a 5 to 6 minute solo by himself, front and center stage during a Concert. Be courageous “Play what you know and Play it well.”


Truly Yours, Brian V. Ellis Cityscopepresents.com  





Discography: Brian V. Ellis........Bass Guitar, Writer, Arranger, Editor and Producer.

Mid Air: "Ease Out" with Lilo Thomas , Lead Vocals.


Dorothy Norwood: "Let it Shine" -https://youtu.be/uPzzo99ljFo

Queens Community Choir: " Feel The Spirit" Full Album.


Da Phatfunk Clique': "Pandemic Love"-https://youtu.be/2q4cFCI0oQI

Da Phatfunk Clique': "Audiophile Advisory"-https://youtu.be/tigy1KVuVI0




Da Phatfunk Clique' All Stars

"Da Phatfunk Clique' "

AudioPhile Advisory

Produced by Darrell Loney

Remix by Darrell Nickens


Darrell Loney: Violin

Brian Ellis: Bass Guitar

Michael Thomas: Drums

Janet Rogers: Keyboards

Darrell Nickens: Keyboards, Strings






























































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