When it comes to creating impressive fills on bass, it’s a blend of several factors. Is it about speed, length, or technique? Well, it’s highly subjective. Personally, I find fills with melodic and harmonic content captivating, even if they span just two beats.

My approach to developing fills involves practicing melodic phrases over a groove. I pay close attention to how these fills connect with an Emin7 chord, incorporating arpeggios and triads that harmonise beautifully. The placement of these fills within the beat is equally important, whether they start on beat two or conclude on beat four.

But here’s the exciting part, manipulating and personalising fills. While it’s enjoyable to recreate fills, there’s a unique joy in making them your own. Let me break them down for you:

• The first fill begins with an ascending G major7 arpeggio, followed by descending 3rds from the G Lydian scale. Notice the descending Em7 arpeggio, starting from B (the 5th) and ending with D (the 7th).

• Similarly, the second fill explores a diatonic movement along the G Lydian scale. Starting with an A7 arpeggio, I continue with descending 3rds and an F#min7 arpeggio, commencing from the 5th (C#) and concluding with F#.

• Lastly, the final fill features a Bmin7 arpeggio, followed by another descending 3rd. You’ll also hear a descending A7 triad, originating from E (the 5th), and another descending 3rd. Although the video showcases a slight variation where I stop early, there’s room for experimentation.

Unlocking your bass creativity means exploring different approaches to fills and allowing unique ideas to flourish. So go ahead, take inspiration from these breakdowns, and make them truly yours.

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