What is HIIP? (Introduction to High Intensity Interval Practice)

Get practice results in as little as 5 minutes a day!

Recently, I started working a full-time job outside of music and struggled to find time and energy to practice bass. Then, I read (in this book) about a teacher who successfully taught a time-starved medical student to practice in just two minutes a day! Inspired, I set a goal to practice over twice as much – five minutes a day… I borrowed techniques from my Tabata-style workouts (a type of High Intensity Interval Training (HIIT)). I dubbed my resulting method High Intensity Interval Practice, with the appropriate acronym HIIP.

Like HIIT, HIIP uses short bursts of intense effort punctuated by brief periods of rest. It is designed to produced maximal results in minimal time. If you’re like me – extremely busy with other time commitments – then this system is for you. What’s more, the it’s completely customizable for different instruments, schedules, levels, and interests. I’m writing this series of blog posts to hone my method and share it with others experiencing similar struggles.

To get the most out of your HIIP, you need to commit to practice five minutes a day, five days a week, for five weeks in a row. At just over two hours, this is manageable for even the most time-starved people. Each 5-minute “workout” will target 1-4 bars of music. Even with the minimal commitment, it’s still possible to learn a 32-bar tune in that time! Over the next five weeks, I’ll take you step-by-step through the process of creating a HIIP routine that works for you.

In Week 1 (this week), we’ll cover basics of and preparation for HIIP. Next week (Week 2), we’ll start learning how to construct practice “workouts” and use looping techniques. After that (Week 3), we’ll delve into the process of developing musicianship – such as timekeeping, playing melodies, and soloing. For Week 4, we’ll learn how to apply principles of HIIP into musical learning. Finally, during Week 5 we’ll explore applications of this method in rehearsal and performance.

While you won’t start practicing until next week, you can still set a timer for five minutes today and write out answers to the following questions:

  • Which instrument(s) do I want to (re)learn or get better at playing?
  • What are my primary goals – what kinds of things do I want to be able to do musically?
  • Which tunes do I want to learn to help me achieve my goals?

Tomorrow, we’ll start our HIIP journey by discussing instruments and other gear.

Episode 8: Nanouche, “Hot Stuff”

Nanoversity of Jazz/Manouche arrangement of “Hot Stuff” by Donna Summer. Chart available at leahpogwizd.com. Model recording created using Band-in-a-Box® and Finale software.  

Earlier this year, a friend of mine asked me to arrange Gypsy jazz versions of LGBT classics (think, “It’s Raining Men” and “I Will Survive”) for his wedding. To top off the awesomeness, I got to play the wedding with an amazing group of Seattle-based female musicians. Now that I’m in Birmingham, I wanted to create model recordings for my West Coast crew. Enter Band-in-a-Box® (with an assist from Finale)!

Over the next few weeks, I’ll be posting model recordings and charts for various arrangements. I started with “Hot Stuff” by Donna Summer because it seemed fitting for the hottest part of summer…

See below for model recording and chart. I changed the feel from disco to slow Gypsy swing and made some of the chords a little more “jazzy.”

I’m hoping to eventually create written basslines, solos, and melodies specifically for bassists. In the meantime, feel free to share any questions, comments, or suggestions. Thanks for listening!

Hot Stuff Page 1Hot Stuff Page 2

Jazz Bass Practice Deck 5

Last week, we applied Decks 1, 2, and 3 for a simple bassline over the changes of “Autumn Leaves.” This week, we’ll learn another set of basslines. Once you practice everything, you’re ready to play a full chorus of bassline (see below)!

Jazz Bass Practice Deck 5

These four cards break down two basslines in G Minor (the relative minor of Bb Major). Together, they’ll allow you to play a full chorus of basslines over “Autumn Leaves.”

Jazz Bass Practice Deck 5

Bonus Tip

For a tune like “Autumn Leaves,” you can build a full chorus of bassline by stringing together different four-bar “chunks.” The illustration below shows a full chorus of bassline using the music from Cards 4.1, 5.1, and 5.3. Note the circle at the end of measure 16. Here, there’s a slight variation in the bassline from Card 5.1.

Full Bassline Sets 4-5

Full Bassline Sets 4-5 (PDF)

Jazz Bass Practice Deck 4

Now that we’ve gone over basic right- & left-hand technique, as well as a Bb Major Scale, we can start playing actual basslines! For the fourth and final (for now) category, we’re focusing on bassline construction.

Jazz Bass Practice Deck 4

These four cards break down a basic, 4-bar progression in Bb Major (which you may recognize as “Autumn Leaves”). It stays in the same position as the Bb Major Scale – which we covered in the previous deck.

Jazz Bass Practice Deck 4

Bonus Tip

Notice that there are Roman Numerals listed on Card 4.1. This is a common way of describing chord progressions in jazz. In Bb, the ii (“two”) chord is Cmin7, the V (“five”) chord is F7, etc. Remember with the Bb Major Scale that C is the second scale degree, F is the fifth scale degree, etc. In jazz, ii-V progressions are incredibly common.

Dear Nano: Basslines for 2+ Bars of the Same Chord?

After a long hiatus, Dear Nano is back and better than ever! I’ve had a couple students ask me this question. Feel free to ask your own!

(Note: Jazz Bass Practice Deck cards will resume next week!)

Dear Nano,

How do you do a walking bass line for a tune with two or more measures of the same chord?

When you have two bars of the same chord, you have two options to get from the first to second measure: 1) root-root and 2) root-fifth. I’ll demonstrate each with two bars of a BbMaj7 chord (note that you’ll need to adjust the key and chord tones to fit your particular tune).

Option 1: Root-Root

The graphic below shows two ways to get from a root to the same root in the next bar (note that the top line is fingering numbers using 1st-3rd fret position and the bottom line is the scale degrees):

  • Option 1a: Encircle the root by going down to the seventh, then up to second
  • Option 1b: Play the up and back down the first three notes of the scale

Once you’ve landed on the root again, walk a bassline as you normally would to get to the next bar’s chord change. Or, if there’s still a third bar of the same chord, you can repeat this process using Option 1 or 2 (see below).

Option 1.png

Option 2: Root-Fifth

The graphic below shows two ways to get from a root to the fifth of the chord in the next bar (the fifth helps add some variety without losing the quality of the chord):

  • Option 2a: Walk up to the fifth using the first four notes of the scale
  • Option 2b: Walk down to the fifth, being sure to repeat the top note (or add chromaticism between two notes)

Once you’ve landed on the fifth, walk a bassline as you normally would to get to the next bar’s chord change (if possible, play the root on beat 2 or 3). Or, if there’s still a third bar of the same chord, you can walk back down or up to the root.

Option 2