This article is written by Toru Hoshino, a jazz bassist and instructor based in Japan who teaches online lessons to students worldwide. In this article, he breaks down a bass line for the jazz standard “A Night in Tunisia,” played on upright bass.
Contents
“A Night in Tunisia” on Upright Bass
Let’s start with the performance itself:
Taking On a Genuinely Difficult Tune
This one’s on the harder side for beginners to play, but it comes up often enough at jam sessions that it’s well worth having under your fingers.
The Intro Fingering Is the Key
The intro progression — E♭7 → Dm6 → E♭7 → Dm6 — is the part to really focus on. During the melody section, both the intro and the A section largely repeat this same phrase.
I chose to start the opening E♭ note on the A string.
It’s an awkward starting position right out of the gate, but:
↑ Starting on the D string’s 1st fret like this, instead, makes the position shifts that follow much more difficult — so I chose to start on the A string’s E♭, which keeps later position changes to a minimum.
How to Keep Your Fingers From Tangling in the Intro
The intro phrase uses alternating index-and-middle-finger picking across three strings — A, D, and G.
Moving across three strings in such a short span makes it really easy for your fingers to tangle up.
If you’re tangling frequently, it’s possible you’re using a different finger each time inconsistently — so first, firmly decide which finger you’re using where.
Here’s how I approached it this time:
Note: I personally have a tendency to favor my middle finger more when alternating, so this fingering reflects that. If it doesn’t feel natural for you, go with whatever fingering actually works for your own hand.
From there, check your fingering against a metronome at a slow tempo, and gradually speed up once you’ve got it locked in.
Listen to the Masters Play It Too
Art Blakey’s recording of “A Night in Tunisia” features this same bass phrase right from the start of the tune.
Listening to the actual recording will deepen your understanding even further.
Untangling fingering like this on your own takes a lot of trial and error — a teacher can usually spot the smoother path within seconds of watching you play it.
Want Personalized Feedback on Your Playing?
This is exactly the kind of thing that’s hard to fix alone — and where having a teacher makes all the difference.
At Line on Bass, I offer an online lesson service where you send me a video of your playing, and I give you specific, detailed feedback — every single day if you want.
Students from around the world are using this to fix exactly these kinds of issues and steadily improve their jazz bass skills.