By Albert Nigro, Aaron Stang Tim Bogart
Take step one in the direction of experiencing the joys of enjoying rock bass. This booklet & CD will consultant you thru every thing you must be aware of to start laying down reliable rock bass traces. classes comprise method and hand place, vintage bass traces, ballad feels, rock grooves, shuffle and boogie styles, tapping, harmonics and double stops. comprises entire play-along tracks on CD.
Read or Download Rock Bass Basics Steps One & Two Combined PDF
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Additional info for Rock Bass Basics Steps One & Two Combined
Example text
Pluck with the picking hand. You should hear a ringing "bell" like sound. II L II harm. L II harm. harm. By combining more than one harmonic, they can be used to play chords. If you play the harmonics at the fifth fret on the first and second strings with the open fourth string, they combine to form a lovely E minor 7 chord. Practice locating the various harmonics on the bass and experiment with using them in scales and chords. I CD @) Example 30 I , Double-stops are simply playing two notes at the same time.
N I L L n Triplet feel: Beats: 1 (trip) let 2 (trip) let 3 (trip) let 4 (trip) let This example is the primary riff from the tune "Lies" by Tim Bogart. Like Example 25, this example is in 12/8 and the triplet feel is set up by the right hand. The example alternates between the open fourth string root [El and the 6 flat 7 [D ] and octave on the third string, and ends with a very common descending minor pentatonic riff. [a], @) Example 27 This example uses a major pentatonic pattern similar t o Example 16, but this time uses shuffle d.
A common technique is to harmonize a scale using double-stops in a series of major and minor thirds, using the notes from that scale. Maj 3rd 11 1 Min 3rd Min 3rd Maj 3rd Min 3rd Min 3rd Maj 3rd Maj 3rd The example below shows the E mixolydian scale [which is the same as the A major scale starting on E) harmonized up to the octave, all played on the first two strings. After reaching the octave, the pattern repeats again (as far as the neck on your bass allows). CD @ Example 37 This example combines two of the previous techniques into one exercise.