Embed Size (px)
Citation preview
Playing in Odd MetersLesson Workbook
T y
Welcome to…
How to use this packThis easy to edit text will be where your opening line goes about how easy it is to use the pack. We’ve carefully designed this resource booklet to fit perfectly with your online course!
Before you start, here’s a quick breakdown of what you’ll see throughout the booklet.
Playing in Odd Meters Lesson
Have a question about your course? Check our FAQ’s page or get in touch!
Now turn over and let’s get going… Happy practicing!
y
!
p
i
Press this to watch the video
Watch out for this!
Written task
Helpful hints
This workbook has everything you’ll need to get the most out of the Playing in Odd Meters lesson. The notation and instructions are easy to follow and there’s also a bunch of great ideas to help you get playing and start developing some ideas of your own.
There are also two backing tracks to play along with and have some fun. Track 1 is in 5/4 and Track 2 is in 7/4. If you haven’t already downloaded them, grab them when you can.
Key Words
Meter The pulse, or number of beats in each bar
Time signature The number and type of beats in each bar I.e. 3/4, 5/4, 7/8, etc
Ostinato Repeating line, or rhythm. This is used to underpin most pieces of music played in different meters and whilst not exclusively, it is usually played by the bass.
yWatch now!
Most of the music we play is in 4 (4/4 to be exact). That means there are 4 beats in every bar. It’s also common for the arrangements of the music/songs we play to be structured in multiples of 4 bars e.g. most sections of songs are either 4, 8, 12, or 16 bars in length.
Because we’ve been listening and playing to the meter of 4 for most of our lives, we are mostly, very comfortable with it.
Music in different time signatures means that the meter (or pulse) can’t be divided by 2, or 4.
The most common odd meter is 3/4 (Waltz), but other very common meters include 5, 7, and 9.
Virtually every piece of music in a different meter has a repeating line, or pattern (rhythm) that is played constantly. This is called the Ostinato. It’s usually (but not always) played by the bass, but it’s also very common for the drums to play a repeating rhythm too.
The Ostinato
• Acts as a reference for the other instruments/musicians • Makes the music easier to follow and leads us in to each bar • Leads the listener and helps them understand the music • Can help more complex pieces of music sound/appear much simpler
than they actually are.
It’s the vital ingredient to help you play in odd meters!
Playing in different Meters
Mission Impossible - Theme Tune Meter: 5/4
1. You’ll find this rhythm further on in the lesson. It’s one of the rhythms we use when constructing our bass lines.
2. Try to play the line (slowly) and count the pulse/beats whilst you’re playing.
3. Try it in a different key..
Copyright © Academy of Bass 2020
Bass
G‹
E¨‹7 B¨‹7 E¨‹7 B¨‹7
B‹
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
4
bbbbbb
¤
4
?bbbbbb
¤
?bbbbbb
4
##
¤
4
?##
¤
œ‰
œ
j Œœ œ
œ‰
œ
j Œ
œ œ#
3
‰
3
j
Œ
1 33
‰
3
j
Œ
1 2
œ Œ Œ
œ
œœ Œ Œ
œ
œ
6
ΠΠ3
66
ΠΠ3
6
œ
œ ™œ
œœ
œ œœ
œ
œ ™œ
œ
2
4™
42
2 52 5 2
4™
42
Take Five - Dave Brubeck Quartet Meter: 5/4
1. The rhythm of this line too can be found later in the lesson.
2. Try to play the line (slowly) and count the pulse/beats whilst you’re playing.
3. Try it in a different key.
Copyright © Academy of Bass 2020
Bass
G‹
E¨‹7 B¨‹7 E¨‹7 B¨‹7
B‹
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
4
bbbbbb
¤
4
?bbbbbb
¤
?bbbbbb
4
##
¤
4
?##
¤
œ‰
œ
j Œœ œ
œ‰
œ
j Œ
œ œ#
3
‰
3
j
Œ
1 33
‰
3
j
Œ
1 2
œ Œ Œ
œ
œœ Œ Œ
œ
œ
6
ΠΠ3
66
ΠΠ3
6
œ
œ ™œ
œœ
œ œœ
œ
œ ™œ
œ
2
4™
42
2 52 5 2
4™
42
Money - Pink Floyd Meter: 7/4
1. This is very different to the two previous lines in 5, but the same we use to create lines in 5 apply to time signatures of 7. The main difference is that instead of subdividing the bar into a group of 3 & 2, it’s divided into a group of 4 & 3 (or 3 & 4).
2. Try to play the line (slowly) and count the pulse/beats whilst you’re playing.
3. Try it in a different key.
Copyright © Academy of Bass 2020
Bass
G‹
E¨‹7 B¨‹7 E¨‹7 B¨‹7
B‹
5
4
5
4
7
4
7
4
7
4
7
4
?bb
Odd Meter Lesson
¤
?bb
4
bbbbbb
¤
4
?bbbbbb
¤
?bbbbbb
4
##
¤
4
?##
¤
?##
¤
œ‰
œ
j Œœ œ
œ‰
œ
j Œ
œ œ#
3
‰
3
j
Œ
1 33
‰
3
j
Œ
1 2
œ Œ Œ
œ
œœ Œ Œ
œ
œ
6
ΠΠ3
66
ΠΠ3
6
œ
œ ™œœ
œœ œ
œœ
œ ™œœ
œœ œ
œ
2
4™
42
2 52 5 2
4™
42
2 52 5
Œ ∑ Œ Œ
η
Œ Œ
How to play in 5
This is not the only way to conceptualise playing in 5, or any other meter, but it’s very commonly used and will not only help you understand the meter, it will also help you play strong bass lines.
We take the bar of 5 beats and sub-divide it giving us a group of 3 beats and a group of 2 beats - 3:2
It also works in reverse, but the 3:2 division is by far the most common.
By making this sub-division, we create a pulse of 2 within the bar;
1 2 1-2-3 4-5
This pulse helps give our lines a great ‘swing’ and will make the bass lines we create work really well.
Remember: Music in different meters doesn’t always follow a harmonic chord progression. It’s very common for songs to be based on only 1, or at best a few chords and not move around a great deal.
Track #1 is based on a static G minor chord.
Track #2 introduces a chord progression Bm7 | Dmaj9 | Gmaj9 | A7 |
!
i
Copyright © Academy of Bass 2020
Bass
2
3
4
5
6
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
˙ ™˙
3
™5
˙ ™˙
3
™
5
˙ ™œ œ
3
™5 5
˙ ™œ œ
3
™
5 5
˙ ™œ
œ
3
™
55
˙ ™ œœ
3
™
65
Copyright © Academy of Bass 2020
Bass
2
3
4
5
6
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
˙ ™˙
3
™5
˙ ™˙
3
™
5
˙ ™œ œ
3
™5 5
˙ ™œ œ
3
™
5 5
˙ ™œ
œ
3
™
55
˙ ™ œœ
3
™
65
Start Playing in 5 This is our first approach of how to play in a bar of 5
1. We’re taking the subdivided bar of 5 with our 3:2 pulse (3 beats followed by 2 beats). We’re playing the Root note of our G minor chord on the first beat of the bar and following that with the octave (root note) on beat 4.
The root note played on beat one is allowed to ring out, so that it lasts for the first 3 beats of the bar. The octave played on beat 4 rings out across beats 4 & 5, lasting for 2 beats.
2. Here’s the same line, but the octave played on beat 4 is substituted for the 5th.
Copyright © Academy of Bass 2020
Bass
2
3
4
5
6
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
˙ ™˙
3
™5
˙ ™˙
3
™
5
˙ ™œ œ
3
™5 5
˙ ™œ œ
3
™
5 5
˙ ™œ
œ
3
™
55
˙ ™ œœ
3
™
65
3. This time we’re adding more rhythm to the last two beats of the bar. Instead of playing a single octave and allowing it to ring out for the last two beats of the bar, we’re playing the octave on beat 4 & beat 5.
Copyright © Academy of Bass 2020
Bass
2
3
4
5
6
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
˙ ™˙
3
™5
˙ ™˙
3
™
5
˙ ™œ œ
3
™5 5
˙ ™œ œ
3
™
5 5
˙ ™œ
œ
3
™
55
˙ ™ œœ
3
™
65
4. Here’s the same line, but the octave played on beats 4 & 5 is substituted for the 5th.
Copyright © Academy of Bass 2020
Bass
2
3
4
5
6
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
˙ ™˙
3
™5
˙ ™˙
3
™
5
˙ ™œ œ
3
™5 5
˙ ™œ œ
3
™
5 5
˙ ™œ
œ
3
™
55
˙ ™ œœ
3
™
65
5. The final part of playing rhythmically over the least two beats of the bar. We’re playing the 5th on beat 4, followed by the octave on beat 5.
6. Now that we’ve got a strong rhythm in the second part of the bar, we’re adding some harmonic interest by using the notes in the G minor chord. Root b3 5 G Bb D
Copyright © Academy of Bass 2020
Bass
2
3
4
5
6
5
4
5
4
?bb
Odd Meter Lesson
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
˙ ™˙
3
™5
˙ ™˙
3
™
5
˙ ™œ œ
3
™5 5
˙ ™œ œ
3
™
5 5
˙ ™œ
œ
3
™
55
˙ ™ œœ
3
™
65
7. The final instalment is to add even more rhythm over beats 4 & 5 as shown below. We’re now playing on beat 4, the off-beat of 4, beat 5 and the off-beat of beat 5. The notes we are using are from the G Minor Pentatonic Scale.
7
8
9
10
11
12
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
œ‰
œ
j Œ œœ
3
‰
3
j
Œ
55
œ‰
œ
j
œœ
œ
3
‰
3
j
35
5
œ‰
œ
j ‰œ
j œœ
3
‰
3
j
‰
3
j
55
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
˙ ™ œ œœ œ
3
™
3 53 5
œ‰
œ
j Œ œ œœ œ
3
‰
3
j
Œ
3 53 5
Bass2
We’re using the Minor Pentatonic Scale, which is the perfect scale to use of any Minor chord for our choice of notes to use.
To make it easy, we’re going to use the last 4 notes in the ‘box shape’ shown below. We’re already using the Root and b3, so the addition of these notes will add great harmonic interest to our bass line.
Summary
So far we’ve taken our bar of 5 and played a good strong root note on beat 1. This gives us our foundation for the bass line.
From here, we focussed on the last two beats of the bar (beats 4 & 5).
• To start with, we played an octave (root) note on beat 4, then we played the 5th. We then tried both the octave and 5th, this time playing them on both beats 4 & 5.
• The next step was to use both the 5th and octave together. We played the 5th on beat 4, followed by the octave on beat 5.
• Then we introduced some harmony, so we use the notes in the chord - b3 (Bb) on beat 4 and 5th (D) on beat 5.
• The final step was to add some rhythm across the last two beats of the bar and to make that rhythm even more potent, we added some harmony and superimposed 4 notes from the Minor Pentatonic Scale. Now we’ve got a really happening bass line.
7
8
9
10
11
12
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
œ‰
œ
j Œ œœ
3
‰
3
j
Œ
55
œ‰
œ
j
œœ
œ
3
‰
3
j
35
5
œ‰
œ
j ‰œ
j œœ
3
‰
3
j
‰
3
j
55
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
œ‰
œ
j Œœ
œ
3
‰
3
j
Œ
65
œ‰
œ
j
œœ
œ
3
‰
3
j
3 65
Bass2
Rhythm 1 Now we’re turning our attention to the front of the bar now and
adding some rhythm to make our bass line even better.
1. We’re still going to be playing the 5th and octave on beats 4 & 5. The first step of adding rhythm to the front end of the bar is keep our root note on beat one and then adding a second root note on the off-beat of beat 2. We’re sticking with the root note at the front end of the bar because it’s strong and with the rhythm we’re creating, we’ll end up with a really great bass line with strong rhythm, followed by some good harmonic interest at the back of the bar.
2. This is the same rhythm, but the second root note played on the off-beat of beat 2 rings out a little longer. Experiment playing both rhythms and really listen for the affect the longer/shorter note has on the bass line.
* The length of the note you play have a huge impact on the quality of your lines.
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
˙ ™ œ œœ œ
3
™
3 53 5
œ‰
œ
j Œ œœ
3
‰
3
j
Œ
55
œ‰
œ
j
œœ
œ
3
‰
3
j
35
5
œ‰
œ
j Œœ
œ
3
‰
3
j
Œ
65
œ‰
œ
j
œœ
œ
3
‰
3
j
3 65
œ‰
œ
j Œ œ œœ œ
3
‰
3
j
Œ
3 53 5
Bass2
7
8
9
10
11
12
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
œ‰
œ
j Œ œœ
3
‰
3
j
Œ
55
œ‰
œ
j
œœ
œ
3
‰
3
j
35
5
œ‰
œ
j ‰œ
j œœ
3
‰
3
j
‰
3
j
55
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
˙ ™ œ œœ œ
3
™
3 53 5
œ‰
œ
j Œ œ œœ œ
3
‰
3
j
Œ
3 53 5
Bass2
4. Here’s the same line with the added rhythm at the back end of the bar, using the Minor Pentatonic Scale.
3. This is the same rhythm, with the b3rd on beat 4 and the 5th beats 5.
7
8
9
10
11
12
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
œ‰
œ
j Œ œœ
3
‰
3
j
Œ
55
œ‰
œ
j
œœ
œ
3
‰
3
j
35
5
œ‰
œ
j ‰œ
j œœ
3
‰
3
j
‰
3
j
55
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
œ‰
œ
j Œœ
œ
3
‰
3
j
Œ
65
œ‰
œ
j
œœ
œ
3
‰
3
j
3 65
Bass2
7
8
9
10
11
12
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
œ‰
œ
j Œ œœ
3
‰
3
j
Œ
55
œ‰
œ
j
œœ
œ
3
‰
3
j
35
5
œ‰
œ
j ‰œ
j œœ
3
‰
3
j
‰
3
j
55
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
œ‰
œ
j Œœ
œ
3
‰
3
j
Œ
65
œ‰
œ
j
œœ
œ
3
‰
3
j
3 65
Bass2
1. We’re adding even more rhythm this time. Again using the root note. This time we’re playing on beat 1, the off-beat of beat 2 and the off-beat of beat 3.
* We’ve not included the previous option of making the second note played last longer (off-beat of beat 2), but you know what you’re doing and can add that as you wish.
13
14
15
B‹7 DŒ„Š916
GŒ„Š9 A720
B‹7 DŒ„Š924
?bb
¤
?bb
¤
?bb #
#
¤
?## ‘ ‘
¤∑ ∑ ∑ ∑
?## ‘ ‘
¤∑ ∑ ∑ ∑
?## ‘ ‘
¤∑ ∑ ∑ ∑
œ‰
œ
j ‰œ
jœ
œ
3
‰
3
j
‰
3
j
65
œ œ‰
œ
j ‰œ
jœ
œ
3 3
‰
3
j
‰
3
j
65
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
˙ ™ œœ
˙ ™ œœ
Bass 3
2. Same rhythm at the front of the bar, but as with every rhythmic variation, now we’re back to using the notes in the chord on beat 4 & 5.
13
14
15
16
B‹7 DŒ„Š917
GŒ„Š9 A721
?bb
¤
?bb
¤
?bb
¤
?bb #
#
¤
?## ‘ ‘
¤∑ ∑ ∑ ∑
?## ‘ ‘
¤∑ ∑ ∑ ∑
œ‰
œ
j
œœ œ
œ œ
3
‰
3
j
33 5
3 5
œ‰
œ
j ‰œ
jœ œ
œ œ
3
‰
3
j
‰
3
j
3 53 5
œ œ‰
œ
j ‰œ
jœ œ
œ œ
3 3
‰
3
j
‰
3
j
3 53 5
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
Bass 3
3. Here’s the same line with the added rhythm at the back end of the bar, using the Minor Pentatonic Scale.
Rhythm 2 Now we’re adding even more rhythm to the front of the bar
13
14
15
16
B‹7 DŒ„Š917
GŒ„Š9 A721
?bb
¤
?bb
¤
?bb
¤
?bb #
#
¤
?## ‘ ‘
¤∑ ∑ ∑ ∑
?## ‘ ‘
¤∑ ∑ ∑ ∑
œ‰
œ
j
œœ œ
œ œ
3
‰
3
j
33 5
3 5
œ‰
œ
j ‰œ
jœ œ
œ œ
3
‰
3
j
‰
3
j
3 53 5
œ œ‰
œ
j ‰œ
jœ œ
œ œ
3 3
‰
3
j
‰
3
j
3 53 5
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
Bass 3
3. To finish off with, we’re adding rhythm at the back end of the bar, using the Minor Pentatonic Scale.
7
8
9
10
11
12
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
?bb
¤
œ‰
œ
j Œ œœ
3
‰
3
j
Œ
55
œ‰
œ
j
œœ
œ
3
‰
3
j
35
5
œ‰
œ
j ‰œ
j œœ
3
‰
3
j
‰
3
j
55
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
˙ ™ œ œœ œ
3
™
3 53 5
œ‰
œ
j Œ œ œœ œ
3
‰
3
j
Œ
3 53 5
Bass2
1. The final rhythm variation, sees us adding even more rhythm to the front of the bar. We’re now playing on beat 1, the off-beat of beat 1, the off-beat of bar 2, and the off-beat of bar 3.
Rhythm 3 The final rhythm we’re adding and it really does create some great movement.
13
14
15
B‹7 DŒ„Š916
GŒ„Š9 A720
B‹7 DŒ„Š924
?bb
¤
?bb
¤
?bb #
#
¤
?## ‘ ‘
¤∑ ∑ ∑ ∑
?## ‘ ‘
¤∑ ∑ ∑ ∑
?## ‘ ‘
¤∑ ∑ ∑ ∑
œ‰
œ
j ‰œ
jœ
œ
3
‰
3
j
‰
3
j
65
œ œ‰
œ
j ‰œ
jœ
œ
3 3
‰
3
j
‰
3
j
65
œ œ‰
œ
j ‰œ
j œœ
3 3
‰
3
j
‰
3
j
5
0
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
˙ ™œ
œ
˙ ™ œœ
˙ ™ œœ
Bass 3
2. Same rhythm at the front of the bar, but as with every rhythmic variation, now we’re now using the notes in the chord on beat 4 & 5.
Playing over a chord progression We’re now going to apply our bass lines to a chord progression.
Copyright © Academy of Bass 2020
Bass
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
5
4
5
4
?## ‘ ‘
Odd Meter Lesson
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
˙ ™œ
œ
˙ ™œ
œ
7
™
99
5
™7
7
˙ ™œ
œ
˙ ™œ
œ
2
™4
4
5
™
77
˙ ™ œœ
˙ ™ œœ
7
™
109 5
™4 7
˙ ™ œœ
˙ ™ œœ
3
™
2 55
™
4 7
˙ ™ œœ
˙ ™ œœ
7
™
5 9 5
™
97
˙ ™ œœ
˙ ™ œœ
3
™
75
5
™
97
1. Root note on beat 1, followed by the 5th on beat 4 and the octave on beat 5.
Copyright © Academy of Bass 2020
Bass
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
5
4
5
4
?## ‘ ‘
Odd Meter Lesson
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
˙ ™œ
œ
˙ ™œ
œ
7
™
99
5
™7
7
˙ ™œ
œ
˙ ™œ
œ
2
™4
4
5
™
77
˙ ™ œœ
˙ ™ œœ
7
™
109 5
™4 7
˙ ™ œœ
˙ ™ œœ
3
™
2 55
™
4 7
˙ ™ œœ
˙ ™ œœ
7
™
5 9 5
™
97
˙ ™ œœ
˙ ™ œœ
3
™
75
5
™
97
2. Root note on beat 1, followed by the 3rd of the chord on beat 4 and the 5th on beat 5.
Copyright © Academy of Bass 2020
Bass
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
5
4
5
4
?## ‘ ‘
Odd Meter Lesson
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
˙ ™œ
œ
˙ ™œ
œ
7
™
99
5
™7
7
˙ ™œ
œ
˙ ™œ
œ
2
™4
4
5
™
77
˙ ™ œœ
˙ ™ œœ
7
™
109 5
™4 7
˙ ™ œœ
˙ ™ œœ
3
™
2 55
™
4 7
˙ ™ œœ
˙ ™ œœ
7
™
5 9 5
™
97
˙ ™ œœ
˙ ™ œœ
3
™
75
5
™
97
3. Same as the previous example, but with an alternative fingering.
4. The same Rhythm with the Pentatonic scale being used to provide a harmonic line on beat 4, the off-beat of 4, beat 5 and the off-beat of beat 5.
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
˙ ™ œ œœ œ
˙ ™ œ œœ œ
7
™
7 97 9
5
™
7 97 9
˙ ™ œ œœ œ
˙ ™ œ œ œ œ
3
™
5 75 7
5
™
7 95 7
œ‰
œ
jŒ
œœ
œ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
99
5
‰
5
j
Π77
œ‰
œ
j Œ œœ
œ‰
œ
jŒ œ
œ
3
‰
3
j
Œ
55
5
‰
5
j
Œ
77
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
109 5
‰
5
j
Π4 7
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
2 55
‰
5
j
Œ
4 7
Bass2
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
jŒ
œœ
œ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
99
5
‰
5
j
Π77
œ‰
œ
j Œ œœ
œ‰
œ
jŒ œ
œ
3
‰
3
j
Œ
55
5
‰
5
j
Œ
77
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
109 5
‰
5
j
Π4 7
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
2 55
‰
5
j
Œ
4 7
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
5 9 5
‰
5
j
Œ
97
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
75
5
‰
5
j
Œ
97
Bass2
6. Same rhythm with the 3rd of the chord on beat 4 and the 5th of beat 5.
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
jŒ
œœ
œ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
99
5
‰
5
j
Π77
œ‰
œ
j Œ œœ
œ‰
œ
jŒ œ
œ
3
‰
3
j
Œ
55
5
‰
5
j
Œ
77
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
109 5
‰
5
j
Π4 7
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
2 55
‰
5
j
Œ
4 7
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
5 9 5
‰
5
j
Œ
97
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
75
5
‰
5
j
Œ
97
Bass2
5. Rhythm variation 1, followed by the 5th on beat 4 and the octave on beat 5.
7. Same as the previous example, but with an alternative fingering.
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
jŒ
œœ
œ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
99
5
‰
5
j
Π77
œ‰
œ
j Œ œœ
œ‰
œ
jŒ œ
œ
3
‰
3
j
Œ
55
5
‰
5
j
Œ
77
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
109 5
‰
5
j
Π4 7
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
2 55
‰
5
j
Œ
4 7
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
5 9 5
‰
5
j
Œ
97
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
75
5
‰
5
j
Œ
97
Bass2
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7B‹7 DŒ„Š9DŒ„Š9
GŒ„Š9GŒ„Š9 A7A7
B‹7 DŒ„Š9
GŒ„Š9 A7
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
jŒ œ
œœ ‰ œ
J
Œœ
œ
7
‰
7
j
Œ
5 9 5
‰
5
j
Œ
97
œ‰
œ
j Œœ
œœ
‰œ
jŒ œ
œ
3
‰
3
j
Œ
75
5
‰
5
j
Œ
97
œ‰œ
jŒ œ œ
œ œ
œ ‰ œ
J
Œ œ œœ œ
7
‰
7
j
Œ
7 97 9
5
‰
5
j
Œ
7 97 9
œ‰œ
j Œœ œ
œ œœ
‰œ
jŒ
œ œ œ œ
3
‰
3
j
Œ
5 75 7
5
‰
5
j
Œ
7 95 7
œ‰
œ
j‰
œ
j œœ
œ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
99
5
‰
5
j
‰
5
j
77
œ‰
œ
j ‰œ
j œœ
œ‰
œ
j‰
œ
j œœ
3
‰
3
j
‰
3
j
55
5
‰
5
j
‰
5
j
77
Bass 3
8. Adding rhythm and harmony on beats 4 & 5 using the Pentatonic Scale.
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7B‹7 DŒ„Š9DŒ„Š9
GŒ„Š9GŒ„Š9 A7A7
B‹7B‹7 DŒ„Š9DŒ„Š9
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
j‰
œ
j œœ
œ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
99
5
‰
5
j
‰
5
j
77
œ‰œ
j ‰œ
j œœ
œ‰œ
j‰œ
j œœ
3
‰
3
j
‰
3
j
55
5
‰
5
j
‰
5
j
77
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
109 5
‰
5
j
‰
5
j
97
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
75
5
‰
5
j
‰
5
j
97
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
5 9 5
‰
5
j
‰
5
j
4 7
Bass 3
9. Rhythm variation 2, followed by the 5th on beat 4 and the octave on beat 5.
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7B‹7 DŒ„Š9DŒ„Š9
GŒ„Š9GŒ„Š9 A7A7
B‹7B‹7 DŒ„Š9DŒ„Š9
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
j‰
œ
j œœ
œ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
99
5
‰
5
j
‰
5
j
77
œ‰œ
j ‰œ
j œœ
œ‰œ
j‰œ
j œœ
3
‰
3
j
‰
3
j
55
5
‰
5
j
‰
5
j
77
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
109 5
‰
5
j
‰
5
j
97
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
75
5
‰
5
j
‰
5
j
97
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
5 9 5
‰
5
j
‰
5
j
4 7
Bass 3
10. Same rhythm with the 3rd of the chord on beat 4 and the 5th on beat 5.
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7B‹7 DŒ„Š9DŒ„Š9
GŒ„Š9GŒ„Š9 A7A7
B‹7B‹7 DŒ„Š9DŒ„Š9
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
j‰
œ
j œœ
œ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
99
5
‰
5
j
‰
5
j
77
œ‰œ
j ‰œ
j œœ
œ‰œ
j‰œ
j œœ
3
‰
3
j
‰
3
j
55
5
‰
5
j
‰
5
j
77
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
109 5
‰
5
j
‰
5
j
97
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
75
5
‰
5
j
‰
5
j
97
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
5 9 5
‰
5
j
‰
5
j
4 7
Bass 3
GŒ„Š9GŒ„Š9 A7A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
?## ‘ ‘
¤‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘
¤‘
?## ‘ ‘
¤‘ ‘
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
2 55
‰
5
j
‰
5
j
4 7∑
Œ
œ œ‰œ
j‰œ
j œœ
œ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
99
5 5
‰
5
j
‰
5
j
77
œ œ‰œ
j ‰œ
j œœ
œ œ‰œ
j‰œ
j œœ
3 3
‰
3
j
‰
3
j
55
5 5
‰
5
j
‰
5
j
77
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
109 5 5
‰
5
j
‰
5
j
97
œ œ‰
œ
j ‰œ
jœ
œœ œ
‰œ
j‰
œ
jœ
œ
3 3
‰
3
j
‰
3
j
75
5 5
‰
5
j
‰
5
j
97
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
5 9 5 5
‰
5
j
‰
5
j
4 7
Bass4
11. Same as the previous example, but with an alternative fingering.
12. The Pentatonic Scale being used again on beats 4 & 5.
B‹7B‹7 DŒ„Š9DŒ„Š9
GŒ„Š9GŒ„Š9 A7A7
B‹7B‹7 DŒ„Š9DŒ„Š9
GŒ„Š9GŒ„Š9 A7A7
B‹7B‹7B‹7 DŒ„Š9DŒ„Š9
GŒ„Š9GŒ„Š9 A7A7
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
109 5
‰
5
j
‰
5
j
4 7
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
2 55
‰
5
j
‰
5
j
4 7
œ‰
œ
j‰
œ
jœ
œœ ‰ œ
J
‰ œ
J
œœ
7
‰
7
j
‰
7
j
5 9 5
‰
5
j
‰
5
j
97
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
75
5
‰
5
j
‰
5
j
97
∑Œ
œ‰œ
j‰œ
jœ œ
œ œ
œ ‰ œ
J
‰ œ
J
œ œœ œ
7
‰
7
j
‰
7
j
7 97 9
5
‰
5
j
‰
5
j
7 97 9
œ‰œ
j ‰œ
jœ œ
œ œœ
‰œ
j‰œ
jœ œ œ œ
3
‰
3
j
‰
3
j
5 75 7
5
‰
5
j
‰
5
j
7 95 7
Bass4
14. Same rhythm with the 3rd of the chord on beat 4 and the 5th on beat 5.
GŒ„Š9GŒ„Š9 A7A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
?## ‘ ‘
¤‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘
¤‘
?## ‘ ‘
¤‘ ‘
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
75
5
‰
5
j
‰
5
j
97
∑Œ
œ œ‰œ
j‰œ
j œœ
œ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
99
10 10
‰
10
j
‰
10
j
1212
œ œ‰œ
j ‰œ
j œœ
œ œ‰œ
j‰œ
j œœ
3 3
‰
3
j
‰
3
j
55
5 5
‰
5
j
‰
5
j
77
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
109 5 5
‰
5
j
‰
5
j
4 7
œ œ‰
œ
j ‰œ
jœ
œœ œ
‰œ
j‰
œ
jœ
œ
3 3
‰
3
j
‰
3
j
2 55 5
‰
5
j
‰
5
j
4 7
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
109 5 5
‰
5
j
‰
5
j
97
Bass4
GŒ„Š9GŒ„Š9 A7A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
?## ‘ ‘
¤‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘
¤‘
?## ‘ ‘
¤‘ ‘
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
2 55
‰
5
j
‰
5
j
4 7∑
Œ
œ œ‰œ
j‰œ
j œœ
œ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
99
5 5
‰
5
j
‰
5
j
77
œ œ‰œ
j ‰œ
j œœ
œ œ‰œ
j‰œ
j œœ
3 3
‰
3
j
‰
3
j
55
5 5
‰
5
j
‰
5
j
77
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
109 5 5
‰
5
j
‰
5
j
97
œ œ‰
œ
j ‰œ
jœ
œœ œ
‰œ
j‰
œ
jœ
œ
3 3
‰
3
j
‰
3
j
75
5 5
‰
5
j
‰
5
j
97
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
5 9 5 5
‰
5
j
‰
5
j
4 7
Bass4
13. The final rhythm variation, followed by the 5th on beat 4 and the octave on beat 5.
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
?## ‘
¤‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ œ‰œ
j ‰œ
jœ
œœ œ
‰œ
j‰œ
jœ
œ ∑ Œ
3 3
‰
3
j
‰
3
j
75
5 5
‰
5
j
‰
5
j
97
∑Œ
œ œ‰œ
j‰œ
jœ œ
œ œ
œ œ ‰ œ
J
‰ œ
J
œ œœ œ
7 7
‰
7
j
‰
7
j
7 97 9
5 5
‰
5
j
‰
5
j
74 7
4
œ œ‰œ
j ‰œ
jœ œ
œ œœ œ
‰œ
j‰œ
jœ œ œ œ
3 3
‰
3
j
‰
3
j
52 5
2
5 5
‰
5
j
‰
5
j
74 5
2
œ œ‰œ
j‰œ
jœ œ
œ œ
œ œ ‰ œ
J
‰ œ
J
œ œœ œ
7 7
‰
7
j
‰
7
j
7 97 9
5 5
‰
5
j
‰
5
j
7 97 9
œ œ‰œ
j ‰œ
jœ œ
œ œœ œ
‰œ
j‰œ
jœ œ œ œ
3 3
‰
3
j
‰
3
j
5 75 7
5 5
‰
5
j
‰
5
j
7 95 7
œ œ‰œ
j‰œ
j œœ
œ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
99
5 5
‰
5
j
‰
5
j
77
Bass 5
GŒ„Š9GŒ„Š9 A7A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
?## ‘ ‘
¤‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘
¤‘
?## ‘ ‘
¤‘ ‘
œ‰œ
j ‰œ
jœ
œœ
‰œ
j‰œ
jœ
œ
3
‰
3
j
‰
3
j
75
5
‰
5
j
‰
5
j
97
∑Œ
œ œ‰œ
j‰œ
j œœ
œ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
99
10 10
‰
10
j
‰
10
j
1212
œ œ‰œ
j ‰œ
j œœ
œ œ‰œ
j‰œ
j œœ
3 3
‰
3
j
‰
3
j
55
5 5
‰
5
j
‰
5
j
77
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
109 5 5
‰
5
j
‰
5
j
4 7
œ œ‰
œ
j ‰œ
jœ
œœ œ
‰œ
j‰
œ
jœ
œ
3 3
‰
3
j
‰
3
j
2 55 5
‰
5
j
‰
5
j
4 7
œ œ‰œ
j‰œ
jœ
œœ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
109 5 5
‰
5
j
‰
5
j
97
Bass4
15. Same as the previous example, but with an alternative fingering.
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
GŒ„Š9 A7
B‹7 DŒ„Š9
?## ‘
¤‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
?## ‘ ‘
¤‘ ‘
œ œ‰œ
j ‰œ
jœ
œœ œ
‰œ
j‰œ
jœ
œ ∑ Œ
3 3
‰
3
j
‰
3
j
75
5 5
‰
5
j
‰
5
j
97
∑Œ
œ œ‰œ
j‰œ
jœ œ
œ œ
œ œ ‰ œ
J
‰ œ
J
œ œœ œ
7 7
‰
7
j
‰
7
j
7 97 9
5 5
‰
5
j
‰
5
j
74 7
4
œ œ‰œ
j ‰œ
jœ œ
œ œœ œ
‰œ
j‰œ
jœ œ œ œ
3 3
‰
3
j
‰
3
j
52 5
2
5 5
‰
5
j
‰
5
j
74 5
2
œ œ‰œ
j‰œ
jœ œ
œ œ
œ œ ‰ œ
J
‰ œ
J
œ œœ œ
7 7
‰
7
j
‰
7
j
7 97 9
5 5
‰
5
j
‰
5
j
7 97 9
œ œ‰œ
j ‰œ
jœ œ
œ œœ œ
‰œ
j‰œ
jœ œ œ œ
3 3
‰
3
j
‰
3
j
5 75 7
5 5
‰
5
j
‰
5
j
7 95 7
œ œ‰œ
j‰œ
j œœ
œ œ ‰ œ
J
‰ œ
J
œœ
7 7
‰
7
j
‰
7
j
99
5 5
‰
5
j
‰
5
j
77
Bass 5
16. The very last line. Rhythm variation 3 with the addition of our pentatonic scale line.
Getting to grips with odd meter bass lines
We suggest starting with backing track #1. It’s based on a static G minor chord and the perfect vehicle for getting all of the lines and the variations together.
Tip - Feel free to start using your own body clock as your tempo guide before playing with the track. Make sure you count the meter/pulse out loudly 1 - 2 - 3 - 4 - 5, etc. Try playing the first bass lines whilst counting.
You can use a metronome, or drum rhythm if you prefer, but don’t get carried away and try to play too fast as this could actually prevent you from achieving your aim. We’re trying to get comfortable with the meter. Don’t force yourself to play with a strict rhythm if it’s too difficult at first..
When you’re comfortable playing in tempo, move on to playing along with backing track no.1.
Start - Starting with G, play one note for each bar of music. Play on the first beat of the bar and let the note ring for the whole bar (feel free to count the meter/pulse out loudly whilst playing).
For a comparison try playing on the first beat of the bar only and resting for the remaining beats. Keep counting - you may find this a bit more difficult.
Beat 1 and 4 - Using the sub-division, play on beat 1 (G - root note) and allow the note to sustain across beats 1,2 & 3. Add the octave on beat 4 and allow it to ring our over beats 4 & 5. Repeat this substituting the octave for the 5th (D).
Add the notes in the chord - Add the notes in the G minor (G/Root, Bb /b3, D/5th) chord over beats 4 & 5
Introduce even more rhythm - Double up the rhythm played over beats 4 and 5, so we’re now playing 4 + 5 +. Use the G minor Minor Pentatonic scale for this.
!
Getting to grips with odd meter bass lines contd…
Add rhythm to the front end of the bar - 1, 2+
Add rhythm to the front end of the bar - 1, 2+, 3+
Add rhythm to the front end of the bar - 1+, 2+, 3+
The combination of a strong rhythm using the root note at the start of the bar followed by the harmonic interest created over beats 4 and 5 using either the notes in the chord, or the relevant minor pentatonic scale is golden and produces a potent bass line, that will drive any piece of music when played with confidence.
Try your hand at Track 2 …. Using all of the same devices, but superimposed on our chord progression.
Mission Impossible & Take 5 - You probably know these two tunes quite well. Use the backing tracks to play along with and test yourself to see how freely you can play (without counting if possible). You could also try playing to the original recordings and see comfortably you are able to play.
Money - Whilst we haven’t touched on the meter of 7 too much in this lesson, you can do the same as the previous exercise with this and start playing in 7.
There’s a lot to cover in this lesson, but it should give you a good start towards helping you come up with lines of your own and being able to play them well.
Try to focus on what you are playing first and foremost.
Count the meter at first, but try to get away from it too.
Here are some further study ideas to help you work on this more.
1. Counting - When you start playing in 5, you’ll probably need to count like crazy. As soon as you are comfortable playing your bass line, try not to count. Just focus on your what you are playing and try to concentrate on the Ostinato nature of the line.
2. Be original - Using track 1, try to come up with some lines of your own. Try a combination of playing very simply and also try a line with a bit of rhythm. See how well you can play them and if you’re able to stop counting and just enjoy your playing.
• To give you a head start, take the 5 beat bar and then choose a simple ¼ note, or ⅛ note rhythm on each beat to play.
• See how many variations you can up with.
3. Key change - When you can do this, try it out in a different key, or over a different chord.
4. Playing over chords - Use track 2 to try out as many ideas as possible. Once you’ve exhausted the examples in this lesson, get to work on some lines of your own.
• Don’t try to do too much straight away. Choose one chord to play over freely. Play a line from the lesson over the remaining chords, but when it comes to the ‘chosen’ chord, add your own line. Play it repeatedly so you get comfortable with it.
Development Study Guide
Development Study Guide
5. More chords - Use a chord progression you know well and try out the same lines from this lesson.
• If you can do this, try another progression. • Write a progression of your own, or take another common chord
progression and do the same. Don’t forget to try your own lines out too.
6. Listen - Listening to music in different meters will really improve your familiarity. There are lots too choose from and I’m sure you know many yourself. See if you can identify the time signatures.
Here are a few suggestions to get you started;
Carry on my wayward son - Kansas YYZ - Rush Black Dog - Led Zeppelin Schism - Tool Dream Theater - There are tons!
Advert for another course or product you’re selling? Potential space for advertising with other brands etc ?
Summary…Well done for getting to the end of the lesson. I hope you enjoyed the workout and got a lot out of it.
✔ Ostinato - repeating line/pattern.
✔ Sub-divide the 5 beat bar into 3 beats, followed by 2 beats (3:2) creating a pulse of 2 that really helps your lines to ‘swing’
✔ Play the Root note at the start of the bar playing simply, or add some rhythm
✔ Answer the Root not rhythm over beats 4 and 5 using Root/5th & octave, the notes in the chord and add even more movement by using the pentatonic scale to create lines/runs/fills.
Congratulations on completing the lesson. Look forward to seeing you again.
Happy Practicing!
Get in touch! Tell us what you’d like to learn in a lesson?
Keep an eye out for the following lessons: How to be ‘original’ playing slap bass What to do with all of the great baselines you’re learning The key to being able to play over ANY harmony Learn to play killer walking bass No hacks, No tricks, just honest, no-nonsense advice
For courses, resources, transcriptions and more, visit:
T y
