A history of rock styles from the bassist’s perspective
2. Using the scale of the I chord (C in this case), find the 4 and 5 (F and G — the 4 and 5 of the C-dominant or C-minor scale)
For a blues progression in C, F will be the root of the IV chord, and G will be the root for the V chord.
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Chapter 8: Rock On! Getting Down with the Rock Styles
You now have the roots for your I-IV-V progression. The sequence used in the vast (and I mean vast) majority of blues tunes is
✓ 4 measures of I (C in the example from the previous list)
✓ 2 measures of IV (F)
✓ 2 measures of I (C)
✓ 2 measures of V (G)
✓ 2 measures of I (C)
You repeat this chord sequence throughout the song.
Because blues songs almost always move harmonically in a certain sequence, your groove needs to be easily moveable as well. Use notes that are easy to reach — within three strings and four frets.
Figure 8-18 shows a blues rock groove that uses only the root. Start the groove with either your middle finger or your ring finger on the root. The beat, as with all the rock styles, is evenly divided.
Figure 8-18:
Blues rock groove using only the root.
1
3
? c œ œ œ œ œ œ
7 7 7 7 9 7
TRACK 46, 0:00
The grooves in Figures 8-18 through 8-21, which you can hear on Track 46 of the CD, use the octave for variety. As you add notes from the chord, mode, and box, the grooves get more and more dense . . . and interesting.
Figure 8-19 shows a groove that adds the 3 and 5 to spell out the chord (a major chord). You start the groove with your middle finger on the root so you don’t have to make any shifts with your left hand. The groove uses only two strings, making it easy to move from chord to chord.
178 Part IV: Using the Correct Accompaniment for Each Genre
Figure 8-19:
Blues rock groove using notes from the chord.
1 2
4
? c œ œ œ# œ œ œ œ œ
6 9 6 9
7 7 7 7
TRACK 46, 0:11
The groove in Figure 8-20 adds notes from the mode (Mixolydian in this case) to the 3 and 5 to really flesh out the dominant tonality. (Check out Chapter 5 for an explanation of modes, chords, and tonalities.) Start this groove with your middle finger on the root.
Figure 8-20:
Blues rock groove using notes from the chord and mode.
1 1
2 2
4
? c œ œ œ# œ œ œ œ# œ
6 7 6 9
7 7 7 7
TRACK 46, 0:22
The groove in Figure 8-21 adds some chromatic tones to the scale tones and chord tones, making this groove particularly dense. You can play this groove in one position (which makes it a box groove). Start it with your middle finger on the root, and make sure you don’t shift your left hand. In this particular case, you also may start with your index finger, because the groove uses only three frets.
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Chapter 8: Rock On! Getting Down with the Rock Styles
Figure 8-21:
Blues rock box groove.
TRACK 46, 0:34
2 2 2
3 3 4 4
? c œ œ œ œ# œ œ œ# œ
7 8 9 7 8 9
7 7
Country Rock: Where Vocals Are King, and You Take a Back Seat
Like pop songs, country tunes tell a story — and the story needs to be heard (just think of Garth Brooks or Kenny Rogers). This means that you, as the bassist, take a back seat in country rock. (Don’t worry. You get to shine in funk; see Chapter 10.) In the bass groove for country rock, the root and the 5 dominate.
Figure 8-22 shows a root-based groove for country rock. Even though it’s a simple groove, it’s one of the most popular grooves used in country music.
Figure 8-22:
Country rock groove using only the root.
? c œ ‰ Jœ œ Œ
7 7 7
TRACK 47, 0:00
180 Part IV: Using the Correct Accompaniment for Each Genre
On Track 47 you can listen to the simplicity of the bass grooves shown in Figures 8-22 through 8-25. Pay attention to how they lock in solidly with the drums, especially the bass drum. Notice how the grooves remain unobtrusive despite added notes. You don’t want anything to distract from the melody and lyrics of the song.
The country rock groove in Figure 8-23 uses the root and the 5. I leave the 3 out of this example, because the 3 isn’t used that often in country rock. You can play this groove over both major and minor chords. The 3 differentiates the major from the minor, so, without the 3, the groove works over both chords.
Figure 8-23:
Country rock groove using notes from the chord.
? c œ ‰ Jœ œ ‰ jœ 2 2
7 7 7 7
TRACK 47, 0:12
Notice that the 5 is played below the root in the groove shown in Figure 8-23.
The 5 also can be played above the root.
Figure 8-24 shows a country rock bass groove that uses the mode (the root and 5, plus one other note from the mode). In most country rock songs, you have to keep the bass line simple. Start the groove in Figure 8-24 with your pinkie on the root; your ring finger works, too.
Figure 8-24:
Country rock groove using the mode.
2
4 4
? c œ ‰ Jœ œ œ
7 7 7 5
TRACK 47, 0:26
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Chapter 8: Rock On! Getting Down with the Rock Styles
The box groove in Figure 8-25 uses a chromatic tone outside the mode. This bass groove is simple and locked in with the drums. Grab your 10-gallon hat and play ’til the cows come home . . . and make sure your left hand is in position by starting with your pinkie on the root (though, you also can use your ring finger).
Figure 8-25:
Country rock box groove.
2 3 4 4
? c œ ‰ Jœ œ œ œ#
7 7 7 5 6
TRACK 47, 0:39
One Rock Fits All: Applying a Standard Rock Groove to Any Rock Song
What do you do when you’re on the spot to play some of that great rock ’n roll music? Wouldn’t it be nice to have one standard groove you can pull out of your hat — or rather amp — that properly sums up the rock genre and is ambiguous enough to fit over just about any chord? Well, you’re in luck.
Here it is!
The groove in Figure 8-26 is just what you’re looking for. It’s a generic, yet hip rock pattern that lets you move around the fingerboard with ease and speed.
You can apply the groove in Figure 8-26 to the song on Track 48.
If you’re asked to perform a rock song, and you’re stumped with deciding what to play, this groove is a great starting point. You always can tweak your part later, after you’re more familiar with the song, but this pattern usually does the trick and keeps you in the game.
182 Part IV: Using the Correct Accompaniment for Each Genre
Figure 8-26:
Generic rock groove and song.
1 1
3
Groove Pattern
D G
A D G
A
5 5 7 5 5 5 7 5 5 5 7 5 7 7 9 7 5 5 7 5 5 5 7 5 5 5 7 5 7 7 9 7
D G
A D G
A
5 5 7 5 5 5 7 5 5 5 7 5 7 7 9 7 5 5 7 5 5 5 7 5 5 5 7 5 7 7 9 7
G F G A
5 5 7 5 5 5 7 5 3 3 5 3 3 3 5 3 5 5 7 5 5 5 7 5 7 7 7 7 7
D G
A D G
A
5 5 7 5 5 5 7 5 5 5 7 5 7 7 9 7 5 5 7 5 5 5 7 5 5 5 7 5 7 7 9 7
TRACK 50
TRACK 48
The song in Figure 8-26 is a standard rock chord progression (a sequence of chords in a song). You’re certain to encounter it — and similar ones — many times during the course of your bass-playing career.