Mel Bay's FAMOUS BLUES BASS LIN€S by Larry McCabe Featuring m QWIKGUIDE™Fingerings The suggested fret you can modify any ih finger Transposing the Patterns The following table shows how to ea this book to any other chord. Two opti always choose the one which is most practi e any of the "C” patterns in ven for each transposition; y trans; CIC, Cm, Cecr.cr cd. cic, Cich CC. Cam ete) 0 B (B7. Bm, etc} PLAYING A BASS PATTERN TO A 12-BAR BLUES PROGRESSION After you learn a few patterns from this book, your next goal wil be to apply the patterns to “real” blues songs. in order to play a 12-bar blues progression in the key of C, you must be abl patterns to the following chords: C7, F7, G7. he music below shows how the three chords are often arranged in asimple /2-bar blues progression. This chord progression is used in thousands of “real” blues and rock songs ("Johnny B. Goode," etc.). Here we have applied the C7 pattern from the first measure of Pattern 1 (page 6) to both the F7 and G7 chords. We are now able to play an ‘entire” blues progression that is based on one simple pattern a co FF ‘The musical example on page 5 shows how to play an entire blues song with one four-beat C7 pattern transposed to F7 and G7, The Companion CD 1. Several “A” tuning notes are on track I of the companion CD. mixed as follows: Center: Drums and rhythm. guitar 2. The CD, recorded in stereo, guitar Left: Bass Right: Le ‘The rhythm guitar parts heard on the CD are taught in Mel Bay's 101 Bad-t0- the Bone Blues Guitar Rhythm Patterns. The lead guitar parts are taught in Mel Bay's Famous Blues Guitar Lines. 3. If you wish, you may remove either the lead guitar or the bass by tuming down the appropriate speaker. 4. The patterns are recorded at a moderate tempo for ease of Procedure 4- LF =a A a5 sj 2 3 a = Es oe a ape tae : LE - — $ $ [Ass sss ‘B 2 sie prota 4 SINE uptotessthtonsta) fom 2s ows Poa _- t Pope me Heel oh Ly Er : ——— Se - Bs B Se —— be 0-0 toy? = maeoaase PaaS - | = [eee Ls a to . —_—— eee loot 3 LF ea s 3s = ie sa £tbe e = ie opt WY iwi7 : = cy ¢ abt Ny oF | . | | | § | Ht abt =" WM 4 Wi I obs21 : 23 | epee SSS re eee ae a ~ | | B — (B s — by Pima f ee 7 SS [ a E = a = i ors @ — B 22 3 ; a 2 — — be Ee E Capt a ra LE : ~ — Te 3 = Ek = = pfatetitet. =. tp» : . be 9 ern J = Yew Pe ge LE s—s a $ Fi te EAS 3 ae 28 zi lB 3s aemad erate Ceres “A = or B eet eft, fe f E LA ‘B 26 7 SSS SSS Pa) J De ae | oe | fie er scree Le. 7 ; i 3 See Ly ts a 3 2 re = 6 6 a Doers frre He 7 t . Gee =e fee31 a Se | : z cuan : 3 - LE LE — = = Ag 8s fo a ‘B 2 | "s = | = f|-° PSS F | BERR seers oe - a a 2 7 3 3 +t r A =e 3 B 30 32 Ee = =e St, se oe a 1 +r + = ce = = 3-3 ce 3 oo 3-0-2} — — 3 i 3 a 1 Lee : — . Sa eet : i baw agewnterie tf SS Poa hae! fie 3 Ly ss = * - e604 ea| 33 Te ops | pte CF 3-3 = ge = : : as a fee ol Som papffittre ithe | poe Co a ——| z o 7 = i 3-3 ie = abt NG gba Ge opt7 a a f! oo : oe 2 D five er F Popes Se Se ; = S _ 7 = SS Z —— — 4 FS 'B- __ bbe oe py ——ote tif Pe tiatie ps - Ses] | PaaS ere 3 > ¢ x - EE z Ass is 'B 38 _ A 40 4 Cevete | iy ‘, = == 5 ee = ot = — > ag F 8 He ra +t te : — = 2 — »%—? AT Pe, oes = = ote ete thew ESS f oH Doe e : SS i a ee a =a Lz 3 = a i = Basa py te ree 541 43 = eee af Pht ELH + st | iA 7 . | ae whe — — a Pe ete vs oo aa ~ Te tT T Ea ie B a) aT ly 2003 sp ebe 2 thee os Bape = oe SS ee ZF ne i | — + + ~ Ey tot ; MONO Oe | Be $ LZ B € s “B ___epbe prleie FPP Ps ele» — aan Sees | pS ee z 3 } ——— T + Ly ae yp ———te10 98 sarah ee | A : z ‘Bt = B 26Guide to Symbols Fretting-Hand Fingering 1 = Index finger 2 = Middle finger 3=Ring finger 4 = Lit Fx2 a | ger — Your third finger to relieve the Stretch.) ee sr FS} exaMPLe2 Pun plac finger to lessen the stretch.) EXAMPLE 3 Slide up #1 1. Play the D note, then 2. Slide the first finger up to the seventh fret to sound E. LES Slide up #2 Slide up to the D note from a lower (but unspecified) fret.