POC. NSS GRADE 2 Full notation & TAB Backing tracks on CD EVERYTHING YOU NEED FOR YOUR EXAM IN ONE ESSENTIAL BOOK~ Acknowledgements Published by Rockschool Ltd. © 2012 Catalogue Number RSK0S1212 ISBN: 978-1-908920-00-9 AUDIO Recorded at Fisher Lane Studios Produced and engineered by Nick Davis Assistant engineer and Pro Tools operator Mark Binge Mixed and mastered at Langlei Studios Mixing and additional editing by Duncan Jordan Supporting Tests recorded by Duncan Jordan and Kit Morgan Mastered by Duncan Jordan Executive producers: James Uings, Jeremy Ward and Noam Lederman MUSICIANS James Arben, Joe Bennett, Jason Bowld, Larry Carlton, Stuart Clayton, Andy Crompton, Neel Dhorajiwala, Fergus Gerrand, Charlie Griffiths, Felipe Karam, Kishon Khan, Noam Lederman, DJ Harry Love, Dave Marks, Kit Morgan, Jon Musgrave, Jake Painter, Richard Pardy, Ross Stanley, Stuart Ryan, Carl Sterling, Henry Thomas, Camilo Tirado, Simon Troup, James Uings, Steve Walker, Chris Webster, Norton York, Nir Z PUBLISHING Fact Files written by Stuart Clayton Walkthroughs written by Stuart Clayton ‘Music engraving and book layout by Simon Troup and Jennie Troup of Digital Music Art Proof and copy editing by Stuart Clayton, Claire Davies, Stephen Lawson, Simon Pitt and James Uings Publishing administration by Caroline Uings Cover design by Philip Millard SYLLABUS Syllabus director: Jeremy Ward Instrumental specialists: Stuart Clayton, Noam Lederman and James Uings Special thanks to: Brad Fuller and Georg Voros SPONSORSHIP Noam Lederman plays Mapex Drums, PAISTE cymbals and uses Vic Firth Sticks Rockschool would like to thank the following companies for donating instruments used in the cover artwork Gm PAise Fender PRINTING Printed and bound in the United Kingdom by Caligraving Ltd CDs manufactured in the European Union by Software Logistics DISTRIBUTION Exclusive Distributors: Music Sales Ltd CONTACTING ROCKSCHOOL www:rockschool.co.uk Telephone: +44 (0)845 460 4747 Fax: +44 (0)845 460 1960Table of Contents Introductions & Information Page 2 Acknowledgements 3. Table of Contents 4 Welcome to Rockschool Bass Grade 2 Rockschool Grade Pieces Page CD Full Mix Track CD Backing Track 5 Dr Cocoa 1 2 9 Crawler 3 4 13. Midnight Mist 5 6 17. Don't Believe Me 7 8 21 Bonecrusher 9 10 25 Danzon ul 2 ‘Technical Exercises Page CD Track 29° Scales, Arpeggios & Study 1B Supporting Tests Page CD Track 32. Sight Reading 33. Improvisation & Interpretation 4 34 Ear Tests 15-17 35. General Musicianship Questions Additional Information Page CD Track 36 Entering Rockschool Exams 37 Bass Grade 2 Marking Schemes 38 Bass Notation Explained 39 Grade 3 Preview 18 Bass Grade 2‘Welcome to Rockschoo! bass Grade < Welcome to Bass Grade 2 Welcome to the Rockschool Bass Grade 2 pack. This book and CD contain everything you need to play bass at this grade. In this book you will find the exam scores in both standard bass notation and TAB. The CD has full stereo mixes of each tune, backing tracks to play along to for practice, and spoken two bar count-ins to both the full mixes and the backing track versions of each of the songs. Bass Exams For each grade you have the option of taking one of two different types of examination: = Grade Exam: a Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces (two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75% of the exam marks. The other 25% consists of: either a Sight Reading or an Improvisation & Interpretation test (10%), fic Ear ‘Tests (10%), and finally you will be asked five General Musicianship Questions (5%). a pair of instrument speci ‘The pass mark is 60% « Performance Certificate: in a Performance Certificate you play five pieces. Up to three of these can be Free Choice Pieces. Each song is marked out of 20 and the pass mark is 60%. Book Contents ‘The book is divided into a number of sections: Exam Pieces: in this book you will find six specially commissioned pieces of Grade 2 standard. Each of these is preceded by a Fact File, and each single Fact File contains a summary of the song, its style, tempo, key and technical features, along with alist of the musicians who played on it. Also included is more in-depth information on the genre itis styled upon and relevant techniques you will encounter, as well as recommended further listening, The song itself is printed on two pages and immediately after each song isa Walkthrough. This covers the whole song from a performance perspective, focusing on the technical issues you will encounter along the way. Each Walkthrough features two graphical musical ‘highlights’ showing particular parts of the song. Each song comes with a full mix version anda backing track. Both versions have spoken count-ins at the beginning, Please note that any solos played on the full mix versions are indicative only. «= Technical Exercises: you should prepare the exercises set in this grade as indicated. There is also a Fill test that should be practised and played to the backing track. « Supporting Tests and General Musicianship Questions: in Bass Grade 2 there are three supporting tests. You can choose either a Sight Reading test or an Improvisation & Interpretation test (please choose only one of those), which is then followed by the two mandatory Ear Tests and a set of General Musicianship Questions (GMQs). Examples of the types of tests likely to appear in the exam are printed in this book, while additional examples of both types of tests and the GMQs can be found in the Rockschool Bass Companion Guide. + Grade 3 Preview: in this book we have included one of the songs featured in the Grade 3 Bass book as a taster. The piece is printed with its accompanying Fact File and Walkthrough, and the full mix and backing tracks are on the CD. + General Informatio examination entry, marking schemes and what to do when arriving (and waiting) for your exam, nally, you will find the information you need on exam procedures, including online We hope you enjoy using this book. You will find a Syllabus Guide for Bass and other exam information on our website: www.rockschool.co.uk. Rockschool Graded Music Exams are accredited in England, Wales and Northern Ireland by Ofqual, the Dff and CCEA and by SQA Accreditation in Scotland.Dr Cocoa SONG TITLE: DR COCOA GENRE: BLUES TEMPO: 126 BPM KEY: ‘TECH FEATURES: SHUFFLE UNISON RIFFS ACOTDENTALS: COMPOSER: JOE BENNETT PERSONNEL: STUART RYAN (GTR) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUY OVERVIEW As you may have guessed from the name of the track, ‘Dr Cocoa is written in the style of well-known blues boogie artists Dr. Feelgood, Canned Heat, Status Quo and ZZ Top. The bass guitar mostly plays a supportive role in this piece, laying down a line that enforces the boogie shuffle feel that is so important to the style, There are also some unison lines played with the guitar for you to explore. STYLE FOCUS The most characteristic element of blues boogie is its use of the boogie rhythm, which is a swung eighth, note feel that drives the music forward. Because blues boogie derives from the blues, it is common for songs to follow the 12-bar blues format. Blues boogie bassists usually either play root-based lines or more active walking basslines. The bass sometimes doubles riffs with the guitar, particularly those that occur at the end of the 12-bar format. THE BIGCER PICTURE The infectious style of blues boogie evolved after the initial marriage of blues and rock in the 1960s. As mentioned previously, the key style isthe boogie groove, which combines the shuffle feel with a repeating melodic pattern. In the early days of boogie music this pattern was played on the piano. However, it was soon adapted for the guitar and formed the basis of rock ‘roll. Blues boogie combines boogie thythms with the blues song format, dusted with a rock edge. The result isa style that was popular in the 1970s on both sides of the Atlantic. In America, bands such as Bachman Turner Overdrive and Canned Heat were notable for their up-tempo boogie hits, while in Britain Dr. Feelgood, Status Quo and Humble Pie were the top blues boogie acts. Bass players worth listening to in this genre include Alan Lancaster (Status Quo), Dusty Hill (ZZ Top) and John B Sparks (Dr. Feelgood). REGOY [ENDED LISTENING Classic blues boogie songs include ‘Milk And Alcohol’ and ‘Back In The Night, both by Dr: Feelgood, along with ‘Natural Born Boogie’ by Humble Pie and ‘On The Road Again’ by Canned Heat. While neither song uses the boogie shuffle rhythm, Bachman Turner-Overdrive’s ‘You Ain't Seen Nothing Yet’ and “Takin’ Care Of Business’ are both, great tracks that make use of the melodic boogie guitar pattern mentioned above. Pee ae ee ey——t—~—S — - Dr Cocoa “Tracks ©) Joe Bennett n wl 4=126 Blues c — == = i I 3 3 5 —— = 5 2 a = is) Vv 6 > Ry ——t i} ig - 2 J JF £ + ————— Hee pee cH aes ie! ~ = ‘a! a) wm © Copyright 2012 Rock School Lad. This musics copyright. Photocopying is eal a eerste ra reer ree ee Cr ree eee etree rere eep" s SSS = 3 ; ; fi mE : ° : = It eS ; 5Walkthrough A Section (Bars 1-13) This initial piece opens with a one bar drum fill, followed by the main groove/melody section that follows the 12-bar blues format. Written above the first bar of the piece is the tempo, style and an indication that the piece is to be played with the swing/shufile feel (Fig. 1). This is a commonly used indication for the shuffle feel and simply means that, rather than being equal, the eighth notes are played as long-short. Bars 2-3 | Main bass groove ‘The main bass groove is a simple root note-based line that, alternates between a quarter note/eighth-note rhythm in the first bar and a unison riff played with the guitar in the second. The switch from one to the other needs to be smooth, s0 you should practise this slowly and carefully at first. Focus on attack, volume and playing the quarter notes in bar 3 consistently. Bar3 | Accidentals ' Despite this song being in the key of G major (indicated by the key signature at the beginning of each line), F naturals are used throughout. This is common in many styles of music and serves to add tension to the lines. Bars 12-13 | Unison riff The 12-bar sequence ends with a two bar unison riff that is played with the guitar. Lines such as these are common in blues and rock. Although this line is predominantly played as quarter notes, you should watch out for the eighth notes in bar 12 and be sure to play them as swung eighths. B Section (Bars 14-25) ‘This section of the song features a guitar solo. It is another 12-bar blues sequence, but witha slightly different bassline Bars 14-15 | Variations At the end of bar 14 there are two eighth notes (a C and a D), both of which are played on the A string, These can be played with the first and third fingers of your fretting hand, with the first finger also playing the G on the E string earlier in the bar. Bar 15 ends with a slightly different phrase, comprising of two quarter notes, BY and C. The B® can be played with your fourth finger. Despite the presence of a G major chord (which contains the notes G, B and D), the bassline in this section uses minor thirds prominently. In this instance, the minor third is a B> (Fig. 2). The use of a minor third on a major chord sounds great in rock and blues music. Bars 22-23 | Eighth notes These two bars feature a continuous eighth note bassline played almost entirely on the D at the 5" fret of the A string. Two additional notes, a G and an A on the D string, are played at the end of bar 22, Despite the fact that you need to cross strings to play these, the whole two bar section must be played with a consistent volume and attack. Be sure that you can play these bars accurately before moving on. ‘Whether you are using a pick or your fingers, you can work on accuracy and consistency by playing eighth notes with a metronome and focusing on attack and volume. C Section (Bars 26-38) This part of the song is a breakdown section. It contains a classic call and response idea. Like the previous sections, it follows the 12-bar blues sequence. Bars 26-34 | Call and response In this first bar of the breakdown section the bass plays a single quarter note G at the beginning of the bar. Be sure to cut this note off so it does not ring any longer than it should. After the bass and guitar play this note, the drums play a fill then the bass and guitar play a unison line. This call and response idea is heard frequently in blues music. Bar 38 | Fermata At first glance it looks as ifthe note in the final bar should last for four beats. However, itis marked with a ‘fermata’ which means you should hold the note for longer than the specified duration. As the fermata is above the final chord of the song, this means you can silence the chord when you feel the time is right, Fig.l Swing feel Fig. 2: Minor thirdSONG TITLE: CRAWLER GENRE: INDIE ROCK TEMPO: 104 BPY KEY: F¥ MINOR TECH FEATURES: OPEN STRINGS COMPOSER: DEIRDRE CARTWRIGHT PERSONNEL: STUART RYAN (GTR) HENRY THOMAS (BASS) LEDERMAN (DRUM ‘Crawler’ is an indie rock track with undertones of Razorlight, The Strokes and The Coral. The bassline is busy in places and while it follows and supports the guitar chords as required, it also has melodic parts and cighth-note lines that are integral to the song. Indie sounds great when played with a pick, but whether you use a pick or your fingers, remember to aim for a consistent tone throughout Although the focal point of indie rock is its jangly guitar rhythms and the vocals, the bass guitar is not overlooked. Indie rock is not riff based like most other sub genres of rock, so the bass is free to move feature melo ic basslines that are interesting to play and, in some cases, serve almost as counter melodies within the song ‘THE BIGGER PICTURE ‘The term ‘indie’ is derived from the word independent, which refers to the early days of the genre when indie groups recorded and released independently of the guitar. Scores of indie rock songs | Crawler =104 Indie Rock [A] Fem records independently on small labels. Avoiding the major labels meant that indie groups were able to explore musical and lyrical ideas with more freedom, and without the need to focus on creating hit singles, Indie rock is an offshoot of the larger indie genre, and a label used to describe rock groups who have been active since the 1990s and who retained an indie attitude towards commercial success and mainstream popularity. Ironically, many indie rock bands have become incredibly successful, so the original intentions of the genre have become muddled. Although indie rock is a guitar based genre, there are some great bass players working in the style. Carl Dalemo (Razorlight), Simon Rix (Kaiser Chiefs) and Nikolai Fraiture (The Strokes) all spring to mind, RECOMMENDED LISTENING Some of the best indie rock in recent years has been recorded by The Strokes and Razorlight. Th album Is This It (2001) contains the iconic indie songs ‘Last Nite’ and ‘Someday, while the band’s 2011 album Angles features ‘Under Cover of Darkne Classic Razorlight tracks include ‘Golden Tou their debut Up All Night (2005) and ‘America, which featured on their self-titled album of 2006. from \© Bass Grade2ee Crawler Tracks £2) Deirdre Cartwright 4-108 Indie Rock fl Fim ight 2012 Rock School Lidbp ee = 2 Se SSS a—_ Walkthrough A Section (Bars 1-6) The intro to this song features an interesting eighth-note based groove for the bass. While the basic part remains the same throughout the section, there are several subtle variations to watch out for. Bars 1-2 | Main bass groove ‘The main bassline that is established in these bars is an eighth-note line with rests on the beginning of the second and fourth beats (Fig. 1). This means that two eighth notes are played on the first beat, followed by a rest on beat two with the third note played on the ‘&’ of beat two. This rhythm is repeated on beats three and four. Count this, slowly to begin with. B Section (Bars 7-14) ‘The bass follows the chord progression closely here. However, as a result of the chords flowing quickly there is alot of movement. Bars 7-9 | Dotted quarter-note rhythms ‘An important part of the bassline in the verse section i its dotted quarter-note rhythms. A dotted quarter note lasts for a beat and a half, so be mindful of how the first note in bar 7 lasts for all of the first beat and then for half of the second beat. Therefore, the second note in the bar is played on the “8 of beat two. Bars 9-10 | Open strings ‘Three open strings are played one after another in these two bars: the E, followed by the A, then the D. Open strings must be controlled, otherwise they will ring while other notes are being played. Be sure to mute these with your fretting hand as you move from one to another. Bar 13 | Walking basslines The bass plays a descending line here that follows the chord progression. Walking basslines were originally born from jazz music and have proved to be an excellent melodic device for creating movement in a song. For this walking bassline, be sure to play each of the notes evenly (Fig. 2) C Section (Bars 15-21) In this particular part of ‘Crawler, the bass plays eighth- note figures combined with some quarter-note rests for the majority of this section, Bars 15-18 | Fighth-note rhythms ‘The first three bars of the chorus feature two eighth notes on beats one and three, and quarter-note rests on beats two and four. You should find this quite easy to count, but be sure to cut the notes off cleanly so that the rests are heard as rests D Section (Bars 22-25) This four bar section features a continuous eighth-note that features lots of fretboard movement which will requi some quick position shifts Bars 22-25 | Continuous eighth-note bassline There is a continuous eighth-note line in this section. In bar 22, the recommended fingering would be: first finger on the E note. The D note is played as an open string and then the first and third fingers play the C# and B notes in the next bar. In bar 24, slide up to the G# note on the D string with your fourth finger. This is followed by an immediate shift of your hand position to play the F# with the same finger. This will enable you to play the E with your second finger. Again, the D note is played as an open string. E Section (Bars 26-33) This final section of the song is similar to the earlier verse section but with more movement in the bassline. It features syncopation, melodic fills and rests. Bars 30-32 | Descending line ‘Crawler’ ends with another batch of descending walking bass figures played as eighth notes. These should present you with no problems at this stage of the song but, as usual, remember to play all of the notes evenly whether you are using a pick or fingers. Fig 1: Main bass groove Fig. 2: Walking basslineMionight Mist = SONG TITLE: MIDNIGHT MIsT GENRE: HIP HOP TEMPO: 100 BPM KEY: B MINOR ‘TECH FEATURES: LONG NOTES CONSIS! OPEN STRINGS COMPOSER: NEEL DHORAJTWALA SONNEL: HENRY MAS (BASS) NESL DHORAJIWALA (PROD) OVERVIEW “Midnight Mist’is a hip hop piece that recalls the work of contemporary, multimillion selling hip hop and rap artists including Kanye West, Jay Z and Dr. Dre. As with the majority of hip hop tracks, the bassline featured is simple but it is one of the most crucial elements of the song. This bassline features a lot of repetition, but also many subtle fills that add variety to the repeated chord progression. Being able to play long, consistent notes with a great feel is much harder than it seems, but this is the secret to playing this line perfectly. STYLE FOCUS Hip hop music is, and always has been, predominantly about the groove within the song, With that in mind, it is crucial that your bass part locks in tightly with the rhythm track of ‘Midnight Mist. Most hip hop tracks are built on one, two or four bar loops, and while the bassline is not repeated during the song, the chordal foundation is a looped two bar progression. The bass part here is all played in the lower register, so you will need to aim for a bass- the well-rounded bass sound that can be heard on some of the mainstream heavy tone in order to mimi modern hip hop songs. ¢=100 Hip Hop THE BIGGER PICTURE Hip hop began in New York in the 1970s asa cultural movement that encompassed music, dance and street art. The first hip hop track is generally considered to be ‘Rappers Delight’ by the Sugarhill Gang (1979), which reused the groove from Chic’s disco hit ‘Good Times’ but with rapped vocals Hip hop has evolved continuously since then by embracing new technologies. Drum machines and samplers have been key to the genre since the mid 1980s. Hip hop artists Kanye West and Jay Z have become renowned not only for their ability to write hits, but for their production skills too. RosoMY DED LISTENING Modern hip hop albums worthy of investigation include The College Dropout (2004) by Kanye West, The Blueprint (2001) by Jay Z, and Watch The Throne (2011), a collaboration album between West and Jay Z. Other notable modern hip hop artists include Gnarls Barkley and The Roots. Gnarls Barkley is a collaboration between singer Cee Lo Green and producer Danger Mouse that yielded the 2006 hit album St. Elsewhere. The Roots are a live band who combine hip hop, jazz and neo soul. Their album Phrenology of 2002 is one of their finest. Bass Grade 2.Midnight Mist — os = 2 E ° iz | s A rs r = * SSS ¢ ; ‘Th 6 5 — A x c A 8 f 4 ae SS SSS : SSWalkthrough A Section (Bars 1-4) ‘The first section of this song sets the mood and establishes, the repeating two-bar chord progression, The bass plays a simple part here. Bars 1-2 | Approaches to the chord progression The first four bars demonstrate two ways to approach the same chord progression in a simple way. In the first bar, half notes are played under the G and A chords; you will notice that an E is played beneath the A (Fig, 1), This note is the fifth of the chord, not the root, and sounds highly effective in this instance. In the second bar, an Fis played under the Bm chord. This note is also the fifth of the chord. In bars 3 and 4 simple root notes are used instead. Bar 1 | Half notes In the first bar, two half notes are played. You should allow these to ring for their full duration: that is, two beats each. Try to let these flow smoothly into each other with no gaps between them. B Section (Bars 5-12) In this part of the song, the bassline becomes more active and demonstrates more varied ways to play in a supportive ‘manner around the chord progression. Bar 5 | Dotted quarter note rhythms The first note of bar 5 isa dotted quarter note. Dots added after a note add 50 per cent. of their value again so this note should last for a beat and a half. The second note of the bar, E, should therefore be played on the ‘&’ of beat two. This rhythm is common in all styles of music. Bar 9 | Rests In this bar, a simple quarter note rhythm is played with notes ‘on beats one and three, and rests on beats two and four. Listen closely to the drum part here and ensure that both of your notes stop cleanly at the end of their respective beats. You should then hear the snare hits in the gaps. Bar 12 | Ties and eighth notes In this bar, a tie is used to allow the first note to last for two full beats and half of beat three (Fig. 2). The second note, an open A, is then played on the upbeat of beat three, followed by two further eighth notes. You should play the first note, counting the beats as you go, then play three even eighth notes starting on the “& of beat three. C Section (Bars 13-20) ‘The C section features a more active bassline that uses melodic hooks and lots of string crossing. Timing and accuracy are an important part of this section, Bar 14 | Open strings A phrase consisting of four eighth notes is used in the second half of this bar. Open strings need to be muted correctly for this line to sound as it should. After playing the first two notes of the phrase (the second is an open D string), your fretting hand should rest against the D string to stop it ringing. The C# on the A string is then played, followed by the open D string again. The last thing you want here is the open D to ring while you are playing the Ci. D Section (Bars 21-28) ‘The bass moves back to simpler rhythms. There are more inversions, too, where non-root notes are played by the bass. Bar 24 | Dotted half note This bar features just one note (a B) played as a dotted half note. A half note lasts for halfa bar, or two beats, and adding the dot means that it will last for 50 per cent. of its value again, making a total of three beats. Ensure that this note lasts for the full three beats with a rest on the fourth beat, Bar 28 | Ending ‘The song ends on a sequence of three eighth notes beginning on the upbeat of beat three. This phrase has been used several times in the song and has always led back toa G chord in the next bar. This does not happen here, however, ing the ending of the song an unresolved sound. Fig. 1: Approaches to the chord progression Fig. 2: Ties and eighth notesSONG TITLE: DON'T BELIEVE NE GENRE: CLASSIC ROCK TEMPO: 130 BPY KEY: E MINOR TECH FEATURES: SWUNG EIGHTH NOTES STRING CROSSING OPEN STRINGS COMPOSE! ALISON AYNER PERSONNEL: STUART RYAN (GTR) STUART CLAYTON (Bi NOAM LEDERMAN (DRUM OVERVIEW The track ‘Dont Believe Me is written in the style of the classic rock acts Thin Lizzy and Deep Purple and boasts an energy that is reminiscent of both, It features string crossing and uses open strings. The feel used on this song is the rock shuffle in which eighth notes have a swing feel as opposed to a straight feel. This is often easier to hear than itis to describe. However, essentially it means that instead of there being two eighth notes of identical length, the first note is slightly longer than the second, thereby giving. it a lilting or swing feel. The rock shuffle feel has been used by dozens of hard rock acts. It was espe popular during the 1970s. KISS employed it on the title track of their sixth studio album, Love Gun (1977), while ‘Don't Believe A Word’ by ‘Thin Lizzy and ‘Can The Can’ by Suzi Quatro also employed the rock shuffle fee. YLE FOCUS Hard rock offers many opportunities for the bass player to move beyond basic eighth-note lines. In some hard rock songs you will hear how the bass often doubles the guitar riffs to add more weight, and how melodic lines that weave through the chord progressions are also common. VOM DeLleve — 4=130 Classic Rock Em THE BIGGER PICTURE Hard rock first emerged in the 1970s. Instrumentally, it has a strong focus on distorted guitars that play repeated unison riffs usually based on the minor pentatonic and blues scales. The genre's roots go back to the late 1960s, when talented groups like Cream and Led Zeppelin turned up the volume. In the 1970s hard rock reached its zenith as Led Zeppelin, Deep Purple and Thin Lizzy developed global followings. Groups like AC/DC, Van Halen and Guns N’ Roses ensured that its legacy lived on into the 1980s. Hard rock is home to bass luminaries including John Paul Jones (Led Zeppelin) and John Entwistle (The Who), and several bassists who also handled vocals in their bands: Phil Lynott (Thin Lizzy), Jack Bruce (Cream) and Glenn Hughes (Deep Purple). RECOMMENDED LISTENING Must-hear hard rock albums from a bass player's point of view include the groundbreaking Led Zeppelin and Led Zeppelin II (both released in 1969), featuring the prodigious John Paul Jones on bass; The Who live album Live At Leeds (1970), showcasing John Entwistle’ legendary bass chops; the Rolling Stones’ Exile On Main Street (1972) and Thin Lizzy’ Jailbreak (1976). Bass Grade 2 =Don't Believe Me 2-130 Classic Rock fl oem c : 2 ° ° Pe = 23 = == aa — —=] SS SSS SSS Se eS SeWalkthrough A Section (Bars 1-8) ‘The first section of this song establishes the shuffle groove, The bassline introduced here is important to the piece and is reintroduced in later sections. Bars 1-8 | Swing feel ‘The shuafile (or swing) feel used for ‘Don't Believe Me’is established in the very first bar. Quarter notes will be played as normal, but the shuffle will be evident in the eighth-note parts. On the fourth beat, the first eighth note should be slightly longer than the second. Bar 1 | Main bass groove The main idea behind the bassline is played in the first bar (Fig. 1). This line is built predominantly of notes from the E minor chord: a root note E, the octave E played at the 2™ fret of the D string, an open D, and the fifth, B, which is found at the 2! fret of the A string. Bar 2| Walking figure In the second bar, the E note from the previgus bar is stil held for the first beat before the G and A quarter notes are played on the second and third beats. These are then followed by an eighth note B on the fourth beat and an cighth note C tied into the next bar (Fig. 2). This ascending figure is known as a walking bassline, and is a great way to connect two chords. Bars 1-8 | Anticipated notes ‘Throughout this section, the last note of most of the bars anticipates the note at the beginning of the next. This is also known as a push and is a common rhythmic device, particularly in music that is swung. Be sure to play the pushed note just before the first beat of the next bar. Listen to how the band performs this on the CD. B Section (Bars 9-16) A different rhythmic pattern is introduced in this section to affect a change in mood. Locking in with the band is a key part of the performance of this section Bars 9-10 | Dotted quarter-note rhythms The verse bassline features a dotted quarter-note rhythm followed by an eighth note. Remember that, because the song has a shuffle feel the second eighth note of the beat is played quickly. This means that after playing the Con beat one, the next C is played just before beat three rather than exactly on the upbeat of the second beat. C Section (Bars 17-32) ‘This section uses different rhythms and open strings. Think of it asa supportive line that underpins the guitar solo. Bars 17-18 | Open strings Open strings are used in these two bars. You should take care to mute the first string before playing the second. This can be done with your fretting hand. Itis especially important because the bassline descends from one string, to the next. Bars 23-24 | Quarter notes In the final bars of this section, the main idea of the bassline is reintroduced. This time, however, there are no pushed notes. Instead, the line is played as even quarter notes. Be sure to play these evenly and at a consistent volume. D Section (Bars 33-35) The final section of ‘Don’t Believe Me's a challenging syncopated two-bar phrase played predominantly on the G string that brings the song to a close. Bars 33-34 | Syncopation In these two bars of the outro, a syncopated rhythmic figure is played as follows: the C is played on beat one, the B on the swung offbeat of beat two, and the A on beat four. In the following bar the G is played on the swung offbeat of beat one, and the final descending phrase begins on beat three. Count this section carefully and keep in mind that the eighth notes are swung. Fig. 1: Main bass groove Fig. 2: Walking figureGENRE: TENPO: B MINOR TECH FEATURES: OFFBEAT RHYTHMS UNISON RIFFS IG! ASSLINES JAMES VINGS CHARLIE RIFEITHS ( HOMAS (BASS { LEDERMAN (DRUMS) TR) OVERVIEW If you want a track that encompasses various ements of metal, ‘Bonecrusher will serve you well with its nod to old and new alike. The bassline on this song is reminiscent of Metallica, Bullet For My Valentine and Trivium, and features classic metal motifs: powerful unison riffs played with the guitar, syncopated rhythms and eighth note-based grooves. Metal can be played with the fingers or a pick, but a powerful, bass-heavy tone is needed either way STYLE Ft Metal is a powerful and aggressive style of music that came into being from a mix of blues and rock in the late 1960s. Metal tracks typically showcase heavily distorted guitars, unison riffs and guitar solos, and are often played at fast tempos. While the focus is often the guitar, the bass plays a varied role too. Unison riffs and fast ‘chugging’ rhythms are common, but there is scope for more intricate melodic lines. BIGGER PICTURE Metal developed in the late 1960s and early 1970s as the combination of rock and blues morphed rete ae J=122 Metal into a heavier sound. Black Sabbath are considered the inventors of the style, which is evident on their eponymous debut of 1970. The tritone interval is, used to great dramatic effect on the title track and has become a staple of metal riffs since. Literally dozens of sub genres of metal have been identified, from Norwegian black metal to Australian tof these, hower war metal. The most significai » is thrash. Thrash is a faster, heavier style of the 1980s, dominated by the Big Four: Metallica, Slayer, Megadeth and Anthrax. Metal has produced a number of legendary bass players: the original Metallica bassist Cliff Burton, Geezer Butler of Black Sabbath and Steve Harris of Iron Maiden among them RECOMMENDED LIS’ by Classic metal albums include Paranoid (1970) by Black Sabbath, featuring the title track as well as ‘Iron Man’ and ‘War Pigs, and Master of Puppets (1986) by Metallica with Cliff Burton's masterpiece ‘Orion. More recent metal bands include Trivium, whose fourth bum Shogun (2008) is a highlight of their career, and Bullet For My Valentine whose third album Fever (2010) confirmed their metal credentials Bass Grade 2 r_ Bonecrusher ne) James Uings 122 Metal & 5 & = gees a oe ? — ee BS Be he [pe SS a a aS SSS i + + : + 4. = —— > 3 3 3 ° GB] xc . = ‘ —— Fy + ro z= a oe Fe S — SSS 1 rn bale ao mum mami : 4 = SS ————— pS os 1 e iz a te = —an This music is copyright. Photocopying sigs, Copyright 2012 Rock School Ltd accra~ Walkthrough A Section (Bars 1-4) ‘This initial section is played in unison with the rhythm guitar and features some staccato offbeat rhythms. Bars 1-4 | Staccato notes The opening section is based on an eighth-note rhythm. The second note of each pair of notes is played staccato (as indicated by the dots under the note heads in the notation) so keep each note tight. Listen closely to the guitar here and try to match your notes exactly Bars 1-2 | Syncopation ‘There are several syncopated notes in the first two bars, so ensure they are played on the offbeats rather than on the beat. The third note of bar I and the first note of bar 2are syncopated because they are played on the offbeat. Remember to divide each beat in two in order to hear the eighth-note rhythm. Bars 1-4 | Playing evenly ‘When playing loud parts such as this one, itis important to play evenly. Be sure to use the same level of attack for each note whether you play with your fingers or with a pick. When playing with your fingers, use the same part of your fingertip (the soft pad) for each note. B Section (Bars 5-8) This part of ‘Bonecrusher’ features a unison riff with several syncopated rhythms Bar 5 | Unison riff The riff for this section is played in unison with the guitar. When playing this part you will need to watch out for syncopated notes, slides and accidentals when reading the notation (Fig. 1). Bar 5 | Slides In bar 5 there is a slide into the B* on beat three. One fingering option is to play the string and slide up quickly to the note with the second finger of your fretting hand, Using your second finger means that your first finger will be able to play the A that follows. Bar 6 | Syncopation At the beginning of this bar there are two syncopated notes that both fall on the offteats of beats one and two (F hear how these sound, count “I & 2 & 3 & 4 &” throughout the bar and just play on the “8 rather than on the beat. C Section (Bars 9-21) Here you will notice how the section features a much simpler, eighth-note bassline that is combined with bars of chromatic quarter notes played in unison with the guitar. 2). To Bar 9 | Eighth-note groove In this bar, an eighth-note-based groove begins. This is played on the open E string with a G played on the upbeat of beat two. Use a consistent attack to ensure even playing. Bar 12 | Chromatic notes This bar consists of quarter notes played in unison with the guitar. The last three notes of the bar are chromatic and move consecutively from fret to fret without any gaps. Chromatic riffs add momentary dissonance in metal songs. Bar 16 | Tritone Chromatic chords are used here again. The second note is BS, which in relation to the root note of E (the key) is a flattened fifth, also known asa tritone. Tritones are used to add a ‘demonic’ quality to metal riffs, and you can find the tritone of any note by counting up one string and one fret. D Section (Bars 22-29) Here is another eighth-note bassline, this time featuring passing notes to smooth the transition between the chords. Bars 22-23 | Passing notes In this eighth-note line, passing notes are used again to create a smooth movement between the chords. As these passing notes belong to the key, F¥ is used to move from the Eto the G. This is the most logical choice because it is the only note between the two chords that belongs to the key. Fig.l: Unison ri Fig. 2: SyncopationSONG TITLE: GENRE: TEMPO: KEY: DANZON A MINOR TECH FEATURES: DOTTED RHYTHMS LATIN GROOVES COMPOSER: KITA STEUE! PERSONNEL: ART RYAN (TR) NRY THOMAS (BASS) NOAM LEDERMAN (DRUM RICHARD PARDY (SAX) KISHON KHAN (KEYS) STEVE WALKER (TRUMPET) ANDY CROMPTON (TROMBON OVERVIEW “Danzon’ is a Latin rock track in the style of Carlos Santana, War and El Chicano. The bass plays a vital role in Latin rock, holding down arpeggio-based lines that often cross beats and make use of syncopated rhythms, Interaction with the rhythm section, which may include percussionists, is crucial. STYLE FOCUS ‘The feel of many Latin rock tracks is likely to be quite different to what you have heard on other songs. Although basslines of this genre vary it is common for dotted rhythms, ties and syncopations to be used This means that, in addition to learning a completely new feel, a Latin rock bassist must also be adept at counting syncopated rhythms. Many basslines in the style are harmonically simple and often based on basic arpeggios. In this style, however, timing is everything, BIGGER PICTURE Latin rock emerged in the 1960s when Californian ‘groups began incorporating Latin American percussion ideas and Spanish lyrics into their music. | Danzon 2=130 Latin Rock [a] ev In 1958, Richie Valens had a hit with his take on the Mexican song ‘La Bamba, while Daniel Flores enjoyed success with “Tequila Carlos Santana is a Latin star who has regularly crossed over to guest on albums and tracks for blues and rock artists. Santana assembled his first band in the 1960s, performing songs that mixed Latin with rock, jazz and blues. A set at the Woodstock festival brought the group to international attention, after which Santana went on to have hits with ‘Evil Ways, she’s Not There, ‘Oye Como Va! and ‘Smooth’ from his international hit album of 1999, Supernatural. Latin rock has been home to many talented bass players ranging from Doug Rauch and Lincoln Goines, to Andy Gonzalez and Israel ‘Cachao’ Lopez. RECOMMENDED LISTENING Santana’s debut, Santana (1969), followed by Caravanserai (1972) and Supernatural (1999) will provide an insight to Latin rock, with tracks like ‘She’ Not There, ‘Smooth’ and ‘Black Magic Woman. Low Rider; ‘Spill The Wine’ and “The Cisco Kid’ by War are also great choices and can be found on the compilation album The Very Best of War (2003).Danzon Tracks 11 & 12—/ Kita SteuerSSS — PSS Stila Fi f mV > > oad = =i = EF = |Walkthrough A Section (Bars 1-2) ‘The two-bar intro to this song is a staple of Latin music, so take your time to learn it thoroughly. Also, be sure to pay close attention to the accents in this section. Bars 1-2 Accents This first section consists of an eighth-note line on the bass, finishing with two eighth notes on the third and fourth beats of the second bar. These final two notes are marked with accents. They don't need to be played significantly louder, just accented and played short and crisp. B Section (Bars 3-10) Here the main bass groove is established. While this is cally, the rhythms are challenging, simple harmon Bars 3-6 | Main bass groove Each bar of this section has the same rhythmic pattern: a dotted quarter note followed by an eighth note tied to a quarter note, followed by another quarter note (Fig. 1). The first note is played on beat one, the second on the ‘& of beat two, and the third on beat four. To begin, work on counting through the bar and playing the same note with this rhythm before adding the notes from the line. Bar 10 | Accidentals Despite being in the key of A minor, there are many E major chords used in this piece containing a Ga, This is because the piece is actually based on the A harmonic minor scale (a common scale in Latin and classical music) featuring a G#. This note may sound unusual initially, but after playing the line a few times it should begin to sound more natural C Section (Bars 11-18) In this section the chord progression remains the same, but some new rhythmic ideas are introduced in the bassline. Bar 18 | Tied notes ‘This bar contains an unusual combination of quarter notes and eighth notes, After the first quarter note B, play the D on beat two, and the E on the ‘& of beat two, Because this note is tied you should then hold it until the next E, played on the ‘& of beat three. The final note is played on beat four. To familiarise yourself quickly with this rhythm, play the phrase in isolation to begin with. D Section (Bars 19-26) ‘The Latin rhythm established in the B section continues in the D section. However, here it has a few additional rhythmic ideas and notes. Bar 26 | More ties In this bar you should play the first four eighth notes and hold the last of these until the end of the third beat. The final quarter note is played as normal on the fourth beat, E Section (Bars 27-34) Here the bassline continues in the same vein, However, some bars contain passing notes that are used to move smoothly from one chord to the next Bar 28 | Passing notes An Et is used here asa passing note between the E root note and the D root note in the next bar. The E>is the only note between these two roots, meaning it can be used as a passing note. As you will hear, this adds movement and harmonic interest to the bassline. F Section (Bars 35-37) This section of the song is identical to the intro, but with a final bar added which brings the song to its conclusion. Bar 37 | Syncopation The final bar of this piece has a rest on beat one, followed by the final note on beat two. This may seem unusual, but it is a common rhythmic idea in Latin rock music, When playing, take care not to play the final note on beat one. Fig. 1: Main bass groove Fig, 2: Passing notesnares a In this section the examiner will ask you to play a selection of exercises drawn from each of the three groups shown below. Groups A and B contain examples of the scales and arpeggios you can use when playing the pieces. In Group C you will be asked to prepare the bassline riff exercise and play it to the backing track in the exam. You do not need to memorise the exercises (and can use the book in the exam) but the examiner will be looking for the speed of your response. The examiner will also give credit for the level of your musicality Groups A and B should be prepared on the starting notes of A, G and C. Before you start the section you will be asked whether you would like to play the exercises along with the click or hear a single bar of click before you commence the test. The tempo is 4=80. Group A: Scales 1. Major sca ee ee eer e (C major scale shown) minor scale shown 4. Major pentatonic scale (G major pentatonic scale shown) EF]Technical Exercises Group B: Arpeggios One octave and should be played both ascen and descending 1, Major arpeggio (A major arpeggio shown) SS eS‘Technical Exercises Group C: Riff In the exam you will be asked to play the following riff to a backing track. The riff shown in bars 1 and 2 should be played in the same shape in bars 3-8. The root note of the pattern to be played is shown in the music in bars 3, 5 and 7. The tempo is SS = ; : = SSS eG . i i ; | Grade 2 31— Sight Reading In this section you have a choice between either a sight reading test or an improvisation and inte Page). You will be asked to prepare a sight reading test which will be melody in the key of C major or G major. The examiner will allow you. The tempo is 4=70. pretation test (see facing given to you by the examiner. The test is a four bar you 90 seconds to prepare it and will set the tempo foree rey LL LL boot eee eee eee Improvisation & Interpretation a) ‘You will be asked to play an improvised bassline to a backing track of four bars in the keys of either G major or E minor. You have 30 seconds to prepare then you will be allowed to practise during the first playing of the backing track before playing it to the examiner on the second playing of the backing track. This test is continuous with a one bar count-in at the beginning. and after the practice session. The tempo is «= 80-90. 405 Rook tof tm an on « peg ee eae Zz(@) Ear Tests ‘Tracks 15, 16 8177 There are two ear tests in this grade. The examiner will play each test to you twice. You will find one example of each type of test printed below. Test 1: Melodic Recall The examiner will play you a two bar melody with a drum backing using the A minor pentatonic scale, The first note of the relody will be the root note and the first interval will be ascending. You will play the melody back on yout instrument. You will hear the test twice. Fach time the test is played itis preceded by a one bar count-in, There will be a short gap for you to practise. Next you will hear a vocal count-in and you will then play the melody to the drum backing. The tempo is 4-85 35 SHI : ; t : 4 Ee > : Test 2: Rhythmic Recall The examiner will play you a two bar rhythm played to a drum backing on the E string, You will hear the test twice. You will beasked to play the rhythm back. You will then be asked to identify the rhythm from to printed examples shown to-you Fach time the testis played itis preceded by a one bar count-in. There will be a short gap for you to practise. Next you will hear a vocal count-in and you will then play the rhythm to the drum backing, The tempo is J=90, = , SSS | z fi j ]General Musicianship Questions In this part of the exam you will be asked five questions. Four of these questions will be about general music knowledge and the fifth question will be asked about your instrument. Music Knowledge The examiner will ask you four music knowledge questions based on a piece of music that you have played in the exam. You will nominate the piece of music about which the questions will be asked, In Grade 2, you will be asked: «= The pitch names of notes «= The meaning of the time signature marking = Whole, half, quarter, eighth note and 16” note values «Rest values * Construction of a major or minor chord Instrument Knowledge The examiner will also ask you one question regarding your instrument In Grade 2 you will be asked to identify: + The following parts of your bass ~ neck, fretboard, body, tuning-pegs, nut, pick-ups, scratch plate, jack socket and bridge * The location of the volume and tone controls on your bass = Names of all open strings Further Information Tips on how to approach this part of this exam can be found in the Syllabus Guide for bass, the Rockschool Bass Companion Guide and on the Rockschool website: www.rockschool.co.utk. Santee yeEntering Rockschool Exams Entering a Rockschool exam is easy. You may enter either online at www.rockschool.co.uk or by downloading and filling in an exam entry form. Information on current exam fees can be obtained from Rockschool online or by calling +44 (0)845 460 4747. ‘You should enter for your exam when you feel ready. + You may enter for any one of the three examination periods shown below with their closing dates EXAMINATION PERIODS PERIOD DURATION CLOSING DATE Period A 1" February to 31" March 1" December Period B 1° May to 31" July 1* April Period C 23" October to 15" December 1" October These dates apply from 1” September 2012 until further notice * The full Rockschool examination terms and conditions can be downloaded from our website. The information shown below is a summary. “= Please complete your entry withthe information required, Fillin the type and level of exam and instrument, along with the examination period and year, Paper entry forms should be sent with a cheque or postal order (payable to Rockschool Lid) to the address shown on the entry form. Entry forms sent by post will be acknowledged either by letter or email, while all entries made online will automatically be acknowledged by email. * Applications received after the expiry of the closing date, whether made by post or online, may be accepted subject to. the payment of a late fee * Rockschool will allocate your exam to a specific centre and you will receive notification ofthe exam showing a date, location and time, as well as advice on what to bring to the centre. We endeavour to give you four weeks notice ahead of your exam date. * You should inform Rockschoo! of any cancellations or alterations to the schedule as soon as you can because it may not be possible to transfer entries from one centre, or one period, to another without the payment of an additional fee * Please bring your music book and CD to the exam. You may use photocopied music if this helps you avoid awkward Page turns. The examiner will sign each book during each examination, Please note, you may be barred from taking an exam if you use someone else's music. = You should aim to arrive for your exam 15 minutes before the time stated on the schedule. Guitarists and bass players should get ready to enter the exam room by taking their instrument from its case and tuning up. This will help with the smooth running of each exam day. * Each Grade 2 exam is scheduled to last 20 minutes. You can use a small proportion of this time to set up and check the sound levels, + You will receive a copy ofthe examiner's marksheet two to three weeks afer the exam. Ifyou have passed you will also receive a Rockschool certificate of achievement.Dass Grade 2 Marking schemes Gnape Exams | GRADES 1-5 ELEMENT PASS MERIT DISTINCTION Performance Piece 1 12-14 out of 20 15-17 out of 20 18+ out of 20, Performance Piece 2 12-14 out of 20 15-17 out of 20 18+ out of 20 Performance Piece 3 12-14 out of 20 15-17 out of 20 18+ out of 20, ‘Technical Exercises 9-10 out of 15, 11-12 out of 15 13+ out of 15 Either Ear Tests 6 out of 10 7-8 out of 10 9+ out of 10 General Musicianship out of 5 u 3 5 out of Questions Senn oat oe hie Performance Piece 1 Performance Piece 2 Performance Piece 3 12-14 out of 20, 12-14 out of 20 12-14 out of 20 15-17 out of 20 out of 20 15-17 out of 20 18+ out of 20 18+ out of 20 18+ out of 20 Performance Piece 4 12-14 out of 20, 1 ut of 20 18+ out of 20 Performance Piece 5 12-14 out of 20 out of 20 18+ out of 20 TOTAL MARKS 60% + 75%+ 90%Bass Guitar Notation Explained ‘THEMUSICAL STAVE shows pitches and thythms and is divided by ins ito bas. Pitches are mamed fer the rt seven lites ofthe aiphabet, ‘ —— 9 oo TABLATURE graphically 5 f t Tepeesents the Bass gitar 4 I Srgerboard Each horizontal aa inept od ing 3 it Fai chord in the 7 posit tons Definitions For Special Bass Guitar Notation ON:Pickthelowernote, PULLOFF: i the higher noe by Sound the lov Finger without p SLIDE: Pick the tothe next Ifthe line noteand lie GLISSANDO: Side off ofa nota the send ofits chythmic value. The note that follows repched sigue | TAPPING: Sound note byt heleters T (thumb) ring. tap, square DEAD (GHOST) NOTES: Pick the les denote a picking hand string whl the note i tel wih the Trting hand tp fretting hand, ack to the sign (8), then ply uni narked To Coda 6 thes skip 0 ion marked @ Coda, accent) + Accentuate note (play itlouder D.8. al Coda heb a thes staccato) «Shorten time value of note D.C. al Fine * Gobac othe begining ofthe song and a *Fermata (Pause) + Repeatbars between signs ang only the fist hesecond ending cn theMATDEN VOYAC GENRE: INDIE ROCK TEMPO: 130 BPM KEY: TECH FEATURES: POSITION SHIFTS SYNCOPATION BASS SOLO a STUART RYAN (GTR) HENRY THOMAS (BASS) JOB BENNED? (KEYS) NOAM LEDERMAN (DRUMS) OVERVIEW “Maiden Voyage’ is an indie rock track in the style of bands like The Killers, Arcade Fire and Coldplay Indie rock offers a wealth of opportunities for melodic bass playing; therefore, the bassist’ role within the genre is an interesting one. This track offers a mix of solid supportive lines and melodic passages, tied notes and a bass solo. STYLE FOCUS Unlike its ‘classic’ and “hard! counterparts, indie rock is not usually based on unison riffs played by the guitar and bass, The instrumentation is also more varied, and keyboards and synths are common Because he is not tied to riffing with the guitar, the bassist can play more creative parts. Fingerstyle and pick playing are both appropriate, and ‘Maiden Voyage’ can be played with either technique THE BIGGER PICTURE Indie rock melds many sub-genres of rock with elements of pop music and even disco, new wave and punk. While indie is still predominantly guitar driven, many contemporary groups are also influenced by synth pop, a genre that was popularised in the 1980s, by groups such as Duran Duran, Spandau Ballet and Pet Shop Boys. This influence is evident in their use of vintage synthesizers and dance style drum beats. The Killers and Coldplay have both been known to uusical elements running from laptops in incorporate their live performances, There are several bassists from the 1980s who remain influential, including John Taylor (Duran Duran) and Peter Hook (New Order). Mark Stoermer (The Killers), Guy Berryman (Coldplay) and Chris Wolstenholme (Muse) fly the flag for contemporary indie rock bass. You will notice an obvious synth pop influence on The Killers’ debut Hot Fuss (2004), which includes the singles ‘Jenny Was A Friend Of Mine, “Mr. Brightside? and ‘Somebody Told Me. Arcade Fire are a critically acclaimed seven-piece band from Montreal, Canada. Their first three records (Funeral, Neon Bible and The Suburbs) are concept albums with a more serious, less pop direction than many of their contemporaries Coldplay's sound has evolved to include electronics, as on 2011's Mylo Xyloto. ees tiin es Y»Maiden Voyage (Grade 3 Preview) Track 187 130 tnd Rock = =A ee Ha ; a —e — fas - “I = SE ; “H SS , 5 i = a SeennneEBOEEEEECTE aia foretyee— = SES tg = F—-E — ip 5 Joe Bennett SSS fr ee ——= “ih : a potBass Solo (6 bars) Bl “38 ape 1] "1 LE ey - eee ° ® 6 Guitar Solo (8b) E A 5 7 —— Develop a ee | 8 oi pie — 9+ 3 EE é tm omg? fo0t opr thee z= 5 fer 7 A A Og SS B er SSS ag a 5555sWalkthrough (Grade 3 Preview) A Section (Bars 1-8) The intro to this song features the synth prominently and. has a bassline that makes use of ties and syncopations. Bars 1-8 | Syncopated rhythm Syncopated rhythms are used in the first bar. The first note is ahalf note tied to the first eighth note of the third beat. The second note, a quarter note, falls on the ‘& of beat three, with the final note in the bar falling on the ‘8 of beat four, Bars 5-8 | Lower octaves In the second half of the intro, the same line is played but with many of the notes an octave lower. This adds variety to the part. One possible fingering would be your fourth finger on the E, then a position shift to put your third on the G2 This will enable you to play the A with your fourth finger, the Gt with your third, and the F¢ with your first B Section (Bars 9-11) This section is based on a quarter-note foundation, Bars 9-11 | Staccato quarter notes Throughout this section, the bass plays staccato notes (Fig. 1). These need to be played accurately, so listen to the drums and aim to lock in as tightly as you can. Bars 9-10 | Playing octaves When playing the octave patterns in these bar first finger of your fretting hand for the first note and your fourth finger to play the octave. Ensure that you are muting the other strings with the remaining fingers of your fretting hand. For example, when playing the octaves in bar 9, your second finger can rest against the E string to prevent it from ringing out. use the C Section (Bars 12-20) ‘The bass takes things up a gear in the C section with a melodic, continuous eighth-note line. The second half of this section is a syncopated chord section in which the bass outlines the progression using root notes. Bars 12-16 | Fingerings The eighth-note bassline used for this section is a great example of a bass melody. Fret the C¢ with your first finger to enable you to play the remainder of the notes in this two- bar section using the one-fi r-per-fret system. D Section (Bars 21-28) ‘This section of the song features a melodic bass solo that is eight bars long, The first four bars are written; the second four bars ate your opportunity to develop the line. Bars 21-28 | Learning the bass solo As you learn this solo, think of it as a melody line. Listen to it several times before putting your hands on your instrument and learning the notes. E Section (Bars 29-36) This part of the song features a melodic bass figure that is repeated in each bar. Note, however, that it follows a different root note each time, Bars 29-36 | Repeated melodic figure In this section, a repeated fi dotted quarter note in each bar, a three-note phrase is played from the E at the 9" fret of the G string. This phrase remaing the same, although the root note at the beginning of the bar changes to follow the chords. A suggested fingering is shown below (Fig. 2) ie is used, After the initial F Section (Bars 37-46) This part has a straight eighth-note bassline, with scope for you to embellish it the second time around. Bars 37-40 | Developing a part This second time through you can develop the bassline. Try adding a little more movement but do not overcomplicate the part. Your job here is to support the guitar solo. E r Fa Fig. 1: Staccato quarter notes es ———— Fig. 2: Repeated melodic figurerockschoo! CD Son Rockschool is about playing the styles of music you love. Our specially written tunes develop the skills and techniques you need to help you achieve your musical goals. ‘We commission new songs to reflect popular music’s rich heritage in al its forms. This allows Ree eee a ee Oe Oe tee] Hot Rock series of hit tunes as part of the syllabus, For the Rockschool 2012-2018 Bass series we have employed some of the most sought after professional musicians to ensure that our tunes are the most authentic on offer. ‘Our pieces have been written and performed by top-flight session musicians who have worked Re eee ee a a ee Dem RR CL ee Queen, Corrine Bailey Rae, John Mayer, Chris Cornell and many more. This latest collection of tracks was recorded in one of the United Kingdom's top studios by a Grammy-nominated producer who has worked with bands and artists such as Deep Purple, Genesis, Biérk and XTC. Every track features live instrumentation and first-rate performances for an unrivalled level of feel, authenticity and musicianship. For the real rock and pop experience, come to Rockschool! AllRockschool’s grades are accredited in the UK by Ofqual, The Welsh Government, CCEA in Northern Ireland and SQA Accreditation in Scotland (except Debut). When you take a Rockschool exam you will ee a ee ee) SR eee eran eed) See etn TELEPHONE +44 (0)845 460 4747 Cee eee Saeed Chr 0119 fee ey Ne Me eae) l 81908092!