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Telephone: +44 (0)345 460 4747
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Syllabus Designer Recording & Audio Engineering (Hit Tunes 2018 Repertoire)
Nik Preston Recording engineers: Oli Jacobs, Scott Barnett, Patrick Phillips
Mixing engineer: Samuel Vasanth
Producer Mastering engineer: Samuel Vasanth
Nik Preston Audio production: Nik Preston
Audio management: Ash Preston, Samuel Vasanth
Syllabus Advisor and Project Management Recording studios: Real World Studios, The Premises
Sharon Kelly
Publishing (Rockschool 2012 Repertoire)
Proof reading Fact Files written by Joe Bennett, Charlie Griffiths, Stephen Lawson,
Sharon Kelly, Jono Harrison, Nik Preston (and all arrangers/performers) Simon Pitt, Stuart Ryan and James Uings
Walkthroughs written by James Uings
Syllabus Consultants (Hit Tunes 2018 Repertoire) Music engraving, internal design and layout by
Guitar: James Betteridge, Andy G Jones Simon Troup & Jennie Troup (Digital Music Art)
Bass: Joe Hubbard, Diego Kovadloff, Joel McIver Proof reading and copy editing by Chris Bird, Claire Davies, Stephen
Drums: Paul Elliott, Pete Riley Lawson, Simon Pitt and James Uings
Publishing administration by Caroline Uings
Arrangers (Hit Tunes 2018 Repertoire) Additional drum proof reading by Miguel Andrews
Guitar: James Betteridge, Andy G Jones, Mike Goodman, Viv Lock
Bass: Diego Kovadloff, Andy Robertson, Joe Hubbard Instrumental Specialists (Rockschool 2012 Repertoire)
Drums: Paul Elliott, Stu Roberts, Pete Riley Guitar: James Uings
2
Table of Contents
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Bass Grade 4
Hit Tunes
5 James Brown. ..... ..... ...... ...... ..... ...... ...... ..... ...... .... .. . ‘I Got You (I Feel Good)’
9 Gladys Knight. .... ..... ...... ...... ..... ...... ...... ..... .... ‘Midnight Train To Georgia’
13 Justin Timberlake..... ..... ...... ...... ..... ...... ...... ...... . .. .. .. .. .. .. .. . .. . ‘Rock Your Body’
17 Lawson. ... .. ...... ..... ...... ...... ..... ...... ...... ..... ...... ...... .... .. .. . .. .. .. .. .. .. .. . .. . ‘Brokenhearted’
21 Bob Marley and the Wailers.... ..... ...... ...... . .. .. .. .. .. .. .. . . ‘I Shot The Sheriff ’
25 Grace Jones. ..... ...... ..... ...... ...... ..... ...... ...... ..... ..... .. . .. ‘Pull Up To The Bumper’
Rockschool Originals
29 ‘223’
33 ‘Bootsylicious’
37 ‘Hyde In The Park’
41 ‘B & B Scene’
45 ‘Noisy Neighbour’
49 ‘Benson Burner’
Supporting Tests
56 Sight Reading
57 Improvisation & Interpretation
58 Ear Tests
59 General Musicianship Questions
Additional Information
3
Welcome to Rockschool Bass Grade 4
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%), a pair of instrument
specific Ear Tests (10%), and finally you will be asked five General Musicianship Questions (5%). 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 4 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 a list of the musicians who played on it. The song itself is printed on two pages and immediately
after each song is a Walkthrough. This covers the whole song from a performance perspective, focusing on the
technical issues you will encounter along the way. Each song comes with a full mix version and a backing track.
■■Technical Exercises: you should prepare the exercises set in this grade as indicated. There is also a Riff test that should
be practised and played to the backing track.
■■Supporting Tests and General Musicianship Questions: in Bass Grade 4 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.
■■Additional Information: finally, you will find information on exam procedures, marking schemes, and the full
notation and backing track of a piece from the next grade as a taster.
Audio
Audio is provided in the form of backing tracks (minus bass) and examples (including bass) for the pieces and the
supporting tests where applicable. Audio files are supplied in MP3 format to enable playback on a wide range of compatible
devices. Digital versions of the book include audio files in the download. Download audio for hardcopy books from RSL
directly at www.rslawards.com/downloads — you will need to input this code when prompted: N8U56MB2WX
Syllabus Guide
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
Bass Grade 4
Errata
Updates and changes to Rockschool books are documented online. Candidates should check for errata periodically while
4 studying for any examination. Further details can be found on the RSL website: www.rslawards.com/errata
James Brown
? # # 44 .. œ
A D7
WRITTEN BY: JAMES BROWN
PRODUCED BY: JAMES BROWN
F
.
UK CHART PEAK: 29
. 5
7 5 7 5 7 5
T
A
B
œ œ nœ œ
G7
? ## œ ‰ J ‰ J œ
BACKGROUND INFO
His early bands included Fred Wesley, Maceo
‘I Got You (I Feel Good)’ is one of many classic Parker, Clyde Stubblefield, Bernard Odum and Bootsy
recordings by James Brown. It is arguably his most and Catfish
7 Collins amongst 7 many musicians5 that,
œ nœ œ œ œ œ œ
and funky drums, includes syncopated rhythmic to ‘Say It Loud, I’m Black and I’m Proud’ became an
unisons that add a singular flavour to the tune, and anthem for7the Civil Rights Movement. His social
D
? ## œ
also features a famous alto sax solo by Maceo Parker. commentary was expanded with songs like ‘World’
‘I Got You (I Feel Good)’ developed from another and ‘I Don’t Want Nobody To Give Me Nothing’, ‘Get
song Brown wrote called ‘I Found You’. An earlier Up, Get Into It, Get Involved’ and ‘Talking Loud And
1964 version of the song, titled ‘I Got You’, including Saying Nothing’.
a different arrangement featuring a baritone sax solo,
was withdrawn from circulation due to a legal dispute After nearly two successful decades, the end of the
with Brown’s label at the time. 70s saw his career dip but the significance of earlier 7 5 7
7 5 7 5
T recordings kept on growing. His reputation as a
‘I Got You (I Feel Good)’ reached the number 3 A phenomenal 5 performer was re-instated after a stint in
spot on Billboard’s Hot 100 chart. B prison in the late 80s. He returned in full force touring
all over the world until his death aged 73, in 2006.
[7]
James Brown is, arguably, the most sampled
musician of all time. His influence on music and
musicians the world over is beyond doubt. He is
>œ >œ
G9
‰
regarded as the Godfather of Soul. Brown demanded
? ## Œ Œ
extreme discipline from his musicians and drove a
Bass Grade 4
hard line. If any musician did not comply fully with his
musical and performance requirements they were fired.
5
T 5 5
A
B
I Got You (I Feel Good)
James Brown
Words & Music by James Brown
c 144 Soul/Funk
œ nœ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ
? # # 44 .. œ
D7
‰ J ‰ J
A
œ œ
F
.
. 5
T 7 5 7 5 7 5 7 7 5 7 5 7 5 7 5
A 7
B 5 5
œ œ nœ
? ## ‰ J ‰ œJ œ nœ œ œ œ œ œ œ ‰ n œ ‰ n œj
G7
œ J
œ œ
T 7 7 5
A 7 5 3 5 3 5 3 5 5 3
B 5 3
3 3
[4]
D7
œ nœ œ œ œ œ œ œ nœ œ
A9
>œ >œ
? ## œ œ ‰ J ‰ J Œ Œ
T 7 5 7 5 7 5 7 7 5
A 7 7 7
B 5 5
>œ >œ nœ œ
‰ œ ‰ Jœ ‰ Jœ ‰ J
G9 D9
? ## Œ Œ ‰ J Œ Ó ..
J
.
.
T 5 9
A 5 5 4 7
B 5
[10]
œ nœ œ nœ œ nœ ˙ œ nœ œ nœ œ nœ œ œ #œ
? ## œ ‰ J ‰ ‰ J ‰
B
‰ J œ ‰ J œ
N.C.
J J
T 7 5 5 7 5 5
A 7 7 3 7 7 3 0 3 4
B 5 5
[13]
? ## œ œ n œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ n œ œ œ œ
C G7 D7
œ œ œ œ nœ œ œ œ œ œ
Bass Grade 4
T 5 5 3 3 2 2 0 0 5 5 3 3 2 2 0 0 0 0 0 0
A 3 3 2 2 0 0 3 3 2 2 0 0
B
[17]
6 © Copyright 1966 Fort Knox Music Company.
Lark Music Limited.
All Rights Reserved. International Copyright Secured.
? ## œ œ n œ œ œ œ œ œ œ œ nœ œ œ œ œ #œ œ
G7 A7
Œ Ó
T 0 1 2
A 5 5 3 3 2 2 0 0 5 5 3 3 2 2
B
[21]
œ nœ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ
? ## œ ‰ J ‰ J
D
D7
œ œ
T 7 5 7 5 7 5 7 7 5 7 5 7 5 7 5
A 7
B 5 5 5
[25]
œ œ nœ œ
? ## ‰ J ‰ J œ nœ œ œ œ œ œ œ ‰ n œ ‰ n œj
G7
œ J
œ œ
T 7 7 5
A 7 5 3 5 3 5 3 5 5 3
B 5 3
3 3
[28]
œ nœ œ œ œ œ œ œ nœ >œ >œ
‰ J ‰ Jœ
D7 A9
? ## œ œ Œ Œ
[31]
>œ >œ œ nœ œ
? ## Œ ‰ œ ‰ œJ ‰ J ‰ J J
G9 D9
Œ ‰ Œ Ó
J
T 5 9
A 5 5 4 7
B 5
[34]
? ## Œ Œ Œ Œ
J
T 2 2 5
A 5 5 4 7
B 5
[37]
œ œ
? # # ‰ J ‰ J ‰ n Jœ ‰ Jœ ‰ œ ‰ n Jœ ˙ ˙ >
˙
J
Bass Grade 4
T 9 7 5
A 7 5 3
B 5
[40]
7
Walkthrough
8
Gladys Knight
? bb b 44 Ó ˙ œ. œ
GENRE: SOUL A
bb
P
WRITTEN BY: JIM WEATHERLY
PRODUCED BY: TONY CAMILLO AND GLADYS
[Drums]
KNIGHT AND THE PIPS
T 3
A 4 3
UK CHART PEAK: 10
B
G b/B b
Db œ œA
? bb b œ œ œ œ œ . œ œ œ œ
B F m7
BACKGROUND INFO
bb œ.
The recording of ‘Midnight Train To Georgia’
‘Midnight Train To Georgia’ was released in 1973 by Gladys Knight and The Pips features a roster of
and topped the charts. It won a Grammy Award for session luminaries that includes Bob Babbitt on bass, 3
b b
‘Midnight Plane to Houston’ on Jimmy Bowen’s Amos trumpet and saxophone respectively, and Barry Miles
b œ œE
? bb b œ œ œ œ œ . œ œ œ œ
Records. Weatherly was trying his luck as a songwriter on piano. Gladys Knight’s vocals were7recorded in a
in Los Angeles. At the time he wrote the song he was single take during F m in Detroit. She G /B
D the original sessions
bb œ.
in a football league team with actor Lee Majors, of later re-recorded a single line in New York City.
Six Million Dollar Man fame, who was dating actress
Farah Fawcett. One evening Weatherly rang Majors ‘Midnight Train to Georgia’ has become a soul
and Fawcett answered the phone. Upon being asked classic and has been covered by artists such as Aretha
what she was doing she replied she was catching the Franklin, Garth Brooks and Neil Diamond. The song
‘Midnight Plane To Houston’ – thus the song was has featured in many movies and TV series including 3
born. It was subsequently recorded by Cissy Houston 1 3
T The Deer Hunter, House and Will 1 and
3 Grace.
1
in 1973 – retitled ‘Midnight Train To Georgia’ – and A 3 3
4 1
achieved only minor success. Weatherly’s publishers B
sent the song to Gladys Knight and the Pips and the
[9]
song was recorded and released. It stole the number
one spot from ‘Angie’ by The Rolling Stones. Gladys
Knight wrote in her autobiography that she hoped
b b b
? bb b œ œ œ œ œ . œ œ œ œ œ
the song was of comfort to the thousands who go to F m7 G /B
Los Angeles pursuing dreams of being in the movie
D
Bass Grade 4
bb œ.
or music business but fail to realise them and plunge
into despair.
9
1
T 1 3
A 3 3 1
4 1 1
B
Midnight Train To Georgia
Gladys Knight
Words & Music by Jim Weatherly
c 92 Soul Ballad
Db A b/C G b/B b A b 7sus 4 Db A b/C G b/B b A b 7sus 4
? b b b 44 j j
A
bb Ó ˙ œ. œ ˙ œœ œœ œ ˙ œ. œ ˙ œœ œœ œ
[Drums] P
T
A 4 3 3 1 1 3 4 3 3 1 1 3
B 4 4 4 4 4 4
b b b b7 b b b b7
? bb b œ œ œ œ œ . œ œ œ œ œ œ œ . œ . œ œ œ œ œ œ . œ œ œ œ
B D Fm G /B A sus7 D Fm G /B A sus 4 7 4
bb œ. œ œ. œœœœœœœ œ
T 1 3 1 1
A 1 3 3 1 3
B 4 3 3 1 1 3 4 3 3 1 1 3
1 4 1 1 2 4 4 4 4
[5]
Db b b b9 b7
? b b œ œ œ œ œ. œ œ œ œ Eœ œ œ œ A sus
7 4
. .
Fm G /B
bbb œ. œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ
T 1 3
A 1 3 3 1 1 1 3
B 4 3 3 1 1 3
1 4 4 4 4 4 4 4 4 4 4
bb œ. œ œœ œœ œ œ. œ
T 1 1
A 1 3 1 3
B 4 3 3 1 1 3 4 3 3 1 1 3
1 1 4 4 4 1 1 2 4 4
[13]
Db b b b9 b7
œ . œ
? bb b œ œ œ œ œ œ œ œ œ œ . œ
Fm G /B E 7
A sus 4
bb œ. J œ œ œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ
T 1 3
A 1 3 3 1 1
B 4 3 3 1 1 3
1 4 4 4 4 4 4 4 4 4 4
[17]
Db E b m7 A b 7sus 4 Db E b m7 A b 7sus 4
F m7 F m7
œ œ
? bb b œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
C
bb œ œ œœ œœ œ
Bass Grade 4
T 8
A 3 3 1 1 1 3 3 1 1
B 4 4 1 1 1 3 4 4 4 3
4 1 4 4 4 4 1 4 4 4 6
[21]
10 © Copyright 1971 Universal Polygram International Publishing.
Universal Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
Db B b m7 Eb9 A b 7sus 4
œ œ œ œ œ œ
F m7
? bb œ œ œœ œ œ œ nœ
bbb œ. œ œ. J J J J J œj œ j
œ œœ œœ œ
œ J
T 0 1 1 1 1 1 1
A 3 3 1
B 4 4 1 4 1 3
4 1 4 4 4 4 4 4
[25]
Db E b m7 A b 7sus 4 B b m7 Eb9
œ œ œ œ nœ
F m7
? bb œ œ œœ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
bbb œ œ œ œ. J
T 3 3 3
A 3 1 1 3 2 1 1 1 1 1 3
B 4 4 1 4 1
4 1 4 4 4 4 1
[29]
? bb b œ . œ œ j j j
j j œ œ œ. œ œ. œ œ. œ œ œ œ œ œ
bb œ œ. nœ œ. J
T 1
A 4 1
B 1 3 4 4 3 3 1 1 1 3
1 2 3 4 4 4 4
[33]
? bb b œ . œ œ œ. œ
D
bb œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ j J œœ œœ œ
œ œ
Db E b m7 A b 7sus 4 Db A b/C
j j
F m7
? bb b œ œ œ œ œ œ. œ.
bb œ œ œj œ J œ œ œ œ œ œ œ œ. œ
T 3 1
A 4 4 4 1 1 3 4 4 3 3
B 4 1 1 4 4 4
[41]
? bb b œ j j
bb œ. œ œ œ œ œ œ œ. œ œ. œ ˙ œ œ œ œ œ
T
A 1 1 1 3 4 4 3 3 1 1 3
B 4 4 4 4 4 4
[44]
Db F m7 E b m7 A b 7sus 4 Db
? bb b œ œ œ œ œœ œœ
bb œ œ œj œ J œœ œœ œ ˙ Ó
Bass Grade 4
T 3 1 1 1 1
A 4 4 4 1 3 4
B 4 1 1 4 4 4
[47]
11
Walkthrough
Section A (Bars 1–4) From bar 33 the dotted quarter-note pattern featured in the
Bars 1–4 | Setting the tone intro re-appears and begins to slow down the pace of the
No major challenges here but pay attention to the third beat arrangement. Be careful of timing and accuracy here.
of bars 2 and 4. This grouping of 16th-note, eighth-note
and 16th-note will be present throughout the tune. Getting
familiar with its rhythm is very important. Be mindful of Section D (Bars 37–49)
timing the length of each note accurately in bars 1 and 3. Bars 37–49 | Blending rhythms further and outro
This will lend gravitas to the descending intro line. Further combinations of syncopated rhythms are introduced
in bars 38, 39, 42 and 44 and in bars 39, 41 and 47. Once
again be on your guard for these variations, they require a
Section B (Bars 5–20) great deal of rhythmic and subdivision awareness. Bar 48 is
Bars 5–20 | Classic soul syncopation travelling through chord played in rhythmic unison with the rest of the band so make
changes sure this is well timed and smooth.
12
Justin Timberlake
œ œ
Em
? # 44 ‰
A G 11 A 11
œ. œ. œ. œ
WRITTEN BY: JUSTIN TIMBERLAKE,
CHAD HUGO, PHARRELL
F
WILLIAMS
PRODUCED BY: THE NEPTUNES
T 7 7
UK CHART PEAK: 2 A 0
B 3 3 5
B Choru
œœ
G 11
?#
Em
œ.
BACKGROUND INFO
œ . œ œ œ œ. and œ
All of ‘Rock Your Body’s’ instrumentation
‘Rock Your Body’ was originally written by The production are the work of The Neptunes. Pharrell
Neptunes, a producing duo made of Chad Hugo and Williams is responsible for some of the most
œ œ
The song fuses elements often utilised in The Revolution Supernova 2 video game.
Em
#Justina castTimberlake ‰
A 11
? been
Neptunes’ style containing characteristics from G 11
œ œ. œ
Michael Jackson’s earlier records such as Off The is no stranger to fame having
œ. Britney œ. and .
Wall and Thriller. Timberlake’s falsetto vocals are member in The Mickey Mouse Club
complimented by those of Vanessa Marquez. alongside Spears Christina Aguilera.
The latter would become a tour mate and the former
‘Rock Your Body’ was performed by Justin his girlfriend. Timberlake’s solo career began after
Timberlake and Janet Jackson at the Super Bowl a highly successful stint with boy band NSYNC, he
XXXVIII halftime show. Upon singing the line ‘I’ll T was one of two lead singers together with JC Chasez. 7 7
have you naked by the end of this song’ Timberlake A His solo career reached even greater heights upon the 0 0
ripped part of Jackson’s outfit temporarily exposing B 5
release3of his second3album FutureSex/LoveSounds.
her right breast on TV. This caused a media storm
[7]
and put Jackson under much scrutiny. The incident Justified was awarded a Grammy for Best Pop Vocal
was attributed to ‘wardrobe malfunction’. For his Album in 2004. That is one of 10 Grammy awards
second Super Bowl appearance in 2018, Justin Justin Timberlake has received to date.
‰ œ œ œ
Timberlake stopped short of the ‘I’ll have you G 11
?#
naked’ line and segued into the next song. ‘Rock Em
Bass Grade 4
œ. œ œ œ œ. .
Your Body’s’ lyrics are about being attracted to a girl
whose dancing style is sensuous.
13
T 2 2
A 3
B 0 0 0 0 0
Rock Your Body
Justin Timberlake
Words & Music by Justin Timberlake,
c 101 RnB/Pop Chad Hugo & Pharrell Williams
Intro
‰ œ
œ
‰ œ
? # 44 œ
‰ œœ œ
A
G 11 A 11 Em G 11 A 11
œ. œ. œ. œ. œ œ œ œ. . œ. œ.
F
T 7 7 2 2 7 7
A
B 3 3 5 0 0 0 0 0 3 3 5
B Chorus
?# œœ œ œ
‰ œ œ
G 11 A 11
‰
Em Em
œ. œ œ œ œ. œ œ. œ. œ. œ. œ œ œ œ.
T 2 2 7 7 2 2
A
B 0 0 0 0 0 0 3 3 5 0 0 0 0 0
[4]
C Verse
?#
G 11 A 11
‰ œ œ œœ
G 11
œ œ
Œ Œ ‰
Em
œ. œ. œ. œ. œ œ œ œ. œ œ.
T 7 7 2 2 7 7
A
B 3 3 5 0 0 0 0 0 0 3
?# œ œ
‰ œ œ œ œ œ
G 11 A 11
‰
Em Em
œ. œ œ œ œ. . œ. œ. œ. œ œ œ œ. œ
T 2 2 7 7 2 2
A
B 0 0 0 0 0 3 3 5 0 0 0 0 0 0
[10]
?# œ œ œ œ
‰ œ œ œ
G 11 A 11 G 11 A 11
‰ ‰
Em
œ. œ. œ. œ. œ œ œ œ. . œ. œ.
T 7 7 2 2 7 7
A
B 3 3 5 0 0 0 0 0 3 3 5
[13]
D Chorus
?#
Em
œ œ ..
G 11 A 11
‰ œ œ Em
‰ œ œ
œ. œ œ œ œ. œ œ. œ. œ. œ. œ œ œ œ.
Bass Grade 4
.
. 3
T 2 2 7 7 2 2
A
B 0 0 0 0 0 0 3 5 0 0 0 0 0
[16]
14 © Copyright 2002 EMI Blackwood Music Incorporated/Tennman Tunes/Waters Of Nazareth Publishing/Songs For Beans.
Warner/Chappell North America Limited/EMI Music Publishing Limited/Concord Music Publishing LLC.
All Rights Reserved. International Copyright Secured.
1. 2.
?#
G 11 A 11
œ œ œ œ .. œ
‰ Œ Œ œ
Em Em
œ. œ. œ. œ. œ œ œ œ. œ œ.
.
.
T 7 7 2 2 2
A 5
B 3 3 5 0 0 0 0 0 0 0
[19]
Bridge
r
G add 9/B C maj 7 E m7 A m7 G add 9/B C maj 7
?#
D
œ ‰.
E
œ. œ. œ. ‰ œ œ œ. œ œ Œ œ. œ. œ. ‰ œ œ
T 2
A 2 2 3 3 3 5 2 2 3 3 3
B 5 5
[22]
r
E m7 F maj 7 G add 9/B C maj 7 E m7 A m7
? # œ. œ œ nœ ˙
D D
œ. œ. œ. ‰ œ œ œ. œ ‰. œ
œ œ
T 2 3 2
A 5 2 2 3 3 3 5 2
B 5 5
[25]
F Chorus
? # œ. œ œ œ œ œ. œ .. œ œ
C m7 D 11 G 11 A 11
œ œ œ œ œ Œ œ. ‰
J œ. œ.
.
.3
?# ‰ œ œ œ
G 11 A 11
œ œ œ œ ..
‰
Em Em
œ. œ œ œ œ. . œ. œ. œ. œ œ œ œ. œ
.
.
T 2 2 7 7 2 2
A
B 0 0 0 0 0 3 3 5 0 0 0 0 0 0
[31]
Chorus/Outro
? # .. œ œ œ œ
G G 11 A 11
‰ ‰
Em
œ. œ. œ. œ. œ œ œ œ.
.
.3
T 7 7 2 2
A
B 3 5 0 0 0 0 0
[34]
1. 2.
?#
G 11 A 11
œ œ œ œ ..
‰ Œ Ó
Em Em
œ. œ. œ. œ. œ œ œ œ. œ œ
Bass Grade 4
.
.
T 7 7 2 2
A
B 3 3 5 0 0 0 0 0 0 0
[36]
15
Walkthrough
16
Lawson
c 89 Pop
LABEL: POLYDOR / GLOBAL TALENT
GENRE: POP ROCK
? 44
Intro
∑
A
WRITTEN BY: ANDY BROWN,
KI FITZGERALD,
PADDY DALTON,
[Guitar]
DUCK BLACKWELL,
BOBBY RAY SIMMONS JR. T
PRODUCED BY: HARRY SOMMERDAHL A
B
UK CHART PEAK: 6
Am
? ‰ œ œ œ
Dm
œ œ
G
Œ ⇥¿
Dm
?
G
⇥ ⇥
Lawson formed in 2009 and were initially called B
Œ
Am F
œ œœ ¿œ œœ œœ œ
The Groves. The name was changed to Lawson after
Dr. David Lawson performed life-saving surgery
on singer Andy Brown. After building a substantial
online following the band signed a lucrative two
album deal with Polydor Records. Upon releasing
their second album, Perspective, in 2016, they were
¿
dropped by the record company. T
A 3
Their success was considerable and the band toured B 1 1 1 3 3
5 5 5
extensively from the onset, including support stints
[7]
for artists including Will Young, Avril Lavigne, and
Robbie Williams whom they supported in Australia
and New Zealand. The band also headlined tours of
Œ ⇥
the UK and US selling out venues in both countries. Dm
?
G
Œ ⇥ ⇥
Upon the success of their live concerts Chapman Am F
œ œ
Bass Grade 4
œ œœ œœ œœ œ
Square was re-released as Chapman Square II in 2012
including the single ‘Brokenhearted’ and featuring
17
T
A 3
B 1 1 1 1 3 3
5 5 5
Brokenhearted
Lawson
Words & Music by Andrew Brown, Ki Fitzgerald,
Paddy Dalton & Mark Blackwell
c 89 Pop
? 44
A Intro
∑ ∑ ⇥
Am F
œ œ œ œ. ¿ œ œ œ œ
[Guitar]
¿
T
A
B 5 5 5 5 1 1 1 1
? ‰ œ œ œ ⇥ ‰ œ œ œ
G Dm Am F G Dm
œ œ œ œ. J œ œ œ œ. ¿ œ œ œ œ œ œ œ œ. J
¿
T
A 5 5 3 5 5 3
B 3 3 3 3 5 5 5 5 1 1 1 1 3 3 3 3
[4]
Verse
?
B
T
A
B ¿ ¿ 5 ¿ 3
¿ ¿ 5 ¿ 3
5 5 5 1 1 1 3 3 3 5 5 5 1 1 1 3 3 3
? j w
œ œ œ Œ ⇥ œ œ ⇥ œ œ œ œ œ Œ ⇥ ¿ œ ‰ œ œ. œ Œ
E7
⇥¿œ ‰ œ
Am F G Dm
J
T
A
B
¿ 5 3 5 5 ¿ 5 5
2
5 5 5 1 1 1 1 3 3 3
[11]
Chorus
?
C
œ . œ œ. ⇥ ¿ œ œ œ œ . œ œ. ⇥ ¿ œ œ œ œ . œ œ. ⇥ ¿ œ œ œ ⇥¿œ œ œ
Am F G Dm Am F G Dm
œ . œ œ.
T
A
B ¿ ¿ 5 3 3
¿ ¿ 5 3 3
5 5 5 1 1 1 3 3 3 5 5 5 1 1 1 3 3 3
[15]
? œ œ
⇥ ¿ œ ⇥ ¿ œ
E7
œ ⇥¿ œ œ œ ⇥
Am F G Am F
œ œ. œ œ. œ. œ œ. ¿ œ œ œ
Bass Grade 4
¿ ¿
¿ ¿
T 2
A 2 2 2
B 0 3
1 1 1 3 3 3 5 3 5 1 1 1
[19]
18 © Copyright 2013 Global Talent Publishing.
Spirit Music Publishing Limited/BMG Rights Management (UK) Limited, a BMG Company/Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
? œ. 2 4
E7
Œ ∑ ⇥
G Am F
œ. œ œ 4 4 œ œ œ œ. ¿ œ œœ œ
¿
T 2
A
B 3 3 3 5 5 5 5 1 1 1 1
[22]
? ‰ œ œ œ ⇥ ‰ œ œ œ
G Dm Am F G Dm
œ œ œ œ. J œ œ œ œ. ¿ œ œ œ œ œ œ œ œ. J
¿
T
A 5 5 3 5 5 3
B 3 3 3 3 5 5 5 5 1 1 1 1 3 3 3 3
[25]
? Ó
D Verse
⇥ ⇥ œ œ œ Œ ⇥¿ œ ⇥¿ œ œ œ œ Œ ⇥ ⇥
F G Dm Am F
¿ œ œ œ ¿ œ œ œ
T
A
B ¿ ¿ 5 ¿ 3
¿
1 1 1 3 3 3 5 5 5 1 1 1
[28]
œ œ œ œ
T
A
B
¿ 5 ¿ 3 ¿ 5 3
3 3 3 5 5 5 1 1 1 1 3 3 3
[31]
œ
? œ. œ Œ ˙ ‰ J œ œ
E7
⇥¿œ ‰ œ ∑ ∑
J
¿
T 2
A 2 5 2
B 5 5 5 5
[34]
Chorus
2º Fine
? .. .
E
œ . œ œ. ⇥ ¿ œ œ œ œ . œ œ. ⇥ ¿ œ œ œ œ . œ œ. ⇥ ¿ œ œ œ œ . œ œ. ⇥ ¿ œ œ œ .
Am F G Dm Am F G Dm
Bass Grade 4
. .
T
A
B . ¿ ¿ 5 5 3
¿ ¿5 5 3 .
5 5 5 1 1 1 3 3 3 5 5 5 1 1 1 3 3 3
[38]
19
Walkthrough
20
Bob Marley and the Wailers
? bb 44 .. œ œ œ Œ
A
œ
WRITTEN BY: BOB MARLEY
F
PRODUCED BY: CHRIS BLACKWELL
AND THE WAILERS
.
. 6
UK CHART PEAK: 2 T 5
A 5
B 3
? bb œ œ œ œ œ Œ ‰. œ œ œ
Gm
˙
quality of songwriting is such that it transcends style percussion
C m and Marley’s wife Rita, Judy Mowatt and
? bThe
b band are regarded as one of theÓtightest and
œ
boundaries. They are credited with popularising Marcia Griffiths on backing vocals.
reggae music around the world and their influence is
beyond dispute. Bob Marley is regarded as a global
symbol of peace and unity in all corners of the earth. most subtle outfits in popular music.
The popularity of their music also contributed to
making the wealth of music created in Jamaica in the Aston Barrett’s bass playing has influenced bass
60s, 70s and 80s known to listeners around the world. players all over the world. His unique phrasing, use of
T space and tone are second to none. Bob Marley and 5
The Wailers were formed in 1963 by Peter Tosh, A The Wailers’ influence and that of the Jamaican music
Bunny Wailer and Bob Marley and they achieved B they helped popularize can be heard in work by artists
considerable success in Jamaica. Some of their including The Police, The Clash, The Selecter, Stevie
[6]
songs were recorded by Lee “Scratch” Perry and his Wonder, Steely Dan, Sade, Simply Red and UB40
band The Upsetters. The rhythm section from The amongst many others.
b
œ œ œ œ
Upsetters included bassist Aston ‘Family Man’ Barrett Dm
E maj 7
œ œ
and drummer Carlton Barrett. They formed The
? bb œ œ
B
Wailers Band providing backing for The Wailers trio
Bass Grade 4
21
7
8 7
T 8 5
A 6
B
I Shot The Sheriff
Bob Marley and the Wailers
Words & Music by Bob Marley
c 97 Reggae
œ œ œ ˙
Gm Cm
? b b 44 .. œ œ
A
œ Œ Ó
œ
F
.
. 6
T 0 3 5
A 5
B 5
3
? bb œ œ œ œ œ Œ ‰. œ œ œ œ œ œ œ Œ ‰.
r
œ œ œ œ œ Œ œ œ œ
Gm
R
T 3 5
A 3 3 5 3 3 3 5 5 5
B 5 5 5 5 3 5
6 3
[3]
˙
Cm Gm
? b
b Ó œ œ œ œ œ Œ ‰. œ œ œ œ œ œ œ Ó
R
T 3 3 5 3 3 3 5
A 5 5 5 5
B
E b maj 7
œ œ œ œ œ.
œ.
Dm Gm
? bb œ œ œ œ œ œ œ œ œ œ œ.
B
œ œ Œ
T 8 7 7
A 8 7 5
B 6 5 5 8 5 5 5 5 5 5 5
[9]
E b maj 7
œ œ œ œ
œ. .
Dm Gm
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ
T 8 7
A 8 7 5 5
B 6 5 5 8 5 5 5 5 5 5 5
[11]
œ.
E b maj 7
œ œ œ œ
œ.
Dm Gm
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ
Bass Grade 4
T 8 7 7
A 8 7 5
B 6 5 5 8 5 5 5 5 5 5 5
[13]
22 © Copyright 1973 Fifty-Six Hope Road Music Limited/Blackwell Fuller Music Publishing LLC.
Blue Mountain Music Limited.
All Rights Reserved. International Copyright Secured.
E b maj 7
œ œ œ œ œ œ
œ.
Dm Gm
? b
b œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ.
J
T 8 7 5 7
A 8 7 5 0
B 6 5 5 8 5 5 5 5 5 5
[15]
E b maj 7
œ œ œ œ œ
Dm Gm
? bb Œ œ. .
œ œ œ œ œ œ œJ ‰ Œ
T 8 8 7
A 8 5 5
B 5 5 5 5 5 5
[17]
? b œ. œ œ œ œ œ 42 ∑ .. 44
N.C.
b œ œ œ. œ œ œ ˙
.
.
T 5 3
A 5 3 5 3
B 6 6 3
[19]
? b b 44 œ œ œ ⇥œ ⇥œœœœ œ Œ
C
œ Œ
Ó ‰. œ
R
T 3 5
A 5 5 3 3 5
B 5 5 5 5
6 3
[22]
r œ œ œ
Cm
? bb œ œ œ œ œ œ Œ ‰. œ œ œ œ œ Œ ⇥ œ œ œ œ œ œ œ
T 3 5
A 3 3 3 5 5 5
B 5 3 5 5 5 6 6
6 3 6 6
[25]
? bb ⇥ œ œ œ œ œ Œ ‰. œ œ œ œ œ œ œ ˙ Œ Ó
Gm
R œ
>
Bass Grade 4
T 3 3 5 3 3 3 5
A 5 5 5 5
B 3
[28]
23
Walkthrough
24
Grace Jones
œ œ œ œ
œ
GENRE: DISCO/DANCE/R&B
? b 44 ‰ œj .. œ
Intro
Œ
A
j .
2.
?b Ó ‰ œ .
1.
Œ
BACKGROUND INFO ‘Pull Up To The Bumper’ sparked controversy due
.
to the highly suggestive and sexual nature of its lyrics.
.
‘Pull Up To The Bumper’ is featured on Grace Some radio stations in the US refused to broadcast
Jones’ 1981 release Nightclubbing. The track was it and that contributed to its cult status on the club
‰ œ #œ œ ⇥ nœ œ #œ
in June 1981. Grace Jones released Slave To The Rhythm in
‰
D m7
?b œ
1985
Gm – 7the record was a massive worldwide success.
œ
Grace Jones’ multifaceted career as model, singer It was produced by Trevor Horn, responsible for
and actress is legendary. Her androgynous and producing many highly successful artists in the 80s
unusual looks got her noticed quickly and her strong and 90s including Frankie Goes To Hollywood, Yes,
personality and voice added to a striking package. Propaganda, Pet Shop Boys and Seal.
Nightclubbing was recorded at Compass Point Grace Jones remains an active performer and
Studios in Nassau, Bahamas, with a stellar band – T recording artist and Robbie
3 4Shakespeare’s
5 unique bass 5
3 4
later named the Compass Point Allstars – featuring A playing style is acknowledged as highly influential by
Sly Dunbar on drums, Robbie Shakespeare on bass, B 3
musicians all over the world.
Wally Badarou on keyboards, Mikey Chung and [7]
Barry Reynolds on guitar and Uziah Thompson on
percussion. The record was highly experimental for
the time blending disco and reggae with electronic Verse
G m7
? b .. œ ‰ nœ #œ œ ⇥ œ œ bœ
dance sounds into a sonic new wave. After nearly four B 7
Dm
œ
decades Nightclubbing remains a classic all of its own.
Bass Grade 4
. 25
.
T
A 5 3 4 5 3
B 5 4
[10]
Pull Up To The Bumper
Grace Jones
Words & Music by Sly Dunbar,
Robbie Shakespeare & Dana Manno
c 109 Funk
Œ Œ Ó
.
.
T 5 7 5 7 5 5 5
A 5 7 5 7 5 7 5 7 5 7
B 3 5 5
?b Ó j
1. 2.
œ ..
D m7
Œ ‰ ∑ œ ‰ œ #œ œ ⇥ œ œ bœ
.
.
T
A 3 5 3 4 5
B 5 4
[4]
? ‰ œ #œ œ ⇥ nœ œ #œ ‰ œ #œ œ ⇥ nœ œ #œ
G m7 D m7 G m7
b œ œ ‰ nœ #œ œ ⇥ œ œ bœ
œ
T 3 4 5 3 4 5
A 3 4 5 3 4 5 3 4
B 3 5 4 3
Verse
? b .. œ ‰ œ #œ œ ⇥ nœ œ #œ
B
D m7 G m7 D m7
‰ nœ #œ œ ⇥ œ œ bœ œ œ ‰ nœ #œ œ ⇥ œ œ bœ
.
.
T 3 4 5
A 5 3 4 5 3 4 5 3 4 5
B 5 4 3 5 4
[10]
C Chorus
?b ‰ œ # œ œ ⇥ n œ œ # œ .. œ ‰ œ #œ œ ⇥ nœ œ #œ
G m7 Play 3 times D m7 G m7
‰ nœ #œ œ ⇥ œ œ bœ
œ œ
.
.
T 3 4 5 3 4 5
A 3 4 5 3 4 5 3 4
B 3 5 4 3
[13]
?b œ ‰ œ #œ œ ⇥ nœ œ #œ
D m7 G m7 D m7
‰ nœ #œ œ ⇥ œ œ bœ œ ‰ nœ #œ œ ⇥ œ œ bœ
œ
Bass Grade 4
T 3 4 5
A 5 3 4 5 3 4 5 3 4 5
B 5 4 3 5 4
[16]
26 © Copyright 1981 Ixat Music Incorporated/Chenana Music Publishing/Grace Jones Enterprises Incorporated.
Universal/Island Music Limited.
All Rights Reserved. International Copyright Secured.
? ‰ œ #œ œ
G m7 D m7 C 11
b œ nœ œ #œ œ ‰ nœ #œ œ nœ œ œ ˙. Œ
T 3 4 5
A 3 4 5 3 4 5 3 5 3
B 3
[19]
Bridge
œ œ
D m7 G m7
? b .. œ œ œ
D
‰ ¿ ¿ œ Œ ‰ Œ
œ œ
j
œ
¿ ¿ œ
j
.
. ¿ ¿ ¿ ¿
T 7 7
A 5 5
B 5 3 5
3 1 3
[22]
œ œ
D m7 G m7
? œ œ ..
b œ ‰ ¿ ¿ œj œ Œ
œ
‰
¿ ¿ œ œ
j
Œ
.
¿ ¿ ¿ ¿ .
T 7 7
A 5 5
B 5 3 5
3 1 3
[24]
Chorus
‰ œ #œ œ œ œ bœ œ nœ œ #œ œ ‰ nœ #œ œ œ œ bœ
T 3 4 5
A 5 3 4 5 3 4 5 3 4 5
B 5 4 3 5 4
[26]
?b ‰ œ #œ œ ‰ œ #œ œ
G m7 D m7 G m7
nœ œ #œ œ ‰ nœ #œ œ œ œ bœ nœ œ #œ
œ œ
T 3 4 5 3 4 5
A 3 4 5 3 4 5 3 4
B 3 5 4 3
[29]
?b œ j >
D m7 C 11 D m7
‰ nœ #œ œ nœ œ œ œ œ œ ‰ œ œ ‰ œ #œ œ Œ
Bass Grade 4
T
A 5 3 4 5 3 5 3 3 3 3 5 3 4 5
B
[32]
27
Walkthrough
28
223
Pop Punk
A/C #
TEMPO: 165 BPM q =165
œœ
? # # 44 .. œ œ œ œ œ œ œ œ œ œ
KEY: D MAJOR D D
A
f
FAST TEMPOS
DYNAMICS
.
. 5 5 0 5 7 0 7 9 0 9 10 1
COMPOSER: JAMES UINGS T
A
B
PERSONNEL: STUART RYAN (GTR)
DAVE MARKS (BASS)
NOAM LEDERMAN (DRUMS)
© PHOTOGRAPHER | ARCHIVE
G A
D content. PopApunk became popular
? # # .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
OVERVIEW B political lyrical
again during the mid-1990s thanks to bands such
‘223’ is a fast-paced pop punk track written in as Green Day and The Offspring, the latter of which
the style of bands such as Blink -182, The Offspring, found mainstream success through tracks like ‘Come
.
melodic, riff-based and tough to play due to the fast
tempos used within the genre. This piece can be By the end of the 1990s pop punk had become a
.
played either with the fingers or a pick, although for a worldwide phenomenon and Blink -182, Less Than
T 0 0 0
true pop punk tone a pick is recommended. A Jake and Sum 41, among5others,
0 enjoyed
0 0 widespread
0
5 5 5 3 3 3 3
B popularity alongside existing pop punk groups like
the aforementioned Green Day and The Offspring.
STYLE FOCUS [6]
The focal point of pop punk is often the guitars or
Pop punk is a combination of the fast tempos and vocals, but bassists Mike Dirnt (Green Day), Greg K
chord progressions of punk fused with the catchy (The Offspring) and Mark Hoppus (Blink -182) attract
melodies of pop. The pop punk bassist will need the more attention than bassists in some other genres,
ability to play fast, melodic basslines that support the thanks to the melodic flavour of pop punk.
song and drive it forward. These basslines can often
‰ œj ‰
be memorable, and it is not uncommon for them to
œ
serve as counter melodies.
#
D
The Undertones, who were all discernible from their A Blink -1825also offers a feel5for pop 5 on
5 punk basslines
5 7
punk peers thanks to their strong melodies and less B ‘What’s My Age Again’ and ‘All The Small Things’.
[11]
29
223
James Uings
œ œ .
A
4 œ œ œ œœ œ œ œ œ œ œ œ
œœ œ œ . œ Œ
f
. .
. 5 5 0 5 7 0 7 9 0 .
T
A 9 10 10 0 0 5 5 0 5 7 0 7 9 0 0 5 0 4 0 9 7 5
B
1. 2.
œ œœ œ œ œ œœ œ œœ œ œ œ œ œ . œ Œ
. .
. .
T 7 7 7 7 9 7 5 4 5 4 0
A 5 5 5 5 0 0 0 0 0 0 0 0 5 5 5 5
B 3 3 3 3
[6]
? ## œ j
‰ œ ‰ j ‰ œj œ ‰ œj œ ‰ j ‰ œj œ
C
‰ œ œ ‰ œ
D A Bm
G A G A
J J œ œ œ œ œ
? ## œ ‰ œ œ Œ ‰ œj ‰ j ‰ œj œ ‰ œj œ Œ
D A Bm G A G A
J œ œ œ œ œ œ
> > >
T
A 5 5 5
B 5 7 3 3 5 5 5 5 5 3 5
[15]
? # # .. j ‰ j ‰ j j œ œ œ œ œ œ ..
D
œ œ œ œ œ œ œ ‰ œ ‰ œ œ œ n œ œJ ‰ Jœ ‰ œ œ
Bm G D A
Bass Grade 4
. .
. .
T 4 5 4 7 5 4
A 2 2 2 0 2 0 0 2 3 5 5 5 5
B 3 3 3
30
[19]
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
œ œ œ œ œ
D A G A D A
œ
N.C.
? ## œ œ œ œ
E
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T 7
A 7 9 9 7 5
B 5 5 5 5 0 0 0 0 0 0 0 0 5 5 5 5
3 3 3 3
[23]
? ## œ œ œ œ
D A
œ œ œ œ >œ
N.C. G A D A
>œ >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
T 7 7 7 7 5 4 0
A 5 5 5 5 0 0 0 0 0 0 0 0 5 5 5 5
B 3 3 3 3
[27]
? # # .. œ œ Œ
D G D A
..
F
Œ œ Œ Ó œ œ Œ Œ œ ‰ œ œ Œ Ó
Develop on repeat
œ œ J
F
. .
. 5 5 .
T
A 5 5 5 5
B 3 3 5 5
[31]
? # # .. ’ ..
G
D G D A
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
. .
(2°)
. .
T
A
B
[35]
j j
? # # .. œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ
j j ..
H Bm G D A
‰ ‰
œ œ œ œ œ œ œ n œ œ ‰ œ ‰ œ
J J
f
. .
. 2 2 2 0 2 0 3 3 3 0 2 3 5 5 5 4 5 7 9 .
T 7
A 10 9
B
[39]
? ## œ œ œ œ œ œ œ œ œ œ œ œ
D.C. al Fine
Bass Grade 4
T 7
A 10 9 7 10 9 7 9 10 9 7 9
B
[43]
31
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
Walkthrough
A Section (Bars 1–6) eighth notes in each bar (Fig. 2). These groups are melodic
The intro to ‘223’ has a melodic bassline that outlines the lines that use diatonic notes to link the chords together.
chord progression and is played entirely on one string.
Bar 14 | Syncopation œ œ œ
In this bar, there are some notes played on offbeats (Fig. 1).
These occur on the offbeats of beats 2 and 3. It can be tricky
T
to count this rhythm at the song’s fast tempo, so play this A
B 5
part slowly to begin with. Notes should fall on beat 1, on 3 5 5
Count: 1 (2) & (3) & 4
the offbeats of beats 2 and 3, then on beat 4. Concentrate on
locking in with the guitar.
Fig. 1: Syncopation
B 3 3 3
32
Bootsylicious
‰ œ b œ. ‰ œ b œ.
KEY: F MAJOR
? b 44 ‰
A
F7
œ J J
TECH FEATURES: DOUBLE-STOPS
F >
VIBRATO
. ‰ œ œ.
F7
. b œ
FERGUS GERRAND (PERC)
?b ‰ œ b œ ‰ œ J
FULL FAT HORNS (BRASS)
œ a strong emphasis
OVERVIEW
> one’) and a drum groove that has become
featured
bar (‘the
‘Bootsylicious’ is a funk track that brings to mind synonymous with the genre.
the legendary, influential and flamboyant funk 0 1
. b .
œ ‰ œ œ.
old.
? Clinton’s ‰ œ b œ ‰ œ
F7
b styleP-Funk, J J he J
STYLE FOCUS After leaving Brown, Collins joined George
heavyœ
where he developed the effects-
Funk is fun for bass players to play and will expand that became his signature. In 1978,
your vocabulary. The bass guitar is regularly the focal released his third solo album titled Bootsy? Player Of
point of this style and is called upon to play slapped The Year that contained the hit song ‘Bootzilla’.
lines, syncopated fingerstyle grooves and chordal
0 1 0 1
parts. It is also common for bassists to use effects such T 0 1
as envelope filters, octave dividers and fuzz pedals A RECOMMENDED LISTENING
when playing funk music. Despite the freedom often
B 1
given to the bass player in funk, it is important to [9] Classic Bootsy Collins tracks include James Brown’s
remember that the groove is always the main priority. ‘Sex Machine’, which features an improvised funk
bassline that develops continuously throughout
‰ œ œ.
the song. With Parliament, Collins is at his best on
‰ œ b œ. b œ.
F 7(Wants To Get Funked Up)’ and ‘Mothership
‰ œ
THE BIGGER PICTURE
?b
‘P-Funk
J
Connection (Star Child)’, both from the classic
Bass Grade 4
œ J J
James Brown arguably created funk in 1967 Mothership Connection (1975) album. ‘Hollywood
>
with the release of his single ‘Cold Sweat’. The song Squares’ and ‘Bootzilla’ from his solo album Bootsy?
Player Of The Year are not to be missed.
33
0 1 0 1
T 0 1
A
B 1
[13]
Bootsylicious
Luke Aldridge
œ œ.
q =105 Funk
~~~ j
? b 44 ‰ œ b œ. ‰ œ b œ. ‰ œ œ. œ. œ œ . ‰ œ b œ. b œ
A
œœ ‰ œ œ œ.
F7 C 7
œ J J J œ J
F > ~~~
T 3 5
A 0 1 0 1 0 1 0 1 3 0 1 0 1
B 3 1 1 3
1 1
~~~
F7 C7
? ‰ œ b œ. b œ. ‰ œ œ. œ. œ œ . ‰ œ b œ. b œ . œ. ‰ œ œ b œ n œ œ.
3
b œ ‰ œ œœ
J J J œ J J
> >
~~~
T 0 1 0 1 0 1 0 1 3 0 1 0 1 1 0 0 1
A 3 3 4
B 1 1
[5]
~~~ œ.
? ‰ œ b œ. ‰ œ b œ. ‰ œ œ. œ. œ œ . ‰ œ b œ . œ. œ œ b œ ‰ œj œ œ . œ
F7 C 7
b œ J J J œ J
>
~~~ 3 5
T 0 1 0 1 0 1 0 1 3 0 1 1 0 1
A 3 1 1 3
B 1 1
Ab7
~~~ bœ nœ
?b ‰ œ b œ. b œ. ‰ œ œ. œ. œ œ . ‰ œ b œ œ. œ. œ œ b œ . œ. ‰ œ
F7 A7
‰ œ
œ J J J œ J J
> >
~~~
T 0 1 0 1 0 1 0 1 3 0 1 1 1 0 1 1 0 6 7
A 3
B 1 1
[13]
b œ . œ. . œ . œ. b œ . œ.
Bb7
? b œ œ œ bœ Œ .
‰ Jœ œ œ bœ Œ .
œ œ ‰ Jœ
B F7
‰ J Œ Œ
œ. œ.
T 8 6 6 8 6 8 8 6 6 8
A 8 8 8 8 8
B 6 6 1 1
[17]
b œ . œ. œ.
b7
œ œ œ œ
? b œ œ œ bœ Œ .
‰ Jœ ‰ Jœ ‰ œJ
œ bœ œ œ œ
œ œ
B C7
œ œ œ œ
Bass Grade 4
T 8 6 6 8 6 8 8 6 8 [8] 10 10 10 10
A 8 8 8 8 3 3 3 3
B 6 6
[21]
34
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
. ˘ œ̆
œ b œ œ. Ó œ b œ œ b œ œ. œ. ‰ . œr b œ . œ œ œ. Ó œ œ œ bœ ‰ œ œ œ ‰ bœ œ ‰
F7
?b
C
œ.
T 3 1 3 8 6 6 8 8 8 10
A 8 6 6 8 6 8 6 8 8 8 8 6 8
B 1 8
[25]
Ab7
. œ ˘ n˘œ
? b b œ . œ œ œ. Ó b œ œ. b œ ‰ œ œ œ œ œ. . œ b œ . œ œ œ. Ó .œ œ b œ œ b œ
A7
T 6 8 10 8 6 6 7
A 6 8 6 8 6 8 6 8 6 6 8 6 8 5 6 8
B 8
[29]
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
T
A
B
[33]
T 10 10 10 10
A 3 3 3 3
B
[37]
~~~
?b ‰ œ b œ. b œ. ‰ œ œ. œ. œ œ . œ œ b œ. ‰ œj œ
F7 C7
bœ
E
‰ œ œœ bœ
œ J J J œ
>
~~~
T 0 1 0 1 0 1 0 1 3 0 1 0 1
A 3 3 1 3
B 1 1 4
[41]
P .
>
?b ‰ œ b œ. ‰ œ b œ. . œ. ‰ œ œ. œ. œ œ ‰ œ b œ ‰ Œ œ œ. ‰ Œ œ œ bœ œ œ
F7
P
œ J J J œ
> fl
Bass Grade 4
P P
T 0 1 0 1 1 0 1 0 1 3 3 1 1 0 0 1 3 3
A 3
B 1 1
[45]
35
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
Walkthrough
of the B b 7 chord: B b (root), F (5th ) and A b ( b 7th).
A 0 1 0 1 0 1 0 1 3
B 1
Root 6 b7 6 b7 6 b7 6 b7 8
(Root)
˘ œ̆
Bars 26–31 | Syncopation
You will encounter some tricky syncopations here. The notes
on the third beat are played on the second and fourth 16th ? b œ œ œ bœ ‰ œ œ œ ‰ bœ œ ‰
notes of the beat. You may find the first note easier to place if
you practise by playing a quiet ghost note with your picking
hand on the third beat, then play the note (E b) immediately T 6 8 8 8 10
A
afterwards. You can remove this when you feel comfortable 8 8 8 6 8
Bass Grade 4
B
with the timing. The next note should fall just before the
downbeat of beat 4. The final note of the bar occurs in the Fig. 2: Accents
same place (i.e. directly before the downbeat of the next bar).
36
Hyde In The Park
œ œ
TEMPO: 126 BPM Classic Rock
œ
q =126
KEY: G MAJOR
œ œ œ œ
? # 44 œ œ
D
œ œ
A
n œ. œ. œ.
HENRY THOMAS (BASS)
œ © PHOTOGRAPHER | ARCHIVE
?# ‰ œj œ œ œ œ
is an inventive and highly melodic line that features became popular in America during the 1960s. The
octave riffs, arpeggio figures and pentatonic lines; all Beatles and the Rolling Stones led the charge, with
œ
common features from this era of rock bass playing. The Kinks (who were later banned from playing in
the country) and The Dave Clark Five following hot
on their heels. In the 1970s Led Zeppelin continued to
STYLE FOCUS dominate the genre.
Improvisation is an important element of classic There were many noteworthy bass players in this 5
T 7 5
rock and one that points to the influence of blues on A genre during the 1960s (and onwards),
5 7including
5 8
the genre. This is most evident in its lead guitar solos. B Paul McCartney
3 (The 3Beatles),
7 Bill Wyman (Rolling
However, since the 1960s classic rock bassists have Stones), John Entwistle (The Who), Jack Bruce
œ œ œ œ
been keen to explore their instrument too and many [9] (Cream) and Andy Fraser (Free).
œ œ
#œ ‰ J
rock songs of that decade feature melodic basslines
# œ. œLISTENING
?RECOMMENDED
that were often improvisational in nature.
C D
THE BIGGER PICTURE The Rolling Stones recorded many classic rock
singles, including ‘(I Can’t Get No) Satisfaction’,
Rock music developed in the mid 1960s when ‘Brown Sugar’ and ‘Honky Tonk Woman’. All can be
musicians strove to combine the sounds of rock ’n’ found on their compilation Hot Rocks 1964–1971. 7 7
10 9
roll, blues, country and, to a lesser extent, folk and T Other examples include ‘Wham Bam, 7 Thank9 You
jazz. The guitar quickly became the focal point of A Mam’ by5 The Small 9
5 Faces, ‘Hush’ by Deep Purple, and
Bass Grade 4
B
most acts and a basic instrumentation of guitars, bass, ‘My Generation’ by The Who. The Yardbirds’ ‘Shapes
œ œ œ œ œ
drums and vocals (sometimes augmented by piano) [13]Of Things’ is also recommended.
œ ‰ J 37
? # œ. œ #œ
D
7
Hyde In The Park
Joe Bennett
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?#4 œ
A D
4 œ œ œ œ œ œ œ œ
F
T 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A 12 12 12 12 12 12 12 12
B 5 5 5 5 5 5 5 5 5
2
?# ‰ œj œ œ œ œ n œ. œ. œ.
B
Œ
G
œ «
T
A 5 7 5 8 7 5
B 3 3 7
[5]
?# ‰ œj œ œ œ œ n œ œ œ. œ. Œ ‰ œj œ œ œ œ n œ. œ. œ. Œ
œ œ
T 5
A 5 7 5 8 7 5 5 7 5 8 7 5
B 3 3 7 3 3 7
[9]
œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
? # œ. # œ J œ œ œ
C D C
œ ‰ J ‰ œ. œ J ‰
œ œ œ œ Eb
[13]
œ œ œ
? # œ. œ #œ œ ‰ J œ œ œJ ‰ bœ. nœ œ
D C F
J ‰ œ. œ J Œ
T 7 7
7 9 10 9 7 [ 7] 5
A 5 5 9 3 3 7 6 8
B
[17]
%
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
G F C G F C G
?# œ œ œ. nœ œ œ œ ‰ n Jœ
D
Develop on repeat
œ J œ œ œ
f
T 7 10 7 10
A 10 10 10 8 7 10 10 10 10 8 7 10
B 3 8 3 8 3
Bb
To Coda fi
[21]
œ œ
G F C C G
?# œ œ œ. nœ œ œ œ œ œ œ œ œ œ œ œ
œ J œ œ œ bœ œ œ nœ œ œ œ œ
Bass Grade 4
T 7 10
A 10 10 10 8 7 10 5 8 7 10 8 10 10 10 10 10 10 8 10
B 8 6 8
38
[25]
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
œ œ œ œ œ œ œ œ œ Cœ œ b œ œ œ Gœ œ œ œ œ œ œ F œ œ Cœ œ n œ œ œ
?# nœ œ nœ œ
F
T 9 10 9
A 7 10 10 8 7 7 10 10 10
B 10 10 10 10 10 10 8 10 10 10 10 10 10 10 8
[29]
Bb
? # œ œ œ œ œ œ œ nœ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ nœ
G F C C D
œ œ œ œ œ œ œ œ
T 7
A 7 10 10 8 7 8 10 10 8 7
B 10 10 10 10 10 10 10 8 8
10 10 10 10 10 10 10 3
[33]
j .
j j ‰ ‰ b œ n œJ
œ œ
?# œ œ œ œ œ j ‰ j j ‰ ‰ b œ n œJ ‰ œ œ œ œ .
j
j
E
‰
G
œ. œ œ. œ œ œ œ. œ
P
T 8 9 8 9
A 10 7 7 10 [10] 10 7 10
B 3 3 10 3 3 3 3 10 3
[37]
?# ‰ j‰ j
j
nœ œ œ œ œ œ œ
‰ J œ J ‰
bœ
’ ’ ’ ’ ’ ’ ’ ’
Fill
œ œ œ.
?# ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Develop bars 39 & 40
T
A
B
[45]
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ fi
œ œ œ œ D.œ%. alœ Coda
?# œ
F
œ œ œ œ œ œ œ œ
D
F
T 7 7 7 7 7 7 7 7 7 7 7 7 7 7
A 12 12 12 12 12 12 12 12
B 5 5 5 5 5 5 5 5 5
fi Coda
[49]
D œ œ œ œ œ œ œ œ œ œ œ œ
?# œ œ œ œ œ œ œ w
G
œ. J
Bass Grade 4
T 7 7 7 7
A 12 12 12 12 12 12 12 12
B 5 5 5 10 10 10
3
[53]
39
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
Walkthrough
A Section (Bars 1–4) bassline slides up to the C at the 10th fret of the D string to
The intro to this song is a four bar section comprising of an outline the C major chord. This is followed by an E, which is
octave-based line on the bass. the major 3rd. This E is embellished by briefly moving up to
the F a semitone above and then back down.
Bars 1–3 | Octaves
The bass plays an eighth-note octave line here. The string
crossing is a little awkward, so practise this part slowly and E & F Sections (Bars 37–52)
alternate the fingers on your picking hand where possible. The bass plays a lot of melodic fills during this section, and
is the featured instrument in the arrangement.
?# ‰ j œ œ œ œ n œ. œ. œ. Œ
G
Bar 20 | Non-diatonic chords
In bar 20 there are two chords that do not belong to the key œ œ
of G major: E b and F. These chords are non-diatonic and
have been ‘borrowed’ from the parallel minor key to create
an interesting approach back to G (via the F) for the D T
A 5 7 5 8 7 5
section. This chord progression is common in rock music. B 3 3 7
œ œ œ. nœ œ œ œ
Bars 21–22 | Use of arpeggios G F C G
?# œ œ œ œ œ
The D section uses a basic chord progression of G, F and
C, and the bass part clearly outlines these chords using
œ J
arpeggios (Fig. 2). The first note of each arpeggio is played
on the upbeat of the previous beat, in effect anticipating the
chord (sometimes referred to as a ‘push’). T 7 10
A 10 10 10 8 7 10
B 3 8 3
Bar 32 | Bass fill
Bass Grade 4
Notes: G G F A C C E G G
Start slowly and gradually build up speed as you become
more confident with the phrase. After outlining the F major Fig. 2: Use of arpeggios
arpeggio (with the root tied from the previous bar), the
40
B & B Scene
? bb 44 >œ ‰ Œ Œ n œ b œ ‰ œ œJ
KEY: Bb BLUES
A F7
2 1 1 3
COMPOSER: ALISON RAYNER T 3
A
B
PERSONNEL: STUART RYAN (GTR)
œ œ bœ œ œ œ œ œ bœ
Bb7
HENRY THOMAS (BASS)
œ œ
NOAM LEDERMAN (DRUMS)
Eb7 œ œ bœ
lines and improvisation among its techniques. performing their own acoustic blues.
STYLE FOCUS ? bb œ œ After the Second World War, the blues went electric
as guitarists like B.B. King, Muddy Waters and T-Bone
œ
Walker mastered the new technology that was the
This piece follows the traditional 12-bar blues electric guitar. The style has remained popular since
formula. The bassline, which is based on chord and the British Blues Boom of the 1960s when English
scale tones, derives from the walking basslines heard guitarists like Eric Clapton and Peter6 Green
5 mastered
8 8 6 5 5 6
on many jazz songs. This line features a basic melodic T the licks of their heroes and turned up the distortion.
8
idea that is then transposed over the different chords. A 6
6 6
This can be embellished further by incorporating B Blues bassists such as Tommy Shannon (Stevie Ray
œ œ bœ œ œ œ b œ œ bœ
chromatic lines to the chord changes. [9] Vaughan), Roscoe Beck (Robben Ford) and Nathan
East (Eric Clapton) will inspire you. E 7
œ œ LISTENING œ œ
7
?RECOMMENDED
F
bb
THE BIGGER PICTURE
A 8 8
record occurred in 1903 when Memphis band leader B ‘Hoochie Coochie Man’. John Mayall’s Blues Breakers
W C Handy encountered a man at a train station With Eric Clapton is a British Blues Boom classic.
œ œb
[13]
œ bœ Bb7
? bb œ œ Ó œ œ
C
41
B & B Scene
Alison Rayner
q =140 Blues
Eb7 Bb7
? b b 44 >œ ‰ Œ Œ n œ b œ ‰ œ Jœ b œ œ œ
A F7
Œ Ó
J œ >œ
F
T 3 2 1 1 3
A 4 4 1 1
B 3
? b
Bb
œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ
B
œ œ #œ œ œ œ
7
b œ œ œ œ œ œ œ
T 8 8 6 6 5 8 8 6 6 5 8 8 6 6 5
A 8 8 8 3 3 4 4 5 5
B 6 6 6 6 6 6 6
œ œ bœ œ nœ œ
[5]
? bb œ œ
Eb7
œ œ œ bœ œ nœ œ Bb7
œ œ bœ œ nœ œ
œ œ œ œ nœ
œ œ œ
T 8 8 6 6 5
A 8 5 5 6 6 7 8 8 8 6 6 5
B 6 6 6 8 5 5 6 6 7
6 6 6
œ œ bœ œ œ œ Eb7 œ œ b œ œ œ n œ bBœb œ b œ œ
[9]
œ œ b œ œ
F7 7 7
? bb œ œ œ œ nœ œ ‰ œ bœ œ
F
œ œ
[13]
? bb œ œ œ b œ Ó œ œ bœ œ œ œ bœ œ œ bœ œ œ
C
Bb
Ó ‰
7
œ œ œ œ œ œ
T 8 6 8 6 5 8 6 8 6 5
A 8 8 8 8
B 6 6 6 6 6 6 6 6
œ bœ œ œ bœ œ œ
[17]
? b œ œ
Eb7 Bb7
œ bœ œ œ bœ œ œ
b Ó œ œ ‰ œ œ Ó œ ‰ ‰
T 8 6 8 6 5
A 8 8 8 6 8 6 5
B 6 6 6 6 8 8
6 6 6
œ œ œ œ bœ œ œ
[21]
? bb œ œ
Eb7 Bb7
œ bœ œ œ bœ œ œ
Ó œ œ ‰ œ œ Ó ‰
F7
œ œ
Bass Grade 4
T 10 8 8 6 5
A 8 8 8 6 8 6 5
B 8 8 6 6 8 8
6 6 6 6
42
[25]
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
Bb7
? bb œ œ b œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ
D
T 8 8 6 5 5 8 8 6 5 5 8 8 6 5 5 8 8 6 6 5 5
A 8 8 8 8 8 8 8 8
B
Eb7 Bb7
œ œ bœ œ œ œ œ œ œ
[29]
? b œ œ bœ œ nœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ nœ
b
T 8 8 6 5 5 8 8
A 8 8 5 5 6 6 7 7 8 8 6 5 5 8 8
B 8 8 8 5 5 6 6 7
b7 b7
[33]
œ œ b œ œ œ œ œ œ bEœ œ b œ œ
F7
œ
œ œ œ b œ œ bœ œ œ œ bœ œ œ œ
B
? b œ œ œ
b œ.
T 10 10 8 7 7 8 8 6 5 5
A 10 10 10 8 8 8 8 8 6 6 5 5 4 4 3 1
B 3
1 1
[37]
Bb7 Eb7
Bass Solo (12 bars)
? bb
E
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Fill Fill
Bb7 Bb7
[41]
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F7 F7
Bb7
œ œ bœ œ œ œ
? bb œ bœ œ œ œ bœ œ œ œ
œ œ œ œ œ œ œ œ
F
œ œ œ œ #œ œ nœ œ
T 6 6 5 6 6 5 6 6 5
A 5 8 8 5 8 8 5 8 8 3 3 4 4 5 5
B 6 6 6 6 6 6 6
Eb7 b7
œ bœ œ nœ œ œ bœ œ œ œ B
[53]
? b œ œ œ œ œ œ œ bœ œ œ œ
b œ œ nœ œ œ œ œ #œ œ nœ œ
T 6 6 5 6 6 5
A 5 8 8 5 8 8 6 6 5
B 6 6 6 6 5 8 8 5 5 6 6 7 7
6 6 6 6
b œ œ n œ œ Eb œ b œ œ œ œ Bœ œ b œ œ œ œ b œ œ œ
? b œ œ œ œ
b
[57]
œ œ œ œ n œ œ œ œ œ.
F 7 7 7
b
T 8 8 7 6 6 5
A 7 10 10 5 8 8 8 8 6 6 5 5 4 4 3 1 2 3 3 3 3
B 8 8 6 6
Eb7 Bb7 b7 b7 b9
œ b œ œ Eœ œ b œ œ Fœ
[61]
? b b >œ ‰ Œ n œ b œ œ œ œ
U
F7 7
Œ ‰ J bœ œ œ œ œ œ œ Œ œ
B B
J w
>
Bass Grade 4
T 3 1 1 0 0
A 3 2 1 1 3 4 4 3 1 0
B 4 4 1 1 1 1
3
[65]
43
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
Walkthrough
A Section (Bars 1–4) via a passing note (G ). The G is played again on the fourth
The intro to this song features a simple riff based on the beat. Although the G is not part of the chord, this scale tone
blues scale and played in unison with the guitar. is commonly used in blues basslines.
Fingers: 2 1 4 2 1 4
This line consists of eighth notes on the first three beats,
and a quarter note on the fourth beat. It is a descending line Fig. 2: Arpeggio fingerings
which moves from the root (B b), to the 7th (A b ), to the 5th (F)
44
Noisy Neighbour
œ. nœ
KEY: C# MINOR
? # ## # 44 œ
A N.C .
6 5
COMPOSER: NOAM LEDERMAN T
A 4 4
B
PERSONNEL: STUART RYAN (GTR)
DAVE MARKS (BASS)
NOAM LEDERMAN (DRUMS)
? # ## # œ œ œ
œ. nœ œ œ
© PHOTOGRAPHER | ARCHIVE
œ œ œ. nœ œ œ
to raise funds via Pledge Music.
STYLE FOCUS
? # ## # œ œ
This form of indie rock shows some similarities
This particular form of indie rock is fast-paced to pop punk but often with a rougher edge to its
and great fun for bass players. Many of the parts are production. The basic instrumentation of guitars,
riff-based and integral to the song. While indie rock bass, drums and vocals is common, as are fast tempos
places the focus on lyrical content and attitude rather and punk-inspired simple chord progressions.
than musical proficiency, it is nevertheless vital that
the bass and drums lock tightly together. A solid 6
foundation is as important in this style of music as it T RECOMMENDED LISTENING 6 5 5
6 4
is in any other. A 4
B The debut album by Arctic Monkeys, Whatever
[6] People Say I Am, That’s What I’m Not (2006) was the
THE BIGGER PICTURE fastest-selling debut album in British chart history
thanks to the singles ‘I Bet You Look Good On The
>
Indie rock (short for ‘independent’) is a term that Dancefloor’, and ‘When The Sun Goes Down’. Franz
? # ## # œ œ
was originally used to describe rock music that was B Ferdinand’s self-titled debut album (2004), released by
œ œ
recorded on a low budget and self-released, promoted Domino, is also a great starting point, particularly the
Bass Grade 4
œ
and financed rather than ‘bought’ and distributed by tracks ‘The Dark Of The Matinee’ and ‘Take Me Out’.
a major record label. The style is home to a range of
45
T 4
A 4 2
B 4 0
[9]
Noisy Neighbour
Noam Lederman
q = 135 Indie
? #### 4 œ œ. nœ œ œ œ. nœ œ œ
A N.C.
4 œ œ œ
f
T 6 5 5 6 5 5
A 4 4 4 4
B
œ
? #### œ œ œ
œ. nœ œ œ
œ œ
œ. nœ œ œ œ. nœ œ œ
T 6
A 6 5 5
B 4 4 4 4 4
4 3 3 4 3 3
[3]
To Coda fi
? #### œ œ œ œ. nœ œ œ œ œ œ œ œ œ. nœ œ œ
œ. nœ œ œ
T 6 6
A 6 6 5 5 6 6 5 5
B 4 4 4 4
4 3 3
œ œ œ œ œ œ
œ œ
T 6 6 6 6 6 6 6 6 6
A 4 2 4 4 2
B 4 0 4 0
[9]
>œ
? #### œ œ œ œ >œ œ
œ œ œ œ Œ Ó
œ œ
T 6 4
A 6 6 4
B 4 7 6 4 2 4
4 0
[12]
T 6 6 6 6 6 6 6
A 4 2 4 2
B 4 0 4
[15]
46
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
j j j
? #### ‰ œ œ œ œ ‰ œ œ œ œ j nœ nœ
œ. œ ‰ nœ œ nœ œ
C
‰
Em Gm Am
.
nœ œ b œ œ
œ. œ œ. œ
T
A 7 7 3 5 5 7
B 0 0 5 7 0 0 5 7 3 3 6 5 5 8
[18]
j j j
? #### ‰ œ œ œ œ ‰ œ œ œ œ j nœ nœ
‰ œ. œ ‰ nœ œ nœ œ
Em Gm Am
.
nœ œ b œ œ
œ. œ œ. œ
T
A 7 7 3 5 5 7
B 0 0 5 7 0 0 5 7 3 3 6 5 5 8
[22]
1. 2.
F#m
? # # # # ..
’ ’ ’ ’ .. ’ ’ ’ ’
Em Gm Am
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
. .
Develop
. .
T
A
B
[26]
? # # # # .. œ
’ ’ ..
D N.C.
œ œ ’ ’ ’ œ œ œ ’
Fill Fill
œ œ œ œ
. .
. .
? ####
E
Em Gm
œ œ œ œ œ œ œ œ œ ¿ ¿ œ ¿ ¿ œ ¿ nœ œ œ œ œ œ œ œ nœ ¿ ¿ œ ¿ ¿ œ ¿
> > > > > >
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T
A
B 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3
[35]
fi
? ####
Am B D.C. al Coda
œ œ œ œ œ œ œ œ œ ¿ ¿ œ ¿ ¿ œ ¿ œ œ œ œ œ œ œ œ w
¿ ¿ ¿ ¿ ¿
T
A
B 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7 7 7
[39]
fi Coda
? #### œ œ œ œ
œ. nœ œ œ œ. nœ œ œ
Bass Grade 4
T
A 4 4 4 4
B 4 3 3 4 3 3
[43]
47
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
Walkthrough
A Section (Bars 1–8) approach note. The following bars use a similar sequence of
The intro introduces a unison riff based around the tritone notes as the chords change, and the part is developed in the
interval, which is a key feature of this piece. following four bars.
Bar 1 | Riff
The main riff is introduced after the opening drum fill. Two D Section (Bars 31–34)
quarter note C # ’ s are played, followed by the 5th, a G #, which This repeat of the verse section provides an opportunity for
then drops down to a G, the flattened 5th. This interval you to improvise your own bass fills.
(C # – G, in this case) is known as the tritone. It is normally
used to give a sinister quality (as on the title track of Black Bars 31–34 | Improvised bass fills
Sabbath, the debut album from the band of the same name). The bass fills in this section follow the quarter-note riff
played with the guitar. You only have three beats available
Bar 1 | Rhythmic accuracy for each fill, and you must be careful not to overrun. Base
The G # – G figure is played with a tricky rhythm. The G # is your ideas on the fills used in the first verse section. The
played on beat 3, with the G natural occurring on the last minor pentatonic scale and blues scale will both be suitable
16th note of the same beat. It is effectively played just before choices for fills here.
the fourth beat, anticipating it. The note is then tied into the
fourth beat and the next note is played on the ‘&’ of beat 4.
E Section (Bars 35–44)
Bar 6 | Root and fifth variation This section of the song is a continuous eighth-note groove
Two additional notes are added to the second beat here: a with some ghost notes added for variety.
G # and a C #, played on the D and G strings, respectively.
Combined with the C # on beat 1, these make a root-5th- Bar 36 | Ghost notes
octave figure common to most styles of music. Many of the notes in this bar are played as ghost notes
(Fig. 2). Ghost notes are pitchless notes that are played by
lifting the fretting hand fingers slightly off the string to
B Section (Bars 9–17) mute them. Make sure that you accent the pitched notes as
A bar of quarter notes comprise this new unison riff. This indicated here.
B 0 0 0
the E an octave higher. An A is then played as an approach
note to B, the 5th of the chord. Essentially, this line is based Fig. 2: Ghost notes
around the root, 5th and octave, with the A used as an
48
Benson Burner
œ œ . œ œJ
TEMPO: 104 BPM
Jazz
œ œ
q =104
œ œ
? 44 œ . œ œ
KEY: A MINOR
‰
A D m9
P
IMPROVISATION
SYNCOPATION
7 9 57 5
T 7
COMPOSER: DEIRDRE CARTWRIGHT A 5
B
PERSONNEL: STUART RYAN (GTR)
HENRY THOMAS (BASS)
œ œ . œ œJ ˙
NOAM LEDERMAN (DRUMS)
œ œ œ
? nœ. œ œ
ROSS STANLEY (KEYS)
‰
D m9
‰
FERGUS GERRAND (PERC) © PHOTOGRAPHER | ARCHIVE
œ œ œ. œ
A m7 D7
œ #œ
jazz. During the 1970s, many jazz musicians released
œ
G7
œ
D m7jazz records on the
?
STYLE FOCUS B smooth label, including David
Sanborn, George Benson and Lee Ritenour.
Improvisation is a huge element of all styles of jazz
and it plays a prominent part here, both in the lead Smooth jazz has produced many excellent bassists
guitar parts and the bassline. The electric bass is more including Marcus Miller, Scott Ambrose (Spyro Gyra)
common than the traditional upright bass in this style and Nathan East (Fourplay).
of smooth jazz, and many bass players have made a 7
T 7 5 6 7
name for themselves playing this particular style. 7 5 5
A
B RECOMMENDED LISTENING
THE BIGGER PICTURE [9] ‘Morning Dance’ by Spyro Gyra was a top 40 hit
in America in 1979, and ‘This Masquerade’, ‘Breezin’’
Jazz, much like rock, is an umbrella term that and ‘Give Me The Night’ by George Benson, found
covers a broad range of sub-genres. This particular on The George Benson Collection (1988), had a similar 7
œ
D7
œ #œ. œ œ œ . œ œ.
‘Rio’ and ‘Run For A m
œ
G7
œ
sub-genre is often referred to as smooth jazz because level
Dm of7success. Lee Ritenour’s
?
of its radio friendly combination of funk, R&B and Cover’ are superb examples of smooth jazz in action,
Bass Grade 4
jazz. The more traditional elements of jazz, however, and a great opportunity to hear the legendary bassist
are not included; for example, the swing feel and Marcus Miller in action.
49
7 6 6 7
T 7 5 5 0 5
A 7
B
[13]
Benson Burner
Deirdre Cartwright
œ œ œ œ œ œ. œ œ œ
q =104 Jazz
#
œ œ œ œ œ œ œ. œ ‰ œ œ bœ
D m9 A m9 A 13 A7 5
? 44 œ . ‰ J œ œ
A
Œ œ. ‰ J
P
T 7 5 7 9 5 7
A 7 7 5 7 9 5 7
B 5 7 6
5
œ œ œ œ
D m9
œ œ œ. œ œ ˙ A m9
œ œ œ œ œ. œ œ œ #œ
13
? nœ. ‰ J
A
‰ œ. œ œ ‰ ‰ J
T 7 5 7 9 5 7 6
A 7 7 5 7 9 5 7
B 5 7
5
[5]
œ
#
œ œ œ œ œ œ #œ
œ #œ œ. œ œ ‰ #œ
D m7 G7 A m7 D7 F7 E7 9 A m9 A 13
? œ œ œ J ‰
B
J
T 7 6 9
A 7 5 6 7 7 6 7 9
B 7 5 5 8 7
#
œ œ œ #œ. œ œ œ. œ
D m7 G7 A m7 D7 F7 E7 9
? œ œ. . œ œ œ. œ j
œ œ œ œJ ‰ J Œ œ œ Œ
T 7
A 7 5 5 6 6 7
B 7 0 5 5 8 8 8 8 7 7
7 0
[13]
œ œ œ. œ
#
œ œ œ œ . œ œ œ Am œ. œ œ œ
? œ. œ œ œ œ
‰ œœ
D m9 9 A 13 A7 5
‰ J œ. œ œ bœ
C
‰ ‰ J
T 7 5 7 9 5 7 5 7 5
A 7 7 5 7 9 5 7
B 5 7 6
5
[17]
œ œ œ œ œœ œ œœ œœ ˙ œ œ œ œ œ œ
‰ œ œ œ.
œ
D m9 A m9 A 13
? nœ. ‰ œ. œ œ
Bass Grade 4
T 9 [ 9] 7 5 7 5 5 7
A 7 7 7 5 7 5 9 7 7
B 5 7
5
[21]
50
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
? j
D
Œ Ó Œ Ó Œ Œ
A m7
œ œ. œ œ. œ œ. œœœ œ œ œ œ œ.
T
A 3
B 3 5 3 5 3 5 3 5 3 5 5 5
[25]
œ œ œ. œ œ. œ œ œ œ ˙
? œ. œ œ œ œ ‰. œ œ. œ œ œ œ œœœ
D m9 A m7
œ. œ œ R
T 7 5 5 7
A 7 7 7 7 5 7 7
B 5 7 7 7 7
5
[29]
œ œ. œ œ œ.
? œ. œ œ
D m9 A m7
‰ œ œ ‰
Fill Fill
’ ’ ’ ’ œ. ’ ’ ’ ’
T 7
A 7 7 9 7
B 5 7
5
[33]
#
œ . . œ. œ œ >œ œ #œ œ
œ œ
œ œ. œ #œ. œ #œ. œ œ
D m7 G7 A m7 D7 F7 E7 9 A m9 A 13
? . œ
œ œ œ œJ ‰
#
œ œ . .
œ œ œ. œ
D m7 7 A m7 D7 F7 E7 9
œ œ œ #œ œ œ. œ œ ‰ œ. œ j
G
? œ œ ˙ œ
J J ˙
T 7
A 7 7 5 6 6 7 3 3 3 3 2 2
B 5 5 7 5 5 2
0
[41]
? ’
E
A m7 D m9
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
T
A
B
[45]
? ’ j Œ
A m7 A m7
œœœ ˙
F
’ ’ ’ ’ ’ ’ ’ œ œ. œ œ. œ. œ
>
Bass Grade 4
T
A 3
B 3 5 3 5 3 5 5 5
[49]
51
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
Walkthrough
‰ J Œ
passing notes to outline the harmony. In bar 11 the bass
plays the root (F) and 3rd (A) of the F 7 chord, followed by
#
the 3rd (G # ) and root of the E 7 9 chord (Fig. 2).
T 7 5 7 9 5 7
Bars 15–16 | Syncopation A
B 5
7
œ
#
C Section (Bars 17–24) F7
>œ # œ E7 9
œ
A m9
œ #œ
A 13
Notes: F A E A B E
on/pull-off figure is played between the 7th and the root
(C and D). The C is played on the final 16th note of beat 3, Fig. 2: Walking bassline
followed by a D and a C played as eighth notes on beat 4.
52
Technical Exercises
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 indicated. 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 q = 80.
Group A: Scales
One octave prepared from the starting notes A, B, C and D
? œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
T 5 7 5
A 5 7 8 8 7 5
B 5 7 8 8 7 5
? ## œ œ œ œ œ œ
œ œ œ œ œ
2 4 2
bœ nœ œ œ œ œ bœ
? bb œ œ œ œ œ œ
b
T 3 5 3
A 3 4 5 5 4 3
B 3 6 6 3
?b œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
T 0 2 3 2 0
A 0 1 3 3 1 0
B 1 3 3 1
? bb œ œ œ œ œ œ
Bass Grade 4
œ œ œ œ œ
T 0 3 0
A 0 3 3 0
1 3 3 1
53
B
Technical Exercises
Group B: Arpeggios
One octave prepared from the starting notes A, B, C and D
? #### œ œ œ
# œ œ œ œ
T 9
A 6 9 9 6
B 7 7
œ œ œ
? bb œ œ œ œ
b
T 5
A 5 5
B 3 6 6 3
T 5 7 5
A 4 7 7 4
B 5 5
54
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 rhythmic and melodic shape in bars 3–8, maintaining the same melodic sequence. All notes played must be diatonic
to the key signature. The root note of the pattern to be played is shown in the music in bars 3, 5 and 7. The tempo is q = 100.
œ œ œ œ œ œ œ
q = 100 Rock
? ## 4 œ œ œ œ œ ‰ œ ‰ J œ
D Bm
4 J œ
T 7 7 7 7 7
A 7 7
B 5 5 5 5 5 5 5 2
? ##
G A
œ œ
T
A
B 3 5
[5]
55
Sight Reading
In this section you have a choice between either a Sight Reading test or an Improvisation & Interpretation test (see facing
page). At this level there is an element of improvisation. This is in the form of a two bar development of the bassline. The
piece will be composed in the style of rock, funk or blues and will have chord symbols throughout. The test is eight bars long
and is in one of the following keys: D major or G major, or D minor or A minor. The examiner will allow you 90 seconds to
prepare it and will set the tempo for you. The tempo is q = 80–90.
q = 90 Funk
? 44 Œ œ œ œ œ
œ œ Œ
A m7 E m7 A m7 E m7
œ œ œ œ œ œ œ œ œ
œ œ œ œ
T 0
A 0 2 2 2
B 0 2 3 0 0 0 3
3 3 0 3 0 0 0
?’ œ œ œ œ œ œ
A m7 E m7 A m7
œ œ
Dm Em
’ ’ ’ ’ ’ ’ ’ œ ˙
Develop bassline
T 0
A 0 3 0 2 2 2 0
B 3 0
[5]
56
Improvisation & Interpretation
In Grade 4, the Improvisation & Interpretation tests contain a small amount of sight reading. This consists of a two bar
section of groove notation at the beginning of each test. You will be asked to play the notated bassline and complete the test
using an improvised line as indicated. This is played to a backing track of no more than eight bars. The test will be given in
one of the four following keys: D major or G major, or D minor or A 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 q = 90–100.
q = 100 Rock
¿ ¿ ¿ ¿ A m7 D m7 A m7
? 4 ..
C
4 œ œ Œ œ œ œ œ œ œ Œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
.
Develop bassline
.
T 0 0 0
A 0 0 3 0 3 0 3 2
B
? ..
A m7 D m7 C F G
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
.
.
T
A
B
[6]
57
Ear Tests
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.
Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to
practise after you have heard the test for the second time. You will hear the count-in and root note for the third time
followed by a vocal count-in and you will then play the melody to the drum backing. The tempo is q = 90.
¿ ¿ ¿ ¿
q = 90
? # # 44 .. w œ œ œ
œ œ œ œ Œ œ ..
. .
. .
T 0 4 7 4
A 5 5 7 7
B 7
¿ ¿ ¿ ¿
q = 90
? 44 .. | Û Û Û Û Û Û Û Û Û Û ..
C F G
Bass Grade 4
58
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 asked will be 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. The scale question at the end of the list of subjects
is mandatory.
■■The meaning of the time signature and the key signature markings
■■Repeat marks, first and second time bars, D.C., D.S., al Coda and al Fine markings
■■Whole, half, quarter, eighth note, triplet eighth notes and 16th note values
■■Whole, half, quarter, eighth note and 16th-note rests and rest combinations
■■One type of scale that can be used appropriately in the solo section of the piece you have played
Instrument Knowledge
The examiner will also ask you one question regarding your instrument.
■■The tone settings for the piece you have played on the amp and why you have chosen these settings
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.rslawards.com Bass Grade 4
59
Entering Rockschool Exams
Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com
■■All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.
■■All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.
60
Marking Schemes
Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation
Fmaj 7
w G9
?4 ww
4 ˙ Ó
Notes:
’ ’ ’ ’
THE MUSICAL STAVE
shows pitches and rhythms GA
and is divided by lines into E F
CDB
bars. Pitches are named after AG
the first seven letters of the
alphabet. Strings:
G
T 9
TABLATURE graphically D
A 7
represents the bass guitar
A
B 8
E 3
fingerboard. Each horizontal
line represents a string and Fourth string, 3rd fret Fmaj 7 chord in the 7 th position Solos and Cont. sim. sections
each number represents a fret. are shown in slash notation
HAMMER-ON: Pick the lower note PULL-OFF: Pick the higher note then SLIDE: Pick the first note and slide GLISSANDO: Slide off of a note at the
then sound the higher note by sound the lower note by lifting your to the next. If the line connects (as end of its rhythmic value. The note
fretting it without picking. finger without picking. below) the second note is not repicked. that follows is repicked.
? ? œ œ ? ? œ
œ œ œ œ
T T 3 2 T T
A 0 2 A A A 5
B B B 5 3 B
? œ ¿ ¿ œ ‚
P
? #œ ? bœ œ œ ?
T P T
œ œ ‚
œ #œ
NH
¿ ¿
T P T P
T T T 5 T 12
A 2 4 A A A 12
B B 6 3 5 B 3 B
0 2 4
œ.
■ Go back to the beginning of the song and
(staccato) ■ Shorten time value of note. D.C. al Fine play until the bar marked Fine (end).
.. ..
1. 2. ■ When a repeated section has different
endings, play the first ending only the first
time and the second ending only the
second time.
62
Mechanical Copyright Information
Brokenhearted
(Brown/Fitzgerald/Dalton/Blackwell)
Spirit Music Publishing Limited/BMG Rights Management (UK) Limited/Sony/ATV Music Publishing (UK) Limited
63
Introducing…
Rockschoo
new theorl’s
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exams!
POPULAR
MUSIC THEORY
GRADES DEBUT–8
OUT NOW!
Discover more at
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