最新2018版英皇BASS 4级 PDF

Bass Grade 4
Performance pieces, technical exercises and in-depth guidance

for Rockschool examinations
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Acknowledgements
Published by Rockschool Ltd. © 2012 & 2018

Catalogue Number: RSK200055
CONTACTING ROCKSCHOOL
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Syllabus Designer Recording & Audio Engineering (Hit Tunes 2018 Repertoire)
Nik Preston Recording engineers: Oli Jacobs, Scott Barnett, Patrick Phillips
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Producer Mastering engineer: Samuel Vasanth
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Proof reading Fact Files written by Joe Bennett, Charlie Griffiths, Stephen Lawson,
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Walkthroughs written by James Uings
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Guitar: James Betteridge, Andy G Jones Simon Troup & Jennie Troup (Digital Music Art)
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Bass: Stuart Clayton
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Bass: Nik Preston, Joe Hubbard, Stuart Clayton,
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Vocals: Kim Chandler Recording & Audio Engineering (Rockschool 2012 Repertoire)
Keys: Jono Harrison, Hannah V (on ‘Red Baron’), Andy Robertson Recorded at The Farm (Fisher Lane Studios)
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John Simpson, Norton York
Bass Grade 4
2
Table of Contents
Introductions & Information
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’

Technical Exercises
53 Scales, Arpeggios & Riff
Supporting Tests
56 Sight Reading
57 Improvisation & Interpretation
58 Ear Tests
59 General Musicianship Questions
Additional Information
60 Entering Rockschool Exams

61 Marking Schemes
62 Bass Guitar Notation Explained
63 Mechanical Copyright Information
64 Rockschool Popular Music Theory
Bass Grade 4
3
Welcome to Rockschool Bass Grade 4
Welcome to Bass Grade 4

Welcome to the Rockschool 2018 Bass syllabus. This book and the accompanying downloadable audio contain everything
you need to play bass at this grade. In the book you will find the exam scores in both standard bass notation and TAB,
as well as Fact Files and Walkthroughs for each song.
The downloadable audio includes:
■■full stereo mixes of 6 Rockschool compositions and 6 arrangements of classic and contemporary hits
■■backing tracks (minus the assessed bass part)
■■all necessary audio for the complete range of supporting tests
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.

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 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
RSL website: www.rslawards.com
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
SONG TITLE: I GOT YOU (I FEEL GOOD)

ALBUM: I GOT YOU (I FEEL GOOD)
LABEL: KING
c 144 Soul/Funk
œ nœ œ œ œ œ
GENRE: SOUL FUNK
? # # 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,

T 7
well know recording. The lyrics of ‘I Got You (I Feel together with Brown, helped define the sound of
Good)’ are about the feeling produced by being in A early Funk. 5 3
B
partnership with one’s love. The song contains many
of James Brown’s classic compositional features. It [4] James Brown’s importance as an American
is a twelve-bar blues, driven by a relentless bass riff cultural icon cannot be underestimated. His lyrics
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

[7]
>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

T 7 5 7 5 7 5 7 7 5 2 2
A 7
B 5 5
[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 nœ

‰ œ ‰ œJ ‰ Jœ ‰ J
A9 G9 D9
? ## 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
Section A (Bars 1–12) Section D (Bars 25–42)

Bars 1–8 | Funk blues and upbeat eighth notes Bars 25–24 | Opening section repeat and extended ending stabs
This opening twelve bar section moves through basic blues This section is a repeat of the opening section but it doubles
changes and features a two bar pattern that shifts between the ending stabs and adds a descending line to finish it off.
the tonic and subdominant chords for the first eight bars. As previously well organised fingering patterns will help
It is very important to make sure all notes are well timed you deliver the line smoothly and timely. Note the use of F
and measured so that the rests and upbeat eighth notes of natural over the descending D9 – this lends the line a funky
every second bar are clear and crisp. Note how in sections and soulful flavour and makes the ringing D9 chord in the
from here on in, all 7ths are flattened to sit well with the end more distinct.
dominant harmony. In other words all C’s over D9, and all
F’s over G9, have a cancellation sign before them meaning Isolating the different patterns featured in this song will help
they are natural as opposed to sharp as indicated by the you with the delivery and feel. This is crucial in any style but
key signature. The dominant 9th chord is a signature very relevant in this case given the prominence of the bass
James Brown sound. line and its dual function as harmonic and rhythmic driver.
It is important to find a comfortable and tonally suitable
Bars 9–12 place for the plucking hand. Experiment with this until your
These four bars will require you to play clearly accented ears and hands are happy with the result.
quarter notes on beats 2 and 3 of bars 9 and 10, highlighting
the dominant and subdominant of the key, and to spell a D9
tonic chord over bars 11 and 12. The trick for the latter is
that it will all be eighth-note upbeats so counting is crucial
to begin with, this will help you with the placement and,
in turn, with delivering the line smoothly. It is important
to have a clearly established fingering pattern to deliver
this funky syncopated arpeggio. To this effect try to start
with your second finger on D, all others notes should fall
naturally under the other fingers, except for E which you can
reach with your fourth finger.

Section B (Bars 13–16)
Bars 13–16 | Upbeats and ties
This link section, originally played by the horn, works well
on bass and will require a steady hand. Be mindful of the
ties in bars 14 and 16. Make sure notes are well timed and
prepare the chromatic run at the end bar 16 carefully so
there is a smooth transition to section C.
Section C (Bars 17–24)

Bars 17–24 | Steady eighth notes
This section will require you to control the volume and
length of open strings at a fast tempo. Should you feel the
need to fret open D’s and A’s, try to determine whether it
helps your delivery. The section closes with a quarter-note
stab on beat 1 of bar 23. Make sure your entry into bar 25
is accurate. Counting eighth-notes in your head will help
you with this.
Bass Grade 4
8
Gladys Knight
SONG TITLE: MIDNIGHT TRAIN

TO GEORGIA
ALBUM: IMAGINATION c 92 Soul Ballad
Db A b/C
j
LABEL: BUDDAH
? 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

1 3
Best R&B Vocal Performance by a Duo, Group or T regarded by many as one half of1the3Motown bass 1
A revolution, together 3 3
Chorus and became Gladys Knight’s signature song. 4 with James Jamerson Jr. Babbitt’s
1
B
melodic and syncopated line is a classic of the Soul
‘Midnight Train To Georgia’ was written by Jim [5] genre. The recording also features Jeff Mironov on
Weatherly. He recorded an earlier version titled guitar, the Brecker Brothers, Randy and Michael on
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

[9]
Db G b/B b A b 7sus 4 Db G b/B b A b 7sus 4

? 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
F m7 F m7
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.
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]
Gb A b 7sus 4 Db A b/C G b/B b A b 7sus 4
? 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]
Db A b/C G b/B b A b 7sus 4 Db E b m7 A b 7sus 4

j j
F m7
? 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

T 3 1
A 4 4 3 3 1 1 1 3 4 4 4 1 1 3
B 4 4 4 4 1 1 4 4 4
[37]
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]
G b/B b A b 7sus 4 Db A b/C G b/B b A b 7sus 4
? 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
Getting familiar with the key Section C (Bars 21–36)

The key of Db major will present you with some challenges Bars 21–36 | Varying syncopated lines, chromaticism and
in relation to fingering options, because open strings are gradually reintroducing the intro
pretty much out of the question, but it will be great fun to This section adds variety to the previous one and will
play in. To begin with it would be advisable to familiarize require you to combine different rhythmic patterns.
yourself with the key by playing the scale from Db on the Note how in bars 21, 23, 25 and 29 ties are used on the third
4th fret of the A string up to the 6th fret of the G string and beat quarter-note. In this section the bump on the dominant
down from Db on the 6th fret of the G string to F on 1st fret chord in bars 27 and 28 features a different rhythmic pattern
of the E string. Identifying all notes within the key, across all but achieves a similar effect, as before try to get familiar with
strings in the region of the neck highlighted, will make the it to deliver it smoothly.
line much more logical and contextualized. It will also give
you options you can choose from if the suggested TAB is not Bars 26, 31 and 33 feature non-diatonic passing notes.
suited to your comfort preference. These will require you to be alert and prepare your
fingering options in advance.
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.

In bar 5 the groove hits the ground running with a bar long
rhythmic figure that will recur throughout the song. You’ll The rhythmic complexity of the line and the fast-moving
find it in one way or another in all subsequent bars in this harmony will require you to deliver it smoothly to make
section. Variations will include 16th notes on beat 3 and it sit well and discreetly in the context of the track. After
straight eighth-notes on beat 4 in bar 8 and tied eighth-notes all, and despite its prominence, the bass is still providing
and dotted eighth-notes in bars 11,12,19 and 20. These bars harmonic and rhythmic support to the song. This beautiful
are good examples of rhythmic and harmonic tension in the song will provide you with a great deal of vocabulary for
dominant chord of the key. Ties are a significant feature of your soul playing.
the style and they are used throughout the song. This will
require you to time all note lengths accurately. It is advisable
to sing or play these patterns using a single note to get used
to their rhythmic quality and flavour. This will make it
much easier to play across different chords with different
pitch content.
Dividing the section into two eight bar subsections might

help you get familiar with the line and will help you unravel
its musical logic.
Bass Grade 4
12
Justin Timberlake
SONG TITLE: ROCK YOUR BODY

ALBUM: JUSTIFIED
LABEL: JIVE c 101 RnB/Pop
GENRE: DISCO/R&B Intro
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

Pharrell Williams, and intended for Michael Jackson’sT successful songs of the last two decades such as ‘Get 2 2
tenth and final album Invincible. The song was A Lucky’ by Daft Punk and ‘Happy’ written by himself. 3
B 0 0 0 0
rejected and eventually offered to Timberlake for his 0 performed
‘Rock 0Your Body’ very well worldwide,
2003 debut album Justified. He contributed his line [4] reaching number 1 in the US top 40 and number 2
and added his name to the credits. in the UK Singles Chart. It has also been featured in
an episode of South Park and the 2007 Dance Dance
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

[7]
?# 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.
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

T 7 7 5 5 7 7
A 3 5 3 5 5 5 5 5
B 3 5
[28]
?# ‰ 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
A Section (Bars 1–4) E Section (Bars 22–29)

The main theme of the piece is established in bars 1–4 with The rhythmic pattern of the main groove underpins the
some 16th-note syncopation in the second bar of each bridge but a change in chords and melody provide a release
two bar pattern. This pattern will appear throughout the in tension. There are some slight key shifts in this section.
majority of the piece.
Bars 22–25 | Repeated rhythms
Bar 1 | Quarter and 16th notes The same rhythm provides some continuity here with the
The first three quarter notes are strongly phrased with the harmony of the fifth and sixth degrees of the E minor scale
drums followed by two 16th notes played an octave up on used in bar 22. Make sure to give the rests full value in bar
the A. The hand position will need to adjust slightly 23. Bar 22 is repeated again in bar 24, with the Fmaj 7 chord
here with the first finger moving from the G to the A on providing a shift in key centre in bar 25.
the E string.
Bars 26–29 | Key centre shift
Bar 2 | 16th-note syncopation The pattern in bars 26–27 is almost the same as in bars
The rhythmic pattern in bar 2 will take some work to place 22–23 with the Cm7 chord in bar 28 providing another
the 16ths correctly. Using the ‘1 e & a’ counting method at shift in key centre. Notes of the C Dorian scale are used to
a slower tempo will help here. The line still needs to have support the chord here with the rhythm in bar 29 taken from
impact so aim to dampen the string with the fretting hand as the second bar of the main riff.
much as possible when there are rests.
Bars 3–4 | Repeated phrases F Section (Bars 30–33)

The first two bars are repeated almost identically here. There A return to the chorus sees a return to the main theme, with
is one extra 16th note in bar 4 which falls on the ‘e’ of beat a total of eight bars played here.
4. Moving from the open E to the octave can be quite tricky
but alternating the finger in the picking hand should help to
achieve this phrase. G Section (Bars 34–38)
The final eight bars feature the main groove again with the
quarter note stop on beat 1 of the final bar signifying the end

B Section (Bars 5–8) of the piece.
Bars 1–4 are repeated exactly in this section. Aim for
consistency here and in the piece as a whole.
C Section (Bars 9–16)

The same pattern appears again throughout the verse with
a slight change in the first bar. There is a hit on beat 1 with
a half note and eighth-note rest afterwards which give way
to vocal phrasing. The two 16th notes at the end of the bar
resume the main theme.
D Section (Bars 17–21)

Some repetition once again for the chorus with a focus on
consistency and balanced tone. Watch out for the repeat.
Bars 17–21 | Repeated phrases

The established pattern continues through the first and
second time of the repeat. There is a quarter note stop on
beat 1 of bar 21 with the two eighth-notes on beat 4 setting
up the bridge section.
Bass Grade 4
16
Lawson
SONG TITLE: BROKENHEARTED

ALBUM: CHAPMAN SQUARE
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
BACKGROUND INFO œ. edition DVD. The

œ songsœ andœa deluxe
acoustic J band
toured further, subsequently visiting the Far East
‘Brokenhearted’ was the fifth single released by where they enjoyed great acclaim.
Lawson and features guest vocals from American

rapper B.o.B. The song was the lead single from the T The band have been on hiatus since 2017. All
5
A members are still active in the music business. 5 3
band’s re-released debut album Chapman Square, 5 5
B 3 3 3 3
named after the location of the same name in
Southfields SW19. ‘Brokenhearted’ is, allegedly, [4]
lead singer Andy Brown’s favourite song from the
band’s repertoire.
Verse
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
œ œœŒ ⇥¿ œ ⇥œœ œœ œŒ ⇥¿ œ ⇥¿ œ œ œœŒ ⇥¿ œ ⇥œœ œœ œŒ ⇥¿ œ ⇥¿ œ

Am F G Dm Am F G Dm
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

[7]
? 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.
? 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 ⇥¿ œ ⇥¿ œ œ œ œ Œ ⇥ ⇥ œ œ œ Œ ⇥ ¿ œ ‰ œj
G Dm Am F G Dm
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
A Section (Bars 1–6) D Section (Bars 28–37)

The two-bar guitar intro provides two whole bars of rest for There is a half-note rest at the start of the verse which gives
the other instruments, with the whole band joining at bar 3. way to a vocal line. The bass line rejoins on the ‘e’ of beat 3
and the verse chord sequence is re-established again. Using
Bars 1–2 | Whole rests the above counting method and practicing at a slower tempo
Be sure to count through these two opening bars as the will help to place the 16th-note phrasing of this section.
guitar rhythm is slightly syncopated. There are two full bars of rest at bars 36–37 before moving to
the chorus.
Bars 3–6 | Sixteenth note phrasing and mutes
The main chorus groove is established here with
combinations of 16th notes across a two bar phrase. Using E Section (Bars 38–41)
the ‘1 e & a’ counting method practiced at a slower tempo The final chorus is played twice, giving eight bars in total.
will help to place these phrases, with mutes achieved by The rhythmic phrasing is very similar to the previous chorus
releasing pressure on the string in the fretting hand. The A and the chord sequence remains the same. Make sure to cut
minor feel is strongly felt with the first chord of the two bar the last eighth note in bar 41 after the second time through
phrases being an A minor chord. to ensure a crisp ending.
B Section (Bars 7–14)

The verse section follows the same chord sequence as
the previous four bars but with a little more space in the
rhythmic pattern. Bar 14 features an E7 chord which is not
in the A minor key. This popular musical device of playing
the fifth degree as a dominant chord works well to create a
‘pull’ back to the root minor chord.

The chorus section has some repeated harmony from earlier
in the piece with the E7 chord appearing again.
Bars 15–18 | Repeated harmony

The chord sequence will appear familiar in these bars with some
changes to the rhythmic pattern. Some hand position shifts will
be needed when moving to the F and D minor chords.
Bars 19–23 | Key centre shift

The A minor feel is still in place although the D minor chord
is replaced by an E7 chord in bars 20 and 22. Watch out for
the 2/4 bar in bar 23!

The opening pattern is established again in these four bars
with a direct repeat of bars 3–6.
Bass Grade 4
20
Bob Marley and the Wailers
SONG TITLE: I SHOT THE SHERIFF

ALBUM: BURNIN’
LABEL: TUFF GONG / ISLAND c 97 Reggae
GENRE: REGGAE Gm
? 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
BACKGROUND INFO The band broke up in 1974 due to disagreements

R
between Tosh and Wailer, allegedly over the bands
‘I Shot The Sheriff ’ was released in 1973 and tells activity and its impact on their Rastafarian beliefs.
the story of the killing of a local corrupt sheriff by Tosh and Wailer achieved significant success

3 3
the narrator, who is also accused of killing his deputy. T thereafter. Bob Marley
3 and 5
3 The Wailers were born as a 5
According to Bob Marley, it is a song about justice. A B
5 5
result of these changes and their line up included Bob
Marley on vocals and rhythm guitar, lead guitarists
Bob Marley and The Wailers are considered a [3] Junior Marvin and Al Anderson, Aston Barrett on
seminal band in popular music. Although their bass, Carlton Barrett on drums, Tyrone Downie
sound is intimately tied to Jamaican reggae the and Earl Lindo on keyboards, Alvin Patterson on
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
and they recorded many ska and early reggae classics.
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

[6]
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.
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]

œ œ ˙
Gm Cm Gm
? 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
Section A (Bars 1–8) Section C (Bars 22–30)

Bars 1–8 | Subdivision and space Bars 22–30 | Outro and end
This is a repeated four bar pattern that underpins the song’s This section will feature the opening line underpinning the
chorus and packs a tasteful and effective blend of harmonic melody and mirroring it in bar 27, thus leading to the end
and rhythmic elements. The opening line flows from the rhythmic unison in bar 29.
third of the chord (Bb) landing on the G (tonic) on the
second beat of the bar and dropping an octave. This provides Overall it is important to connect all sections of this line
a smart and clear triadic description of the tonic chord. smoothly to give it a flowing feel and to provide that distinct
Be mindful to prepare your fingering in advance to avoid sense of harmonic and rhythmic direction, so unique to
any stumbles – it’s advisable to try starting with the fourth Aston Barrett’s playing and Jamaican reggae.
finger on Bb. The key with this line is to deliver it smoothly
and with panache. The last beat of bar 1 anticipates the
tonic of the subdominant chord and adds 16th notes to
the line. Make sure you play the full length of the half-note
in bar 2. In bars 3 and 7 you play off the one of the bar in
typical reggae fashion. This requires a deft awareness of the
subdivision so listening to the drum kit and counting will
serve you well. Note length is integral to the sound of all
styles but in reggae the use of rests is as relevant as the notes
played. Make sure all notes are accurately measured and
timed to allow for maximum contrast with the rests.
Section B (Bars 9–21)

Bars 9–21 | Reggae 16ths, hidden ties, classic pentatonic run
and that extra bar
In this section you have some great examples of cross-beat
playing. Long values in bars 13 and 15 are represented by

dotted quarter-notes and quarter-notes. This is an effective
way of writing cross-beat lengths without having to use ties.
Take care to analyse these beforehand to figure out their
full length. Coherent fingering patterns are required to
accomodate the descending fourth intervals that appear in
this section. On fretted basses you can try to use the fourth
and third fingers on different strings but on the same fret
to negotiate this interval. Be aware of the slight but stylised
differences in approach to the Ebmaj 7 and Dm chords in
bar 17 and in the second half of bars 14,16 and 18 for Gm.
This adds a subtle and spontaneous feel to the way the line is
constructed. In bars 17, 19 and 20 you have the standard way
of representing ties. Bars 19 and 20 feature a classic minor
pentatonic run that you’ll do well to practise on its own in
order to make it smooth and melodic. Be aware of the extra
2/4 bar (21) after it, this is where the drums play the pick-up
back to Section A again.
Bass Grade 4
24
Grace Jones
SONG TITLE: PULL UP TO THE BUMPER

ALBUM: NIGHTCLUBBING
LABEL: ISLAND
c 109 Funk
œ œ œ œ
œ
GENRE: DISCO/DANCE/R&B
? b 44 ‰ œj .. œ
Intro
Œ
A
WRITTEN BY: GRACE JONES, KOOKOO

BAYA AND DANA MANO
PRODUCED BY: CHRIS BLACKWELL AND
ALEX SADKIN
.
.
5 7
5 7 5
T
UK CHART PEAK: 12 A 3 5
B
onal in this piece
NOTE: Use of slap technique is opti
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

recorded in its instrumental version during sessionsAT scene. Many remixes have been released since its 3
for the album Warm Leatherette, released in 1980. B original single release including an unedited original
Producer Chris Blackwell felt the Dance/R&B style recording subsequently made available as part a 2014
of the track was not suited to the record and set it [4] re-release featuring the complete album sessions. The
aside. Nightclubbing was a highly successful record song was sampled by rapper Coolio in 1997.
and ‘Pull Up To The Bumper’ became its third single
‰ 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
? b 44 ‰ œj .. œ œ œ œ œ œ œ ⇥œœ œœœ œœœ œœœ œ

A Intro
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
NOTE: Use of slap technique is optional in this piece
?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

[7]
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.
? ‰ 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

?b œ ‰ œ #œ œ
E D m7 G m7 D m7
‰ 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
A Section (Bars 0–9) D Section (Bars 22–25)

The bass is featured heavily in the opening section with the In this section the bass is highlighted as the harmony
Dm pentatonic scale used to play fills through the bars. instruments drop out. There are two new techniques
introduced here in the way of mutes and crushed notes.
Bar 0 | Pick up bar
The opening bar is a ‘pick up bar’ with a C played on the ‘&’ Bars 22–23 | Mutes and crushed notes
of beat 4. The Dm7 chord is still suggested here even without harmony
instruments being played. The pattern begins with two
Bars 1–5 | Syncopated 16th note rhythms eighth notes an octave apart followed by two 16th–note
The four note pattern in bar 1–2 feels like it is being played mutes. Mutes are achieved by releasing pressure from the
‘across the bar’ with the D minor pentatonic scale strongly fret board but still having contact with the string with the
established. The majority of bars 3–4 feature rests so make fretting hand. The ‘crushed note’ is played as a fast slide from
sure to use the ‘1 & 2 &’ counting method to catch the C in one note to another. In this bar slide from the third fret to
bar 4. This section is repeated once more with a full bar of the fifth fret on the A string as quick as possible, making
rest in bar 5. sure the D falls on beat 3 of the bar. The same principles
should be applied to bar 23 but in the E string position.
Bars 6–9 | Note value combinations
The main groove is established and is based on a two bar Bars 24–25 | Repeated phrases
pattern through Dm7 and Gm7 chords. Practice the line The first two bars are repeated exactly in bars 24–25 with the
with a metronome slowly at first using the ‘1 e & a’ counting repeat marking giving eight bars in total here.
method to place the 16th notes. The rhythm of bar 7 is the
same as bar 6 with some chromatic movement in the line.
There is very little in the way of hand position changes E Section (Bars 26–34)
for this main groove, with frets three, four and five used The main groove is re-established at the chorus section with
across the E, A and D strings. Bars 8–9 repeat the pattern in a unison ending in bar 34.
bars 6–7.
The pattern in bars 14–15 is repeated three times here with

B Section (Bars 10–13) bar 33 moving to a C11 chord. The quarter notes give a little
The two bar pattern established in bars 6 & 7 is repeated more impact than the dotted half note in bar 21 and set up
throughout the verse section with a total of twelve bars the final bar well.
played here. Make sure the rests are given value and aim for
consistency in tone and volume throughout. Bar 34
The final bar is played in unison with the rest of the band to
establish a strong ending whilst still keeping the theme.
The chorus section features the same two bar pattern as
played through the verse, with a slight change in bar 21.
Bar 21 | Dotted half-note

The C11 chord provides some tension release in this bar with
a dotted half note played on beat 1. Make sure to release the
note before beat 4 of the bar.
Bass Grade 4
28
223
SONG TITLE: 223

GENRE: POP PUNK
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
TECH FEATURES: RIFFING ON ONE STRING
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

Sum 41 and Green Day. Pop punk basslines are often Out And Play’.
.
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
? #Classic œ Green‰ Day’sœ œ

A Bm
pop punk‰albumsœ include

C RECOMMENDED LISTENING
œ
serve as counter melodies.
#
D
THE BIGGER PICTURE Dookie (1994), boasting their J ,

J first big hit ‘Longview’
and Warning (2000), which includes the title track
This blend of pop and punk styles has proved to be and ‘Minority’. Americana by The Offspring (1998) is
extremely durable over the last three decades. Early also recommended for Greg K’s basslines on ‘Pretty
pop punk bands included Buzzcocks, Ramones and T Fly (For a White Guy)’. Enema of The State (1999) by
Bass Grade 4
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
q =165 Pop Punk

A/C # A/C #
1. 2.
œœœ >œ >œ >

A5 Fine
? # # 4 .. œ œ œ œ œ œ œ
D D D D N.C.
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 œ œ œ œ œ œ œ œ œ œ œ . >œ >œ >

B D A G A D A N.C. N.C.
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

T
A 5 5 5 5
B 5 7 3 3 5 5 5 5 5 3 5 5
[11]
? ## 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]

Bass Solo (8 bars)
? # # .. ’ ..
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
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.
Bars 1–6 | Bass riff E and F Sections (Bars 23–34)

The bass riff that opens ‘223’ is a melodic line based on The E section is essentially a repeat of the line from the B
chord tones, alternating with the open A string. Fret the D section. The F section has a light reggae feel with a simple
with your first finger then move up to fret the E at the end of yet effective bass part.
the first bar with the same finger. Use your first and second
fingers to play the F # and G notes. G Section (Bars 35–38)
The bass solo section is an opportunity to improvise a solo
Bars 1–6 | Timing that fits the style of the song.
The bass is the featured instrument and for the first four
bars the drums and guitar play minimal parts only. Focus on Bars 35–38 | Soloing
your timing because it will be noticeable if you slow down or When planning your bass solo, consider the notes in each
speed up in between the drum and guitar hits. chord. Write these down then try to find melodic phrases
that use these notes. You could take inspiration from the
melodic linking phrases that were used in the bridge section.
The B section is based on an eighth-note line that focuses on
the root notes of the guitar chords. H Section (Bars 39–45)
This is a repeat of the D section with some variations. There
Bars 6–8 | Consistent eighth notes are also some navigation markings to be aware of.
This is a continuous eighth-note line that must be played
with a consistent attack throughout. If you are using a pick, Bar 45 | Navigation
play this part using up and downstrokes and ensure you At the end of the extended bridge section you are directed
produce the same level of attack and volume with each. back to the beginning of the song, where the intro is played
again as an outro. Be sure to stop at the direction ‘Fine’ at the

end of the second time bar.
A different feel is used for the verse. This is a classic pop
punk progression and features some quick positional shifts.
? ## j j
‰ œ ‰
G A
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

The bassline here has the same rhythmic pattern in the first
three bars and locks in tightly with the drum part.
? # # œj ‰ œj ‰ œ œ
œ œ œj ‰ œ ‰ œ œ œ n œ
j
Bm G
Bars 19–22 | Rhythm

The rhythm in this section is simpler than it looks. The first
two notes are both eighth notes that fall on the first and
second beats. These are followed by a group of four eighth T
A 2 2 2 0 2 0 0 2 3
notes played on the third and fourth beats.
Bass Grade 4
B 3 3 3
Bars 19–22 | Melodic lines Fig. 2: Melodic lines

Each chord is connected in the bassline by the group of four
32
Bootsylicious
SONG TITLE: BOOTSYLICIOUS

GENRE: FUNK
TEMPO: 105 BPM
q =105 Funk
‰ œ b œ. ‰ œ b œ.
KEY: F MAJOR
? b 44 ‰
A
F7
œ J J
TECH FEATURES: DOUBLE-STOPS
F >
VIBRATO
COMPOSER: LUKE ALDRIDGE

T 0 1 0 1
A
PERSONNEL: STUART RYAN (GTR) B 1
HENRY THOMAS (BASS)
ROSS STANLEY (KEYS)
. ‰ œ œ.
F7
. b œ
FERGUS GERRAND (PERC)
?b ‰ œ b œ ‰ œ J
FULL FAT HORNS (BRASS)
J on the first beatJof each

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

T 0 1 0 1
bassist Bootsy Collins. The bassline on ‘Bootsylicious’ A Bootsy Collins joined James Brown’s band in 1970
is a classic funk line that has been created using B after 1Brown fired his existing group following an
doublestops and ornamental features such as shakes. argument over wages. Collins was with Brown for less
As with all funk music, there is a lot of scope within [5] than a year yet he played on some of his most iconic
this piece for improvisation once you feel comfortable recordings, including ‘Get Up (I Feel Like Being A)
playing the notated parts. Sex Machine’ and ‘Super Bad’. Bootsy was 18 years
. 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

[9]
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
. ˘ 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]
Trombone Solo (7 bars)

Improvise bass line
Bb7
?b ’
D
F7
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
T
A
B
[33]

Bb7 Ab7 Bb7
?b ’
A7 C7
œ œ œ œ
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ œ œ œ œ
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
Walkthrough
A Section (Bars 1–16) Bar 28 | Accents

The opening section establishes a classic funk bass groove There are two groups of four 16th notes to play in this bar.
that relies heavily on timing and use of dynamics. Note that the last note of each grouping is marked with both
a staccato dot and an accent (Fig. 2) and be sure to place a
Bars 1–2 | Funk groove heavy accent on this note as well as playing it as short as you
This classic funk groove uses the root note (F), the 6th (D) can, as indicated.
and the 7th (E b) as its basis (Fig. 1). This grouping of notes
can be heard in countless funk grooves throughout the
genre. When playing this part, take note of the articulation D Section (Bars 33–40)
markings: the first note is accented and it is important This section has no written bass part and therefore provides
that you follow this. It is all about a strong downbeat at the you the opportunity to improvise a bassline.
beginning of the bar. Many of the other notes in this part are
marked staccato, so be sure to play them as such to produce Bars 33–40 | Improvising a bassline
the correct feel. You should create your own bassline here. You are free to
play as you wish but should create a part that is in keeping
Bar 2 | Vibrato with the style of the rest of the piece.
You should add vibrato to the final note in bar 2 and you
can do this by moving the note up and down a small amount
with your finger, or by using a side to side movement. E Section (Bars 41–48)
Whichever method you adopt, make sure that the movement The closing part of ‘Bootsylicious’ reintroduces the original
is consistent in both timing and pitch otherwise you will bassline and features some embellishments before the final
sound out of tune. two bar concluding line.
Bar 8 | Triplet fill Bar 47 | Pull-offs

There is a triplet fill on the third beat of this bar. Remember To execute a clean pull-off you should pull your finger off
that triplets should consist of three evenly played notes. the string using a snapping movement towards to the floor.
Practise the triplet using the vocalisation ‘ev-en-ly’ in order Don’t pull too hard or too slowly or you risk bending the
to ensure you are playing it as a triplet. string out of tune.

The next section of the piece moves to a B b 7 chord and
~~
?b ‰ œ b œ. ‰ œ b œ. ‰ œ œ. œ. œ œ .
F7
features a different bassline that is based heavily on the
dominant 7th arpeggio.
œ J J J
>
Bars 17–18 | Chord tones ~~
The bassline for this section is constructed from chord tones T
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)
C Section (Bars 25–32) Fig. 1: Funk groove (showing chord tones)

The harmony returns to F 7 in this section and the original
groove is re-introduced. However, there are some new parts
that are heavily syncopated.
˘ 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
SONG TITLE: HYDE IN THE PARK

GENRE: CLASSIC ROCK
œ œ
TEMPO: 126 BPM Classic Rock
œ
q =126
KEY: G MAJOR
œ œ œ œ
? # 44 œ œ
D
œ œ
A
TECH FEATURES: OCTAVE FIGURES

PENTATONIC LINES
MELODIC PLAYING
F 7 7 7
7 7 7 7
COMPOSER: JOE BENNETT T
A 5 5 5
5
B
n œ. œ. œ.
HENRY THOMAS (BASS)
FERGUS GERRAND (PERC)? # ‰ œj œ œ œ œ

B
NOAM LEDERMAN (DRUMS) G
œ © PHOTOGRAPHER | ARCHIVE
OVERVIEW was common. Although the styles that flowed into

T classic rock were mainly American, British groups 7 5
A 5 7 5 8
‘Hyde In The Park’ is a classic rock track in the styleB were instrumental in3the creation
7 of the genre. The
3
of bands like the Rolling Stones, The Small Faces, The first wave was known as the British Invasion; a term

n œ œ œ. œ.
Yardbirds and The Who. The bassline for this song [5] used to describe the number of British groups who
?# ‰ 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
q =126 Classic Rock
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 ‰

T 7 7 5 5 5
7 9 10 9 7 [ 7] 5 7 8 7 5
A 5 5 9 3 3 7
B
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]
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.

T 8 9
A 10 7 7 10
B 3 3 3 10
[41]
?# ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
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
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
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.
B Section (Bars 5–12) Bars 37–38 | Melodic fills

This section of the piece is based around a two bar riff on a The first fill played here is anticipated at the end of bar 37.
G major chord and makes use of the major pentatonic scale. The B (preceded by a quick B b grace note) is tied across the
bar and followed by a series of eighth notes from the major
Bar 6 | Staccato notes pentatonic scale. Using the third finger of your fretting hand
The three staccato quarter notes played here act as a on the B will allow you to play all of the other notes using
response to the first bar of the sequence (Fig. 1). Play these the one-finger-per-fret system.
notes short and detached by releasing pressure on the string.
Bars 43–48 | Developing a part
After playing several similar fills in bars 37–42, you have
C Section (Bars 13–20) the opportunity here to develop this part yourself. When
The bassline now moves between D and C chords and, once you develop a part you should make sure you are faithful
again, makes use of the pentatonic scale. to the original that is notated while still taking the section
somewhere new. Common ways to develop a part are to
Bar 13–16 | Pentatonics vary the rhythm and note choices. These are, of course, only
In bars 13 and 15, you will see the D and C major pentatonic suggestions and you should play the part which you feel
scales used over the D and C chords. These scales are applied works best. Remember the part should be in keeping with
in the same pattern as in the verse. Slide into the F # in bar 13 the style of the piece.

with your fourth finger, leaving the other fingers free to play
the rest of the notes. The same is true in bar 15.
?# ‰ 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
Fig. 1: Staccato notes

The bassline for this section is a busy melodic line that
features extensive use of arpeggios.
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
SONG TITLE: B & B SCENE

GENRE: BLUES
TEMPO: 140 BPM
Eb7
q =140 Blues
? bb 44 >œ ‰ Œ Œ n œ b œ ‰ œ œJ
KEY: Bb BLUES
A F7
TECH FEATURES: EIGHTH-NOTE LINES

J
F
IMPROVISATION
CONSISTENCY
2 1 1 3
COMPOSER: ALISON RAYNER T 3
A
B
œ œ bœ œ œ œ œ œ bœ
Bb7
HENRY THOMAS (BASS)
ROSS STANLEY (KEYS) ? b

B
œ œ
FERGUS GERRAND (PERC) b œ œ © PHOTOGRAPHER | ARCHIVE

FULL FAT HORNS (BRASS)
OVERVIEW in rural Mississippi who sang “the weirdest music”,

8 8 6
T backing himself with
8 slide
8 guitar.
6 6In the5late 1920s
‘B & B Scene’ is an uptempo blues track in the styleA 8
Blind Lemon Jefferson made a series of recordings of6 6
of B.B. King, Muddy Waters and T-Bone Walker. It is B 6
songs 6that defined the blues genre. Charley Patton,

œ œ bœ œ nœ œ
an example of a 12-bar blues and features eighth-note [5] Robert Johnson and Son House soon followed suit,
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
The blues began in the black communities of

America’s southern states. It has its roots in the music Blues compilations are a good place to start.
of the slaves who were captured and sailed from Blues Masters: The Very Best of T-Bone Walker and
their homelands to the New World, where their own B.B. King: The Complete Collection with ‘Every Day 8 8 6
8 Is8Gone’
10 Thrill 7
musical traditions mingled with European folk styles T I Have The Blues’10 and ‘The . Track
10
and church music. The first mention of blues on down Muddy Waters: The Anthology 1947–1972 for 6 6
Bass Grade 4
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

T 10 10 8 8 7 8 8 6 6 5
A 10 9 8 8 6 6 5 5
B 8 8 6 6 9 9 8 6 7 8 8 6 8
[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
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
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]
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

[47]
Bb7
œ œ bœ œ œ œ
? bb œ bœ œ œ œ bœ 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
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.
Bars 1–3 | Unison riff

After an initial F on the first beat, the unison riff starts on E Section (Bars 41–52)
the fourth beat of the bar. This line moves chromatically The guitar and organ play the phrases heard during the verse
down from the F to the E b via an E natural. The E is the blue section and the bass responds with an improvised fill. The
note of the B b blues scale, employed for the majority of this final seven bars are an opportunity for you to solo freely.
line. The only note in this line that does not belong to the
scale is the G at the end of the second bar. Bars 41–44 | Improvised fills
When improvising the fills, ensure that your phrases are
short statements that do not last beyond one bar each. The
B Section (Bars 5–16) blues scale is the most obvious scale selection.
The main bass groove is introduced during this section with
walking bass figures to connect the chords.
F Section (Bars 53–69)
Bars 5–7 | Main bass groove This final section introduces a slightly different bassline and
The main part of the line appears here. The line itself is a finishes with an adapted repeat of the A section.
one bar figure (Fig. 1) used over each of the three chords.
Eighth notes and several chord tones appear: the root (B b), Bar 53 | Variation on the bassline
the octave (B b), the 7th (A b ), and the 5th (F ). The G at the In this variation on the established line, the 3rd and the 5th
beginning of the fourth beat is used as a passing note. of the chord are played as eighth notes on the second beat.
If you start this bar with the second finger of your fretting
Bars 5–7 | Consistency hand on the B b, you will find it is then simple to play the D
The main groove is melodic and plays a supportive role. with your first finger, and the F with your fourth (Fig. 2).
Ensure that you play the eighth notes evenly.

Bar 8 | Connecting lines
This ascending line creates a smooth transition to the E b 7
? bb œ
Bb7
œ œ bœ œ œ œ
chord. After the root note is played on beat 1, the second
degree of the scale is played (in this case a C) then the part
œ
moves up chromatically on the two remaining beats.
T 8 8 6 6 5
A 8
B
C Section (Bars 17–28) Notes:
6
Bb
6
Bb Ab G F
This is a unison line played with the guitar and organ. Degree: 1 8 7 6 5
Bars 17–18 | Call and response Fig. 1: Main bass groove

This line is a call and response part. The phrase in bar 17 is
‘answered’ by the phrase in bar 18. Be sure to lock in with
the other instruments during this section and note how this
line should be played a lot quieter than the previous part.
Bb7
? bb œ œ œ bœ œ œ œ
During the guitar solo, a new bassline is introduced. This
line is also a repeating one bar motif and uses the same T 6 6 5
connecting lines to link the chords. A
B 5 8 8
6
Notes: Bb D F Ab G F
Bar 29 | Bass groove
Bass Grade 4
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
SONG TITLE: NOISY NEIGHBOUR

GENRE: INDIE ROCK
TEMPO: 135 BPM
q = 135 Indie
œ. nœ
KEY: C# MINOR
? # ## # 44 œ
A N.C .
TECH FEATURES: FAST FILLS œ

f
PULL-OFFS
GHOST NOTES
6 5
COMPOSER: NOAM LEDERMAN T
A 4 4
B
DAVE MARKS (BASS)
? # ## # œ œ œ
œ. nœ œ œ
OVERVIEW sub-genres, unified (mostly) in an enduring spirit of

independence and artistic credibility.
‘Noisy Neighbour’ is an indie rock track in the style
of Arctic Monkeys, Franz Ferdinand and The Kooks. Freedom from major labels has allowed indie

T 4
The bassline on this indie flavoured song is heavily A rockers to exercise complete
4 creative control over
4 3 3
riff based and features some unusual twists and turns. B 4
their music and, as such, create interesting sounds
Indie rock can be played with either the fingers or a and style motifs. The DIY approach of indie’s early
pick, although most indie rock bassists favour a pick. [3] days lives on in the opportunities for self-promotion
presented by MySpace and Facebook, and the ability
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

[6]
? #### œ > œ >œ œ œ >œ œ œ >œ œ

B
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]
? #### œ Œ Œ œ œ œ >œ œ œ >œ

œ œ œ œ œ
œ
Bass Grade 4
T 6 6 6 6 6 6 6
A 4 2 4 2
B 4 0 4
[15]
46
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
. .
. .

T
A 4 2 4 4 2 4
B 4 0 4 0
[31]
? ####
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
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.

powerful line is then followed by some bass fills.
Bar 10 | Sixteenth-note fill

After playing the root note, the bass slides up to the 5th (G # )
>œ
and plays an eighth note and 16th-note rhythm. Be careful of
the accented notes here. ? #### œ œ œ œ >œ œ œ
Bar 12 | Pull-off fill
This bass fill is more complex than the one in bar 11 (Fig. 1). 6 4
A descending fill starts on the second beat from the C # an

T 6 6 4
A 4 7 6
B
octave above the root. This line uses the natural minor scale. Notes: C# C# B G# F# E D#
Beware of the accented notes and add the pull-offs where
written to smooth out the line. Fig. 1: Root fifth fill

This section features a new groove based around chord
tones, while the idea established in the first bar is reused
? ####
œ ¿ ¿ œ ¿ ¿ œ ¿
over the different chords. You also have the opportunity to
develop your own variations of the basic groove.
> > >
¿ ¿ ¿ ¿ ¿
Bars 18–21 | Bass groove T
A
This line begins on the root of the chord (E), followed by
Bass Grade 4
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
SONG TITLE: BENSON BURNER

GENRE: JAZZ
œ œ . œ œJ
TEMPO: 104 BPM
Jazz
œ œ
q =104
œ œ
? 44 œ . œ œ
KEY: A MINOR
‰
A D m9
TECH FEATURES: MELODIC LINES
P
IMPROVISATION
SYNCOPATION
7 9 57 5
T 7
COMPOSER: DEIRDRE CARTWRIGHT A 5
B
HENRY THOMAS (BASS)
œ œ . œ œJ ˙
œ œ œ
? nœ. œ œ
ROSS STANLEY (KEYS)
‰
D m9
‰
FERGUS GERRAND (PERC) © PHOTOGRAPHER | ARCHIVE
OVERVIEW walking basslines). Smooth jazz is often instrumental,

with a featured soloist playing melody lines then
‘Benson Burner’ tips its hat to smooth jazz artists soloing over the accompaniment. 5 7 9 5 7
7
such as George Benson, Chet Atkins, Lee Ritenour T

7
and David Sanborn. The bassline for this piece is A The
5 genre was popularised by guitarist Wes
typical of the genre and while supportive, it is also B Montgomery in the late 1960s when he began
melodic and offers plenty of scope for improvisation. [5] recording instrumental covers of pop tunes by The
It is common for the bass player to take a solo in this Beatles and other bands. His producer, Creed Taylor,
style. This piece provides that opportunity. used the popularity of these albums to found a record
label called CTI Records that specialised in smooth
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

[9]
#
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
? 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 ‰

T 7 6 9
A 7 5 5 6 6 7 7 7 6 6 7 9
B 5 7 5 5 8 7
5
[37]
#
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]
Bass Solo (6 bars)
? ’
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
Walkthrough
A Section (Bars 1–8) This phrase is played as a hammer-on/pull-off, so only play

The first section of this piece features a melodic bassline that the string once with your picking hand.
clearly outlines the chord progression.
Bars 1–2 | Rhythms D Section (Bars 25–44)

The main bass figure is played with a syncopated rhythm. There is a sparse bassline throughout the first four bars of
The root note D is played on beat 1 and the A is played on this section, then the line from the A section is reintroduced
the final 16th note of the beat. This note is then tied into the with some small variations.
second beat and the octave D is played on the upbeat. This
note should be held until the second half of the fourth beat Bar 27 | Syncopation
where two 16th notes are played. The two-note figure from the previous bars is used again
here and followed by a syncopated line that starts on the
Bars 1–2 | Melodic bassline second beat. This three note figure starts on the second 16th
The main figure is based around a root-fifth-octave motif. note of the beat, so avoid playing this line too early. The
This is embellished in the second bar where the bass moves following bar reuses the syncopated rhythm previously used
up to the E, which is the 9th in the D m 9 chord. This note at the end of the B section.
then slides down to the 7th of the chord (C) then returns to
the D (Fig. 1). This is a great example of chord tones being
used to create a melodic phrase. This idea is repeated over E Section (Bars 45–52)
the A m 9 chord in the following two bars. The song ends with a six bar improvised bass solo capped
with the two bar figure as used as part of the D section.
B Section (Bars 9–16) Bars 45–50 | Bass solo

This section has more chordal movement and requires a You are required to improvise a solo over this section. Before
different bass part. There is a walking bassline, a common doing so, you may like to write down the notes from each of
device in jazz based music. the chords so you can focus on these notes during your solo.
Bars 9–12 | Walking bassline

A walking bassline is used here. The chords change every
two beats, so the bassline uses chord tones and chromatic
œ œ œ œ œ œ. œ œ œ
? œ. œ œ
D m9
‰ 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
These two bars feature a heavily syncopated rhythm. In

Count: D A D C D E C D
bar 15, the first two F notes are played as straight eighth Degree: 1 5 8 7 8 9 7 8
notes, although the first should be played staccato. The next
F is played on the second 16th note of the second beat. You Fig. 1: Melodic bassline
may find it easier to think of this note as occurring just after
the second beat, rather than trying to count it. The fourth F
is played on beat 3.
œ
#
C Section (Bars 17–24) F7
>œ # œ E7 9
œ
A m9
œ #œ
A 13
This section is a repeat of the bassline from the A section, ? œ œ J ‰

except it contains some small embellishments.
Bar 18 | Melodic embellishments T

A 7 6 7 9
6 9
8 7
A small embellishment is added to the line in this bar. After B
playing the 9th-7th-root figure described earlier, a hammer- G# C#

Bass Grade 4
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
1. Natural minor scale (A natural minor scale shown)
? 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
2. Minor pentatonic scale (B minor pentatonic scale shown)
? ## œ œ œ œ œ œ
œ œ œ œ œ
2 4 2

T 2 4 4 2
A 2 5 5 2
B
3. Blues scale (C blues scale shown)
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
One octave from the starting notes F and B b
1. Major scale (F major scale shown)
?b 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
2. Major pentatonic scale (B b major pentatonic scale shown)
? 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
1. Major arpeggio (B major arpeggio shown)
? #### œ œ œ
# œ œ œ œ
T 9
A 6 9 9 6
B 7 7
2. Minor arpeggio (C minor arpeggio shown)
œ œ œ
? bb œ œ œ œ
b
T 5
A 5 5
B 3 6 6 3
3. Dominant 7 arpeggio (D dominant 7 arpeggio shown)

œ nœ œ œ œ
? ## œ œ œ œ
T 5 7 5
A 4 7 7 4
B 5 5

Bass Grade 4
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]

Bass Grade 4
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]

Bass Grade 4
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]

Bass Grade 4
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.
Test 1: Melodic Recall

The examiner will play you a two bar melody with a drum backing using either the D major pentatonic or B minor
pentatonic scales. The first note of the melody will be the root note and the first interval will be descending. You will play
the melody back on your instrument. You will hear the test twice.
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
Test 2: Harmonic Recall

The examiner will play you a tonic chord followed by a two bar chord sequence in the key of C major played to a guitar
and drum backing. The sequence will be drawn from the I, IV and V chords and may occur in any combination. You will
be asked to play the root notes of the chord sequence to the guitar and drum backing in the rhythm shown in the example
below. You will then be asked to identify the chords. This rhythm will be used in all examples of this test given in the exam.
You will hear the test twice.

Each time the test is played the sequence is: count-in, tonic, count-in, chords. 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 tonic for the third time followed by a
vocal count-in and you will then play the root notes of the chords to the drum backing. You should then name the chord
sequence. The tempo is q = 90.
¿ ¿ ¿ ¿
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.
In Grade 4 you will be asked:
■■The names of pitches
■■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
■■The construction of major, minor or dominant 7 chords
■■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.

In Grade 4 you will be asked to identify/explain:
■■Any part or control on your bass
■■The function of the volume and tone controls on your guitar
■■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.

Bass Grade 4
60
Marking Schemes
Grade Exams | Debut to Grade 5 *
ELEMENT PASS MERIT DISTINCTION
Performance Piece 1 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
Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Grade Exams | Grades 6–8

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15
Quick Study Piece 6 out of 10 7–8 out of 10 9 + out of 10
Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10
General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5
TOTAL MARKS 60%+ 74%+ 90%+
Performance Certificates | Debut to Grade 8 *

Bass Grade 4
TOTAL MARKS 60%+ 75%+ 90%+

61
* Note that there are no Debut Vocal exams.
Bass Guitar Notation Explained
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
Definitions For Special Bass Guitar 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

SLAP STYLE: Slap bass technique is TAPPING: Sound note by tapping the DEAD (GHOST) NOTES: Pick the NATURAL HARMONICS: Lightly touch
indicated through the letters T (thumb) string – circles denote a picking hand string while the note is muted by the string above the indicated fret then
and P (pull). tap, squares a fretting hand tap. your fretting hand. pick to sound a harmonic.
? 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 sign (%), then play until

D.%. al Coda the bar marked To Coda fi then skip to
the section marked fi Coda.
(accent) ■ Accentuate note (play it louder).
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).
U ■ Fermata (Pause) .. .. ■ Repeat the bars between the repeat signs.

Bass Grade 4
.. ..
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
I Got You (I Feel Good)

(Brown)
Lark Music Limited
Midnight Train To Georgia

(Weatherly)
Universal Music Publishing Limited
Rock Your Body

(Timberlake/Hugo/Williams)
Warner/Chappell North America Limited/EMI Music Publishing Limited/Concord Music Publishing LLC
Brokenhearted
(Brown/Fitzgerald/Dalton/Blackwell)
Spirit Music Publishing Limited/BMG Rights Management (UK) Limited/Sony/ATV Music Publishing (UK) Limited
I Shot The Sheriff

(Marley)
Blue Mountain Music Limited
Pull Up To The Bumper

(Dunbar/Shakespeare/Manno)
Universal/Island Music Limited

Bass Grade 4
63
Introducing…
Rockschoo
new theorl’s
y
exams!
POPULAR
MUSIC THEORY
GRADES DEBUT–8
OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online
new_theory_ad.indd 1 18/08/2015 01:24

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Bass Grade 4

Performance pieces, technical exercises and in-depth guidance

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

No part of this publication may be reproduced in any form or by

Visit Hal Leonard Online at

Contact Us: In Europe contact: In Australia contact:

Published by Rockschool Ltd. © 2012 & 2018

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

Introductions & Information

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

53 Scales, Arpeggios & Riff

60 Entering Rockschool Exams

Welcome to Bass Grade 4

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL website: www.rslawards.com

SONG TITLE: I GOT YOU (I FEEL GOOD)

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

>œ >œ >œ >œ nœ

Section A (Bars 1–12) Section D (Bars 25–42)

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

Section C (Bars 17–24)

SONG TITLE: MIDNIGHT TRAIN

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

Db G b/B b A b 7sus 4 Db G b/B b A b 7sus 4

Gb A b 7sus 4 Db A b/C G b/B b A b 7sus 4

Db A b/C G b/B b A b 7sus 4 Db E b m7 A b 7sus 4

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

G b/B b A b 7sus 4 Db A b/C G b/B b A b 7sus 4

Getting familiar with the key Section C (Bars 21–36)

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

Dividing the section into two eight bar subsections might

SONG TITLE: ROCK YOUR BODY

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

A Section (Bars 1–4) E Section (Bars 22–29)

Bars 3–4 | Repeated phrases F Section (Bars 30–33)

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C Section (Bars 9–16)

D Section (Bars 17–21)

Bars 17–21 | Repeated phrases

SONG TITLE: BROKENHEARTED

BACKGROUND INFO œ. edition DVD. The

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

œ œœŒ ⇥¿ œ ⇥œœ œœ œŒ ⇥¿ œ ⇥¿ œ œ œœŒ ⇥¿ œ ⇥œœ œœ œŒ ⇥¿ œ ⇥¿ œ

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

A Section (Bars 1–6) D Section (Bars 28–37)

B Section (Bars 7–14)

C Section (Bars 15–27)

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

Bars 15–18 | Repeated harmony

Bars 19–23 | Key centre shift

Bars 24–27 | Repeated phrases

SONG TITLE: I SHOT THE SHERIFF

BACKGROUND INFO The band broke up in 1974 due to disagreements

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

and they recorded many ska and early reggae classics.

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com

RSL-837327027982 / 1 / rock bird / rockbird.vip@qq.com