Worship Musician June 2019 - Jonathan Cain | Page 178

BASS 1, 3, 5, 6, AND 9 | Gary Lunn Catchy title? That is probably why you are the string. It would be simpler if this was a approaching, and have plenty of time to see continuing to read this. There is an answer video rather than print but hopefully you'll get the correct root note and play it correctly to your question. You're probably thinking the idea.  (failure to play the appropriate root note after something like, “What?” I am talking this...or any run may result in a steep fine... about all the notes you will probably ever LOL). Be careful not to rush those pull-off’s! need in playing bass in worship. I left out the word “know”. I should have said “... need to know...” With that said, the trick is understanding exactly how these notes relate to each other so you can have (at the ready) There is a tasty little bass fill/ the most complimentary and tasteful way to connect them. First of all you must be aware of the placement of these notes within the key that you are playing - at all times. That way, every time you slide from the 1 to the 3, the 5 to the 6, the 6 to the 5, the 9 to the 8 (1), you'll know right "where you are" within the key as well as on the fretboard. It also helps you get around the notes of a scale more quickly by indicating ‘pivot points’ (these are the most common notes in a walking bass line). These notes also apply to whatever chord you are playing. Just ‘spell’ from the root of the present chord. The main thing is to be aware! If this is a significant addition to your subtle lick arsenal, please post a video of you playing it (to a click!) and send me the link.  On another note, my wife is quite the line that I use conversationalist. She truly looks in to the eyes of the person in front of her and listens to what they have to say with genuine from time to concern. One of her most important rules time (that I stole, of course) that involves all of the aforementioned that she follows is this: as soon as she sits down with someone to talk she implements the “Not me/you first” rule. In other words, she doesn’t want to hear what she has to say, but what the other person has to say. What she has to say is less significant to her. When she first told me that I immediately equated it to music. More specifically to the bass as it pertains to the musical conversations we often have with the other members of the band. To have the heart to immediately get numbers. out of the way and simply listen to everyone There is a tasty little bass fill/line that I use else is the highest compliment you can give from time to time (that I stole, of course) that in any musical ensemble situation. involves all of the aforementioned numbers. I hardly ever hear it from other bassists, but I Blessings on your diligent practice and your (we) really should hear it more. It’s quick and Here is the lick explained (every hyphen out of the way, but bends the listening ear represents a ‘pull-off’ and every comma ever so slightly. It also sets up the ‘landing’ represents a finger pluck). Counting in 1/16‘s, of the next phrase. It requires less effort from starting from beat 3 (with the last note lasting your plucking hand since you only pluck every for an 1/8th note value): 1,3-2,6-5,9-8. In the other note (which works out great for me :) key of C: C,E-D,A-G,D-C. In the key of A (you get to use an open string free of charge!): It involves a guitar oriented technique called A,C#-B,F#-E,B-A You get the idea... a ‘pull-off’ which is where you are basically striking every second note with the previously Once you have played this run you can fretted note by pulling your fretting finger off start the next phrase on any root that is 178 June 2019 continuously growing skills! Gary Lunn Gary is a session player/producer/writer in Nashville, TN. Contact him at [email protected] for scheduling or any questions. Thanks Gigi for ALL of your help! Subscribe for Free...