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!
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