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Home , Benny Benjamin, Bernard Purdie, Chuck Rainey, John Myung, Rocco Prestia, Rock Box

Index

strings, extra, 324 • Numerics • volume pedal, 325 3rd note, 135 wrenches, 324 4/4 meter, 261 accidentals, 88 4th note, 135 accompaniment 5/4 meter, 258–260 groove, 120–124 5th note, 135 major triad, 96–97 5th-fret tuning method, 46–48 minor triad, 97–98 6th note, 136 triad, 99 7/4 meter, 262–265 unison, 299–301 7th chord active electronics, 15 groove using, 121, 135 ActiveBass website, 313 structures, 101–102 Aeolian mode 7th-fret tuning method, 48–50 minor scale relation, 112–113 in R & B, 223 , 191 • A • African style Cameroon styles, 249–251 accenting notes, 60–61, 262 South African groove, 248–249 accessories Afro-Cuban music amplifi er, 319–323 groove for major, minor, or dominant cable, 324 chord, 240–241 case, 323–324 groove in half-diminished chord, 241 choosing, 20 groove with syncopation for half- chorus unit, 325 diminished chord, 242 cleaning cloth, 324 groove with syncopation for major, digital delay device, 327 minor, or dominant chord, 241 distortion device, 327 syncopation, 240 electronic tuner, 324 Allman Brothers, 196 envelope fi lter, 327 ambiguous groove, 218 fl anger/phase shifter, 327 amplifi er gig bag, 323–324 COPYRIGHTEDbasic MATERIAL description, 319 headphone amp, 326–327 choosing, 20 metronome, 324 combo, 320–321 multi-effects unit, 328 control panel, 322–323 music stand, 326 solid state, 321 octave pedal, 327 tube, 321 rubbing alcohol, 324 anatomy of screwdrivers, 324 body, 14–15 speakers, 319–322 innards/guts, 15 stand for bass, 326 neck, 13–14 stool, 326 sections, 12 strap, 324

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apex, groove, 151–153, 162–163 Joe Osborn (studio musician), 32, 359–360 arpeggio, 95 (), 12, 191, 354 attack, inversions, 302 John Myung (Dream Theatre), 191 audio tracks John Paul Jones (), 191, 359 bass guitar, 363–373 (slap-style ), 33 listening to, 2 Louis Johnson (slap-style bassist), 33 augmented chord, 100 Marcus Miller (solo bassist), 33, 229 Milt Hinton (upright bassist), 205 • B • Paul Chambers (upright bassist), 205 Paul McCartney (), 19, 32, 163, back of neck, 14 193, 287–289, 294–297, 301–302, 304 backbeat, 154 (pop rock bassist), 193 band, bass player function in, 10–12 P-Nut (modern bassist), 243 Barrett, Aston “Family Man” (reggae Raphael Saadiq (hip-hop bassist), 233 bassist), 243 Ray Brown (upright bassist), 205 bass drum, 154, 156 Robbie Shakespeare (reggae bassist), Bass knob, 322 243, 362 bass line Ron Carter (upright bassist), 205 basic description, 32 Roscoe Beck ( bassist), 214 blending, 282–285 (Return to Forever), 33, groove representation, 120 228, 353 swing, 204 Tom Hamilton (Aerosmith), 191 walking, 205–214, 294–297 Tommy Cogbill (session player), 222 Bass Player magazine, 313 Tommy Shannon (blues bassist), 214 Bassics magazine, 313 Victor Wooten (Béla Fleck and the bassist Flecktones), 33, 229, 356 Adam Clayton (U2), 12, 191, 288 Will Lee (session player), 354–355 Anthony Jackson (session player), 311 batteries, 15 Aston “Family Man” Barrett (reggae The Beatles, 19, 32, 163, 193, 287–289, 292, bassist), 243 294–297, 301–302, 304–306, 355 Berry Oakley (Allman Brothers), 196 Beatles style genre, 19 ( band), beats 357–358 backbeat, 154 Carol Kaye (studio musician), 32, 354 as chunks of notes, 84–85 (session player), 222, counting in odd meter, 257 361–362 division of, 79–80 Dee Murray (pop rock bassist), 193 downbeat, 244–245 Donald “Duck” Dunn (blues bassist), 196, Beck, Roscoe (blues bassist), 214 214, 285, 358 Béla Fleck and the Flecktones, 33, 229, 356 Flea (Red Hot Chili Peppers), 33, 229 Benjamin, Benny (drummer), 358–359 Francis (), Bikutsi grooves, 251–252 27, 361 Blaine, Hal (drummer), 359–360 (Rush), 191, 268 blending bass lines, 282–285 George Porter Jr. (Meters), 360–361 blending groove, 282–285 (Weather Report), 27, 228, blues progression 285, 360 blues rock, 196–198 ( Brothers), 27, 225, , 211–214 354, 358–359

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blues rock, 196–198. See also rock grooves; rock styles • C • blues shuffl e C major scale, 35 bassist, 214 cable, 320, 324 groove in minor tonality using chromatic calypso style, 245–246 tone, 217 Cameroon styles, 249–252 groove using major chord, 215 Caribbean calypso style, 245–246 groove using minor mode, 216 Carter, Ron (upright bassist), 205 groove using Mixolydian mode, 215–216 cases, 323–324 groove using Mixolydian mode with Chambers, Paul (upright bassist), 205 chromatic tone, 216–217 changing strings. See also strings groove using only root, 215 frequency, 20, 329 triplet fi gure, 217 need for, 20 body, bass guitar removing strings, 330–331 anatomy of, 14–15 restringing procedure, 332–337 cleaning, 340 when to change, 330 bold groove, 282–285 Chappell, Jon Bonham, John (drummer), 359 Guitar For Dummies, 10 boogie bass line, 102–103 Cheat Sheet (this book), 5 bossa nova chord changes groove, 239 chord chart, 146–147 groove for half-diminished chord, 238 setting up, 11 groove for major, minor, or dominant in solos, 174, 176 chord, 238 chord chart style, 237–238 chord changes, 146–147 box groove reading notation, 70 blues rock, 198 for solos, 176 country rock, 200 chord progression hard rock in minor tonality, 193 calypso groove, 245 pop rock in dominant tonality, 195 pivoting notes, 162 rock ’n’ roll, 188 rock, 201–202 See Brazilian style. bossa nova song notation with, 272 bridge chord symbols, 70 middle section of song, 269 chord tone, 101, 148 pickups inside, 14 chords. See also specifi c chords raising and lowering, 346–348 augmented, 100 restringing bass, 332–334 basic description, 16–17 Brown, Ray (upright bassist), 205 diminished, 100 buying a bass fi ngerboard diagram, 34–36 budget for, 313 groove using, 121 choosing, 19 suspended, 100 custom-made, 317–318 triad, 95–99 fretless, 312–313 vocal chart, 73 from music store, 314–316 chord-tone concept, 208–209 needs assessment, 309–313 chorus unit, 325 from newspaper ad, 316 chromatic leading tones, 295 online, 316–317

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chromatic tone in blues shuffl e, 216–217 • D • within the box, 115–116 D major scale, 35 in funk, 230 “Day Tripper” (The Beatles), 297 groove using, 122 dead note hard rock groove, 192 in groove, 118 leading, 206 groove using, 123 notation, 88 playing, 118 as note for supplementing modes, 114 in R & B, 224 outside the box, 116–117 raking, 119 in pop rock, 195 designer grooves, 151–153 in R & B, 224 diatonic leading tone, 206, 295 in rock ’n’ roll, 188 digital delay device, 327 Clarke, Stanley (Return to Forever), 33, diminished chord, 100, 208 228, 353 distortion device, 327 Clayton, Adam (U2), 12, 191, 288 dominant chord cleaning in 5/4 meter, 259 body, 340 in 7/4 meter, 264 cloth, 324, 340–341 7th chord structure, 101 fi ngerboard, 341 in Afro-Cuban music, 240–242 frets, 341 in bossa nova, 238 hand washing, 339 in calypso, 246 hardware, 340 in funk, 229–232 neck, 340 in funk shuffl e, 219–220 pickups, 340 in fusion, 226–228 polish, 340–341 groove, 134 strings, 341–342 in hip-hop, 233–234 tool bag, 348–349 in , 225–226 wood, 341 in pop rock, 194–195 clef, 70 in R & B, 223–224 closed-hand pick playing, 30–31 in reggae, 243–244 closing strings, 55–56 in rock, 187–190 Cogbill, Tommy (session player), 222 scales, 102, 110 Collins, Bootsy (bassist), 357–358 in ska, 246–247 color, scales, 109 in South African style, 248–249 combo amplifi er, 320–321 in waltz, 256 “Come Together” (The Beatles), 297 dominant groove, 136–139 common tone, 225 dominant leading tone, 206, 295 constant structure, 147–149, 208, 225 Dorian mode control panel, amplifi er, 322–323 harmonically ambiguous groove, 125 controls, bass guitar body, 14 minor scale relation, 112 countermelody method, 301–303 origin, 113, 124 See also country rock, 199–201. rock in R & B, 223 grooves; rock styles dot custom-made bass, 317–318 on fi ngerboard diagram, 35 cutting strings, 330–331, 334–335 on neck of bass guitar, 38

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octave marker, 38 Erskine, Peter (drummer), 360 subdivision of note, 82 etude, 208 downbeat, 244–245 Dream Theatre, 191 • F • driving sixteenth notes, 191 drop-one technique, 244 Fender Jazz bass, 314 drum , 191, 314 backbeat, 154 5th note, 135 bass, 154, 156 5th-fret tuning method, 46–48 hi-hat, 155–156 fi ll. See also solos snare, 154–156 connecting to groove, 177 drummer purposes, 176–177 Al Jackson Jr. (R & B), 358 symmetry of bass, 17–18 Benny Benjamin (Motown), 358–359 timing a, 177–178 (session player), 361–362 fi nger David Garibaldi (Tower of Power), 361 permutation, 63–65 Hal Blaine (session player), 359–360 position for groove, 134 Jab’o Starks (James Brown band), 357–358 fi ngerboard John Bonham (Led Zeppelin), 359 cleaning, 341 locking in with, 11 neck components, 13–14 Peter Erskine (Weather Report), 360 fi ngerboard diagram. See also grids Sly Dunbar (reggae), 362 basic description, 33 Zig Modeliste (Meters), 360–361 elements, 34–35 Drums For Dummies (Strong), 154 fi nding notes on neck, 37–39 Dunbar, Sly (drummer), 362 intervals, identifying, 39–40 Dunn, Donald “Duck” (blues bassist), 196, major scale, 36–37 214, 285, 358 minor scale, 36–37 dynamics, 27 open-string scales, 37 fi nger-style playing, 27–29 • E • fi nish, wood, 343 5/4 meter, 258–260 effects, gadgets, 325 fl anger/phase shifter, 327 effects pedals, 327–328 fl ash, 18 eighth note fl at symbol, 38 combination, 267–268 Flea (Red Hot Chili Peppers), 33, 229 fi lls, 179 4/4 meter, 261 pumping, 288–290 4th note, 135 R & B/Soul genre, 277–278 frequency, 57–58 in rock, 273–274 fretless bass, 228, 312–313 rock style, 276 frets subdivision of note, 81 cleaning, 341 triplets, 82 half steps, 14 electric guitar, 9 neck components, 13–14 electronic tuner, 41–42, 324 number of, 22 electronics, 15 use of, 22 end pin, 15, 23 fretting hand. See left hand Entwistle, John (The Who), 12, 191, 354 funk envelope fi lter, 327 generic groove, 234–236 envelopes, coiled strings with, 333 sixteenth note feel, 278–279

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Funk Brothers, 225 gig bags, 323–324 funk shuffl e Graham, Larry (slap-style bassist), 33 generic shuffl e, 220 grids. See also fi ngerboard diagram groove for dominant and minor chords, elements, 34–35 219–220 how to use, 2 groove using notes from dominant or major scale structure, 93 minor modes, 219 minor scale structure, 95 groove using only root, 218 showing open-string scales, 37 funk style groove. See also specifi c styles fi nger-style for major tonality, 232 altering, 163–165 fi nger-style for minor or dominant ambiguous, 218 tonality, 231–232 apex, 151–153, 162–163 groove for dominant and minor tonality, with bass drum, 154 229–230 blending, 282–285 groove for major or dominant tonality, bold, 282–285 230–231 chord tone, 148 groove for major tonality, 230 connecting fi ll to, 177 groove for minor tonality, 230–231 constant structure, 147–149 groove in slap-style, 229 content, 17 heavy groove for major or dominant creativity with, 162–166 tonality, 230–231 dead note in, 118–120 hip-hop, 233–234 designer, 151–153 musical genres, 18 dominant, 136–139 neutral note choice, 229 with eighth-note fi ll, 179 fusion style elements, 129–136 groove for dominant chord, 227 guidelines for creating, 133–134 groove in major or dominant chord, 226–227 harmonically ambiguous, 124–126 groove over four strings on dominant with hi-hat, 155–156 chord, 228 lower apex, 152–153 history, 228 major, 142–145 rock and jazz combination, 226 minor, 139–142 mobile, 134, 148–150 • G • note selection for, 133–136 paring down, 165–166 Garibaldi, David (Tower of Power), 361 scales, commonly used, 134–136 genre shape, 98 Beatles, 19 simplifying, 165–166 blending bass lines, 282–285 with sixteenth-note fi ll, 181 funk, 18, 278–279 with snare drum, 154–155 Latin, 279–280 with triplet fi ll, 180 odd meters, 19 upper apex, 151–152 pop/singer-songwriter, 273 using 7th chord, 121 R & B/Soul, 274–278 using chords, 121 rock, 18, 273–274 using chromatic tone, 122 shuffl e, 280–281 using dead note, 123 standard chord progression, 272 using Mixolydian mode, 122 style differentiation, 271 groove skeleton, 17, 130–133, 162–163 swing, 18 groove tail, 145–146, 162–163, 225 world beat, 19

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Guitar For Dummies (Phillips and Chappell), 10 • I • guts, bass guitar, 15 I-IV-V progression, 196 index fi nger, 58 • H • inlays, 55 input jack, 15 , 81 international styles half step African, 248–252 frets, 14 Afro-Cuban, 240–242 interval, 92 bossa nova, 237–239 major and minor scale diagram, 36 Caribbean calypso, 245–246 order of notes, 38 reggae, 242–245 half-diminished chord samba, 239–240 7th chord structure, 101 ska, 246–247 in Afro-Cuban music, 241 world beat, 19, 252–253 in bossa nova, 238 interval scale/chord combination, 111 chunks of notes, 85–86 scales, 102 half step, 92 Hamilton, Tom (Aerosmith), 191 identifying, 39–40 hand position. See also left hand; right hand names and confi gurations, 39–40 left hand, 26–27 intonation, 346–347 right hand, 27–33 inversion while sitting, 25 basic description, 103–104 while standing, 24 major chord, 104–107 handspun-plus-two-frets method of fi nding minor chord, 107–109 notes, 77 Ionian mode, 112–113 hard rock, 191–193. See also rock grooves; rock styles hardware, cleaning, 340 • J • harmonic minor scale, 114 jack, on body of bass guitar, 15 harmonically ambiguous groove, 124–126 Jackson, Anthony (session player), 311 harmonics Jackson Jr., Al (R & B drummer), 358 beating or wavering sound, 53 jam session location of, 50 creative collaboration, 156 playing technique, 51 notes, listening for, 157–159 relationships between, 52 notes, pivoting, 160–161 root and 5ths, 292–293 preparing the ear, 157 tuning method, 50–53 Jamerson, James (bassist) harmony, linking with rhythm, 10–11 with Benny Benjamin (drummer), headphone amp, 326–327 358–359 headstock, 13, 336 fi nger-style playing technique, 27 high string, hand reaching for, 29 history, 354 hi-hat, 155–156 Motown sound, 225 Hinton, Milt (upright bassist), 205 jazz hip-hop style, 233–234 blues walking pattern, 211–214 holding a bass walking bass line, 205–214 compromising the position, 22 Johnson, Louis (slap-style bassist), 33 sitting position, 25 Jones, John Paul (Led Zeppelin), standing position, 24 191, 359 strapping on, 23

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major chord • K • 7th chord structure, 101 Kaye, Carol (studio musician), 32, 354 in Afro-Cuban music, 240–242 keeping time, 11–12 in blues shuffl e, 215 key of C, 35 in bossa nova, 238 key of D, 35 in calypso, 246 key signature, 88 in funk, 230–232 in fusion, 226–227 in hip-hop, 234 • L • inversions, 104–107 in Motown, 225 Latin style, 240, 279–280. See also in pop rock, 194 Afro-Cuban music in R & B, 222–224 leading tone in reggae, 243–244 diatonic, 295 in rock, 187–190 dominant, 295 scales, 102, 110 sound, 206 in ska, 246–247 Led Zeppelin, 191, 359 sounds, 16, 70 Lee, Geddy (Rush), 191, 268 in South African style, 248–249 Lee, Will (session player), 354–355 in waltz, 256 left hand major groove, 142–145 conventions used in this book, 3, 21 major pentatonic scale, 174–176 coordinating with right hand, 16, 63–66 major scale fi nger permutation, 63–65 fi ngerboard diagram, 36–37 moving up and down neck, 3 groove, 134 muting strings, 65 notation, 88 sitting with bass, 25 structure, 93–94 standing with bass, 24 tonal center, 91 licks, 169 major triad, 95–98 locking in with the drummer, 11 Makossa style, 249–250 Locrian mode, 112–113, 238 marker method of fi nding notes, 77 long-term bass use, 310–311 McCartney, Paul (The Beatles), 19, 32, 163, low string, 29 193, 287–289, 294–297, 301–302, 304, 355 lower groove apex, 152–153 measures (bars), 79–80 luthier, 317–318 melodic minor scale, 114 Lydian mode, 112–113 metronome lyrics, vocal chart, 73 exercise, 79 gig bag contents, 324 • M • keeping time, 12 setting the, 78 maintenance Mid knob, 322 adjustments, 344–347 middle fi nger, 58 bridge, 346–348 Miller, Marcus (solo bassist), 33, 229, 355 cleaning, 339–341 minor chord electronics, 343 in 5/4 meter, 259 of fi nish, 343 in 7/4 meter, 264 repair tool bag, 348–349 7th chord structure, 101 repairs, minor, 342–343 in Afro-Cuban music, 240–242 screws, tightening, 342–343 in blues shuffl e, 216–217 storage, 349–350 in bossa nova, 238 string changes, 20, 338

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in calypso, 246 musical interval, 16 in funk, 229–232 musical staff, 70 in funk shuffl e, 219–220 muting strings, 65 in hard rock, 192 Myung, John (Dream Theatre), 191 in hip-hop, 233–234 inversions, 107–109 • N • in Motown, 226 in R & B, 223–224 natural minor, 124 in reggae, 243–244 natural sign, 88 in rock, 187–190 neck, bass guitar scales, 102, 111 anatomy of, 13–14 in ska, 246–247 attachment to body, 315 sounds, 16, 70 bass guitar compared to other guitars, 10 in South African style, 249 cleaning, 340 in waltz, 256 fi nding notes on, 37–39 minor groove, 139–142 neutral note, 136, 249 minor pentatonic scale, 169–173 newspaper ad, 316 minor scale notation Aeolian mode, 124 chord chart, 70 fi ngerboard diagram, 36–37 chromatic scale, 88 groove, 134 key signature, 88 harmonic, 114 major scale, 88 melodic, 114 music, 70–71 natural, 94, 124 regular music, 70 structure, 94–95 right-hand accents, 61 tonal center, 91 scale, 92 minor triad, 95–98 with standard chord progression, 272 Mixolydian mode tablature, 71–73 in blues rock, 198 triad accompaniment, 99 in blues shuffl e, 215–216 triple, 3 in fusion, 226–227 vocal chart, 73 groove using, 122 notes. See also specifi c notes harmonically ambiguous groove, 125 accenting, 60–61, 262 major scale relation, 112 chunks of, 84–85 origin, 113 fi nding on neck, 37–39 in pop rock, 195 fi ngerboard diagram, 34–35 in R & B, 223 handspan-plus-two-frets method of in rock ’n’ roll, 187–188 fi nding, 77 in swing style, 204–205 listening for, 157–159 mobile groove, 148–150 looking for specifi c, 162 Modeliste, Zig (Meters), 360–361 music notation, 70–71 modes. See scales neutral, 136 modulation, 14 number representation, 3 Motown style, 225–226 octave method of fi nding, 73–78 multi-effects unit, 328 passing, 135–136 Murray, Dee (bassist), 193 pivoting, 160–161 music notation, 70–71. See also notation selecting for groove, 133–136 music stand, 326 numbers, note representation, 3 music store, 314–316 nut, 13–14

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Phillips, Mark • O • Guitar For Dummies, 10 Oakley, Berry (Allman Brothers), 196 phrases octave groove representation, 120 major scale structure, 93 measures and beats, 79 notation of scale, 92 rhythmic notes, 80 octave method of fi nding notes, 73–78 Phrygian mode, 112–113 scale representation, 34 piano, reference pitch from, 43–44 octave marker, 38 pick octave pedal, 327 closed-hand pick playing, 30–31 odd meter how to hold, 30 4/4 meter, 261 open-hand pick playing, 30–31 5/4 meter, 258–260 size, 29, 112 7/4 meter, 262–265 pick-style playing counting beats in, 257 bassist, 32 generic song, 270 closed-hand, 30–31 musical genres, 19 open-hand, 30–31 syncopation and subdivision, 266–268 right-hand position, 29–31 waltz style, 255–257 pickups one-string chromatic approach, fi nding cleaning, 340 notes, 162 modulation, 14 online, buying a bass, 316–317 thumb resting on, 28 open strings, 54 translation of string vibration, 58 See also open-hand pick playing, 30–31 pitch. tone open-string scales, 37 bass guitar compared to other guitars, 10 Osborn, Joe (studio musician), 32, 359–360 string tension, 58 string vibration, 57–58 pivoting notes, 160–161 • P • playing space, 273 plucking hand. See right hand Palladino, Pino (pop rock bassist), 193 P-Nut (modern bassist), 243 passing note, 135–136 polish, 340–341 passing tone, 168 pop rock, 193–195, 273. See also rock passive electronics, 15 grooves; rock styles Pastorius, Jaco (Weather Report) Porter Jr., George (Meters), 360–361 fi nger-style playing technique, 27 pots (potentiometers), 15 fretless bass use, 228 Prestia, Francis Rocco (Tower of Power), history, 355 27, 229, 361 with Peter Erskine, 360 , 192–193. See also rock sign-offs, 285 grooves; rock styles pedal pulse effects, 327–328 groove skeleton element, 130 volume, 325 keeping time, 11 “Penny Lane” (The Beatles), 294–297 pumping eighth note, 288–290 percussive sound, 32 Purdie, Bernard (drummer), 361–362 phase shifter, 327

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restringing procedure, 332–337 • Q • rests quarter note as chunks of notes, 84–85 in rock, 273–275 note values, 83 subdivision of note, 80 Return to Forever, 228, 353 rhythm feel of, 130 • R • linking with harmony, 10–11 music notation, 70–71 R & B () triplet, 203 groove using dead notes and chromatic rhythm and blues. See R & B tones, 224 rhythm sections groove using dominant mode, 223 Bootsy Collins and Jab’o Starks, 357–358 groove using major mode, 222–223 Chuck Rainey and Bernard Purdie, 361–362 groove using minor mode, 223 Donald “Duck” Dunn and Al Jackson Jr., 358 history, 221 Francis Rocco Prestia and David session player, 221–222 Garibaldi, 361 syncopation, 222 George Porter Jr. and Zig Modeliste, R & B/Soul genre, 274–278 360–361 Rainey, Chuck (session player), 222, Jaco Pastorius and Peter Erskine, 360 361–362 James Jamerson and Benny Benjamin, raking 358–359 dead note, 119 Joe Osborn and Hal Blaine, 359–360 string crossing, 62 John Paul Jones and John Bonham, 359 reading music. See also notation Robbie Shakespeare and Sly Dunbar, 362 beats, 79–80 rhythmic syncopation. See syncopation chord chart, 70 riff, 17 in chunks, 84–86 right hand learning how, 2 accents, 60–61 measures (bars), 79–80 conventions used in this book, 3, 21 musical notation types, 69 coordinating with left hand, 16, 63–66 note location, 73–78 fi nger-style playing, 27–29 phrases, 79–80 pick-style playing, 29–32 playing while, 89 same-string strokes, 59–60 regular music notation, 70–71 sitting with bass, 25 tablature notation, 71–73 slap-style playing, 32–33 vocal chart, 73 standing with bass, 24 Red Hot Chili Peppers, 33, 229 string crossing, 62–63 reference pitch, 41–45 warm-ups, 58–63 reggae rock grooves bass trademarks, 242 blending or bold grooves, 284 drop-one groove, 244–245 blues rock box groove, 198 groove for major, minor, or dominant blues rock using notes from chord, 197 chord, 244 blues rock using notes from chord and groove for major or dominant chord, 243 mode, 198 groove for minor chord, 243 blues rock using only root, 197 relative tuning, 42

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rock grooves (continued) root position, 104 country rock box groove, 200 root-5 concept, 207–208, 292–293 country rock using mode, 200 rubbing alcohol, 324 country rock using notes from chord, Rush, 191 199–200 country rock using only root, 199 • S • generic, 201–202 hard rock box groove in minor tonality, 193 Saadiq, Raphael (hip-hop bassist), 233 hard rock using minor chord, 192 saddle, 336–337, 346 hard rock using notes from minor chord salsa, 240. See also Afro-Cuban music and mode, 193 samba style, 239–240 hard rock using only root, 192 scale tone, 93 pop rock box in dominant tonality, 195 scales. See also major scale; minor scale pop rock using major tonality, 194 Aeolian mode, 112–113 pop rock using notes in dominant basic description, 16–17 tonality, 194–195 color, 109 pop rock using only root, 194 dominant chord, 102, 110 rock box groove, 188–189 Dorian mode, 112–113 rock ’n’ roll box groove, 189 fi ngerboard diagram, 34–36 rock ’n’ roll in major tonality, 190 half-diminished, 102, 111 rock ’n’ roll in minor tonality, 189 intervals, 92 rock ’n’ roll in minor using notes from Ionian mode, 112–113 chord, 187 Locrian mode, 112–113 rock ’n’ roll using notes from chord, 187 Lydian mode, 112–113 rock ’n’ roll using notes from chord and major chord, 102, 110 mode, 188 minor chord, 102, 111 rock ’n’ roll using only root, 186 Mixolydian mode, 112–113 rock ’n’ roll. See rock grooves; rock styles notation, 92 rock styles open-string, 37 blues rock, 196–198 Phrygian mode, 112–113 country rock, 199–200 tonal center, 92 difference between, 185 scale-tone concept, 210–211 hard rock, 191–193 screwdriver, 324 history, 186, 191 screws, tightening, 342–343 musical genres, 18 service agreement, 317 pop rock, 193–195 session player, 221–222 progressive rock, 191–193 7/4 meter, 262–265 quarter or eighth note, 273–274 7th chord rock ’n’ roll, 186–191 groove using, 121, 135 root structures, 101–102 basic description, 34 7th-fret tuning method, 48–50 chord symbols, 70 Shakespeare, Robbie (reggae bassist), fi ngerboard diagram representation, 35 243, 362 groove, 134 Shannon, Tommy (blues bassist), 214 groove skeleton element, 130 sharp symbol, 38 playing, 292–293 short-term bass use, 311 as tonal center, 93 shuffl e genre, 280–281 in two-note relationship, 158 sign-offs, 285–286

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sitting with bass, 25 string retainers, 336 six-note blues scale, 168 strings. See also changing strings six-string bass, 311–312 bass guitar compared to other guitars, sixteenth note 9–10 in 5/4 meter, 260 cleaning, 341–342 in 7/4 meter, 266 coiled, 333 fi ll, 181 cost, 337 in funk, 278–279 cutting, 330–331, 334–335 R & B/Soul genre, 278 dull, 330 subdivision of note, 81 envelopes, 333 6th note, 136 extra, 324 ska style, 246–247 fi ngerboard diagram representation, 35 skeleton, groove, 17, 130–132, 162–163 length, 10, 334 slap-style playing maintenance, 338 funk groove in, 229, 279 muting, 65 right-hand position, 32–33 neck components, 13–14 snapping the string, 32–33 needs assessment, 311–312 snare drum, 154–156 raking, 62 solid state amplifi cation, 321 ring (ball), 333 solos. See also fi ll tension, 58 blues scale, 168–169 vibration, 57–58 challenges, 167 Strong, Jeff chord changes, 174, 176 Drums For Dummies, 154 chord chart, 176 style, 18 major pentatonic scale, 173–175 subdivision, 266–268 minor pentatonic scale, 169–173 suspended chord, 100 symmetry of bass, 17–18 swing style sonic space, 154–155 groove using major pentatonic scale, 204 South African style, 248–249 groove using Mixolydian mode, 204–205 speakers musical genres, 18 basic description, 319 sympathetic vibration, 65 cable, 320 syncopated rhythmic style, 288–292 combo amp, 320–321 syncopation size, 321–322 in Afro-Cuban music, 240–242 stand, bass, 326 in calypso, 245 standing with bass, 24 in R & B, 222 Starks, Jab’o (drummer), 357–358 and subdivision, 266–268 stool, 326 storage, bass, 349–350 • T • straight rhythmic style, 288 strap pin, 14, 23–24 tablature strapping on bass, 23 notation, 71–73 straps, 324 reading, 2 striking hand. See right hand tail, groove, 145–146, 162–163, 225 string crossing, 62–63 TalkBass website, 313

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technical support, 374 with reference pitch when playing with tension others, 43–45 creation and release by bass guitarist, 11 relative tuning, 42 groove tail, 145–146 tuning fork, 43 string, 58 tuning head, 330, 336–337 3rd note, 135 tuning machines, 13 three-quarter time, 256 tuning post, 330, 332, 334–335 thumb rest, 28 turnarounds, 285–286 thumb-style playing two-strings/two-frets method of fi nding funk groove in, 229, 279 notes, 76 right-hand position, 32–33 tie, 83 • U • time, keeping, 11–12 timing fi lls, 177–178 U2, 12, 288 tonal center, 35, 91–93. See also root unison accompaniment, 299–301 tonality, 91 unison riff, 191 tone. See also pitch upper groove apex, 151–152 common, 225 up-tempo, 246 leading, 206 string vibration, 57–58 • V • Tower of Power, 229 Treble knob, 322 vibration triad, 95–99 string, 57–58 triple notation, 3 sympathetic, 65 triplet feel/rhythm video clips, 374 blues shuffl e, 214–217 vocal chart, 73 counting beats in measure, 203 voice leading, 302 funk shuffl e, 218–220 Volume knob, 322 groove skeleton elements, 130 volume pedal, 325 jazz, 205–214 swing styles, 18 • W • triplet fi gure, 217 triplet fi ll, 180 walking bass lines, 205–214, 294–297 triplet rhythm, subdivision of note, 82 waltz, 255–257 truss rod, 15, 344–345 Weather Report, 228, 355 tube amplifi cation, 321 website tuner, electronic, 41–42, 324 ActiveBass, 313 tuning bass guitar TalkBass, 313 5th-fret method, 46–48 The Who, 12, 191, 354 7th-fret method, 48–50 whole note, 82 harmonics method, 50–53 whole step, 36 importance, 16 Wiley Product Technical Support, 374 to itself, 41, 46–53 Wooten, Victor (Béla Fleck and the with reference pitch from guitar, 43, 45 Flecktones), 33, 229, 356 with reference pitch from piano, 43–44 world beat style, 19, 252–253. See also with reference pitch when playing international styles alone, 41–43 wrench, 324

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