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380 Bass Guitar for Dummies, 3Rd Edition 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 Aerosmith, 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 bass guitar screwdrivers, 324 body, 14–15 speakers, 319–322 innards/guts, 15 stand for bass, 326 neck, 13–14 stool, 326 sections, 12 strap, 324 xxx-9781118748800-bindex.inddx-9781118748800-bindex.indd 337777 22/11/2014/11/2014 11:13:13:13:13 PPMM 378 Bass Guitar For Dummies, 3rd Edition apex, groove, 151–153, 162–163 Joe Osborn (studio musician), 32, 359–360 arpeggio, 95 John Entwistle (The Who), 12, 191, 354 attack, inversions, 302 John Myung (Dream Theatre), 191 audio tracks John Paul Jones (Led Zeppelin), 191, 359 bass guitar, 363–373 Larry Graham (slap-style bassist), 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 (The Beatles), 19, 32, 163, back of neck, 14 193, 287–289, 294–297, 301–302, 304 backbeat, 154 Pino Palladino (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 (blues bassist), 214 blending, 282–285 Stanley Clarke (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 Bootsy Collins (James Brown band), beats 357–358 backbeat, 154 Carol Kaye (studio musician), 32, 354 as chunks of notes, 84–85 Chuck Rainey (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 Rocco Prestia (Tower of Power), Bikutsi grooves, 251–252 27, 361 Blaine, Hal (drummer), 359–360 Geddy Lee (Rush), 191, 268 blending bass lines, 282–285 George Porter Jr. (Meters), 360–361 blending groove, 282–285 Jaco Pastorius (Weather Report), 27, 228, blues progression 285, 360 blues rock, 196–198 James Jamerson (Funk Brothers), 27, 225, jazz, 211–214 354, 358–359 xxx-9781118748800-bindex.inddx-9781118748800-bindex.indd 337878 22/11/2014/11/2014 11:13:13:13:13 PPMM Index 379 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 xxx-9781118748800-bindex.inddx-9781118748800-bindex.indd 337979 22/11/2014/11/2014 11:13:13:13:13 PPMM 380 Bass Guitar For Dummies, 3rd Edition 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 Motown, 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 xxx-9781118748800-bindex.inddx-9781118748800-bindex.indd 338080 22/11/2014/11/2014 11:13:13:13:13 PPMM Index 381 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 Fender Precision bass, 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 Bernard Purdie (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.
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