P.O.

Box 17878 - Anaheim Hills, CA 92807 - P/F (714)- 779-9390

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- Brian Emmel Bass Books -

"-"11111111111111"'-llEI SCALES AND MODES 5·STRING ~ PURRFECT
Uf.ltiti:j
FOR THE 5-STRING BASS 4-STRING
METHOD BASS
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by Brian Emmel by Brian Emmel METHOD
foreword by Mark Egan Centerstream Publications by Brian Emmel
Centerstream Publications The 5-string bass is rapidly .Centmtream PufJlisbing
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bass. Divided into 4 main to adapt to the dilferences in the Includes p~ve exercises on rhythm notation, 1st
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chart and diatonic triads 4) Scale to Chord Guide - tying using the 5-string, practice tips, different techniques, and arpeggios, blues progressions and chord charts.
it all togelher and showing what scale to use over various practical applications to various genres demonstrated _ _00000201..............................................$9.95
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FUIDAMEITALS - their beginners off with . . .--Jim Hyatt,
FOR 5·STRHIG BASS THE FUN APPROACH BASS Frontiers Magazine
by Brian Emmel TO BASS
Centerstream Publications IMPROVISATION
12 of the most popular by Brian Emmel
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Centerstream Publications Video
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monlyllSed bass scales. Also has drum grooves into a drum by Brian Emmel
helpful explanallon ofcoounon machine and develop a working knowledge over the This hour-long video is all you11 need to
c.=;;;.._-~..........,__, 2-5-1 progression, and the rhythms and various styles. Drummers can play the build a lasting foundation on the 5-
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All exercises and patterns are shown in
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This slap bass method book, designed for advanced beginning to intermediate
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00000229 Book/CD Pack ...............................$16.95 (1-57424·053-6)
 Blues Grooves
Traditional Concepts for Playing Blues Bass
4 & 5 string
By Brian Emmel

Designed to educate the bass player historically as

well as define the Blues Art form. Learn: Blues
Scales, Rhythm Variations, Tum Arounds, Endings,
Grooves. Learn the Blues of: Chicago, Jazz, Texas,
Rockabilly, R&B, and more.

Cover Art Eddy Young

Music Notation: Brian Emmel
Paste-up: Ken Warfield
Layout and procfuction: Ron Middlebrook

ISBN 1-57424-086-2
SAN 683-8022

Copyright © 2000 CENTERSTREAM Publishing

P.O. Box 17878 - Anaheim Hills, CA 92807
All rights for publication and distribution att reserved. No part of this book may be reprodu ced in any form or by any
ele<tronic or mechanical means including info~on storage and retrieval systems without permission in
writing from the publisher, except by reviewers who m ay quote brief passages in r eview.
 Table of Contents

Introduction .................................................... 3 CD Track Play List

Suggested Artists & Players ......................... 3 Track: #1 Introduction (music)
Author's Bio .................................................... 4 #2 Dialog
Acknowledgments ......................................... 4 #3 Tuning Notes
#4 Rhythm Example 1
What Defines the Blues ................................. 5 #5 Rhythm Example 2
12 Bar Blues & Arrangement Variations .... 6 #6 Rhythm Example 3
#7 Tum Around Example 1
Scales Used for Playing the Blues ............... 7 #8 Tum Around Example 2
Blues Scale 4-String ........................................ 8 #9 Tum Around Example 3
Blues Scale 5-String ........................................ 9 #10 Tum Around Example 4
Minor Pentatonic Scale 4-String ................ 10 #11 Turn Around Example 5
Minor Pentatonic Scale 5-String ................ 11 #12 Tum Around Example 6
Dorian Scale 4-String ................................... 12 #13 Tum Around Example 7
Dorian Scale 5-String ................................... 13 #14 Turn Around Example 8
Major Pentatonic Scale 4-String ................. 14 #15 Turn Around Example 9
Major Pentatonic Scale 5-String ................. 15 #16 Turn Around Example 10
Mixolydian Scale 4-String ........................... 16 #17 Ending lA
Mixolydian Scale 5-String ........................... 17 #18 Ending lB
Natural Minor Scale 4-String ..................... 18 #19 Ending 2A
Natural Minor Scale 5-String ..................... 19 #20 Ending 2B
#21 Blue Groove Example 1
Rhythm Variations ....................................... 20 #22 Blue Groove Example 2
Turn Arounds ............................................... 21 #23 Blue Groove Example 3
Endings .......................................................... 27 #24 Blue Groove Example 4
Blue Grooves ................................................. 29 #25 Blue Groove Example 5
#26 Blue Groove Example 6
R&B (Circa 1949) .......................................... 37 #27 Blue Groove Example 7
Chicago Blues................................................ 38 #28 Blue Groove Example 8
Chicago blues (5 string version) ................ 39 #29 Blue Margarita
R&B (Circa 1960) .......................................... 40 #30 R&B (Circa 1949)
R&B (Circa 1960) (5 string version) ........... 43 #31 Chicago Blues
Jazz Blues ....................................................... 46 #32 R&B (Circa 1960)
Rockabilly ...................................................... 41 #33 Jazz Blues
Rockabilly (5 string version) ...................... 48 #34 Rock A Billy
Psychedelic Blues ......................................... 49 #35 Psychedelic Blues
Texas Blues .................................................... 51 #36 Texas Blues
 Introduction
This book and accompanying CD is designed to educate the bass enthusiast histori-
cally as well as define the Blues art form. I have done much research on Blues and Rock
and Roll history, to present this style and it's development in somewhat of a chronologi-
cal order regarding styles and traditions.
The bass lines in this book are transcribed from select blues arrangements in concor-
dance to its style and era. The time span illustrated in this book is from the 1920's to the
late 1960's, early 70's. The blues tradition is still imbued in today's popular music.

Suggested Artists & Players:

Below is a list of blues artists I researched to help me appreciate and learn more
about the blues and blues bass. I've also included some valuable resources for you to
check out.
Willie Dixon: bassist, songwriter
• classics: "Hoochie Coochie Man," "I'm a Man," and "Just Want to Make Love to
You" .
Big Bill Broonzy, Tampa Red, Sleepy John Estes, Roosevelt Sykes, Sonny Boy Williamson
Charley Patton: the king of the Delta blues,
• 1929 classics: "Pony Blues," "Pea Vine Blues," and "Tom Rushen Blues"
Robert Johnson: most celebrated Delta Blues artist
• 1936 classics: "Dust my Broom," "Sweet Home Chicago," "Crossroads," "Love in
Vain," and "Rambling on my Mind"
Muddy Waters: father of rhythm and blues
• 1950 classics: "I Can't Be Satisfied," "Feel Like Going Home," "Rolling Stone,"
"Walkin' Blues" (R. Johnson), "Long Distance Call," and "Honey Bee",
• mid 50's classics: "Got My Mojo Working," "Rollin' and Tumblin'," "Mad Love,"
"(I'm Your) Hoochie Coochie Man," "I Just Wanna Make Love to You," and "I'm
Ready"
The Wolf:
• 1951 classics: "Moanin' at Midnight," "Killing Ground," later recorded by Jimi Hen-
drix, "How Many More Years," which became Led Zeppelin's "How Many More
Times," "I Ain't Superstitious," covered by Jeff Beck: and "Smokestack Lightnin',"
later popularized by the Yardbirds

Chess Artists:
Ellas McDaniel
Bo Diddley:
• "I'm a Man,"" Mona," "You Can't Judge a Book by Its Cover," and "Say Man"
Little Walter: pioneer of amplified harmonica
• 1952 classics, "Juke," "Sad Hours," "Blues with a Feeling," "You're so Fine," and
(1955) "My Babe"
Sonny Boy Williamson II: pioneer of amplified harmonica
• 1955 classics: "One Way Out," covered by the Allman Brothers, and "Eyesight for
the Blind," later recorded by The Who
B.B."Blues Boy" King: developed the jazzy blues sound
• early classics: "I Woke Up This Morning," "Everyday I Have the Blues," and "You
Upset Me Baby"
Elmore James: master of the slide guitar , ..
• 1952 classics: "Dust My Broom," (R. Johnson), "Shake Your Money Maker," "It Hurts
Me Too," "The Sky Is Crying," and "Hawaiian Boogie"
John Lee Hooker: slide guitarist
• classics: "Boogie Chillin'," "Hobo Blues," "Crawling Kingsnake Blues," "Sally Mae,"
"Boom! Boom!," and "I'm in the Mood"

3
 Brian Emmel
Brian Emmel graduated from the Bass Institute of Technology, Hollywood,
California in 1989. Since, he has written and published eight bass instructional
books and one 5-string bass instructional video for Centerstream Publications,
distributed by Hal Leonard corporation and has also written and produced his
own CD signed by Leviathan Records. He has also performed various clinics for
Working Musician, GHS Strings and.Cort guitars.
Currently, Brian is a featured columnist for Bass Frontiers Magazine, he
teaches private lessons, and performs with his band "CARL" to promote his new
CD titled SofaKingdom.

Acknowledgments
Special thanks to: Gard's Music House, Frank Green, GHS Strings, Cort Guitars, Dave
Celentano for inspiring me to write this bass rendition of his Essential Blues Guitar book, and for
allowing me to incorporate his guitar tracks for "Tum-Arounds & Endings," Jim Hyatt & Bass
Frontiers Magazine, Robby Garner & Bass Lessons.com, Matt Gruber, Michael Inzunza, Chris
Joyce, Gratz Arias, Scott Lovelis & A-Z Studios, my beloved students, & God.

Musicians: Brian Emmel-Bass Guiw, Rhythm Guitar

Michael Inzunza-Drums
Chris Joyce-Keyboards
Gratz Arias-Lead Guitar

E-mail Brian at: Bemmel3694@aol.com.

http://members.aol.com/Bemmel3694 / index.htm

4
 What Defines the Blues
and the Blue Tonalities
There are a number of different ideas as to what the blues really are: a scale
structure, a note out of tune or out of key, a chord structure; a philosophy? The
blues is a form of Afro-American origin in which a modal melody has been har-
monized with Western tonal chords. In other words, we had to fit it into our
musical system somehow. But, the problem was that the blues weren't sung ac-
cording to the European ideas of even tempered pitch, but w ith a much freer use
of bent pitches and otherwise emotionally inflected vocal sounds. The 'bent'
pitches are known as 'blue notes'.

The 'blue notes' or blue tonalities are one of the defining characteristics of the
blues. Tanner's opinion is that these tonalities resulted from the West African's
search for comparative tones not included in their pentatonic scale. He claims
that the West African scale has neither the third or seventh tone nor the flat third
or flat seventh. "Because of this, in the attempt to imitate either of these tones
the pitch was sounded approximately midway between (the minor AND major
third, fifth, or seventh), causing what is called a blue tonality." When the copy-
ists attempted to write down the music, they came up with the so-called "blues
scale," in which the third, the seventh, and sometimes the firth scale-degrees
were lowered a half step, producing a scale resembling the minor scale. There
are many nuances of melody and rhythm in the blues that are difficult, if not im-
possible to write in conventional notation. But the blue notes are not really mi-
nor notes in a major context. In practice they may come almost anywhere.

Before the field cry, with its bending of notes, it had not occurred to musi-
cians to explore the area of the blue tonalities on their instruments. The early
blues singers would sing these "bent" notes, micro tonal shadings, or "blue"
notes and the early instrumentalists attempted to duplicate them. By the mid-
twenties, instrumental blues were common, and "playing the blues" for the in-
strumentalist could mean extemporizing a melody within a blues chord se-
quence. Brass, reed, and string instrumentalists, in particular, were able to pro-
duce many of the vocal sounds of the blues singers.

Construction of the Blues

The 12 bar blues harmonic progression (the one-four-five) is most often
agreed to be the following: four bars of tonic, two of subdominant, two of tonic,
two of dominant, and two of tonic. Or, alternatively, I, I, I, I, IV, IV, I, I, V, V, I, I.
Each roman numeral indicates a chord built on a specific tone in the major scale.
Due to the influence of rock and roll, the tenth chord has been changed to IV.
This alteration is now considered standard. In practice, various intermediate
chords and even some substitute chord patterns, have been used in blues pro-
gressions, at least since the nineteen-twenties. ...

5
 12 Bar Blues and Arrangement Variations
Example one is a chart of the standard 12 bar blues along with nine common
arrangement variations. Each example is read from left to right. The chord sym-
bols are written above the bars, and each slash mark indicated the number of
beats per bar the chords play over. Use some of the traditional bass pattern ex-
amples illustrated in the following chapter to play over each individual chord on
the charts provided. Then try to elaborate and improvise by using the scales in
this book (see chapters on scales). ·

Example 1
A1 01 A7 E1 A1
111:6$4 z7z·I z
ZJL'
::r::rzz•I
ZZJ' I rr:r/I
ZJ'
, :r:r/I 7777'1
2 Z I' z IL' 77 >
ZJZ TZ>Z'I , »Z'I ZJL'
77'1 rzr• , r:rz·I M~ll
ZJ~'

Example2
A1 01 A1 07 A1 E1 01 A1
lll:bs4 ZJJ' IZJ, >
ZZJ' ::r7z•I 1 l
1111
l Z'I r1 l
zy_z• z•I zzz1
lrz z•I rzr•
z7 2•I 1 ::rr1
ZJJ' zi zzy
z 1z•I zzr•
»~zi 0¢
l l ,, II
Example 3
A1 01 A1 01 A1 E1 01 A1 E1
Ill= ,sdH CIC' z z~·
2 2zl zr:rz2·I
7
?JJ LL'
I
7r:rzi 227 Z'I 7r:rz·I z$sva11
zz z,
Example 4
A1 01 A1 07 A7 F1 E1 A1 E1
111: 6$<d 2r:rzi z1777'1
IL'
ZJ~' zz~· zz_z• 777
z~r·
2•I cz72z,/I l r1~z·I 1 I> 2J 77 :rz•I I> 2 z•I 0J II
Example 5
A1 01 A1 01 A1 E1 01 A1 01 A1 E1
,sskl
111= 7 177'1 22rz'I
ZJ I ' >
Zl~'
z~z·I 2~~ 2~z·I
Z l z~r T~L'
772 /I
CZJ ' L I77'
Z17 z I ~1> Z'I ,,
' 1 z l / r:rz' ~ 3$¢11
rz~·

Example6
A1 01 A1 01 A1 Bm1 E9 A1Cm7 Bm1 B~1
Ill: zs'$«1 717/1 117/1
ZJ L'
77
z r re• d l z7 z•I rz > z•I $$VIII
Example 7
A1 01 A1 01 A1 Ff 87 E9 A1 E9
Ill'1> rd ZZ 1 :r11
l I•
ZJJ' r1 l z'I 27 z'I
l r~Z'I zzz > zyy•

Example 8
A1 01 A1 01 A7 Ff 81 E9 A1 c1 81 8~1
111=,'$'$41
Example 9
ZJJ'llla 1 2
CIJ' :r:rr/I
17'1rrz • zr1l 'Z'I 7
7>
zzz
7
• 72i l lll l' z'I Z
1 ::r:rr/I
J C Z » ,}0VI
, II
A1 01 A1 01 A1 c1 81 B~1
111: z'$'$<ZI ZJ l ' ZJZ ' I I Z > Z Zl > zz_z • zz~· z rz ' z_z~· I> rZ'I 77~'i 0'$vall

Example 10
A1 01 A1 01 A1 E9 F9 E9 A1 E9
111= ,'$s41 7 !>7'1 r:rz
r1>z'I z~z 1 z•I 727 /I 7r:rz•I
r2~1 rz~· l l
ZJ Z ' n•I ZZC' Z~L'
l rrz•I 27 l z·I $$VI II
77~z'I 277 z•I ZJJ lZZ ' 1
Z

6
 Scales Used for
Playing the Blues
Here are the tools for understanding what scales to extract from to comp a
bass line for the blues. Although most.chord construction for the blues is major,
this art form incorporates minor sounding tones or scales. These scales give the
blues its character. Here are five that work over the blues form:

1) Blues derived from the . . .

2) Minor Pentatonic derived from the ...
3) Dorian Mode (2nd degree of the major scale)
4) Major Pentatonic derived from the ...
5) Mixolydian Mode (5th degree of the major scale)

These scales can be used exclusively or in combination with each other.

These scales and forthcoming chapters are the body parts to assembling the
blues art form. I've put all the examples in one key of A.

The Dorian and Mixolydian modes are the mother lode for the blues sound.
If for example we play the blues in the blues key of A, and use notes from the
Dorian scale, we would be theoretically in the key of G major. If we play our of
the Mixolydian scale, we would be in the key of D major.

The Relative minor scale can only be played q~er the minor blues. For exam-
ple, the F natural in the A minor scale is distasteful over the major chords in the
standard blues keys. The I, IV, V are minor seven chords. The minor pentatonic
and blues scale also play over the minor blues, because there is no For F# note in
these scales. (see chapter on minor blues).

7
 Blues Scale
Key of A: A C D D# E G
.....
~
......... _..., 0
0 0 0
~"' 0
... ~

.....
...
"' .....
v
"'
l'o...

0 ~

.....

.....
6...--~--~
0
0 0
..... ot..
"-·
v \.. .........
"' 0

l'o...
~
~

v
0 0 0 0
"'. ---~
......... ~

8
 Blues Scale
Key of A: A C D D# E G
....
,
_..., __\.
-
-
''- - - -
..... -
v -~ "--~

...
....
... -
.... ....... ~ .... -- - -
-
-
, "
\..--~--

....

....
.--....
-
_._.._
- ,
~

- ..... " ....

-
-
v

.....
\,.--4..--6,..
~ --
-- -- .... (""""\,,
".... .....
,
....
\..
"'.
-..,
.r-...

...
....
.
.....
....
.... ~' ....
-
-- - .. .....
--- ....
~ ...
~- ...... ~

9
"'
 Minor Pentatonic Scale
Key of A: A C D E G
.....
\.. 0
\..
0 0 0
''- 0
"""
"'
"-
...
...
....
v
"'
.....

"-
....
"'.... .... 0
0 0
'-
0
...
v ... .... 0

.....
...
0 0 0 0
........
--~
v ~

10
 Minor Pentatonic Scale
Key of A: A C D E G
,....
...
" :fi., - - -
-

I.' -.... "'.... -

......

~------------~---.-
"'"' ....
~-+--+---+---+---+-~K.-»--+-~

~'-+----+-C'-->+----t<J+-~t--+--+-~

~ ~-+--+---+---+---+-~K.-»--+-~

"' ~------------------
I;'

....

-- ,
""' -

v
~
-

--

"" ... ~

"" "'"'
-
[).
-

v "'"' ""' -

!'..
4..- ...
....
"'.- '"'
~
~t...

- -
-- ~

~
..... " "'
"
11
 Dorian Scale
Key of A: A B C D E F# G

... ..., __
0
.... - - ,,

....

......

0 0 .
v

...
"'-
"1..·-·6-.··
.... ..... -
v
0 0 0 ..... ......
( ).

~
-
12
 Dorian Scale
Key of A: A B C D E F# G
""" .... ...,
...
t.- ~....
\..-
"' -
- -
-

/ .... "'""9"\..

...."'
\,..
.
\,.. ....
"
,:
-

"
..... .... ......
.... ~

\..--1"-
~

\,..
-...- \..
-1
....
-
"" "' --\. -
-
/
" "--...
\..

....
....
"'
\.. ..... ...., -
- - ~ 't..• ....,
~- -\.- -
v
" " ....

···
\..·-·.... \.. ........... -
-
-
-
~
".."...... -··
..._.
....'+--+__..,._
ti... +--+__..,._
\.. "..........--.....
/ \. ·-· ~··\.----

13
 Major Pentatonic Scale
Key of A: A B C# E G

'" ~ ~
0

,.,,
0
~
\,.- ~ "'.... 0
0
" "
......
.....

......
0 0
"....
-~
~...___111:__
111

....

0 0 0

""
14
 Major Pentatonic Scale
Key of A: A B C# E G
"'"
...,
-- -_,.,_
-
- ...r-- -- -
--
,,,,

.....

\.. -
-~ --..- ~
- -

., " -

.....
~ ....
.... '- -
-
-
r"\..
--.- .........-..
- c..: --

, '- "'... -

.....
.... ~
... -
- - "'
~ ...
...
..." -

"
,.

...
.....

....ft..·-·"'
- ....... ~

-- -- - -~ ...
" "' "-
-~·

,,,,

15
 Mixolydian Scale
Key of A: A B C# D E F# G

......

\..- i - -
0
-..- 1--<
!.;'

"'"

0 0

"
0 0 0

!."'

16
 Mixolydian Scale
Key of A: A B C# D E F# G
....

.... -
----- -\,.- ~
-
---... -
"' --·
....
.... ....
...
.,_ i....t""-i...
...- -...
--...---...- -
-
-

,
"-....... \..
....
....
-

....
... .... --...
... - - \....... .... -
--e...- -..(1 .... -
... ~ -
v ... ...
.... --·

....
...---... ....
--
....
- - .... ".... •'-
.
... ... .." -
v
"' ...

....
4',,·-·... ··t..
...... - .....
....,. ...... ".... ...
- -
....... ....
-- ·~

17
Aeolian (Natural Minor) Scale
Key of A: A B C D E F G
.....
\..
~- -~
t...- -<'-
" 0 0 0
0

0
/ -\,.. ....

:_-~-~-~ ~,=1=1==1=1°=1=1=1:1=1=1 0

.. t.,..--
0

..._

0
0 0
0
/

"'" .......
0 0 0
~·
0
.
v

18
Aeolian (Natural Minor) .S cale
Key of A: A B C D E F G
......
~
"'
~- --~ --
_...., t..- k .... - -
-
/ .... "
~
-

....
t..--1~-.---.---.~------------
" _...,
-"
tit..· ~~--+----4---+-~-+<~-+-.....

"- • ~ --.+---+--O-i---~~___.._._..._ .....

... ~-+---+----4~+-+-+--+<~....,_~

,..... ~ ~--~-----___,_~-'----~__.._

t...--1 ~
-
.... -
- ..... -\.,- .r-i

"- --...
,/
--
...
....
" .... ...
- ""'
t.,- -~- ./""'!...
-
4.,,-
_....,
~ "'... -
"
,.....

; 't•

......
~··....,
....."'
-..--
................
~
- - - .....
r"\.. ... ..........._.....
\. ... ·t..,+--+-
I/
~ ..... ....,...__..
19
 Rhythm Variations
The blues consists of three rhythm variations or feels:
Straight, Shuffle, and Triplet

1) Straight feel: A steady and even- sounding rhythm. An eighth note rhythm
spaced rhythmically even from each other.

1
J J J J J J J
& 2 & 3 & 4 &
II

2) Shuffle feel: Similar to a straight feel except that each consecutive eighth note
is played more to the right, sounding shorter than the previous eighth note.
A slanted eighth note rhythm. Played as the word is spoken syllabically,
SHUF-FLE.

Shuf fle
J.
Shuf
j
fle
l J l J I
Shuf fle Shuf fie

3) Triplet feel: Also known as a twelve/ eight rhythm, twelve beats per bar. The
grouping of three beats with no accents, played evenly.

12=1J J J J J J J J J J J J
1 2 3 2 2 3 3 2 3 4 2 3
II

20
 Turn Arounds
In the blues there are a few traditional musical forms for introduction, end-
ings and turn arounds. Turn arounds are musical motifs or repeating themes
that are usually played over the last two bars of the blues form; it takes the play-
ers and listeners back to the top of the song. Turn arounds also make for intro-
ductions and endings to songs. Turn·arounds typically start on the I chord and
resolve on the V chord.

Here are ten of the more traditional turnarounds. These examples are played
in the key of A blues. You will observe that sometimes more than one bass ex-
ample plays over many of these other examples. I've illustrated two examples
for each turn around; you may experiment with other ideas by using the balance
control on your stereo system to pan out my bass part and play with some varia-
tions along with the CD.

1) This turn around is a chromatic ascending line starting on the root of the I
chord (A) and resolving on the root of the V chord (E).

Here's a variation using a descending chro-

matic bass line over the same turn around.

21
2) Here's another ascending line using chromaticism.

This line descends chromatically from the root of the I chord and lands on
the major 3rd of the A7 chord (C#) for harmony on the E7 (V) chord.

3) This is the same ascending bass line as in example one. Notice

how the guitar parts vary in each of these examples on the CD.

This is the same descending bass line as in example one. Yes, guitarists may play
different tum arounds but one bass line can compliment more than one type of
turnaround.

22
 4) These bass lines are in four I four time
played over the guitar in twelve/eight time.

5) Listen to the guitar playing the triplet feel while the

bass plays a laid back dotted quarter walking line.

E7
L. . . . .

- ••I ..
...
i 7

11
I
I
I
-· .,_.I

-· - - - " .1• r

-· n-•
ll
r-
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,.-....._
t':il I I I
j.

.• "' -1-
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-1-
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I I I
-1-
I

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~
rr
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-1-
. HI
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• •

23
 6) In this example the bass plays note for note with the guitar. The walking
pattern contains consecutive long and short note rhythms a.k.a. shuffle feel.

The second example I created my own bass line using the A Mix-
olydian scale. Notice the larger interval skips in this idea as op-
posed to the chromatic approach.

7) This example is in the A minor blues key. Avoid using the major 3rd
and chromatic lines. Instead, use the A minor Pentatonic scale.

This example in A minor plays in unison with the guitar.

Arn Em
-, .. - " -· - - - -
11...."lll.• .41 ~I

n
J
I

I
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II •a
I

I I
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r I r
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~ ...........
--
•• "' ~

24
8) In this example the guitar plays in four I four
time and the bass line has a twelve I eight feel.

This time the bass line is in unison with the guitar played in common
time (4/ 4), and played with the open notes from second position.

9) Here's a tum around played with an ascending straight feel.

This bass line descends with the straight feel.

25
 10) This last example is a walking line with
a slower bass feel over a fast guitar riff.

This bass line descends from the root note (A) to the V chord root note
(E) very up-tempo w ith the guitar with a sixteenth rhythmic feel.

-, -
L. , .
.. j
A1
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-- -- -- - - - -. ....- ---- .. .... -- ,...-
E1
- -
- -
I
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26
 Endings
The tum arounds from the previous chapter can also be transformed into
song endings.

As you recognized, the tum around functioned to take the players back to the
top of the song (1st measure). A turn around never resolves, but recycles the
song. Therefore, we need to get out of the loop so to speak. One way to resolve
the song is to transform the tum around by playing up to the first beat of the last
bar, then play the #I (A#) to the I (A).

1A)

lB)

27
2A)

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28
 Blue Grooves
Below are eight examples of some commonly played bass lines in the blues
form. These groove patterns are melodic as well as memorable and play over
each chord (I, IV, V) in the songs structure.

These groove patterns are also composed out of the various scales used in
playing the blues (see blues scales).

Use these patterns as a guideline to develop and expand improvisation over

the blues.

Example 1

Mixolydian Groove

,,.
-
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9

-
I
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....- --
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.

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I l
I I

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.'
d I
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I
r I

29
 Example 2

Aeolian (Natural Minor) Groove

1 Am

-
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I
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30
 Example 3

Major Pentatonic Groove

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31
 Example 4

Minor Pentatonic Groove

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r-
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l I

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n. _. ['\. Ai n. -' Ai ......
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s Om

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32
 Example 5

Minor Pentatonic Groove

1 A1

A1

33
 Example 6

Mixolydian Groove

-·. - - .-- - .- - - -- --- - - - --- --

- - -

-- --
~-

-
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I I T I
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34
 Example 7

Minor Pentatonic Groove

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M 91 91

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35
Example 8

01

36
 Rhythm & Blues (Circa 1949)
B.B. "Blues Boy" King fused his delta influences with a jazzy, single-note
guitar attack. With a few years King's new style produced dozens of R & B clas-
sics. The market for the new sound expanded with the number of African-
Americans who flooded into northern and western cities during and after World
War II.

37
 Chicago Blues
Between the years 1925-1930, the Illinois Central Railroad brought the blues
to Chicago. Thousands of laborers came to work in meat packing plants and
steel mills. These migrants played different styles of blues. The first incarnation
was a country blues. By the early 40's, the urban scene began to influence the
music and a hybrid of blues developed from vaudeville styles and newer swing
rhythms, which included the boogie-woogie. Vocals, a guitar and a piano cre-
ated a Chicago blues sound more enlivened and sophisticated than the more
subdued country blues.

••

•
•

38
 Chicago Blues
(5-String Version)
Here are the same bass lines from the 4-string version of "Chicago Blues"
with some variations over a different rhythmic feel.

01
-· --
II I
, ,, A1
,,.
,, TI.
fl
Cl
~
~

...•
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l

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•
l
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l

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l I I

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.
,
"r
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rf I
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,., I' ""' I = PT " I

---
I

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.
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39
 Rhythm & Blues (Circa 1960)
This era produced the mixture of soul into R & B. Most soul artists of the fif-
ties started their careers in the church. Most of the gospel based R & B became
known as soul music. African-American soul crossed over into white America in
1960.

c1 F1 c1 F1

G1 Fr G1 Fr

40
G1 F1 F1

41
 c1.
. 54
F1 c1 F1
--· - -- - - .. - -- - ..- -• -
.
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M -

Rules for singing the blues

1. Most blues begin, 'Woke up this morning'
2. 'I got a good woman,' is a bad way to begin the Blues, unless you stick something nasty in the
next line: 'I got a good woman with the meanest dog in town.'
3. The Blues are simple. After you have the first line right, repeat it. Then find something that
rhymes ... sort of: 'got a good woman with meanest dog in town. He got teeth like Margaret
Thatcher and he weigh 500 pound'.
4. The Blues are not about limitless choice.
5. Blues cars are Chevys and Cadillac's. Other acceptable Blues transporation is a Greyhound bus
or a southbound train. Walkin' plays a major part in the blues lifestyle, So does fixin' to die.
Volvo's and Jeeps are unacceptable blues transportation.
6. Teenagers can't sing the Blues. Adults sing the Blues. Blues 'adulthood' means being old
enough to get the 'lectric chair if you shoot a man in Memphis.
7. You can have the Blues in New York City, but not in Hamilton Ontario, Vancouver BC Hard .
times in "Saskatchewan or Nova Scotia is just depression. Chicago, St. Louis, and Kansas City
are still the best places to have the Blues.
8. The following colors do not belong in the Blues: violet, beige, mauve
9. You can't have the Blues in an office or a shopping mall. The lighting is all wrong.
10. Good places for the Blues: a) the highway, b) the jailhouse, c) an empty bed, d) pool hall, e) on
the side of a dirt road with an old dog is best. · ··
Bad places: a) gallery openings, b) weekend in Vail, c) in a swimming pool
11. No one will believe it's the Blues if you wear a suit, unless you happen to be an old black
man, and you slept in it.
Continued on page 45

42
 Rhythm & Blues (Circa 1960)
(5-String Version)
Again, these are pretty much the same bass lines as the 4-string version with
some slight variations. Listen closely to the bass tone due to the lower string us-
age and upper scale positioning.

c1 F1
... ..1
~

a
- -
(' 7

- - -· -- --- --
>I -
F1
~

- .--- -- -
~
I
-
.. - -
- - -- - - -
- ~
I

- .--- -- -
~

• •
~

• r •

s G1 F1 G1 F1

43
G1 F1 F1

44
 53 c1. . F1 . c1 F1
... • .
-. -. .
.
~ ~
~

..
..
•
-. ,,,.• ~·
~

-- --
--.
- - ~

...
.. -.
'
-

. .. .., . .
...
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r
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r •
r
,
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.,
7 -....-
...
I
.., ,
r
.,
......", ......
•
r
-

..."
1 J I I
i ....
... ...
6':7

12. Do you have the right to sing the Blues? Yes if: a) your first name is a southern state-like
Georgia, b) you're blind, c) you shot a man in Memphis, d) you can't be satisfied. No, if: a) you
were once blind but now can see, b) you're deaf, c) you have a trust fund, d) you drive a Volvo.
13. If you ask for water and Baby gives you gasoline, it's the Blues. Other Blues
beverages are: a) cheap_wine, b) hard whiskey, c) muddy water.
The following are NOT Blues beverages: a) any mixed drink, especially if it comes with an
umbrella, b) any wine kosher for Passover, c) Snapple (all flavors)
14. If it occurs in a cheap motel or a shotgun shack, it's a Blues death. Stabbed in the back by a
jealous lover is another Blues way to die. So is the electric chair, substance abuse, or being
denied treatment in an emergency room. It is not a Blues death if you die during a liposuc-
tion treatment.
15. Some Blues names for women: a) Sadie, b) Big Mama, c) Bessie.
16. Some Blues names for men: a) Joe, b) Littlie Willie, c) Big Willie, d) Lightning
17. Persons with names like Sierra, Sequoia, and Rainbow will not be permitted to sing the Blues
no matter how many men they shoot in Memphis.
18. Other Blues names (starter kit): a) name of physical infirmity (Blind, Cripple, etc), b) first
name see above plus name of fruit (lemon, Lime, Kiwi, etc.), c) last name of President (Jeffer-
son, Johnson, Filmore, etc.) for example, Blind Lime Jefferson, or Cripple Kiwi Fillmore, etc.
19. Finally, it gots to be dark to sing the blues, preferably affer midnight. Singin' da blues at noon
is forbidden.

45
 Jazz Blues
Some African-Americans migrated to the urban north (Chicago), and some
went to other parts of the south (New Orleans), to escape the boll weevil infesta-
tion, a parasitic worm that ravished the cotton fields of the Mississippi Delta, de-
stroying work for the field hollers. The southern musicians developed a more
sophisticated blues sound by incorporating horns and piano. This sound devel-
oped into R & B (Rhythm and Blues).

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 Rockabilly
Black and white teenagers from poor southern backgrounds concocted the
pulsating mixture of African-American inspired rhythm and blues and country
and western known as rockabilly. The roots for this form of blues was born in
the 1930's.

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47
 Rockabilly
(5-String Version)
You should challenge yourself to transpose playing and reading in different positions.

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48
 Psychedelic Blues
Jimi Hendrix is the Godfather of this blues style. It reflected the desperate
mood of the late-sixties youth. The sound was delivered with a loud electric
blues angst that characterized the violence of a revolutionary era.

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50
 Texas Blues
The militant, dark mood that fostered heavy metal from the British rockers
launched a late-sixties electric blues revival in the U.S. Young white blues per-
formers raised in the American South began to gain popularity.

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37 D1

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ISBN 1-57424-086-2

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