* B I M M
BRITISH & IRISH MODERN
MUSIC INSTITUTE
FRANC
O
'SHEA
IS THERE NO END ID
ID E FU NKIN ESS OF
FRAN C 'FU N K FIN G ER S'
O 'SH EA ?
I
n this month's column I
will be analysing a funk
solo that I have devised as
an example of how a bass
solo could be created in this
genre. Bringing together
various elements related to this
style, which has been the focus
of my last three columns, you
will see how these components
can be effectively combined.
Although I composed the solo
with fingerstyle funk in mind,
you could quite easily adapt
many of the ideas mentioned to
the slap technique.
I suggest that you start out
learning the solo slowly, say at
70BPM, and gradually build up
the tempo. This may seem slow
to start out with, but not only
are there some tricky passages
involved but also some highly
syncopated rhythms that you
need to make sure you fully
understand before you can
execute them accurately. See if
you can eventually get up to
100BPM or above.
The solo is based around an
E7 chord, which allows a lot
of freedom in terms of note
choices, since not only the
BASS
SOLO
'THE SOLO IS BASED AROUND AN E7 CHORD, WHICH ALLOW S A
LOT OF FREEDOM IN TERMS OF NOTE CHOICES"
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