ADVANCED THEORY
TUITION
"THE SOLO STARTS OUT WITH A MELODIC THEME THAT IS
CATCHY AND FAIRLY EASY ON THE EAR"
Mixolydian mode will work
well, but also other notes are
available such as the minor 3rd
and diminished 5th. You also
need to make sure that you
execute all the articulations
indicated in the notation, such
as dead notes, grace notes,
hammer-ons, pull-offs, accents,
harmonics, and staccato and
vibrato markings.
The solo starts out with a
melodic theme that is catchy
and fairly easy on the ear. This
is used at the beginning to
capture the listener's attention
and draw them in. This is
always a good idea in this
style, as you don't want to lose
your audience from the first
downbeat - especially since
some of them may actually
be dancing. This theme is
then transposed up a minor
3rd and we see an interesting
phenomenon occurring that
I described back in
BGM
113 where both an E Kumoi
pentatonic (1, 2, b3, 5, 6) and a G
Kumoi pentatonic scale can be
used over an E7 chord. The G
Kumoi would be from its fifth
mode with an E root (1, b3, 4,
b5, b7) effectively creating an
E minor blues scale with the
perfect 5th omitted.
After a descending blues
run in bars nine and 10, which
is capped off with syncopated
major 10th double stops,
some three-note semitone
phrases are used in the 11th
bar. These three-note motifs
were demonstrated in the third
example of my column in
BGM
113. Some more double stops
are also employed in bar 13,
but this time tritones are used
rather than 10ths, as shown in
the fourth example of
BGM
113.
Some rhythmic displacement
is used in the 15th bar. By
accenting groups of three
semiquavers, the pattern crosses
over the beat, a technique that I
described in my last column.
After the harmonics at
the end of the 17th bar, two
similar lines appear in the 18th
E l i x i r
S t r i n g s
f o r
B a s s
D r i v e n b y
P e r f e c t i o n .
D e v e l o p e d
b y
B a s s i s t s .
/ \ l i x i r
V ,y
strings
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. NANOWEB
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TONE
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