Solid! Blues Bass Harlan Lee Terson

Transcription

1 Solid! Blues Bass Harlan Lee Terson 00, Harlan L Terson wwwharlantersoncom

2 Introduction Like many forms of American music, the traditional electric blues of the 0's and 0's has become an endangered species, increasingly replaced in clubs and recording sessions by a more high energy rock sound As the older bluesmen disappear, the younger players coming up the ranks do not have as many opportunities to be mentored If they are lucky enough to hear the older recordings, they may find that the "old school" style is worth pursuing This text can be helpful for such players and students This book is presented in sections They can be studied together or separately The first part presents basic techniques and positions that have been developed through years of live playing They can be applied to many situations Keep in mind that the blues is a very personal expression, and that these things are not set in stone If something doesn't work for you, for example, a certain shape or fingering, by all means take what you like and leave the rest The rest of this book presents various blues styles and concrete examples They can be practiced by themselves, or in conunction with the technical studies This kind of study can go a long way to prepare you for what is out there The real secret, though, hours spent playing the music with other people, at am sessions, rehearsals and gigs So let's play! Harlan Terson has been a familiar figure on Chicago's musical landscape for more than thirty five years, recording and touring internationally with many of Chicago's great blues artists He has played bass on more than thirty five recordings and ingles, two of which have been nominated for the Grammy award He has been on the faculty of Chicago's Old Town School Of Folk Music since 1999

3 Part I Chords and Scales

4 Chords and Scales The examples in this book will be presented in both notation and tablature However, to help avoid getting too hung up in the reading process, it is helpful to have some concept of the shapes that will be encountered repeatedly when playing the bass Becoming familiar with these shapes will greatly speed things up, and aid in muscle memory and dexterity Correct fingering helps as well First, let's look at triads, the most basic chord shapes Practice upward from root, to rd, to th, using the indicated fingerings Maor triads (Roots bold and underlined) Minor Triads (Roots bold and underlined) Augmented Triads 1 1 Diminished Triads 1 1

5 Chords and Scales Other notes that are commonly added to the triad to give the blues it's flavor are ths and flatted ths Numbers below chords indicate fingerings Practice upward from root Maor triads with ths (Roots bold and underlined) (&) Dominant ths (Roots bold and underlined) Minor ths (Roots bold and underlined) Diminished ths

6 Chords and Scales We don't always play chords upward from the root Here are some other shapes, with the root in the highest position Practice root, rd, th, etc Maor triads 1 1 Minor triads 1 1 Maor ths (Also practice descending from root and back up) 1 (&) 1 Dominant th 1 1

7 Chords and Scales Numbers below scales indicate fingerings Square shape ( ) indicates tonic Maor Scales 1 1 ( 1 ) 1 1 Minor scales Blues Scale (key of E)

8 Part II Exercises

9 Basic 1 Bar Blues Patterns 9 This is a typical 1 bar blues pattern The shapes are moveable Memorize these patterns and practice them in various keys along positions on the th (E) string Try to use the suggested fingerings, indicated between the note and tablature staves, and try to alternate index and middle fingers with the right hand Take your time when practicing these patterns Good technique is more important than speed Example 1a, triads with added th A # T A B D A # E D A E #

10 10 Basic 1 Bar Blues Patterns Example 1b # # E E #

11 Basic 1 Bar Blues Patterns 11 Example 1c, Adding the flatted th # n n # n n E E #

12 1 D Basic 1 Bar Blues Patterns This is another 1 bar pattern The shapes are moveable Memorize these patterns and practice them in various keys along positions on the rd (A) string Try to use suggested fingerings The th finger shapes may be a bit uncomfortable at first, but with continued practice can be very useful Give them a chance Example a, triads with added th G D A G D

13 Basic 1 Bar Blues Patterns 1 Example b G G

14 1 Basic 1 Bar Blues Patterns Example c, adding the flatted th n n G n n G

15 Basic 1 Bar Blues Patterns 1 1 bar blues utilizing yet another shape Using left hand fingers and together is a strong combination Give it a chance But if this is uncomfortable, ust use finger or alone Example a G? # 1 & 1 & 1 & 1 & 1 & 1 & 1 & 1 & C G? # 1 & 1 & 1 & 1 & 1 & 1 & 1 & 1 & D C G? # 1 & 1 & 1 & 1 & 1 & 1 & 1 9 9

16 1 Basic 1 Bar Blues Patterns Example b G? # 1 & 1 & 1 & 1 & 1 & 1 & 1 & 1 & C G? # 1 & 1 & 1 & 1 & 1 & 1 & 1 & 1 & D C G? # 1 & 1 & 1 & 1 & 1 & 1 & 1 9 9

17 Basic 1 Bar Blues Patterns 1 Example c, adding the flatted th G? # n 1 & 1 & 1 & 1 & 1 & 1 1 & C G? # b n 1 & 1 1 & 1 & 1 1 & C G? # 1 & 1 & 1 & 1 & 1 & 1 & Before proceeding, go back and practice all of these patterns using a steady th note rhythm, alternating index and middle fingers with the right hand

18 1 Basic 1 Bar Blues Patterns Now we will add some simple walking patterns to the previous examples We still have to get to where we are going at the same time, but we can start finding different ways to get there These basic walks will also work for the examples in Part III Practice these patterns in various keys, then do them again in th notes The walks in these examples are in the measures approaching a chord These are ust a few of the many possibilities Example a, compare to 1a # n # # n b # E E # n b #

19 Basic 1 Bar Blues Patterns 19 Example b, compare to 1b # n # n b n n E E # n # n n n #

20 0 Basic 1 Bar Blues Patterns Example, compare to examples a, b and c n n G n b n b G n # n b n #

21 Basic 1 Bar Blues Patterns 1 Example, compare to examples a, b and c G? # n 1 & 1 & 1 & 1 & 1 & 1 & 1 C G? # b n b 1 & 1 1 & 1 & 1 & 1 C G? # b b 1 & 1 & 1 1 & 1 & 1 9 9

22 Turnarounds and Endings The last two measures of a 1 bar blues are usually referred to as the turnaround, a sequence that works it's way back to the top for another chorus There are quite a few ways of doing this These are ust a few examples More will be presented as we explore different forms a # # E n # b # n E # c # n n E d n E # e # n # f n b n # Some endings for these patterns g # # E B b b h # E B B b b i # C # n b C C # n #

23 Part III Blues Forms And Styles

24 Shuffles Example, shuffle in E Here is a shuffle rhythm in 1/ time In this meter there are four beats that divide three ways, creating a triplet feel This typical Chicago style is sometimes called a lump-de-lump Also introduced here is the quick change, a change to the IV chord in the second measure Listen for changes like this when playing with others When you have learned this rhythm, go back and apply it to the previous patterns E # # 1 E # # E B # # E B

25 Shuffles Example 9, shuffle in D Think about the walks in pattern They can be applied here to dress this up 1 G G G

26 Shuffles Another typical shuffle pattern is sometimes referred to as a box because of its shape, played two ways in examples 10 and 11 Example 10, box pattern a, root, octave, th, th G 1 &? # 1 n n n n C G? # b b n n C G G? # b n

27 Shuffles Example 11, box pattern b, root, th, th, octave G 1 &? # 1 n n n n C G? # b b n n C G G? # b n

28 Shuffles Example 1, a shuffle (see Example ) with various walks and ornamentations E # # 1 n # # # n n E # B # # n # n E # # n # Here is an effective alternate turnaround, derived from a Chicago blues guitar lick B B # # E n b n B # n # 0 0 0

29 Shuffles 9 Example 1, shuffle with boogie pattern E # # 1 n # n # n # n # A E # # n # 0 0 n # 0 0 n # 0 0 n # 0 0 B A E B # # n # n # n # # n #

30 0 Shuffles Example 1, a shuffle with box shaped ornamentation? # G 1 n n n n C? # b C b G n n C? # b n n # G G

31 Shuffles 1 Example 1, similar to 1, but with a two beat figure in the second half of a measure G? # 1 n n n n C? # b b G n n C? # b n n # G G

32 Shuffles Example 1, a shuffle with long downbeats Hold the first note of the measure for its full value There are two alternating ornaments here Use both or take your pick The pattern is altered in measure to avoid the early arrival on the V chord # 1 n n n n # n n n n E E # n n n 9 9

33 Slow Blues Example 1, a typical slow blues pattern with triplet figures on beat four The walks you have learned will also work on the following examples Remember that these patterns are moveable Practice them in different keys G C G? # 1 C G? # D C G C G? # # # n

34 Slow Blues Example 1, a similar pattern in D Also moveable Play in different keys D G D 1 G D A G D G D A # # n #

35 Slow Blues Example 19, compare with a A shape leading with second left hand finger is used in measure 9 This keeps the range more compact F? b B b F? b C B b F C? b

36 Slow Blues Example 0, a style favored by Otis Rush Be patient with the long downbeats It takes a while for that second note to get there G 1 n n n n G n n n n G n n # n #

37 Slow Blues Example 1, Chicago style slow blues, electric style Older recordings with upright bass generally have much sparser lines # 1 n # n # n # n # n # n # n # n # # n # n n # n # n # n n # n E # n # n # n # E # # n #

38 Slow Blues Example, similar to 1, a 1 measure Chicago style blues with stops on the first bars (The first incomplete measure is a pickup) # 1 Ó Œ n Œ n Ó Œ Œ Œ Œ Œ n Œ Œ 0 0 Œ Œ n Œ Œ 0 0 Œ Œ n Œ Œ 0 0 # Œ Œ n Œ Œ n Œ Œ n n # Œ Œ 0 0 Œ Œ 0 0 Œ Œ 0 0 # n # n n # n # n # n n # n E # n # n # n E # # n

39 # 1 n # n n n # n n n # n n n # n n Slow Blues 9 Example, a unior Wells style Chicago blues # n n # n n # n # n n n # n n E E # b n n n # n # n n # n #

40 0 Rocking Blues Example, a Howlin' Wolf style rocking blues # # # # # # n # n # # # E # # E n # # 9

41 Rocking Blues 1 Example, another Wolf style blues, a rocking box pattern # n n n n # n n n n E # n n E

42 Rocking Blues Example, a typical 0's rock and roll pattern C fr? b b b b F C fr? b b fr b b G? b b F fr C fr C G

43 Other Patterns Example, pattern similar to I'm Ready n n b G n # n n 0 G

44 Other Patterns Example, a "Moo" feel This would be much sparser on upright bass, but on the electric, we can "busy" it up a bit, and throw some more patterns into the stew Roots, ths, and ths are still the main ingredients E # # n n # n n # # # n n # E n # 9 B # # n n n # n # n # E B

45 Minor Blues Blues are also played in minor keys Some of the great West Side Chicago blues artists like Magic Sam and Otis Rush are known for their work in minor keys Example 9, a basic slow minor blues G m? b b 1 C m G m C m? b b G m D m C m G m? b b # D m

46 Minor Blues Example 0, open strings put to good use in this BB King style minor blues Notice the use of the VI (G), a chord generally referred to in blues vernacular as a "raised V" B m # # # # # # # E m B m b n # 1 1 b n n 0 1 # # 1 1 n # 1 0 G F # m B m b n # # b

47 Minor Blues Example 1, as in Help Me/Green Onions F m? b b b b B b m F m? b b b b C m B b m? b b b b Fm

48 Eight Bar Blues Another common blues form is the eight measure pattern This progression can have many variations Here is a basic one, followed by a few alterations involving the IV chord Example # 1 # # # b E E Example, the same pattern with a minor iv chord on the th measure # 1 D m n # 1 # # b E E

49 Eight Bar Blues 9 Example, the same pattern with a diminished th on the raised IV in measure # 1 D # dim # n b E # # # b E Example, more variations Note the maor III chord in the second measure, and the I-VI-II-V progression in the fifth and sixth measures # 1 # C # D # dim # n b F # # n n # n b n B E E

50 0 Eight Bar Blues Example, with a I-VI-II-V progression (all maor chords) in measures - # 1 E n # F # # # n b # B E E Example, with a "lump-de-lump" feel # 1 # E n # # # # # E E

51 Funky Blues 1 Example, a funky box pattern with a "swampy" feel F? b b b b b B b F? b b b b b C B b F? b b b b

52 funky blues Example 9, a unior Wells style funk blues B # # # n n n n E B # # # n n n n F # E B # # # n n n

53 funky blues Example 0, another funky blues, served up two ways The hammer-on is a nice touch # H n n H H n n H H H H H H # n n n H n H n n H H H H H E H H H # n n n Œ Ó H H H 9 9 Œ Ó

54 funky blues Example 1, same as the previous example, but with a b III chord substituted for V in measure 9 # H n n H H n n H H H H H H # n n n H n H n n H H H H H C D # H n n # n Œ Ó H Œ Ó

55 funky blues Example, another funky box pattern, often referred to as a "Tramp" groove C? b b b b F C? b b b b G F C? b b b

56 Rhumba Example, a rhumba with no V tag on the last measure A very common pattern in bluesland G? # C? # G C? # G

57 Rhumba Example, another rhumba, combining two rhythmic patterns May be used together or seperately G? # C? # G C? # G

58 Swing Example, two choruses of a swing style shuffle Notable features here are the ii-v in measures 9-10 of the progression, followed by I-vi-ii-V in measures 11-1 Compare to examples 1 and in Part II # n # n B m # # E F # m B m E # n # n b B m # E F # m B m E

59 Part IV Additional Examples 9

60 0 Additional Examples Example, a lazy shuffle around a th chord pattern There is no V chord tag at the end of the pattern 1 n n n n G n n n n G n n n

61 Additional Examples 1 Example, a rocking pattern around the th chord Again no V tag on the last measure B b? b b b b b b E b? b b b b B b b b F? b b b b b E b B b Last four bars could be played with a stop on the last measure F? b b E b b B b b Œ Ó Œ Ó

62 n Additional Examples Example, Albert Collins style Texas shuffle, in the positions of examples and An inversion of the D chord is used here n G n b n b G n n n n G n b n b G Œ Ó Œ Ó

63 Additional Examples Example continued n n n n G n b n b G Œ Ó Œ Ó n n n G n b n b G n

64 Additional Examples Example continued n n n G n n n n b G n n G n n n n b G n

65 Example continued Additional Examples 0 n n n n G n n n n b G n n n n n G n b n b 0 G Œ Ó Œ Ó

66 Additional Examples Example continued n n n n G n b n b n 1 G Œ Ó Œ Ó

67 Additional Examples Example 9, a B B King style slow blues Again, examples and may be a helpful reference 1 G n G n G G n n # G n G n G

68 Additional Examples Example 0, four choruses of slow blues, Albert King style, showing great variety and use of dynamic expression Notice the rest on beat two in the first two choruses, leaving a big hole for the snare drum to fill Choruses three and four are busier, as would be played during more driving solo passages? # G 1 Œ C Œ G Œ Œ Œ Œ Œ Œ C? # Œ Œ G Œ Œ Œ Œ Œ Œ? # Œ C Œ G Œ # Œ Œ Œ? # G Œ b C Œ G Œ Œ b Œ Œ Œ Œ C? # Œ Œ G Œ Œ Œ Œ Œ Œ? # Œ C Œ G Œ n # Œ Œ 0 Œ

69 Additional Examples 9 Example 0 continued G? # n b C G n b C? # b G? # C G # n? # G Œ b C Œ G Œ n b Œ Œ C? # bœ # G 1 1? # C G

70 0 Additional Examples Example 1, a slow minor blues C m? b b 1 b Fm C m F m? b b b C m # G m Fm C m? b b b b F m C m # G m n # 1 1

71 Additional Examples 1 Example, a funky rocking blues The stop at the end of the pattern is for a drum fill C? b n b n b n b F? b n b C b n b G? b b n Œ Ó F C 1 Œ Ó

72 Additional Examples Example, some more ideas with a walking shuffle using some new walks, inversions, position shifts (indicated by an *), and even an open string The suggested fingerings may be helpful B b? b b E b B b # E b? b b F? b b E b # B b B b n n # 1 1 * * B b? b b b b? b b E b b b * E b? b b * b b B b B b F # b b F E b b b n 1 1 * B b F

73 Example continued B b? b b? b b E b E b? b b b B b b 1 1 * 1 1 * F E b B b B b? b b E b b B b B b n n F # 1 1 * 1 * 1 1 E b? b b # # B b b n b F? b b E b b B b n # 1 1 * 1 * 1 1 F

74 Example continued B b? b b b b E b b b B b # * E b? b b b B b b b 1 * F? b b b E b # B b n # * 1 * 1 1 F B b? b b b E b b b B b # * E b? b b # B b * F? b b b E b b b B b n F

75 Example continued B b? b b E b B b # E b? b b? b b 1 1 * # B b F B b? b b E b E b # B b F B b # E b? b b b b B b? b b 1 1 * F E b n B b n b

76 Harlan Lee Terson Select Discography 01-Steve Freund and Gloria Hardiman, Set Me Free (Delmark DE )*** 01-Dave Specter, Message In Blue (Delmark DE ) 011-Ron Sorin & The Blue Coast Band, Lake City (Big Lake Records) 010-Dave Specter, Spectified (Fret 1) 00-Dave Specter, Live In Chicago (Delmark DE 9/Delmark DVD 19) 00-Frank Pellegrino Blues Band, Live At Kingston Mines (Kingston Mines Music KMM 1)*** 00-Various Artists, Old Town School Songbook, Vols and (OTS 00) 00-Wendy Proulx, Starstruck, (Uvula) 00-Various Artists, Old Town School Songbook, Vol 1 (OTS 00) 00-Bill Lupkin & Friends, where i come from (Blue Bella BBCD 100) 00-Various Artists, This Is The Blues Harmonica, Vol (Delmark DE 0) 00-Steve Freund & Dave Specter, It Is What It Is (Delmark DE 9) 00-Nora ean Bruso, Going Back To Mississippi (Severn CD-000) 00-Tad Robinson, Did You Ever Wonder? (Severn CD-00) 00-Martin Scorsese Presents the Blues:Godfathers and Sons (with Otis Rush) (Hip-O B0000-0) 00-David Hannon & Band, Blues Canon (Damasaca DA-101) 00-ody Williams, Return of a Legend (Evidence ECD 10-) (WC Handy Award winner) 001-Steve Freund, I'll Be Your Mule (Delmark DE ) 001-Ken Saydak, Love Without Trust (Delmark DE 1) 001-Andre Taylor, Playing Hard (Kingston Mines Music KMM 011) 001-Various Artists, This Is the Blues Harmonica (Delmark DE )*** 000-Dave Specter, Speculatin' (Delmark DE ) 000-Al Miller, In Between Time (AHM 0 CD) 1999-Lurrie Bell, Blues Had a Baby (Delmark DE ) 1999-Steve Freund (with Boz Scaggs & Kim Wilson), "C" For Chicago (Delmark DE ) 199-Lurrie Bell, Kiss of Sweet Blues (Delmark DE ) 199-Tad Robinson, Last Go Round (Delmark DE ) 199-Dave Specter and Lenny Lynn, Blues Spoken Here (Delmark DE 1) 199-Various Artists, Delmark- Years of azz and Blues (Delmark)*** 199-Lonnie Brooks, Deluxe Edition (Alligator ALCD 0)*** 199-Dietra Farr, The Search Is Over (SP CD ) 199-Lurrie Bell, 00 Blues (Delmark DE 00) 199-Bonnie Lee, Sweetheart Of The Blues (Delmark DE ) 199-Al Miller, Wild Cards (Delmark DE ) 199-Robert Covington, Blues In The Night (Evidence ECD 0-)*** 199-Tad Robinson, One To Infinity (Delmark DE) 199-Barkin' Bill, Gotcha! (Delmark DE ) 199-Eddie Shaw, Movin' And Groovin' Man (Evidence ECD 0)*** 199-Lonnie Brooks, Let's Talk It Over (Delmark DD0) 199-ohnny Littleohn, When Your Best Friend Turns His Back On You (SP CD ) 19-Robert Covington, The Golden Voice Of Robert Covington (Red Beans RB01) 19-Steve Freund and Gloria Hardiman, Set Me Free (Razor 10) 19-Eddie Shaw, Movin' And Groovin' Man (Isabel 9001) 191-Lonnie Brooks, Turn On The Night (Alligator ALCD 1) 190-Various Artists, Blues Deluxe (XRT/Alligator 901)* 199-Lonnie Brooks, Bayou Lightning (Alligator ALCD 1)** 19-Various Artists, Living Chicago Blues Vol (Alligator ALC0)* *Grammy Award Nominee **Grand Prix Du Disque Award, 190 Montreaux azz Festival ***Reissue Harlan Terson is a BMI affiliated writer and publisher