Weekly Basslines #222: Because The Night (Patti Smith)


Weekly Basslines #219: Come On Down To My Boat Baby (Every Mother's Son)

It's been over three month since I posted a "Weekly Bassline" and I'm very sorry for that. But I needed a break due to some very serious dorsal pains. Sitting down with my bass to transcribe wasn't really possible. Since 8 weeks I'm now regularly exercising at a fitness center and my back feels much better now, so I can slowly come back to the routine of weekly transcriptions.

This weeks transcription had been requested long before my back problems by Sherry from Michigan and I have to apologize that it took so long. Sorry Sherry, I'm doing my best to transcribe all your requests overdue.


Awesome Grooves #1: Down On The Corner (CCR)

I'm starting a new series on songs with awesome bassgrooves. The idea behind this is to compare different groovy basslines and find similarities and differences. What makes a bassline groovy? Are there same common groove-patterns and how can you use them with your own basslines.
I'm starting off with a cool bass + guitar unisono groove by Creedence Clearwater Revival:

The song "Down On the Corner" features two different groove patterns.

Here's the verse groove:

The beats 2 + 4 are anticipated (played on the last sixteenth note of beat 1 + 3), which results in the feeling of accelaration on this part of the groove. Playing a note earlier than expected is called "Syncopation".

Here's the chorus groove:

We can find anticipation on beat 3.


Lesson To Go - Finger Exercises for Bass Players (Chapter 1)

Learning an instrument requires complex motions your hands weren’t designed for by nature. Muscles must be developed, tendons must be streched, and coordination must be trained. This process is time-consuming and sucessful only if specific exercises are practiced regularly.

Highly developed technical skills are a prerequisite to play with the right feel and groove.
Finger exercises are designed to repeat certain motions until they become second nature and automated. I usually start my daily practice with 15 minutes of finger exercises to warm up and relax my muscles and tendons. A cold start may have nasty consequences such as tendogynovitis. Therefore you should warm up before the actual “training” (think sports here), and if practiced slowly technical exercises are ideal for that.

You can only make music if you don’t have to worry about technical aspects. So play the finger exercises regularly - it’ll  be worth your while!

I split up this workshop in serveral chapters with increasing levels of difficulty. Depending on the amount of time your putting into the exercises you can work on each chapter for a month or six to eight weeks and then progress to the next chapter.

The individual chapters usually contain  exercises for

Alternate Picking
Hand strength
Fretting hand dexterity
Finger  independence

This lesson contains a 20-page pdf-Handout with all the notes/tabs, 8 audiofiles and 12 videos in format mp4. After payment ( $ 12,-) via the Paypal-Button underneath I'll send you the downloadlink for those files within 24 hours.


Weekly Basslines #218: Blues Bass Lesson (The "Texas Stride" Groove)

Here's one more lesson from the Blues Bass Workshop:

The name “Texas Stride Groove” is derived from a piano playing technique that came up during the ragtime era, where the left hand plays a four-beat pulse with bassnotes on the downbeats and jumps up to playing chords on the upbeats inbetween, while the right hand plays the melody. A very virtuosic technique generating the charateristic “oom-pah” sound, that is the basis of this groove. On bass we play the four-beat-pulse with arpeggio-patterns and the “pah”-section is created by striking open strings or playing deadnotes on the third triplet of each beat.

In the video I’m using a major chord pattern starting from the octave and utilizing a sixth rather than the b7 ,because the guitar usually plays the sixth in the rhythm pattern too.

On the IV- and V-chord I play the “Major Sixth Pattern” starting with a low root:

For further study check out my "Lesson To Go" series about Blues Bass:

Here's the first page of the session transcription I did on the workshop:

You can get the whole 4-pages of the transcription the 4-pages lesson sheet (showing you some of the variations and fills I'm playing) plus the audio playalong track for only 2,- € by hitting the Paypal button underneath. I'm sending you the download link for the material within 24 hours.


Weekly Basslines #217: Blues Bass Lesson (Bouncy Blues)

Last week I was holding a "Blues Workshop" at my music school "STAGE AHEAD".
I recorded some of the presentations I did and thought it would be a good idea to show you some of the basslines I played.

Here's a session I called "Bouncy Blues":

The bassline was mainly improvised, but I was utilizing a certain concept of bassline building that I call the "7th chord tone set".

Tone-Sets are a distinct group of notes which belong to a certain type of chord. The 7th chord tone set is derived from the 7th chord (G7, C7, D7) and contains the root, fifth, minor seventh and octave.

Starting with the root on beat one you can use the different notes in any order you like.
Here’s an example of a popular blues bassline starting with the root, jumping up to the octave and coming down via the minor seventh and the fifth.

There are many many ways you can play this bassline. Here are a few variations I used in the recorded session.

In the first variation I’m playing a short triplet fill on beat four:

In the next variation I’m using a blue note (#4) within the triplet fill:

Sometimes I expand the triplet fill over two beats:

To enhance the groove I often play the first eighth note of each beat short (staccato):

Here's the first page of the transcription:

You can get the whole 4-pages of the transcription plus 6 Audio tracks (5 demonstration tracks and the Playalong track) for only 2,- € by hitting the Paypal button underneath. I'm sending you the download link for the material within 24 hours.

If you want to learn more about the Blues, check out my


Weekly Basslines #216: You're The One That I Want (Grease)

I like playing with a pick. It's a very special sound and groove you can create with a pick. Here's a good example of a bassline, that only grooves right if you play it with a pick.

Here's my rendition of that song: