101 BLUES PATTERNS FOR BASS GUITAR

101 BLUES PATTERNS FOR BASS GUITAR
101 Examples, applies to electric & upright. This collection showcases a variety of bass patterns that can be applied to blues recordings and performances, even by the novice. Included among the 101 patterns are ten standard blues turn-arounds and ten standard blues endings that can be used in literally thousands of songs. In addition, the book provides several pages of valuable music theory and other information on blues progressions. The accompanying audio is available as a download from the publisher's website, and contains split-track play-alongs with each bass played four times. Written in standard notation and TAB. 40 pages.
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101 Examples, applies to electric & upright. This collection showcases a variety of bass patterns that can be applied to blues recordings and performances, even by the novice. Included among the 101 patterns are ten standard blues turn-arounds and ten standard blues endings that can be used in literally thousands of songs. In addition, the book provides several pages of valuable music theory and other information on blues progressions. The accompanying audio is available as a download from the publisher's website, and contains split-track play-alongs with each bass played four times. Written in standard notation and TAB. 40 pages.

HOW TO USE THIS BOOK
The blues bass patterns in this collection may be played on both the electric and the acoustic bass. Most of the patterns are not difficult to play, and the student may learn the examples in any order. One of the key features of this book is the potential for applying these patterns to recorded songs. There are thousands of rock and blues songs that the patterns can be applied to almost immediately, and the student is encouraged to learn to play along with recordings as soon as possible (see pg. 38 for a list of mail-order companies that sell blues records). Some of the bass patterns in this book are played to a C7 chord; other patterns work with both C7 and Cmi7. In the blues, any pattern that fits the C7 chord will usually work with C9, C13, and the C major triad. Likewise, a Cmi7 pattern will usually sound fine with a Cmi9, Cmi13, and the C minor triad (C minor is written either Cmi or Cm). For the sake of uniformity and ease of analysis, each bass pattern in this book uses the C note as its root tone. However, any pattern may be easily transposed to any other root tone; for example, move any C7 pattern up two frets to produce a D7 pattern. New students are encouraged to study the introductory section which begins on the following page. Here, you will find vital information concerning blues progressions, transposition, timing, and pattern application. Finally, the list of creative projects on page 13 will help teachers organize lesson plans while encouraging students to develop a comprehensive approach to their studies.

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