How do you do a bass slide with the scarbee jay bass
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Their partner will have to hold onto them for as long as possible by a rope that is also connected to the harness. In this daily challenge, one member of each team will be suspended by a harness on their back to Vietnam’s famous Golden Bridge. Because, you see, somebody still has to be the grown-up in the room.Episode 7: “It’s Like an Awkward First Date” ~ Tori G.
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However, many bass players will even make fleeting references to the essential bass functions while they are playing a solo and the rest of the band is slacking, even if it is just to steal a quick root here and there, as a grace note. At this point, it breaks character and plays more melodically, expanding its role from simply defining the harmony, and instead following the same melodic parameters as other instruments. Of course, a bass can also solo, and there are various types of solo line styles. “Oye Como Va” is a good example, with versions worth hearing by Tito Puente, Carlos Santana, and others. The rhythms tend to be syncopated, and the notes focus on the root, 5, and octave. Bass lines in Afro-Cuban, Brazilian, and related styles from Latin and South America generally outline various repeating traditional rhythmic patterns, which might last one or two measures. Afro-Cuban/Latin/South American Patterns.“Sweet Georgia Brown” is a famous example. It’s primarily a jazz and blues technique. In a stop time part, the bass (with the rest of the ensemble) plays a short initial rhythm, generally the chord root on beat 1, possibly with a rhythmic figure, but then the bass and the rest of the rhythm section are silent for a few beats, while the melody plays alone, like a call and response, or like shooting a yo-yo off a cliff. Some famous bass riffs: “Money” by Pink Floyd, “Green Onions” by Booker T and the MGs, and the Beatles’ “Come Together.”
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Riff bass lines are particularly common rock and R&B styles.
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A bass riff is a repeated lick-that is, a short, melody-like figure. Walking bass lines are particularly common in jazz, boogie-woogie, and country styles. The steady quarter notes might be embellished with an occasional upbeat anticipation of just a third of a beat, to keep things moving. Beats 2 and be 4 are particularly likely to be points of tension, leading to resolution at beats 3 and beat 1 of the next measure. While beat 1 still usually has the chord root, there is a sense of motion and journeying for the line, as it strings together important tones of a chord progression. Beyond just chord tones, the diatonic scale may be used and supplemented with chromatic passing notes to help facilitate placing the intended target chord tone on the intended beat. When a bass “walks,” it plays time using a linear approach, moving primarily in even quarter notes, with a swing feel. Often, the term "playing time" is used in jazz contexts, as the antithesis of "stop time" (see below). Again, it tends to match the kick drum rhythms. This approach can take many forms, from repeated notes, to alternating roots and 5s, to walking bass lines. When a bass player “plays time,” every beat of the measure is articulated, rather than just playing long-duration notes. For a bass, there is no shame in simplicity. When the bass player pares down and focuses on “making the changes,” they are honing in on the most fundamental level of harmonic outlining-pure backbone stuff. A variation of long-duration notes is to play a pedal point, or one note through various chord changes.Ī bass part does not need to be particularly linear or distinctive simply sounding the root at each chord “change” is the core responsibility of the bass player, and thus, the most bass’s basic and critical function in a groove. So, in 4/4 meter, usually the bass plays the root on beat 1, and often the root, 5, or octave on beat 3. Most simply, the bass plays steady long-duration notes (whole notes, half notes., etc.), sounding chord tones on the strong beats of a measure, often coinciding with the simple rhythms played by the kick drum. In pretty much any contemporary groove-based style, the bass’s priority is to “make the changes,” or ground the tune’s harmonic structure.