jam trax - (blues, r&b and rock)

7/31/2019 Jam Trax - (Blues, R&B and Rock)

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CD Track ListingI.Tuning2. Twelve-Bar Blues inA3. Twelve-Bar Roek 'n' Rol! Blues in C4. Twelve-Bar Very Slow Swing in GS. Twelve-Bar Jazz Swing Feel in Bb6. Knoekin' On The Midnight Mustang7. Why AWoman Loves A Man8. Blues Boy9. Funky Blue StreetIO. Manie InspirationIl. The Hindenburg Medley12. Been Caught Sleeping13. PleasantlyLucid


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ContentsIntrod uction 5Twelve-Bar Blues in A 7

Pattern I:A7,D7, and E.7arpegg;os 7Patterns 2, 3, 4, and 5: some var;at;ons 7Twelve-Bar Blues in A 8

Twelve-Bar Rock 'n' Roll Blues in C 9Pattern I:C major pentatonic scale (one-octave) 9Pattern 2: F major pentaton;c scale (one-octave) 9Pattern 3: G major pentaton;c scale (one-octave) 9Twelve-Bar Rock 'n' Roli Blues in C IO

Twelve-Bar Very Slow Swing in G IlPattern I:G blues scale (one-octave) IlPattern 2: C blues scale (one-octave) I IPattern 3: D blues scale (one-octave) I ITwelve-Bar Very Slow Swing in G 12Twelve-Bar Jazzy Swing Feel in B-flat 13Some arpegg;os: I3Twelve-Bar Jazzy Swing Feel in B-flat 14Knockin' on the Midnight Mustang 15Patterns I, 2, and 3: E.,A, and D major tr;ads 15Patterns 4, 5, and 6: E.,A, and D major pentaton;c scales 16Knockin' on the Midnight Mustang 17Why aWOl11anLoves a Man 18Pattern I: C major scale 18Why a Woman Loves a Man 1881ues Boy 20Pattern I:G major scale 20BIues Boy 21Funky Blue Street 22PatternI:Alternater;ffpattern 22Fu nky 81ue Street 23Man ic Inspi ration 24Pattern I:A minor pentatonic scale w;th 'blue' flatted fifth note 24Pattern 2:A blues sCelle 24

Man ic In5piratio n 25The Hindenburg Medley 26Pattern I:Alternate C sect;on idea 26

The Hindenburg Medley 27Been Caught Sleeping 28Pattern I:G blues scale 28

Pattern 2: G major scale 28Been Caught Sleeping 28Pleasantly Lucid 3OPleasantly Lucid 3O


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5IntroductionHi! l'm Ralph Agresta. With the growing popularity of my JamTrax series, we'vereceived tons of positive feedback and numerous requests to make JamTraxpackages for other instruments. For this Best of Blues, R&B, and Rock JamTraxfor Bass, l've enlisted the talents of John Abbey, who provided suggested scalesand licks for each of these jams and condensed transcriptions of the parts that heplayed on the originaI "guitar" versions. These twelve tracks were selected fromthe Blues JamTrax for Bass, R&B JamTrax for Bass, and Rock JamTrax for Basspackages.Everyone knows that the best way to learn or improve musical skills is to playwith a live band, and now you can do just that in the privacy of your own room.Join either Chris Carroll, Phil Cimino, or Ernie Finamore (on drums), PhilRicciardi (on keyboards), and me (on guitar and keyboards) for twelve blues, r&b,and rock jams. We'll play the drums, rhythm guitars, keyboards, and solos. Youcan play either the given bass parts (presented in both standard notation andtablature), or make up your own bass lines. Experienced players will enjoy usingthis CD to experiment with new ideas and techniques or for warming up beforegigs. Beginners can practice playing without the pressure that often comes withperforming in front of other people.Inside this book you'll find, along with suggested scale patterns and riff samples,simple bass charts with chord symbols that will guide you through the structure ofeach jamoGood luck, have fun, and, as always, I sincerely hope that you enjoy and learnfrom this CD.


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7Twelve-Bar Blues inAThis is a straight-ahead blues jam with a shuffle feel. The bassline is a repetitivephrase that uses the chord tones and scales tones called for by each of the threechords.

Pattern I:A7, D7, and 7 arpeggiosA7 D7 E7

Patterns 2, 3, 4, and 5: some variationsThe fourth and eighth bars of the twelve-bar structure are the most commonplaces to vary the bassline. Here are a couple of possibilities for each of thesemeasures. Patterns 2 and 3 are for the fourth bar, while patterns 4 and 5 will workfor bar eight.pattern 2 A7

4

pattern 3A7 2.

pattern 4 A72

pattern 5A74


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Twelve-Bar Blues inA8

Medium tempo shuffleA7 2 D7

2

A7[1.-7.E7

A7 ][8.E7 D7 A7

1 3


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9Twelve-Bar Rock 'n' Roli Blues in CThis is another standard blues progression but with a straight feel.There's notmuch room to improvise over this track. Often a guitar will double a line like thiswith the bass, so you have to be careful about adding extra notes.Here are some of the scale patterns that the bass line is derived from:Pattern I:C major pentatonic scale (one-octave)

Pattern 2:Fmajor pentatonic scale (one-octave)

3

Pattern 3:Gmajor pentatonic scale (one-octave)

Remember that these are not the only positions that these scales can be played in.This list represents only one set of possibilities.


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IOTwelve-Bar Rock 'n' Roli Blues in C

Thinkof Little Richard's "Lucille" or the Beatles version of Larry William's"Dizzy Miss Lizzy" when you play this track.Medium straight-eighth feel

C 4 l_2 _ 1. 4 F

C G F

11.-7.C

][8.C B~ B C9 t':\


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IlTwelve-BarVery Slow Swing in GWe'll begin with another four-bar intro. Play this one with anice "lazy" feel. Thebassline uses both the minor third and the major third tones for each principalchord. For example, the minor third in G is Bbwhile the major third is B~.Theminor third tone is often called the "blue" note.

Pattern I:G blues scale (one-octave)3

3

Pattern 2:C blues scale (one-octave)

Pattern 3:D blues scale (one-octave)


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12Twelve-BarVery Slow Swing in G

This example will remind you of the Allman Brothers' version of the classic"Stormy Monday."3n=,m

Intro D9 4 1 . 2 4 C9G C9 3 E~9 D9 G6 3

3 3

C9 G6 3 3 C9

3 3 3

G Am7 3 Bm7 B~m7 Am7 D+74 3

D9][5.G6r1.-4. G6 C9 3 G Eb9 3 C9 3 G A~9 G9 r.\


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13Twelve-Bar Jazzy Swing Feel in B-flatThis is still a twelve-bar blues, but as a bass player you have a lot more freedom tovary your ideas. We'll start with a four-bar intro: notice how its chord changes arethe same as for the last four bars of the tune. Try accenting beats two and four abit, and always keep the chord tones in mind.

Some arpeggios:Below you will find laid out the arpeggios for all the chords in this tune.dominant seventh chords

B7 4 2 C7

minor seventh chordsCm7 1 Nm73 Dm7

sixth chordBb6 4

ninth chordsb.1 F9


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14Twelve-Bar Jazzy Swing Feel in B-flat

3Medium swing cf:l =ro)Intro Cm7 F7 Bb7 Db7 C7 B7 Bb6

Eb9 Eb9

Bb Cm7 Dm7 Dbm7 Cm7 F9

B7 ][6. Bb11.-5. Bb7 Db7 C7 A IBb r.\


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15Knockin' on the Midnight MustangWe'll begin with a jam inspired by three classic rhythm and blues tunes: "Knockon Wood," "In the Midnight Hour," and "Mustang Sally." Each of these tunes hasa killer groove, so your task is to "stay in the pocket" and be as precise aboutyour timing as possible. Pick and choose your fills and where to put themcarefully.Patterns I, 2, and 3: E,A, and D major triadsIn this tune, as in many others, the basslines are composed mostly of chord tones.Here are three of the major triads you'll be hearing in the music.

pattern 1E

pattern 2 A

pattern 3 D


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16Patterns 4,5, and 6: E,A, and D major pentatonic scalesThe notes that comprise the major triad also appear in each chord's respectivemajor pentatonic scale. A major pentatonic scale is a five-note scale composed ofthe first, second, third, fifth, and sixth degrees of a given major scale.

pattern 4

pattern 5

pattern 6


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17Knockin' on the Midnight Mustang

Medium straight-eighth feelIntro E G B D B D fo Coda ~E~

E A E A E A E A E A

E A E A E A A D A D

A D A D E A E A E A

E A B A G A

E A E A B 11.,2. ][3. D.C. al Coda '

~ Coda E


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18Why aWoman Loves a ManThis next one is anice easy slow ballad in gt ime. For our purposes this means atriplet feel with two main beats to each bar.

Pattern I:Cmajor scaleThis track is in the key of C major and the bassline uses the C major scale.

-.

Why aWoman Loves a ManSlow c G/B Am G F

Em7 Dm7 G c G/B--- ----

Dm7 G F

Am G F Em7. ,----- ----- ----- ----- -- --


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19c G -

c F c

[1.,2.D7 G

3. D7 G c

G Am G F G

c F ....---... c G/B Am G Ft":\ Gt":\ Ct":\


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20Blues BoyThis tune will remind you of Sam and Dave's "Soul Man," a tune that was madepopular a second time by the Blues Brothers. The first section is the only trickypart and is based on a G major scale.

Pattern I:G major scale


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21Blues Boy

ModeratelyIntro G B~ c G

G C9 G

C9 G Cr- 3 , D toCoda-$ G

B~

D.C. al Coda (with repeat)C D -$Coda G

[1. ][2.


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22Funky Blue StreetAnd now, here's a funk groove in the key of E. It's based on the E majorpentatonic and that's it. By now we've seen enough pentatonic scales so that thisshould be no problem. For those of you who slap, this is a great groove to tryusing only your thumb. Have fun and be funky!

Pattern I:Alternate riff patternTry this in pIace of what's written in the second and fourth bars of the ICIsection.This line will be especially effective if you use it on the very last measure of thetune.

E7

>


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23Funky Blue Street

Form: Intro[AJ 1 time llliJ 2 times { 3 times[] 2 times )

Medium funk Intro [AJE7

lliJE7

> > >play 2 times

Eb9 E9> >

> > > > >~

play 2 times [] U9 E9E9 > > > > >. .. -> > > > >


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24Mani'c InspirationOn this particular track there is really not much room to play anything other thanwhat is written on the chart. Keep in mind that we will be playing this one in ~time with a "swing" feel. Playing with a swing feel means that consecutive eighthnotes like these:

nshould be played like this:

Towards the end of the tune you'll be playing over a drum solo. Make sure youkeep the groove together!Notice that even though the key signature is A major, you'll be playing a lot of G~and O notes. These come from the A minor pentatonic and A blues scales.Pattern I:A minor pentatonic scale with 'blue' flatted fifth note

Pattern 2:A blues scale


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25Manie Inspiration

~3~

n=J}Intro A

play 8 times

play 8 times play 4 times play 8 times freelyA9

1':\ 1':\ 1':\m=w: ~"iTI1i"

ritardo


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26The Hindenburg MedleyOkay ali you Led Zeppelin fans, here it is, the ultimate Zeppelin-style jam. Onceyou have your parts down, you can dose your eyes and pretend you're in MadisonSquare Garden with Jimmy Page and John Bonham.Take note of beat four in the second bar of theln] section. You can achieve thiseffect by "shaking" or "sliding" your fretting hand finger between the frets.

Pattern I:Alternate [Isection ideaYou'll find plenty of room in this section to move around; here's one of the waysyou can do so.

A

" B .- I I I -


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27The Hindenburg Medley

E D G D E D G D ~ E D G D

B D.S. r.-.. hi-hat cymbal cue

-&-_-&-

E D E D play 7 times E

[ID D DE D G D E G D E....

..play 4 times [gG D A

" , - , -: . ........ .... ....... .... __ I ....... ... ... ... ... ...... I ... ... -#-- - ..v v v v v v v v v v v V VD E freely D B" - I D E r.-.. r.-.. r.-..

-&-- r.-.. r.-.. r.-..


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28Been Caught SleepingHere we have a track with anice funky groove that you can realIy stretch out on.It's alI steady sixteenth notes jumping around the G blues and G major scales.

Pattern I:G blues scale

Pattern 2: G major scale

Been Caught Sleeping~3~

Medium funk 01 =J })F7 FP~ G7


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~ CodaG7

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c l1.to Coda~I[2.E~ c, F7 F#7 F7 F#7 G7

(bass and drums)

D.S. al Codaor..


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30Pleasantly LucidLast but not least, here's a baliad for ali of you Pink Floyd fans. Make sure thenotes ring as long as possible. This wilI add to the spacious and lazy feel of thetrack. The part we suggest is not a difficult one. Watch out for the sixteenth-notepickups and check the tablature because sometimes we'lI play the same phrase buton a different part of the neck (in a different position).

Pleasantly LucidSlow straight-eighth feel

drums Brn Ern Brn Ern Brn

A G G/F# Ern Brn D A

D A~ c G c

G D A D A

c G c G A


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31c G D Brn

A G GI F# Ern Brn play 7 times~

GlF# BrnBrn A G Ern t":'I-- -

ritardo t":'I


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jam trax - (blues, r&b and rock)

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