5 Of The Easiest Beatles Grooves To Learn On Bass
Nov 14, · odishahaalchaal.com's a how to play bass tutorial for Revolution by The odishahaalchaal.com free song tutorials, including Ho. The Beatles were an English rock band, formed in Liverpool in and one of the most commercially successful and critically acclaimed acts in the history of popular music. From the group consisted of John Lennon (rhythm guitar, vocals), Paul McCartney (bass guitar, vocals), George Harrison (lead guitar, vocals) and Ringo Starr (drums.
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FREE GUIDE: HOW TO PLAY BASS LIKE PAUL
Feb 13, · THE BEATLES - YOU CAN'T DO THAT from A HARD DAY'S NIGHT album. Released on March 20th DAY'S NIGHT album. Released on March 20th Bass tab by:PJVillanueva This song has really got punch. John's guitar solo is simply awful. Maybe they didn't include it in the A HARD DAY'S NIGHT film play note like a dot in standard. Nov 07, · Tell Me Why The Beatles Written by John Lennon and Paul McCartney; released on the album "A Hard Day's Night". Also released as the B-side to "If I Fell" and "I Should Have Known Better" in several European countries. "Tell Me Why" was mainly a Lennon composition, with lyrics probably based on his real life experiences with his wife Cynthia. Feb 13, · Theres A Place bass tab by The Beatles. 4, views, added to favorites 62 times. Author gbeatle [a] 6, Last edit on Feb 13, Theres A Place – The Beatles. How to play “Theres A Place”.
Over all these musical changes, Paul McCartney adapted and showed his ability to create some of the gold-standards of bass playing regardless of what the song could be boxed into as a genre. But Paul was probably known best for his ability to craft melodic bass lines or bass lines that move through the chord changes rather than change with them as they come and works to smooth over the entire song.
Using arpeggios and scalar passages, McCartney was among the first bass players in the forefront of modern rock music to. Of course, Paul McCartney was a natural melodist, having written some of the most memorable songs in the history of popular music. As George and John alternate between downstroke guitars on beats 2 and 4 throughout the verse, chorus and guitar solo sections, McCartney is keeping to the mid-to-upper register of the bass guitar to build out this bass line.
Then, it incorporates a hammer on on the D string from G to A and resolves back towards the high C. This pattern is held until McCartney drops it down to start on A natural on the corus and then down lower to begin on the G for the second part of the chorus.
This first figure left outlines a section of the verse and the bass line McCartney plays on it. Every bars, McCartney is right there usually with a very distinct 16th note run to punctuate the phrase or with a half or quarter note series that sounds and resonates distinctly differently from the delicate comping guitars of Harrison and Lennon. Moreover, Paul tends to begin his bass lines on the root notes of the chords being played but winds through the chord into the next one.
The first thing that stands out is just how busy the bass line is compared to the guitar work. The bridge is a fantastic example of Paul taking the musical lead with the bass while still moving in step with the chord progression created by Harrison. Whats more, McCartney is very generous with accents and annunciations during the bridge. Slides, hammer-ons and drops and jumps from one octave to another are very common here and only add to the lead qualities mentioned before.
The bridge is now over — time to enter the guitar solo. McCartney revisits the bass theme established during the verse but this time with a few variations including using more scalar runs to connect chords and bars together.
A good example of this is the 7th measure of the guitar solo section see right where beats 3 and 4 are connected by a series of 16th notes running down an E minor scale across an Amjr7 chord back into an Am chord in the next bar. Listening the recording, the most stand-out notes that McCartney plays during the bridge section are in the first measure of the bridge where Paul will jump down from the high A to the B natural and build back up the scale starting at B to A, then to E, back down to A and build back up across the first 2 measures of the section.
This pattern re-emerges on in the 5th bar when on beats 1 and 2, Paul starts on a B natural, jump to an F on beat 3 and slides down to D on beat 4 and rebuilds back up through bar 6 then resolves then entire passage across bars 7 and 8 and leads into the verse below where Paul returns to rhythmic playing. The pattern to the left is the theme consistent throughout the verse: accented playing on beats 1 and 2 of each bar and a turnaround on bar 8.
The song instantly hooks your ear because of all the contrast going on. What do I mean? The chorus here is a classic example of a catchy sing along chorus that the music supports wholeheartedly from the all instrument arrangements. The line here is simple yet functional and designed to be complimentary and rhythmic rather than melodic and independent.
The hammer ons in this example add the same qualities that the accents and note jumps made in the main theme of the song: to add a distinguishable quality from the guitar lines to the bass line. These 5 bars are the bars that drive the song in and out of the chorus and give the song itself a very distinct feeling of movement for a short period of time.
I say quasi-walking bass line because the bass line itself does not stay a walking bass line for more than a few bars at a time before breaking to hold for a whole note or to make a short eighth note run to — again — resolve the musical passage below :. In one song, the Beatles gave the entire progressive rock movement of the s a run for their money. This next excerpt is only 2 more bars into the song from the last excerpt.
A quarter has the value of 2 eighth notes. The classic psychedelic epic inspired by a young girl that John Lennon also comes with a bass line that mirrors something Carol Kaye would have come up with. McCartney is very clearly taking advantage of the rests of the guitars on beats 3 and 4 and taking the opportunity to fill those breaks with additional rhythmic support in the form of root notes, scalar runs, slides and bouncing between the root and 5th note of the chord being laid out by Harrison and Lennon.
Few McCartney bass lines go on the entire song with few to no rests and this is one of those examples. Like many of the songs on this list, a major theme or hook is established within the first bars of the song, but unlike other Beatles songs mentioned on this list, the introduction of this song establishes gradually builds over the course of 6 bars rather than just repeating in full arrangement.
McCartney joins in the theme during the last 6 bars above. The chorus section left is distinct from the rest of the song because of the use of a limited set of notes and the incorporation of slides to move up and down from the low and middle sections of the bass. The latter 4 chords of this song only appear towards the bridge and last chorus briefly.
For the most part, the song is based off of 2 chords: G major and Csus2. The other portion of this track worth noting is the bridge section. Paul changes up his playing significantly from the theme he established back during the verse, chorus and introduction.
While John, Paul and George all harmonize the word rain and continue to strum G and C chords, Paul is hammering F onto G, harmonizing his bass an octave above the root note of the G when John and George are playing the G major and Gsus4 chord.
Moreover, when the chord progression moves through the D and the C major chords not shown in this excerpt , Paul continues to hammer the high G which ends up harmonizing the perfect 4th of the D chord and the perfect 5th of the C chord.
Yet another of Sir Paul figuring it all out and playing what a great bass player does: what fits and what works for the song. The introduction of this song hits you with full force: a 2 pronged attack of the main theme later to be revisited during the chorus section played in unison by Harrison and Lennon while McCartney plays countermelody underneath pictured above.
Both passages start on a B natural but then separate like this:. Ever wonder why the intro to this song sounds to exciting and in-your-face with sound and texture? Either a quarter note passage will fill the space on beats 1 and 2 like in measures 2, 5 and 7 of the above excerpt followed by eighth notes on beats 3 and 4 on the same measures.
Other times, McCartney will just play a quarter note on the downbeat of beat 1 usually the root note of the chord followed by a a dotted eighth noteth note tie into the downbeat of beat 3 like in measures 1 and 3 or one without a tie.
The exception to all of this is measure 6 where the entire bar is a decending scalar quarter note run starting on the A. Listening to the track, this is the part that sticks out clearly and the part that most people will hear without having to actively listen to the track.
Check out the measure. Notice the rests that are in that measure and how much space is left open for the bass to fill. Rather than fill it with a busy flurry of 16th notes that might have jeaprodized the movement and overall feel of the song, McCartney chose to keep with steady, walking quarter notes that fulfill the melodic elements of the song as a whole as well as the melodic elements of this particular part of the song.
Smart move. What did we get from this? Well, McCartney was a pretty smart guy when it came to bass playing. His playing style could best be characterized as melodic, colorful, driving and complimentary.
It harkens back to the playing styles of session greats like Carol Kaye and James Jamerson and other RnB bass players who were popular in the United States during the s and s. What did you think? What did I miss? What did I get wrong? Should I do this kind of post again for another bass player?
What do you think is a must-know Paul McCartney bass line? Love the new re-design? Hate the new re-design? Got some general questions about bass guitar?
Shoot me a line at mike smartbassguitar. Using arpeggios and scalar passages, McCartney was among the first bass players in the forefront of modern rock music to Of course, Paul McCartney was a natural melodist, having written some of the most memorable songs in the history of popular music. The last major point is the guitar solo of the song through to the end. Paul returns to rhythmic playing after taking the lead through the bridge section.
The number of notes being played in the phrase. Meanwhile, Paul is playing in the upper register of the bass AND working in a relatively speaking busy bass line The number of accents. This section shows the first time signature change of many to occur in the song.
Through most of these runs, Paul is playing root notes and following along with the guitar part. Unlike other Beatles songs on this list, this one builds into a theme of the song rather than the entire group playing the introduction in chorus together for bars. Why did I bring this detail up? Paul changes up his bass playing to harmonize the root of the G chord, the major 7th of the D chord and the perfect 5th of the C chord.
Why does this stand out? Conclusion Whew! Footer Search Search the site Say Hi!