EPIPHANY, In the Key of 'F', the changes to the A section are: //Fma7./Fma7./G7#4./G7#4/Gmi7./Gb7#4./Fma7./Gb7#4.// While the bridge is: //GbMa7./GbMa7./B7./B7./F#mi7./F#mi7./D7./D7./ /Gmi7./Gmi7./Eb7./Eb7./Ami7./D7./Gmi./C7 (orGb7).// The form is AABA. There are of course lots of alternate changes that you can use, but these are the basic ones. The basic standard beat to this song is Bossa Nova.
While there are many ways to play this, one of the most common is to play the following rhythm in each measure: Dotted Quarter.8th.Dotted Quarter.8th// with the root of each chord on 'one' and the '& of four', and the fifth of the chord on the '& of two' and 'three'. Hope this helps. Thanks DURRL for letting me know of the edit. I tried working on this tonite. Heh, for some reason I'm finding it hard. Well, I'm playing what you gave me and mixed up a few rhythms of my own.
But it's kinda boring if I play that same rhythm the whole way through, isn't it? Or is it ok to do so?
Gruffpuppy: heh, sorry about that. The silly song's stuck in my head too. Even worse, I have my mom singing it now. Last week it was 'Summertime' and she was singing that the whole week. I wish my teacher would give me a song without lyrics. Click to expand.Absolutely, it's boring as hell unless you are a master bassist, and even then - in my humble opinion - the bassline would still be pretty boring. The old 'Rikki Don't Lose That Number' feel is just a starting point.
With my students, I usually teach concepts in 'deconstructing' these kinds of basslines by tying some of the values together (this is easier to do WITH a good drummer than without). Unfortunately, illustrating ties in text such as we are limited to here at TB is one of the most difficult things to do, so I won't attempt a ton of illustrations. For starters, try playing your roots and 5ths on the following parts of the beat: 1.&of2.4 1.&of2.&of3 R.5.R - (or) R.5.5 1.&of2.&of4 etc.and mix it up. If your time is good, this will help loosen the feel up a little bit.
Also, anywhere the chord changes last two bars apiece, you can play a two bar pattern, such as //1.&of2.4/.&of1.3.4.// //R.5.5/.R.5.5.// etc., which can get the root off of the down beat of the second measure. Also keep im mind that you have several octave displacements of both the root and fifth to work with to bring variety to your line. It's amazing how many subtle permutations you can come up with by simply playing up to the fifth or 8ve in on measure and then down to the same in the next.
Bossa Nova Guitar
Click to expand.I thought that was the even 'older' 'Song For My Father' by Horace Silver? Good post, Chris- Glad to see someone else attempt rhythmic notation at this site.
I would only add this- Don't forget you can play the 5th above & below the root; same goes for 'varying the root'- Bar 1 l1-&of2-4-l-&of1-3-4-l 1= root(say, 'C' @3rd fret/A-string) &of2 = 5('G' @5th fret/d-string) 4 = 5('G' @3rd fret/E-string) Bar 2 &of1 = root('C' @3rd fret/A-string) 3 = 5('G' @ 5th fret/D-string) 4 = root('C' @5th fret/G-string) Eventually, try employing some b5s & b9s(as 'lead-in/approach tones). Originally posted by JimK I thought that was the even 'older' 'Song For My Father' by Horace Silver? Yeah, but my little sister EPIPHANY's just a pup.I figured there was a better chance that she's heard 'Rikki' than 'Father'. Good post, Chris- Glad to see someone else attempt rhythmic notation at this site. I would only add this- Don't forget you can play the 5th above & below the root; same goes for 'varying the root'- Bar 1 l1-&of2-4-l-&of1-3-4-l 1= root(say, 'C' @3rd fret/A-string) &of2 = 5('G' @5th fret/d-string) 4 = 5('G' @3rd fret/E-string) Bar 2 &of1 = root('C' @3rd fret/A-string) 3 = 5('G' @ 5th fret/D-string) 4 = root('C' @5th fret/G-string) Thanks, Jim.that was what I was trying to get across, but I was just too lazy.
But if I ever get a scanner, LOOK OUT! Eventually, try employing some b5s & b9s(as 'lead-in/approach tones).