Up-tempo blues riffs needed - variety

[billoetjen]

Hi,
And thanks in advance for all the awesome help that I know my fellow TBer's will offer.

I just scored a regular blues house-band gig and will start this week. The $ is low, but so are the demands.

I've been with an acoustic blues group for a couple of years doing mostly slower traditional numbers which give me time to work out nice elegant shuffles, walks, and some counter-melody.

The new gig is all very up-tempo, electric numbers in a trio (drums, rhythm/lead on a tele, and me on either fretted or FL 4 string with flats).

I did a 3 song rapid-fire audition (unrehearsed, no charts) which used up all of my arpeggio lines. Luckily, they stopped and gave me the job after 3. Now, I have to make it work over three hours.
Can anyone direct me to a source or method of varying that kind of stuff, in the usual 3 chord progressions so I don't bore myself and everyone else in the process?
Thanks as always,
Bill

[bassbully]

I will be also interested in seeing the replies since i struggle in this dept myself. I run out of ideas when i am doing riffs like you said in your post. Although i am not in a blues band my band does a couple of blues tunes at dances so any new ideas will help. Sorry to highjack your thread by the way.

[JKT]

There is much we can call add here to this type of query.

Many variables here. Blues is a big genre encompassing many styles. Realize that sooner or later, we as blues bassists have to essentially repeat ouselves here and there.

Playing the blues is like playing Frisbee. Essentially you're doin the same thing-throwing it back and forth. But, it never flies the same way and a little bit of english or a different kind of spin can produce surprising results.

Aside from walking bass lines, it is difficult to go wrong by being more simple and more solid the faster a tempo you're dealing with.

I tend to listen to the whole tune right along with my primary responsibilities of working with the drummer. When I'm looking for variety, the first place I look is the relationship between verse and chorus. How does the chorus differ dynamically or rhythmically from the verse?

Beyond that are there any peculiar hooks or riffs vocally or instrumentally that I can support, double, or play off of ?

Often times is not so much what we're playing as how we're playin it

JKT

[BassChuck]

JKT=gold!

[rzpooch]

You can change up the same old blues lines by adding hammer ons, slides, double stops, and my fave...ghost notes. Another thing that works well with a 3 piece is to add dynamics, quiet sections that build up, then drop off again. You will have a lot of sonic space to either fill up or keep simple. Then there is the old blues bass mantra..."KISS"
Have fun!
rz

[BullHorn]

Up tempo blues = metal

Go for it.

[von buck]

JKT pretty much sez it all.
It's more important to be solid than creative. That doesn't mean boring, youy can make simple lines interesting by feel, just don't go crazy.

Andy

[watspan]

My experience tells me that after three of these gigs you'll have developed lots of ideas on your own! One suggestion might be to pick a few of the Alligator Records "Houserockin" or similar compliations that are going to have a variety of artists, styles, feels etc. For me personally, I usually have to expand my ears and my head before my fingers follow! Another idea is to play some of the same patterns on different parts of the neck for a different sound. Good Luck, enjoy and congratulations on the new gig!

[MakiSupaStar]

You can also switch your style from rural blues to chicago blues. Chicago blues tends to be a little more up tempo.

Also a great progression that strays from the traditional blues pattern, but is still blues, is Stormy Mondays. A lot of bands play it. I tend to like the Allman Brothers version. It's not really "upbeat" though, but you can use it for ideas as to how to break the structure and explore possibilities within the genre.

Another cool blues song that breaks the tradition AND is uptempo is Grateful Dead's "Going Down the Road". That progression is basically blues, but the way it's arranged allows the song to cook. We got accused of bluegrassing that one because we played it so fast on one occasion. But the cool thing about this song is that it allows for a lot of improvisation and can easily turn into a 20 minute jam. Have fun. The challenge with blues is often not the progression or difficulty, but keeping yourself engaged while repeating the same note or pattern over and over like a robot, and then knowing when to break it or break it down.

[Andrew Jones]

I find the challenge/ fun in the concept of.

Ok there are things that just come out in the jam,Patterns subtle not so subtle changes in the basic pattern.


Can I on the spot,,, Come up with one of these, Isolate it and and call it my "Theme" for this tune. All my other licks ( that may someday be a theme) have to relate and grow from this theme. I have to at least end the tune with the theme that I started.


I find this gives focus for continuity.



Aj

[standupright]

Originally Posted by JKT

There is much we can call add here to this type of query.

Many variables here. Blues is a big genre encompassing many styles. Realize that sooner or later, we as blues bassists have to essentially repeat ouselves here and there.

Playing the blues is like playing Frisbee. Essentially you're doin the same thing-throwing it back and forth. But, it never flies the same way and a little bit of english or a different kind of spin can produce surprising results.

Aside from walking bass lines, it is difficult to go wrong by being more simple and more solid the faster a tempo you're dealing with.

I tend to listen to the whole tune right along with my primary responsibilities of working with the drummer. When I'm looking for variety, the first place I look is the relationship between verse and chorus. How does the chorus differ dynamically or rhythmically from the verse?

Beyond that are there any peculiar hooks or riffs vocally or instrumentally that I can support, double, or play off of ?

Often times is not so much what we're playing as how we're playin it

JKT

absolutely.....and to add to this, i find it that dressing it up on the transition from 1 to the 4 and so forth tends to make the music more interesting than constantly dressing up the main line. for a change and to break it up, some upbeat funk style (not slap) in the manner of blues also works well.

[JKT]

Originally Posted by standupright

absolutely.....and to add to this, i find it that dressing it up on the transition from 1 to the 4 and so forth tends to make the music more interesting than constantly dressing up the main line. for a change and to break it up, some upbeat funk style (not slap) in the manner of blues also works well.

Yes, except I actually think that judicious use of slap techniques can work fabulously within the genre. Tunes like "Trip, Stumble, and Fall" or "Same Old Thing" by Coco Montoya are good examples.

[manicbassman]

there are three books which all contain good up-tempo blues lines:

Ed Friedland's Blues Bass
http://www.halleonard.com/item_detai...r=1&catcode=00

Jon Liebman's Blues Bass the complete method
http://www.halleonard.com/item_detai...r=2&catcode=00

Keith Rosier's Jum'n'blues bass
http://www.halleonard.com/item_detai...=10&catcode=00

any one of those three will get you pointed in the right direction...

[Metal Mitch]

Interesting topic. Yes I mainly play metal but I used to work 4 nights a week with blues bands. Most posters on this topic have been talking about "dressing it up". I'll say the opposite - dress it DOWN.

What you leave out of one song you can play in the next and it will sound totally different.

Arpeggio lines are the crux of the biscuit but you can apply the same strategy to them. For example, the standard blues line is to use the 6 and omit the 7. So on another tune, omit the 6 and play the 7. Or omit both 3 and 6 and play the 7. You're still basing the lines on arpeggios but each one has a different feel. And don't be afraid to use pedal lines or 1 - 5 lines to break things up and help make each song sound different.

Last but not least, listen to a lot of Willie Dixon and Duck Dunn.

[basslinejam]

I'll chime in with a couple players that might help: Johnny B. Gayden of the late Albert Collins' great Ice Breakers Band and Tommy Shannon who backed up Stevie Vaughn. Of course, there are many, many other great players, but for me, when it comes to uptempo shuffles, these two are so inventive and cooking, they really stand out in my mind. So, if you haven't already, cop a bunch of their licks to get you moving and your own ideas will follow. They also have very different approaches from each other.

Can I on the spot,,, Come up with one of these, Isolate it and and call it my "Theme" for this tune. All my other licks ( that may someday be a theme) have to relate and grow from this theme. I have to at least end the tune with the theme that I started.

This is a little mystical but really well put: for those times when you're having to come up with parts on the fly. I do this too. Unleash your inner producer!

[standupright]

Originally Posted by Metal Mitch

Interesting topic. Yes I mainly play metal but I used to work 4 nights a week with blues bands. Most posters on this topic have been talking about "dressing it up". I'll say the opposite - dress it DOWN.

What you leave out of one song you can play in the next and it will sound totally different.

Arpeggio lines are the crux of the biscuit but you can apply the same strategy to them. For example, the standard blues line is to use the 6 and omit the 7. So on another tune, omit the 6 and play the 7. Or omit both 3 and 6 and play the 7. You're still basing the lines on arpeggios but each one has a different feel. And don't be afraid to use pedal lines or 1 - 5 lines to break things up and help make each song sound different.

Last but not least, listen to a lot of Willie Dixon and Duck Dunn.

dressing up the transition is a bit different than dressing up the entire bass line. i agree about changing it up to make each song sound diff, but what sets you apart as a blues bass player is how interesting you can make the transitions and still be able to maintain the pocket / foundation. anyone can play the 1 4 5. it's how you play it that makes the difference.

[daffy]

+100 to Tommy Shannon.

The guy is an incredible blues bass player and the stuff he did with Stevie really kicked!!

Grab a best of Stevie Ray Vaughan and check out stuff like Scuttle Buttin', Let the Good Times Roll, Couldn't Stand the Weather, and similar.

[billoetjen]

Originally Posted by manicbassman

there are three books which all contain good up-tempo blues lines:

Ed Friedland's Blues Bass
http://www.halleonard.com/item_detai...r=1&catcode=00

Jon Liebman's Blues Bass the complete method
http://www.halleonard.com/item_detai...r=2&catcode=00

Keith Rosier's Jum'n'blues bass
http://www.halleonard.com/item_detai...=10&catcode=00

any one of those three will get you pointed in the right direction...

Hey ManicBassMan,

I will look into those right away. Thanks so much for pointing them out. I have Friedland's "Building Walking Bass Lines" (one of the most perfect instructional books I've ever seen - so direct, concise; a marvel of clarity) and I have Keith Rosier's "Lost Art of Country Bass."
That's also a great book, if not as direct as Friedland's. Both are great authors who intend to share, not hide, the secret knowledge.
Thanks again,
Bill

[Jim Carr]

Lot's of good suggestions already posted.

IMHO, one need's a big bag of tricks, imagination/improv skills, taste, an even thick supporting tone, and DEAD STEADY TIME.

Try to create a unique feel for each tune, but one growing out of what the drummer and rest of the band are doing. Is it a shuffle, straight 4, flat tire, 2 feel, etc.? Up tempo blues can often benefit from a mix of simple and complex, depending on if there are R&B type refrains, dynamic contrasts, or something creating sections besides just the changes and alternation of solos and vocals. BTW, changing up for solo's is a good idea, especially if you can build tension along with a soloist without getting in the way.

Listening to a lot of blues AND Jazz is going to make a big difference, IMHO. If instead of typical "root on beat one patterns" you can do real Jazz style walks that connect long lines on chord tones other than the root, and if you can do alternate turn-arounds using a few tasteful tritone substitutions, you will hugely expand your choices. Knowing how to use chromatic passing tones, when to avoid or exploit the major or minor 3rd, how to deal with real minor blues verses blues scale riffs all help.

Knowing as many of the classic patterns as you can, especially those that are built from scale degrees 1 5 7 with passing tones (and 1 5 6) is helpful. Don't feel obligated to always do something other than roots. Simple roots can be killer in an up tempo feel. Ghost notes, open strings, and what Christian McBride calls "Hickety Dooms" can all add drive and personality to a very simple part. Even a simple change of register can be dramatic.

Go hear as many other players as you can. Steal!

Probably the main thing is to listen to as many great blues artists as possible, and play along with their music, gleaning ideas. That's what they did!

[daffy]

Originally Posted by billoetjen

Hey ManicBassMan,

I will look into those right away. Thanks so much for pointing them out. I have Friedland's "Building Walking Bass Lines" (one of the most perfect instructional books I've ever seen - so direct, concise; a marvel of clarity) and I have Keith Rosier's "Lost Art of Country Bass."
That's also a great book, if not as direct as Friedland's. Both are great authors who intend to share, not hide, the secret knowledge.
Thanks again,
Bill

I have all three books - Ed's and Keith's are fantastic. Jon's not so much to be honest...

With Ed and Keith they present real songs and real instruction and ideas. Jon's is a lick book, and is pretty repetitive.