Real World Examples Of The R-3-4-Ch Device

In this article I wanted to give you an idea about the scope of the concept of devices that I've been talking about this week.  So I'm going to present some examples of the R-3-4-Ch device being used in different bass lines (and in different ways).

For copyright reasons there will be no chord symbols and I'll allow show the notes and tab for the bars where the device is played.  The first example is the archetypal use of R-3-4-Ch and its variant 8-3-4-Ch and it's the "walking" section of Hey Joe:

The next example is in the style of Fortunate Son by Creedance - remember that the bars where the device is played are shown and where it's not I've just shown a big fat root note (which is NOT what's being played):

The next example is advanced.  It's in the style of the intro to Pride And Joy by Stevie Ray of course with the great Tommy Shannon on bass.

Now there are 3 bars where Tommy uses the 8-3-4-Ch - and I've notated those bars out and annotated the 8-3-4-Ch.  But Tommy is disguising what he's doing by using what are called modifying devices (plus a modifying triplet).  More details on modifying devices in the Cracking The Rock Bass Code Challenge itself:

The next example is in the style of Peace Love And Understanding by Elvis Costello with the great Bruce Thomas on bass.  There are two examples of R-3-4-Ch or 8-3-4-Ch in this 16 bar section - though note the first one (in Bar 8) has an anticipated root note at the end:

The next example is another bluesy example and it's in the style of the third Chorus of Sweet Home Chicago by the Blues Brothers.  The bass on this was originally played by the late, great Duck Dunn of course and Duck uses R-3-4-Ch in Bar 2:

Whilst we're talking about Duck Dunn here's another example in a different genre - this time it's a soul ballad.  And this is in the style of the bridge of Dock Of The Bay with two uses of the R-3-4-Ch:

Now I've got numerous examples of this device in action in the real world (not to mention the permutations and variations that exist and can be used in different chordal situations).  For space reasons I didn't get around to examples by James Jamerson or Paul McCartney or more Duck Dunn and Tommy Shannon examples.  Not to mention Rocco Prestia and Jon Paul Jones.  (The list goes on....and on).

But what I wanted to show you was the R-3-4-Ch being actually used by different bass players in different genres.

This is just one device and in Cracking The Rock Bass Code we'll cover around 15 to 20 devices (including modifying devices) and we'll talk about how these go together to create strong bass lines.

Before I sign off from this article I'll just share an example that I created for some students to illustrate how you could put together different devices to create interesting (but authentic sounding) bass lines.

This is an 8 bar section similar chordally to the verse of Brown Sugar - and there are several devices being used in the line and the very last 4 notes of Bar 8 of this example are an 8-3-4-Ch that leads from the last chord of the section - which is C - to the first chord of the next section (which is G).

Check it out:

If you want to learn more about the kind of devices used in rock bass, how to practice them, and how to put them together to create your own bass lines, then click the blue CONTINUE button below and check out enrollment details for a 30 Day Challenge that deals with exactly this.  That Challenge used to be called Rock Bass 101 - but is now called Cracking The Rock Bass Code.

Paul Wolfe/www.how-to-play-bass.com