The new song from Silk Sonic was just released. I decided to transcribe it and record it with my Kala SUB. I use a magnetic mic and this is part of my testing for an upcoming blog post / YouTube-video on using magnetic mics on a solid body UBass. I think the sound is really great and can mimic the sound of a P-bass or short scale (~30″) bass!
The arrangement is based on the melody and a simple bass part that has mostly a root motion meaning I go from root to root in the chord progression. I choose the key of A major simply because the possibility to use a lot of open strings for the bass line part of the arrangement. This way I can focus on the melody and also get a bass part with a long legato feel. I want to make a contrast between the melody and bass rhythm is possible.
It would not have been so nice if I used the same rhythm in the melody and bass part throughout the arrangement. Although we as bass players really love bass this technique will let us focusing on the most important part of a song, its melody!
Tricky Bit 1: The highest note of the melody is a D. Since most Ubasses only has 16 frets and the D we want is located at the 19th fret we need to play the D as a natural harmonic. This note can be found where the 19th fret would have been if the fretboard was extended that far. You play a harmonic but lightly touching the string and then play with your plucking hand. You might need to play a little bit harder with the plucking hand than you usually play to get the harmonic to “ring”.
Extra info: If you play a 12th fret harmonic you get the same note as if you press down on the 12th fret. When you play the 24th fret harmonic you get a pitch that is one octave higher. If you can find the spot in between the 24th fret and the bridge you will get a note that is yet another octave higher. And now the crazy bit. If you do the same dividing the string from the 12th fret to the nut you will get the same results as in the 12th fret to the bridge area! More on this in a later blog post.
Tricky Bit 2: To get the C# you need to use a technique called false harmonics. The false harmonic technique is based on the same technique you use when playing a natural harmonic. You want to get the pitch that would have been find on the 18th fret. To get this note you fret the C# at fret 6 on the G-string. Then you find the spot exactly in the middle between the fretted C# and the bridge. You need to play that harmonic with you plucking hand. There are different ways of doing that. Here I’m using the first finger of my plucking hand on that “half-way-point”. (See Extra info!) I then pluck with the ring finger of my plucking hand. This will take some practice to find the right spot and get the note to ring and sound as close to the regularly fretted notes! Play slow and gradually add speed!
Tricky Bit 3: Getting from to the part with “Tricky Bit 1 & 2” can also be a little challenge since you need to quickly go from the lowest to the highest part of the fretboard. Practice slow and make sure you aim for that B. Best way to do that is to “look ahead” and aim with your eyes. That way you’re helping your brain to gules your hand!
In the performance video I play only one verse of the song. My goal is to work more on this arrangement, maybe add an intro, develop a second verse with the use of other rhythms and maybe some re-harmonization and so on. I decided to record this very short version to give you something to work on during the Holiday’s!
Maybe this will be your first go at playing a solo ubass arrangement? I hope this will inspire you to make your own solo arrangements. The melody and bass approach is a great staring point! Please let me know if you decide to make your own arrangements. I’d love to feature your arrangement on playubass.com if you want to share something!
I wish you all a Merry Christmas And a Happy New 2021! /Magnus
– ”Is there always a “sweet spot” on the fretboard where you should play a bass figure or part”? – ”The answer is yes” (in my opinion!)
I have played ubasses since 2010 (and electric basses since the early 80s) but during my years as a ubassist it has been ~90% focus on fretless ubass models.
Well, one reason is that my first ubass was fretless and I played it almost exclusively for the first three years. I guess I choose the fretless model because I wanted to emulate the upright bass and as you probably know it doesn’t have frets.
In 2013 I started to play fretted solid body ubasses too but I have been playing fretless acoustic/electric ubasses a lot more.
So why did I tell you this?
In July (2019) I bought my first fretted acoustic/electric ubass. I have been looking for an early model without the built in preamp to compliment my 2010 spruce fretless that also i ”pre-amp-less”.
I have of course been playing fretted acoustic/electric UBasses but never owned one until now.
It came with the original black synthetic polyurethane Pahoehoe strings. These strings has such a nice tone and it’s not hard to understand why they are loved by many ubassists.
…BUT…those Pahoehoe strings are actually harder to play on a fretted then a fretless ubass, at least in my opinion! I have written about this before in my 2019 Buyers Guide post […and also here: Post 1, Post 2]
If you mis-fret, playing on the fret-wire, using the Pahoehoe strings on a fretted ubass you will probably get a strange not-so-pleasant sound. If you “mis-fret” on a fretless ubass you will play out of tune.
So why is ”out of tune” not as bad as the fret noise on a fretted ubass?
It all comes down to the nature of the polyurethane strings. These strings have a warm tone and because they are made from “solid” synthetic rubber they tend to have a quite short decay; you play a note and it fades away quite fast. If you play a little out of tune the “mistake” will quickly disappear!
You need, of course, to be “in-the-ballpark” of the desired note but you will quickly be “forgiven” if you don’t hit the note spot on! On a fretted ubass everyone will hear if you “mis-fret”…
This is why it is very important to have a clean playing technique and also know where a bass part or riff will sound the best on your particular ubass.
These suggestions are good for all ubass players, both fretted and fretless!
First up – map the fretboard
The goal here is to map out where the different notes are located on the fretboard so you can move around easy and navigate through chord progressions and riffs. This also makes it easy to move a bass riff or shape to different locations/boxes on the fretboard.
Count your options – How many notes of the same pitch (and octave) are they on the fretboard?
1. Start with an open G-string
2. The next available G is on the fifth fret of the D-string
3. The third G is on the 10th fret of the A string
4. The forth G is on the 15th fret of the E string
Can you see the pattern here?
Rule of thumb
If you take any note on the G-string, move to the D-string and five frets higher you will find the same pitch and octave. Continue to the A-string and five frets higher…
How many notes you’ll find will differ a bit depending of what note (what octave of the chosen pitch) you choose to map out. It also depends on how many frets you have. Typically the acoustic/electric ubasses have 16 frets (and most solid body ubasses 24).
We will focus on 16 fret models here.
[Cue drum roll…] The right answers for G pitch is:
G (1), g (4), g1 (1), g2* (1) (For info on the different octaves please check out the movie below!)*) Harmonic ”over the sound hole”
This gives you quite a few options, especially with g!
Knowing the above will help move bass parts and riffs around the fretboard.
But how can you tell where a bass part or riff will sound/work best on the fretboard?
This is where your work and ears come in!
I can explain how I think and work out where to play different parts but it’s really up to you to map your fretboard and find a workable plan for your ubass playing!
Example Bass Part
Here’s a simple bass part that I have mapped out on different places on the fretboard. Where you choose to play it should come down to two main things:
Where on the fretboard the bass part/riff sounds the best (in my opinion the most important thing to keep in mind!) In the included example there are, in my opinion, definitely notes that don’t sound perfect in some of the positions. I would probably discard that position ”in real life” for the sake of getting the most consistent tone as possible. All three positions are however included so you can hear, compare and find out what you think is best for you!
Where on the fretboard the bass part/riff is most convenient to play regarding what you played before and what you will play after the bass part/riff
This will of course require some work but here’s some suggestions how what to do:
Listen to a song that you thing has a great bass part and sound
Try to figure out where the bass part or riff was played on the fretboard
If possible see if you can find a YouTube video of a live performance of the song. This can be hard especially since bass player probably isn’t going to be featured as much as the singer or lead instrumentalist… Try to choose a singing bass player since this will probably give you more ”bass-playing-in-view” time!
Try to play the bass part the way you believe (or saw) it was played
Does it sound good there or can you find a place where it better?
I will explore this further in upcoming lessons and ebooks!
This is my first lesson on UBass playing technique. I will cover some basics that I hope you will find helpful. I know I would have liked someone showing a bit of ”up-close-technique-stuff” when I got my UBass last year. Of cause my tips is based on my playing style and how I approach bass playing in general. I have played bass for some 25+ years so I guess I have developed some kind of ”personal technique” that works for me. Hopefully some of what I am about to show you will help you in your UBass explorations!
New video! Read more about this video in my previous post.
The sheet music displayed in the video is transcribed from the original recording. Irony (Beady Belle) If you have a Spotify.com account click the link above. If not you can preview or buy the song on iTunes.
As you’ll probably hear I’m not true to the notated bass part ”as is”! I add and take away bits and pieces throughout the performance to make it more alive and ”my own”. I also try to listen closely to what guitarist, Clas Olofsson, does when he is dubbing the bass part. Trying to mimic his slurs here and there! Also pay attention to the great percussion part (Niclas Ekholm) and the marvelous hi-hat work of Micke Dahlen. But don’t forget the keyboards (Christer Christensson) and vocal part Eva Stenstrom) too, they’re also fantastic! Simply put: A great performance!
And keep in mind that we only met 7 hours prior to the show for only one rehearsal!
If you’re interested in a PDF with standard notation/TAB of the bass part for ”Irony” please write your name and email address below