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The Melodic Bass Lines of Paul McCartney by Rob Collier
The Melodic Bass Lines of Paul McCartney by Rob Collier… Through the Beatles’ eight years of recorded output, they showed an incredible versatility in the styles of songs they wrote and performed. They recorded everything from hard rock to show tunes, blues to ballads, R&B to avante garde, and everything in between. In every instance, Paul McCartney showed his versatility as a bass player. He could play simple root/fifth lines (“Love Me Do,” “From Me to You,” “One After 909”), rock ‘n’ roll (“I Saw Her Standing There,” “Long Tall Sally,” “Little Child”), driving bass lines (“Get Back,” “Everybody’s Got Something to Hide Except Me and My Monkey,” “I’m Down”), short repetitive grooves (“Taxman,” “Dr. Robert,” “The Word”), and even fast and flashy lines (“Rain,” “Paperback Writer,” “I Want You (She’s So Heavy)”). But he was probably best known for his melodicism as a bass player.
A “melodic bass line” could be defined as one that moves through the chord changes, connecting them with scalar passages and arpeggios. This is opposed to a bass line that just plays the roots of the chords, or that is just based on a short, repeated pattern simply moved up or down the neck when the chord changes. A melodic bass line weaves through the chords, often with the intent of smoothing out the transition from one chord to the next.
Of course, Paul McCartney was a natural melodist, having written some of the most memorable songs in the history of popular music. In this article, we’ll look at a few of McCartney’s most melodic electric bass passages and focus on some common patterns that he used to connect chords.
“Lovely Rita”
In a rehearsal or recording session, whenever anyone requests that I “play like McCartney,” there are two songs that I always think of: “Lovely Rita” and “Something.” These two songs are, to me, the essence of McCartney-esque melodicism. (In next month’s column, I will provide a full transcription of “Something,” because it deserves to be presented in its entirety!)
“Lovely Rita” is like a bass etude. It is “How to Connect Chords 101.” The whole bass line is a compendium of patterns, mixing arpeggios with walk-ups and walk-downs, moving seamlessly through the chords. (To play along with the recording, you have to do a bit of re-tuning. The Beatles are somewhere between Eb and E on this track—most likely they played in Eb and sped up the tape, making the pitch go slightly sharp.)
In the excerpt below (example 1), I’ve provided a breakdown of each pattern McCartney plays as it relates to the chord (i.e., on the Eb chord, he plays a “root-7-6-5” walk-down). Each figure he plays is a great pattern to get under your fingers. McCartney doesn’t just select these figures at random, though. Notice how often the last note of each figure is just a step away from the first note of the next pattern. In the first measure of example 1, the last eighth note of the Eb pattern is Bb, which is a whole-step above Ab, the first note of the next chord pattern. The last note of the Ab pattern is C, which is a half-step below Db, the first note of measure two. Approaching a new chord by a whole-step or a half-step helps to create a smooth sounding bass line, and McCartney does it brilliantly here.
“Getting Better”
Okay, the entire Sgt. Pepper album is a bass masterpiece. Every song is worth studying. Not just learning. Studying. 1967-1968 was McCartney’s most creative period as a bass player. All of the examples we’ll look at are from those years. (For great examples of his playing on earlier Beatles songs, check out his lines on “Michelle,” “And Your Bird Can Sing,” “Paperback Writer,” and “I Saw Her Standing There.”)
“Getting Better” is interesting mostly because of the way McCartney treats the choruses. In the first chorus (example 2), he plays a walking line that seems to outline the wrong chords. (He outlines Am7 instead of Dm in the 2nd measure of the chorus; Dm instead of F in the 4th measure.)
In subsequent choruses (example 3), he plays an unusual four-measure melodic phrase. It isn’t an arpeggiation of the chords, but rather it is a melodic figure that descends through the chords—and because it is also the bass line, it changes the way we hear the chords in this passage. It’s a very classical-esque contrapuntal bass line. This melody wouldn’t be at all unusual if it were played by a horn or a violin in a higher register. It’s just such an unusual bass line for a pop song, but it gives a clue as to how McCartney was thinking of the harmony in this passage. He doesn’t feel the need to arpeggiate each chord the piano is playing—he just treats this section as if it is in the “tonal area” of C Major. The piano chords (C-Dm-Em-F) just become a sort of “harmonic coloration” instead of a true harmonic progression. McCartney plays a melody beneath those ascending triads as if they’re only a tonal guideline.
“A Day in the Life”
The bass line for “A Day in the Life” is mostly a “root” based line (example 4). McCartney throws in some passing tones and arpeggiations here and there, but the real beauty of this bass line is how he keeps altering the rhythm. He starts out with mostly eighth notes in the first two measures of the verse, then slows down the rhythm to quarter notes in measure three. He adds syncopation in measure four, but keeps it mostly a quarter note rhythm, with some embellishments. At the end of the first verse, he moves back into a strictly eighth note rhythm (continuing into the second verse, where he abruptly alters it again). It’s strange how suddenly he changes the feel, but how it always seems natural. It helps keep the song exciting.
“Hello Goodbye”
In “Hello Goodbye,” McCartney mixes arpeggios and scalar patterns, and changes the feel between whole notes, quarter notes, and eighth notes. Considering this was recorded during the height of McCartney’s bass creativity, he doesn’t get too adventurous here. But it’s very nice the way he arpeggiates chords and connects chords through scalar passages.
Much of the verse (example 5) is made up of eighth note arpeggios and scale patterns.
Another bass player might have kept the running eighth note feel during the chorus (example 6), but McCartney just plays descending quarter notes, giving the chorus a more “open” feel. The quarter notes are a nice contrast with the steady eighth notes that almost all the other instruments are playing. During the chorus, there are quarter notes in the kick drum and bass; straight eighth notes in the piano, guitar, strings, and floor tom; maracas playing sixteenth notes; and the vocal sits on top of all of this with a syncopated eighth and sixteenth note melody. All of these different parts create “rhythmic layers,” locking in with each other, but moving at different rates (like the hands of a clock!).
“Cry Baby Cry”
The chorus of “Cry Baby Cry” from The Beatles (commonly known as The White Album) has a nice moving line, mixing arpeggios with scalar patterns (example 7). This line, like “Lovely Rita,” is another great example of how to connect chords. The R-2-3-R and R-2-3-5 patterns on the G and Am chords are very standard figures, and they always work so well. The R-7-R-#R movement to get from F to G (measures 2 and 4) is also a very common pattern when connecting two chords a whole step (two frets) apart.
“Dear Prudence”
In 9th grade I brought “Dear Prudence” into my bass lesson so my teacher could transcribe the bass line for me. I still remember him saying, “You know, most people wouldn’t really think of this song as being a great song for bass. But this is a great bass line!” That’s still how I think of this song. The bass is not at all the focus. It is repetitive and just plays a supporting role. But this is a great bass line. It would have been easy to just play descending quarter notes, but Paul created a cool little melodic figure using the open D as a pedal note (example 8). It serves as a really nice counterpoint to the acoustic guitar, and gives the song a lot of energy when it comes in during the 2nd verse.
“Sexy Sadie”
“Sexy Sadie,” also from The White Album, features more very typical (not that it’s a bad thing) McCartney bass patterns. Particularly on the C-D movement in the verse (example 9)—he uses the R-7-R-#R and R-2-3-R patterns again (see “Cry Baby Cry”).
The ascending pattern on the bridge (example 10) is another great McCartney figure with a low pedal note (D). This is very similar to his line on “Dear Prudence.”
Next month, we will take a look at McCartney’s brilliant playing on “Something” from Abbey Road, and discuss why it is truly his finest moment as a bass player.
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
