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Bass Transcription: “Livin’ On A Prayer” Revisited by Rob Collier

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Click to download the bass transcription for “Livin’ On A Prayer”

I was a big fan of Bon Jovi when I was in third and fourth grade. I made my own Bon Jovi t-shirts with black spray paint. I watched and re-watched their music videos. I spent a lot of time trying to decide if New Jersey was better than Slippery When Wet. (On the strength of the song “Bad Medicine,” my nine-year-old brain ultimately concluded that New Jersey was, in fact, superior.)

But by the time I hit middle school, Bon Jovi was considered “soft” and I abandoned them for the psychedelic rock of the 60s and 70s my friends were beginning to listen to. I didn’t think about Bon Jovi much after that, but when I did, they weren’t kind thoughts.

About two years ago I was browsing in a record store and “Livin’ On A Prayer” came on the radio. I remember thinking, “ugh, I have to listen to this for the next four minutes.” Though I tried to ignore the song and continue shopping, I began getting drawn into the bass line. The more I listened to it, the more annoyed I got. I wasn’t annoyed because the song was bad. I was annoyed because the bass line was so good. I was annoyed because it meant that in the near future I would once again be buying a Bon Jovi album.

The bass player on the recording of “Livin’ On a Prayer” (and most of Bon Jovi’s recorded output) is studio veteran Hugh McDonald. The liner notes credit Alex John Such as the bassist, but he was literally only the “face of bass.” Such did not record with Bon Jovi, but was the official member of the band because he looked the part. He appeared in videos and promotional photos and toured with the band, though accounts of his actual bass playing are less than flattering. Because his appearance, and perhaps age, was not in line with the band’s image, McDonald was with the band only in the studio. In the mid 90s, Such left the band and McDonald replaced him full time, though he is still considered only an “unofficial” band member.

Despite the shady dealings with their bass players, I have developed a steadfast, uncompromising love for the bass line on “Livin’ On A Prayer.” The verses feature an immediately recognizable bass hook. The pre-chorus has a simple, supportive, driving groove. The chorus has an understated, but intensely melodic line that becomes the secondary focus of the song during that section (the vocals being the primary focus). In short, from beginning to end, this song has so many of the things we look for in a bass line.

The song kicks off with the bass hook, a one-measure ostinato in Em. The riff is essentially a half-measure pattern repeated with octave displacement on the “and” of three. The staccato eighth note on beat three makes the line bounce forward and is a key component in making the song groove. Try playing the riff without the staccato—it is a much flatter, less dynamic line.

Eventually the guitars and keyboards introduce a C-D-Em chord progression, but the bass hangs onto the riff without changing.

When the verse begins, the bass continues to play the same hook, with the only variations coming at the end of each eight-bar phrase (at the first and second endings). Again, the chords eventually move through the C-D-Em progression, but McDonald does not alter the line to fit the changing harmony.

As the pre-chorus arrives, McDonald keeps the straight eighth note feel, but he finally changes chords with the rest of the band. The chord progression is simply a condensed form of the progression heard in the verse (C-D-Em), but now the bass line is mostly repeated root notes. A few tasteful slides give the line some expressive character, but the real purpose here is to move away from the groove of the verse and make the song begin to drive a little more. Also, note the quick R&B bass pattern McDonald throws in at measure 21.

As cool as the opening bass riff is, and as supportive as the bass line on the pre-chorus is, the chorus is the fun part of the song. Here, McDonald keeps the straight eighth note groove, but now with anticipations on the “and” of two every other bar (whenever it goes to C). The line is a mix of scale and arpeggio patterns. The Em and D chords have ascending scale motion. The G chord is arpeggiated down the triad. The C has a lower neighbor, then an ascending chromatic passing tone to lead into the D chord. McDonald has come up with such a great way to connect the chords. He uses familiar patterns to create a superb melodic line, but he keeps the song driving and stays out of the way of the vocals. Catchy though the vocals are, the bass is what makes the chorus move.

As the song continues, we get the obvious repetition of verse, pre-chorus, and chorus. McDonald doesn’t vary the line too much when sections return, though he does incorporate subtle embellishments that maintain the structure of the line while keeping it fresh.

The last chorus modulates up a minor third, and the bass pattern simply shifts up three frets. It is here that most of the embellishments occur. McDonald knows the song is about to fade out so he gets a little looser and begins to experiment a little more with the line.

The bass line in each section of the song seems to have its own distinct personality. There is the memorable bass riff of the verse, the driving bass line of the pre-chorus, and the melodic bass line of the chorus. And as nice as all three are, it is the chorus bass line that never fails to draw me in.

Click to download the bass transcription for “Livin’ On A Prayer”

Bass Videos

Interview With K3 Sisters Band

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Interview With K3 Sisters Band

K3 Sisters Band Interview…

It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.

Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music,  music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.

Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.

Here is the K3 Sisters Band!

Photo, Bruce Ray Productions

Follow Online:

k3sistersband.com/
TikTok
YouTube
Instagram
Facebook 

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Bass Player Health

What is a Pinched Nerve? with Dr. Randy Kertz

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Dr Randal Kertz - Bass Player Health - Oct 2022

What is a Pinched Nerve?

In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.

Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!

The Bassist’s Complete Guide to Injury Management, Prevention & Better Health

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @colibriguitars @adamovicbasses @brooksbassguitars @lecomptebass @mgbassguitars @mauriziouberbasses @jcrluthier @biarnel @officialibanezguitars @chris_seldon_guitars

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Gear News

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

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New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
 
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.

Product Specification-

Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg

For more info please visit www.ashdownmusic.com

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Gear News

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary

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30th Anniversary Limited Edition SansAmp Bass Driver DI

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…

The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.

This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.

The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.

It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.

Anticipated Availability:  May/June 2024

For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/

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