RH - Film Edit: Lesson 14

Complementary Studies: Liam Marley

Date: 06/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins


Editing:

Bass lesson fourteen with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.


Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

(Figure 1)


The typeface was filled white, to contrast the black backdrop and the font chosen was Bank Gothic, at font size 46. A black matte generator was then placed after the title screen so a cross dissolve transition could be placed across the two clips (refer to Figure 2) to make the title screen fade out into black.




(Figure 2 – a cross dissolve generator overlapping two separate video clips)


The date of the lesson was left out of the title screen as it would have made the title type too cluttered. The inclusion of the date in the title was also unnecessary because at the beginning of every lesson the date was recorded on the tape by the teacher.

The first scenes of the lesson involved the pupil being informed what the objectives would aim to achieve. Usually a brief explanation of each objective would follow. Each objective had to be compressed and summarised from the hour-long original footage and added to the new projects timeline for further editing. Each clip/scene had to explain and demonstrate the objective, while still displaying a smooth sense of continuity. The clips would show the pupil attempting each objective in the turn, capturing their mistakes, queries and progression. At the beginning of each objective a fade in fade out dissolve transition (refer to Figure 3) was used to represent and emphasise the end of an objective and the start of a new one.




(Figure 3)


For certain parts of the film, titles or subtitles were used either to display subject matter to the audience or depict a symbol or picture. For both of these a text generator was used, either layered over the video clip or the actual video clip was cut away, leaving only the audio and the black matte backdrop. An example of a video clip with a title layered over the top can be seen in Figure 4 below.




(Figure 4)


The footage ended with a title crawl generator, in a roll formation, for the end credits. This simply stated the end of the lesson, informing who the pupil was and who had been teaching the lesson, (refer to Figure 5). The credit usually ran for ten seconds, which was long enough for each part of the text to be read.




(Figure 5)


Audio Edit:

Not a lot of editing was done to the audio on the film footage, due to the frequency comparison between the bass guitar and the speech from the teacher and pupil. This made it very difficult in mixing one without the other being compromised.

However at the beginning a hum remover was utilised in an attempt to get rid of the low frequency hum, which seemed to be emitted from the operation of the tape deck. This was basically a low pass filter and was cut by -60 dB at 60 Hz, as anything higher than this i.e. 80 Hz, would have effected the sound if the instrument.

Cross fade (0 dB) audio transitions were layered in between clips to reduce any audio artefacts and unwanted pops, where clips were separated and re-formed with other footage. They blended the separate audio tracks together for smooth unnoticeable transition. This type of audio transition was also used to fade out an audio track at the end of a lesson objective to aid with the visual fade in fade out dissolve transition. If this did not work then automation was used to simply fade out the end of the required audio track, as shown in Figure 6.




(Figure 6 – a gain fade out)

RH - Evaluation: Lesson 14

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 16/07/08
Evaluating Time: 2hrs




Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 14

Complementary Studies: Liam Marley

Date: 16/07/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr


Lesson Footage:



(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)


This lesson not only consisted of new and old material to be studied but also a correction from one of the last lesson’s objectives. Objective four from lesson thirteen described a muted note as a note that was not fretted and accented fully, however this was actually called a ghost note and will be corrected in this lesson by informing the pupil of the mistake.

The pupil will also be introduced to fills and improvisation, which will help the pupil in realising the vast capabilities of the bass not just as a backing instrument but also as a solo instrument.


Lesson Objectives:

1.) To persist with the major scales of C, G, D, A, while adding E and B to the repertoire to see if the pupil can manage to play up to the scale of B major and name the sharps involved.

2.) To re-introduce lesson thirteens fourth objective on ghost notes. Time ran out during this lesson so these notes could not be introduced tp the pupil.

3.) To introduce the concept of fills to the pupil, to enable a more self styled driven bass player.

4.) To re-introduce ‘Cold Sweat’ by James Brown.


Introduction:

The pupil will be asked how he/she thought the previous lesson had gone and whether they are anxious about anything during this week’s lesson. After this the lesson ahead will be explained with some aims set so that the pupil has specific goals to reach.


Lesson Material:

1.) With each passing lesson a major scale was added to challenge the pupil and to encourage them to learn their scales, so that their knowledge of the bass will increase over the course of the tutoring. During this lesson two additional major scales will be included. These are the scales of E major, which contains four sharps (refer to Figure 1) and B major, which consists of five sharps (refer to Figure 1). The pupil will be asked to name the sharp notes involved in these scales and will be encouraged to go as far as they can with listing the scales.


----------------------------1st------2nd---3rd---4th----5th----6th----7th----8th
Scale of E major-------E-----F#-----G#-----A-----B-----C#-----D#-----E


----------------------------1st----2nd----3rd----4th----5th----6th-----7th----8th
Scale of B major------B-----C#-----D#-----E-----F#-----G#-----A#-----B

(Figure 1)


2.) In the last lesson the pupil was misinformed about the concept of note that is not accented properly, so the pitch of the note does not resonate and in turn emulate the full sound of a fretted note. This was described as a muted note when in fact it is called a ghost note. The difference will be distinguished to the pupil, explaining that a muted note is when a note is actually fretted then released, causing the note to end abruptly, while a ghost note is played but not accented or emphasised fully as a fretted note is.


3.) Fills are the beginning of what makes a bass player individual in style and technique. They lead to improvisation, which add depth and excitement to a composition or a particular performance, without them a bass line would most of the time sound bland and repetitive.

A fill is a note or a collection of notes, which blend one bass part to another or ‘a short musical passage, riff, or rhythmic sound which helps to sustain the listener's attention during a break between the phrases of a melody’, as stated by Wikipedia, 2008. However to be able to play fills efficiently, a bass player has to know both their fret board and all their scales intimately, otherwise wrong notes, that may sound out of tune, could be played.

During the lesson the pupil will be given examples of fills on the bass and with songs.


4.) ‘Cold Sweat’ by James Brown will be studied and played again during this lesson, as it is a prime example of a bass line that uses fills. The pupil will be encouraged to play as much of the original bass-line as possible so they can get an idea of fills that are utilised by Brown’s bass player – the legendary Bootsy Collins. The pupil will be encouraged to play along with the fast fret changes of the root and interval notes, while changing with the chord progression of D to C, if they are able.


**’Cold Sweat’ tablature**

RH - Film Edit: Lesson 13

Complementary Studies: Liam Marley

Date: 05/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins


Editing:

Bass lesson thirteen with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.


Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

(Figure 1)


The typeface was filled white, to contrast the black backdrop and the font chosen was Bank Gothic, at font size 46. A black matte generator was then placed after the title screen so a cross dissolve transition could be placed across the two clips (refer to Figure 2) to make the title screen fade out into black.




(Figure 2 – a cross dissolve generator overlapping two separate video clips)


The date of the lesson was left out of the title screen as it would have made the title type too cluttered. The inclusion of the date in the title was also unnecessary because at the beginning of every lesson the date was recorded on the tape by the teacher.

The first scenes of the lesson involved the pupil being informed what the objectives would aim to achieve. Usually a brief explanation of each objective would follow. Each objective had to be compressed and summarised from the hour-long original footage and added to the new projects timeline for further editing. Each clip/scene had to explain and demonstrate the objective, while still displaying a smooth sense of continuity. The clips would show the pupil attempting each objective in the turn, capturing their mistakes, queries and progression. At the beginning of each objective a fade in fade out dissolve transition (refer to Figure 3) was used to represent and emphasise the end of an objective and the start of a new one.




(Figure 3)


For certain parts of the film, titles or subtitles were used either to display subject matter to the audience or depict a symbol or picture. For both of these a text generator was used, either layered over the video clip or the actual video clip was cut away, leaving only the audio and the black matte backdrop. An example of a video clip with a title layered over the top can be seen in Figure 4 below.




(Figure 4)


The footage ended with a title crawl generator, in a roll formation, for the end credits. This simply stated the end of the lesson, informing who the pupil was and who had been teaching the lesson, (refer to Figure 5). The credit usually ran for ten seconds, which was long enough for each part of the text to be read.




(Figure 5)


Audio Edit:

Not a lot of editing was done to the audio on the film footage, due to the frequency comparison between the bass guitar and the speech from the teacher and pupil. This made it very difficult in mixing one without the other being compromised.

However at the beginning a hum remover was utilised in an attempt to get rid of the low frequency hum, which seemed to be emitted from the operation of the tape deck. This was basically a low pass filter and was cut by -60 dB at 60 Hz, as anything higher than this i.e. 80 Hz, would have effected the sound if the instrument.

Cross fade (0 dB) audio transitions were layered in between clips to reduce any audio artefacts and unwanted pops, where clips were separated and re-formed with other footage. They blended the separate audio tracks together for smooth unnoticeable transition. This type of audio transition was also used to fade out an audio track at the end of a lesson objective to aid with the visual fade in fade out dissolve transition. If this did not work then automation was used to simply fade out the end of the required audio track, as shown in Figure 6.




(Figure 6 – a gain fade out)

RH - Evaluation: Lesson 13

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 09/07/08
Evaluating Time: 2hrs


The time management was not the best during this lesson. The objectives could not be spaced out equally due to the content involved in objectives one and three. More time was required for the major scales so that progression could occur ready for next the lesson. If the time was not put in, the pupil would fall behind on these matters and advancement will become slow. While the soul song was for the pupil’s benefit and for a chance to analyse his progression.


Lesson Objectives:


1.) To persist with the major scales of C, G, D and even A, if the pupil feels confident enough to do so. All the sharps present in the scale should be named, along with each note in the scale.

Outcome: During this lesson, Robert continuously had trouble remembering the notes on the fret board, which in turn hindered the practice of major scales.


2.) To demonstrate their fret board knowledge, the pupil will be instructed to name all the A notes present on the instrument. If time allows, the pupil will be then asked to name all the E flats available.

Outcome: Unfortunately time did not allow for this exercise to take place, as a large section of the lesson was allocated for major scales and the soul song ‘Sure As Sin’.


3.) To persist with practicing the Candi Staton song ‘Sure As Sin’, so the pupil plays the song from introduction to chorus without any mistakes.

Outcome: ‘Sure As Sin’ was picked up again this lesson, in an attempt to play the song from introduction, all the way through the verse to the chorus.


G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦


G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3-----------------¦

(Figure 1 – First part of the verse from Candi Staton’s ‘Sure As Sin’)


G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦


G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦

(Figure 2 – Second part of the verse from Candi Staton’s ‘Sure As Sin’)




4.) To introduce to the pupil the concept of ghost notes.

Outcome: This objective will be carried over to the next lesson, as there was no time remaining to attempt this.

RH - Lesson Plan: Lesson 13

Complementary Studies: Liam Marley

Date: 09/07/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr


Lesson Footage:



(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)


As the lessons passed, more was expected from the pupil as he/she advanced with both skill and knowledge. The pupil, depending on their progression, would be challenged more and more to increase their knowledge of the bass guitar, in the time available.

This is why the pupil will be pushed as much as possible to learn more major scales as this will benefit them greatly, along with their fret board knowledge, which of course goes hand in hand with learning scales. The pupil will also have some practical material to play with, in the form of the Candi Staton soul song, which should keep the pupil’s attention long enough to explain muted notes without losing them.


Lesson Objectives:

1.) To persist with the major scales of C, G, D and even A, if the pupil feels confident enough to do so. All the sharps present in the scale should be named, along with each note in the scale.

2.) To demonstrate their fret board knowledge, the pupil will be instructed to name all the A notes present on the instrument. If time allows, the pupil will be then asked to name all the E flats available.

3.) To persist with practicing the Candi Staton song ‘Sure As Sin’, so the pupil plays the song from introduction to chorus without any mistakes.

4.) To introduce to the pupil the concept of ghost notes.


Introduction:

The pupil will be asked how he/she thought the previous lesson had gone and whether they are anxious about anything during this week’s lesson. After this the lesson ahead will be explained with some aims set so that the pupil has specific goals to reach.


Lesson Material:

1.) Using the chromatic finger placement pattern in Figure 1 below, the pupil will persist with practicing the major scales. Using the mnemonic rule of Father Christmas Gave David An Empty Box (refer to Figure 2), the pupil will attempt to name the sharps of the scale and then proceed to play the scale in the correct finger per fret manner. Hopefully the scales of C and G major will not be a problem, so the scales of D and A can be introduced.




(Figure 1 – the finger placement pattern for a major scale)



-------------------------Father Christmas Gave David An Empty Box

Sharp notes ♯-------F------C------G-------D-------A-------E------B-------
Scale notes ---------G------D------A-------E-------B-------F♯-----C♯----
---------------------------\ 5th/--\ 5th/--\ 5th/--\ 5th/--\ 5th /--\ 5th/--------
A fifth interval note is the difference between the next scale.

(Figure 2)


2.) The pupil will be asked to demonstrate their knowledge of the fret board by playing every A note possible on the bass guitar. In all there are eight A notes on the bass guitar (on a twenty fret bass) and can be found on the frets below in Figure 3.


G¦ ----------------------------------------------------2-----14------------------------------¦
D¦ -------------------------------------7-----19---------------------------------------------¦
A¦ ----------------------0-----12------------------------------------------------------------¦
E¦ -------5-----17---------------------------------------------------------------------------¦

(Figure 3 – all the A notes located on a twenty fret bass guitar)


If the pupil completes this task quickly and confidently then he/she will be asked if they can find all the E♭ on the instrument.


3.) Sure As Sin’ by Candi Staton (refer to the tablature below), was once again studied and played by the pupil. The aim for this lesson was for the pupil to attempt the song, practicing the introduction and the chorus and then finally playing through both these parts without any mistakes or ‘bum notes’ (an out of tune note hit in the place of a correct sounding note).


Candi Staton - ‘Sure as sin’ bass tablature

Introduction

G¦ --------------------------------------¦-------------------------------------------------¦
D¦ --------------------------------------¦-------------------------------------------------¦
A¦ --------------------------------------¦-----------------------3---6------2---5--------¦
E¦ -8----------------6------8------6--¦-5-----------------4-----------3----------------¦ X2


Verse

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦


G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3----------------¦


G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦


G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦


Chorus

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------5-----------------¦
A¦ --------------------------------------¦------------------------3---6-------5-------------¦
E¦ -8------------6---8--------8\-------¦-4------------------3-------------------7--------¦


G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ --------------------------------------¦---------------------------------------------------¦
E¦ -8------------6---8--------8\-------¦-3--3-3--3--3-3--3--3--3--3--3--3---------¦


Back to Verse


4.) The notion of a muted note will be explained to the pupil, so that a variation of how notes can be played is learnt. This will be described in simple terms, using a demonstration so the pupil understands this a muted note. The concept of a muted note is a note that is played but not accented properly, so the pitch of the note does not resonate and in turn emulate the full sound of a fretted note.

This will aid the pupil in understanding grooves better, as muted notes can be integrated into a pattern with fretted notes to change the rhythm of a song or bass line.

RH - Film Edit: Lesson 12

Complementary Studies: Liam Marley

Date: 03/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins


Editing:

Bass lesson twelve with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.


Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

(Figure 1)


The typeface was filled white, to contrast the black backdrop and the font chosen was Bank Gothic, at font size 46. A black matte generator was then placed after the title screen so a cross dissolve transition could be placed across the two clips (refer to Figure 2) to make the title screen fade out into black.




(Figure 2 – a cross dissolve generator overlapping two separate video clips)


The date of the lesson was left out of the title screen as it would have made the title type too cluttered. The inclusion of the date in the title was also unnecessary because at the beginning of every lesson the date was recorded on the tape by the teacher.

The first scenes of the lesson involved the pupil being informed what the objectives would aim to achieve. Usually a brief explanation of each objective would follow. Each objective had to be compressed and summarised from the hour-long original footage and added to the new projects timeline for further editing. Each clip/scene had to explain and demonstrate the objective, while still displaying a smooth sense of continuity. The clips would show the pupil attempting each objective in the turn, capturing their mistakes, queries and progression. At the beginning of each objective a fade in fade out dissolve transition (refer to Figure 3) was used to represent and emphasise the end of an objective and the start of a new one.




(Figure 3)


For certain parts of the film, titles or subtitles were used either to display subject matter to the audience or depict a symbol or picture. For both of these a text generator was used, either layered over the video clip or the actual video clip was cut away, leaving only the audio and the black matte backdrop. An example of a video clip with a title layered over the top can be seen in Figure 4 below.




(Figure 4)


The footage ended with a title crawl generator, in a roll formation, for the end credits. This simply stated the end of the lesson, informing who the pupil was and who had been teaching the lesson, (refer to Figure 5). The credit usually ran for ten seconds, which was long enough for each part of the text to be read.




(Figure 5)


Audio Edit:

Not a lot of editing was done to the audio on the film footage, due to the frequency comparison between the bass guitar and the speech from the teacher and pupil. This made it very difficult in mixing one without the other being compromised.

However at the beginning a hum remover was utilised in an attempt to get rid of the low frequency hum, which seemed to be emitted from the operation of the tape deck. This was basically a low pass filter and was cut by -60 dB at 60 Hz, as anything higher than this i.e. 80 Hz, would have effected the sound if the instrument.

Cross fade (0 dB) audio transitions were layered in between clips to reduce any audio artefacts and unwanted pops, where clips were separated and re-formed with other footage. They blended the separate audio tracks together for smooth unnoticeable transition. This type of audio transition was also used to fade out an audio track at the end of a lesson objective to aid with the visual fade in fade out dissolve transition. If this did not work then automation was used to simply fade out the end of the required audio track, as shown in Figure 6.




(Figure 6 – a gain fade out)

RH - Evaluation: Lesson 12

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 29/06/08
Evaluating Time: 2hrs




Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 12

Complementary Studies: Liam Marley

Date: 29/06/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr


Lesson Footage:



(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)


This lesson was a major scale orientated lesson, as the progression from the first scale – C major, occurred with the introduction of the next scale – G major. The pupil should by now be confident with the pattern of a major scale and should know that C major has no sharps or flats. This is imperative, as the next scale (G major) contains one sharp and then the six following major scales after that increase in the number of sharps. There are certain rules in which the pupil will be taught how to discover the next scale and the necessary accidental note, which is why the pupil will have to concentrate during this lesson.

With the majority of the lesson taken up with theory work, the last objective was put into place so the pupil had chance to play something fun and enjoyable on the bass.


Lesson Objectives:

1.) To warm up utilising the chromatic scale of C major.

2.) To demonstrate the scale of C major on the bass guitar, while being able to name the factors of the C major scale.

3.) To introduce the scale of G major using the chromatic finger form.

4.) To introduce the scale of D major if the pupil feels confident enough.

5.) To re-introduce the Candi Staton song ‘Sure As Sin’, so the pupil has the chance to experience soul genre bass patterns and rhythms.


Introduction:

The pupil will be asked how he/she thought the previous lesson had gone and whether they are anxious about anything during this week’s lesson. After this the lesson ahead will be explained with some aims set so that the pupil has specific goals to reach.


Lesson Material:

1.) The pupil will once again be instructed to warm up for the lesson using the chromatic major scale of C. When referring to ‘chromatic’ major scale, this just means that the scale is played using a one finger per fret form, with the specific fingers for each fret displayed in the figure below.


G -|---------------------------2--4--5------5--4--2----------------------------------------|
D -|----------------2--3--5----------------------------5--3--2-----------------------------|
A -|---------3--5--------------------------------------------------5--3----------------------|
E -|--------------------------------------------------------------------------------------------|
--------------2--4--1--2--4--1--3--4------4--3--1--4--2--1--4--2----------------------
------------------------------Fingers used to fret notes---------------------------------
-------------C--D--E--F-G--A--B--C----C--B--A-G-F--E--D-C----------------------

(Figure 1)


2.) The pupil will be asked to demonstrate their competence in the knowledge of C major scale. This will include being able to play the scale on the instrument, using the correct fingering techniques and to be able to name the factors that make this scale a C major. Once the pupil has played the scale across four frets and three strings, using all four fingers (one finger per fret), then another scale will be taught.


3.) The scale of G major will be introduced to the pupil, but only if they have successfully understood the criteria for C major scale. The pupil should know that the major scale pattern for C major (refer to Figure 2) works for every single major scale, so this was put into practice for G major scale.




(Figure 2 – the finger placement pattern for a major scale)


The pupil will be made aware that this new scale is not like C major, as there is one sharp note present in the scale. This note, an F♯ (sharp), can be obviously found by counting the notes of the scale on the instruments fret board. However there is a key, which once memorized and understood, can easily be written down and studied for further use.


Sharp notes ♯-------F------C------G-------D-------A-------E------B-------
Scale notes ---------G------D------A-------E-------B-------F♯-----C♯----
---------------------------\ 5th/--\ 5th/--\ 5th/--\ 5th/--\ 5th /--\ 5th/--------
A fifth interval note is the difference between the next scale.

(Figure 3)


The key in Figure 3 can be memorized using the following mnemonic: -

Father Christmas Gave David An Empty Box


This relates to the specific sharps contained in a scale. To find the scale simple take the G from ‘Gave’ and place it onto a new row underneath the ‘Father’ of Father Christmas Gave David An Empty Box. This now becomes a G note (as in Figure 3) and because the previous note before it, in the mnemonic, is a C and C major has no sharps or flats then G major becomes the first scale to contain a sharp - F♯. To find the rest of the scales this rule is continued with the next note, D being put on the bottom row, underneath C of 'Christmas' and then A underneath G of 'Gave' and so on.

However there happens to be two other rules in finding the next scale. The first is to take a note from Father Christmas Gave David An Empty Box, so take the F, to find its corresponding scale it is simple the next note in the musical alphabet, which is G. This rule works for the first seven major scales. The second rule is to take the bottom row of notes, the scale notes, to find the next scale in line. The fifth interval of the current note is discovered to find the next scale, so the fifth interval note of D is A, which is the next scale.

These rules and techniques to discovering and learning the major scales will be taught to the pupil to enable them to understood this subject better.


4.) The scale of D major will be introduced to the pupil, but only if they have successfully played and understood the C and G major scales. If so then the pupil will be informed that this scale contains two accidental notes, an F♯ and a C♯.


5.) Candi Staton’s soul song ‘Sure As Sin’, (refer to the tablature below), is going to be re-introduced in this lesson, not only as another genre and bass style to learn, but also because the pupil should be confident enough in playing ‘The Ballad of John and Yoko’ and it is time to challenge them again.

This song, although of a slow tempo and apparent simple bass line, actually has a varied bass pattern, which contains half notes, quarter notes and eighth notes. Unfortunately the rhythm of the song cannot be depicted on tablature, so the rhythm of the song had to be explained to the pupil.


Candi Staton - ‘Sure as sin’ bass tablature

Introduction

G¦ --------------------------------------¦-------------------------------------------------¦
D¦ --------------------------------------¦-------------------------------------------------¦
A¦ --------------------------------------¦-----------------------3---6------2---5--------¦
E¦ -8----------------6------8------6--¦-5-----------------4-----------3----------------¦ X2


Verse

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦


G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3----------------¦


G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦


G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦


Chorus

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------5-----------------¦
A¦ --------------------------------------¦------------------------3---6-------5-------------¦
E¦ -8------------6---8--------8\-------¦-4------------------3-------------------7--------¦


G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ --------------------------------------¦---------------------------------------------------¦
E¦ -8------------6---8--------8\-------¦-3--3-3--3--3-3--3--3--3--3--3--3---------¦


Back to Verse

RH - Film Edit: Lesson 11

Complementary Studies: Liam Marley

Date: 02/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins


Editing:

Bass lesson eleven with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.


Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

(Figure 1)


The typeface was filled white, to contrast the black backdrop and the font chosen was Bank Gothic, at font size 46. A black matte generator was then placed after the title screen so a cross dissolve transition could be placed across the two clips (refer to Figure 2) to make the title screen fade out into black.




(Figure 2 – a cross dissolve generator overlapping two separate video clips)


The date of the lesson was left out of the title screen as it would have made the title type too cluttered. The inclusion of the date in the title was also unnecessary because at the beginning of every lesson the date was recorded on the tape by the teacher.

The first scenes of the lesson involved the pupil being informed what the objectives would aim to achieve. Usually a brief explanation of each objective would follow. Each objective had to be compressed and summarised from the hour-long original footage and added to the new projects timeline for further editing. Each clip/scene had to explain and demonstrate the objective, while still displaying a smooth sense of continuity. The clips would show the pupil attempting each objective in the turn, capturing their mistakes, queries and progression. At the beginning of each objective a fade in fade out dissolve transition (refer to Figure 3) was used to represent and emphasise the end of an objective and the start of a new one.




(Figure 3)


For certain parts of the film, titles or subtitles were used either to display subject matter to the audience or depict a symbol or picture. For both of these a text generator was used, either layered over the video clip or the actual video clip was cut away, leaving only the audio and the black matte backdrop. An example of a video clip with a title layered over the top can be seen in Figure 4 below.




(Figure 4)


The footage ended with a title crawl generator, in a roll formation, for the end credits. This simply stated the end of the lesson, informing who the pupil was and who had been teaching the lesson, (refer to Figure 5). The credit usually ran for ten seconds, which was long enough for each part of the text to be read.




(Figure 5)


Audio Edit:

Not a lot of editing was done to the audio on the film footage, due to the frequency comparison between the bass guitar and the speech from the teacher and pupil. This made it very difficult in mixing one without the other being compromised.

However at the beginning a hum remover was utilised in an attempt to get rid of the low frequency hum, which seemed to be emitted from the operation of the tape deck. This was basically a low pass filter and was cut by -60 dB at 60 Hz, as anything higher than this i.e. 80 Hz, would have effected the sound if the instrument.

Cross fade (0 dB) audio transitions were layered in between clips to reduce any audio artefacts and unwanted pops, where clips were separated and re-formed with other footage. They blended the separate audio tracks together for smooth unnoticeable transition. This type of audio transition was also used to fade out an audio track at the end of a lesson objective to aid with the visual fade in fade out dissolve transition. If this did not work then automation was used to simply fade out the end of the required audio track, as shown in Figure 6.




(Figure 6 – a gain fade out)

RH - Evaluation: Lesson 11

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 04/06/08
Evaluating Time: 2hrs




Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 11

Complementary Studies: Liam Marley

Date: 04/06/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr


Lesson Footage:



(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)


This lesson would act as a recap on multiple subjects, taught over the period of the bass tutorials. The major scale section that was introduced in the last lesson will be studied and played again by the pupil, while ‘The Ballad of John and Yoko’ will this time be played to a beat. Finally the pupil will be given a more in depth explanation of music theory, which will fresh the pupil’s knowledge if they have forgotten the theory taught in lessons four and five.


Lesson Objectives:

1.) To initiate the pupil into the ten-minute practice routine, however this time utilising the scale of C major in the chromatic finger per fret form.

2.) To go through the scale of C major with the pupil in more detail, verifying that they understand the subject.

3.) To persist learning ‘The Ballad Of John and Yoko’ by The Beatles.

4.) To give a more thorough explanation of music theory, in terms of beats and bars, rhythm (note lengths), the music staff and the bass clef.


Introduction:

The pupil will be asked how he/she thought the previous lesson had gone and whether they are anxious about anything during this week’s lesson. After this the lesson ahead will be explained with some aims set so that the pupil has specific goals to reach.


Lesson Material:

1.) Instead of the usual practice piece, where the pupil would use the chromatic finger form to play the bass, fretting no specific notes, the pupil will use the scale of C major as a practice exercise. To be played as in Figure 1 below, the pupil will utilise all four fingers in a finger per fret manner, which will improve their finger technique, their knowledge of C major (scale), while helping them to warm up for the lesson ahead.


G -|---------------------------2--4--5------5--4--2----------------------------------------|
D -|----------------2--3--5----------------------------5--3--2-----------------------------|
A -|---------3--5--------------------------------------------------5--3----------------------|
E -|--------------------------------------------------------------------------------------------|
-------------2--4--1--2--4---1--3--4------4--3--1--4--2--1--4--2----------------------
------------------------------Fingers used to fret notes-----------------------------------

(Figure 1)



2.) Once the pupil has finished with the warm up exercise they will concentrate on the theory of the scale of C major. The pupil will be instructed to play the scale so that each interval note can be explained in simple terms.


Interval notes: (as stated by Clayton, p. 72, 2005)

C – D-----major second
C – E-----major third
C – F-----perfect fourth
C – G-----perfect fifth
C – A-----major sixth
C – B-----major seventh
C – C-----octave


The pupil is not expected to remember that from C to G the interval is a ‘perfect’ fifth, as long as they remember that it is the fifth interval note due to it being the fifth note from C in the scale. It is imperative that the pupil begins to learn major and minor scales, as these will help them to create and compose bass lines. The scale of C major is the starting point and will ease the pupil into the other scales.

Not only will the pupil play the major scale of C in the common form, (refer to Figure 1 above), but the pupil will be instructed to pay the scales using other notes. This is demonstrated in Figure 2, where C major scale is played primarily on the A string. This will get the pupil to discover new ways to play scales and will ultimately improve their fret board knowledge.


G -|--------------------------------------------------------------------------------------------|
D -|--------------------------------------------------------------------------------------------|
A -|---------3--5--7--8--10--12--14--15------15--14--12--10--8--7--5--3---------|
E -|--------------------------------------------------------------------------------------------|

(Figure 2)



3.) The pupil will persist practicing ’The Ballad Of John and Yoko’ by The Beatles, however this time the pupil will play in time to a pre-programmed basic drumbeat. This drumbeat will be set at a comfortable tempo and will improve the pupil’s rhythm and timing.


**’The Ballad Of John and Yoko’ tablature**



4.) With the involvement of music theory increasing with each lesson it was important to refresh the pupil with the notions of this subject. This is why it was explored once again in this objective so that the pupil can conceive as much information on this topic as possible.
Beats and bars will be briefly explained, as the pupil seemed to grasp this concept with ease, while the pupil will been given an in depth explanation on rhythm or note lengths, as this is the basis in which notes are played and music is written.

Last time the pupil was introduce to three note lengths - a whole note (which lasts the whole length of the bar), a half note (which consists of two notes to fit in a bar) and a quarter note (which contains a note for each beat of the bar). During this lesson two additional note lengths will be introduced, the eighth note, which consisted of two notes to each beat, meaning there were eight notes in a bar and finally sixteenth notes, which had four notes to a beat and therefore sixteen notes in a full bar. The additional note lengths can be quite difficult to play, especially at fast tempos. These will all be demonstrated on the bass so the pupil can hear how the note lengths work.

The music staff will also be explained to the pupil, describing the five staves and the bass clef, which is necessary to depict the bass notes.

RH - Film Edit: Lesson 10

Complementary Studies: Liam Marley

Date: 01/08/08 (R Hamilton)
Editing Time: 3hrs
Importing Time: 1hr
Documentation Time: 0mins


Editing:

Bass lesson ten with Robert Hamilton was edited so that the footage could be compressed with MPEG-4, ready to be uploaded on the web log. After being imported onto the iMac, through Final Cut Pro using a DV to FireWire cable, the one-hour length clip was studied. This was to enable analysis of the footage so each lesson objective could be summarised and edited together to make a smooth coherent ten-minute film of the lesson.


Video Edit:

The footage began with the introductory title screen – stating the lesson number and with which pupil was participating. Utilising a standard text generator, over a black matte backdrop, a title was erected, which read (refer to Figure 1 below)……………..

’BASS LESSON ??

WITH ROBERT HAMILTON’

(Figure 1)


The typeface was filled white, to contrast the black backdrop and the font chosen was Bank Gothic, at font size 46. A black matte generator was then placed after the title screen so a cross dissolve transition could be placed across the two clips (refer to Figure 2) to make the title screen fade out into black.




(Figure 2 – a cross dissolve generator overlapping two separate video clips)


The date of the lesson was left out of the title screen as it would have made the title type too cluttered. The inclusion of the date in the title was also unnecessary because at the beginning of every lesson the date was recorded on the tape by the teacher.

The first scenes of the lesson involved the pupil being informed what the objectives would aim to achieve. Usually a brief explanation of each objective would follow. Each objective had to be compressed and summarised from the hour-long original footage and added to the new projects timeline for further editing. Each clip/scene had to explain and demonstrate the objective, while still displaying a smooth sense of continuity. The clips would show the pupil attempting each objective in the turn, capturing their mistakes, queries and progression. At the beginning of each objective a fade in fade out dissolve transition (refer to Figure 3) was used to represent and emphasise the end of an objective and the start of a new one.




(Figure 3)


For certain parts of the film, titles or subtitles were used either to display subject matter to the audience or depict a symbol or picture. For both of these a text generator was used, either layered over the video clip or the actual video clip was cut away, leaving only the audio and the black matte backdrop. An example of a video clip with a title layered over the top can be seen in Figure 4 below.




(Figure 4)


The footage ended with a title crawl generator, in a roll formation, for the end credits. This simply stated the end of the lesson, informing who the pupil was and who had been teaching the lesson, (refer to Figure 5). The credit usually ran for ten seconds, which was long enough for each part of the text to be read.




(Figure 5)


Audio Edit:

Not a lot of editing was done to the audio on the film footage, due to the frequency comparison between the bass guitar and the speech from the teacher and pupil. This made it very difficult in mixing one without the other being compromised.

However at the beginning a hum remover was utilised in an attempt to get rid of the low frequency hum, which seemed to be emitted from the operation of the tape deck. This was basically a low pass filter and was cut by -60 dB at 60 Hz, as anything higher than this i.e. 80 Hz, would have effected the sound if the instrument.

Cross fade (0 dB) audio transitions were layered in between clips to reduce any audio artefacts and unwanted pops, where clips were separated and re-formed with other footage. They blended the separate audio tracks together for smooth unnoticeable transition. This type of audio transition was also used to fade out an audio track at the end of a lesson objective to aid with the visual fade in fade out dissolve transition. If this did not work then automation was used to simply fade out the end of the required audio track, as shown in Figure 6.




(Figure 6 – a gain fade out)

RH - Evaluation: Lesson 10

Complementary Studies: Liam Marley

Pupil: Robert Hamilton
Date: 14/05/08
Evaluating Time: 2hrs




Lesson Objectives:

1.) To recap on the blues bass lines that we have been working on, these include the basic root to fifth pattern and the bay-on-bass pattern. The newly introduced ‘walking’ bass line, from last lesson, will also be played utilising quarter (crochet) notes and eighth (quaver) notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


2.) To have the pupil playing along to part of a song or the entire song, whether it would be the actual bass line or a simplified version.

Outcome: Robert was able to name all but one of the external components of the bass guitar.


3.) To introduce the use of open notes being utilised in conjunction with fretted notes.

Outcome: Robert was able to name all but one of the external components of the bass guitar.

RH - Lesson Plan: Lesson 10

Complementary Studies: Liam Marley

Date: 14/05/08 (R Hamilton)
Planning Time: 2hrs
Lesson Time: 1hr


Lesson Footage:



(1O MINUTE VIDEO FOOTAGE OF THE HOUR LESSON)


With all the talk of major scales throughout the lessons, it was time to introduce the pupil to their first major scale. The scale of C major was the first to be taught, as this was the simplest of the scales to learn because it is the only major scale to contain no sharps or flats. This will become the foundation to learn other scales, both major and minor so that the pupil can become one step further in understanding their instrument.

Interval notes and ‘The Ballad of John and Yoko’ will be attempted again until the pupil feels confident with these and finally two new songs will be introduced and played along to, if time allows.


Lesson Objectives:

1.) To introduce the scale of C major, with the intention of the pupil learning to play the scale on the instrument.

2.) To recap on unison (root note), fifth and eighth (octave) interval notes so the pupil fully understands this subject. After this the pupil will demonstrate their knowledge by playing fifth and eighth interval notes of a specific root note.

3.) To persist learning ‘The Ballad Of John and Yoko’ by The Beatles.

4.) To introduce a new genre and song, in the form of ‘Cold Sweat’ by James Brown to teach the pupil new rhythms and bass styles.

5.) To introduce soul music to the pupil, as the bass lines associated with this genre incorporate both bluesy and funky bass patterns. The source material for this is ‘Sure As Sin’ by Soul artist Candi Staton.


Introduction:

The pupil will be asked how he/she thought the previous lesson had gone and whether they are anxious about anything during this week’s lesson. After this the lesson ahead will be explained with some aims set so that the pupil has specific goals to reach.


Lesson Material:

1.) Learning a scale can be confusing and frustrating, especially when there are both fifteen major and minor scales to learn. However to make this slightly less troublesome, every major scale has a relative minor scale, i.e. C major (Figure 1) has the same note make up as A minor (Figure 2), they just begin with different root notes.



(Figure 1 - original gathered from www.thinkquest.org)



(Figure 2 - original gathered from www.thinkquest.org)


For this very reason the subject of scales will begin with the scale of C major. This scale has no accidental notes ~(sharps♯ or flats♭) – meaning that all the notes are natural (♮). To simplify the term scale, a demonstration will be made on the bass guitar itself and explained with the use of solfège - Do, Re, Mi, Fa, Sol, La, Ti, Do. Solfège is the technique, which utilises syllables as a reference to notes and in this case - scales.

The pupil will be shown the universal pattern for all basic major scales (refer to figure 3) and will be instructed to learn and play this pattern. While progressing through the scale, the pupil should name the notes and even sing them, if feeling confident enough, as this will begin to train their ears. The scales will be played in chromatic form and can therefore be used by the pupil to warm up, as they will be exercising their hands while learning musical scales.


G -|---------------------------2--4--5------5--4--2----------------------------------------|
D -|----------------2--3--5----------------------------5--3--2-----------------------------|
A -|---------3--5--------------------------------------------------5--3----------------------|
E -|--------------------------------------------------------------------------------------------|
-------------2--4--1--2--4--1--3--4------4--3--1--4--2--1--4--2----------------------
------------------------------Fingers used to fret notes-----------------------------------

(Figure 3)


2.) For this objective the pupil will be asked whether he/she fully understands the concept of interval notes, if the pupil is unsure then past objectives on this subject will be utilised to help the pupil comprehend interval notes.

Hopefully the pupil will be able to give a brief and basic explanation of interval notes, while being able to demonstrate their understanding on the bass. The pupil using the root note of A, will then play the interval note patterns known, as in Figure 4 below.


G -|-----------------------------------------------------------------------------------------------|
D -|-------------------------------------------------------7---------7---------7----------7------|
A -|--------7----------7----------7----------7---------------------------------------------------|
E -|--5----------5----------5----------5-----------5---------5---------5----------5-----------|
----[-----------fifth interval notes----------]--[-------------eighth interval notes-------]

(Figure 4)


3.) The pupil will persist practicing The Beatles’ ’The Ballad Of John and Yoko’ and should aim to be able to play through at least one verse without making a mistake. Setting small and manageable objectives for the pupil helps them to realise their achievements and encourage them further.


**’The Ballad Of John and Yoko’ tablature**



4.) Once the pupil has shown improvement and confidence with the bass line of ’The Ballad Of John and Yoko’, a more complex and groove based pattern will be introduced, (refer to the tablature link below). This is James Brown’s funky ‘Cold Sweat’ and utilises many familiar interval notes and new ones too, all taken from the structure of a major scale.

This song will be an example of why it is important to learn scales. If scales are taken seriously and practiced then there is no reason why the pupil will not be able to play bass lines like this. Although it is probably a little too early for the pupil to play this pattern due to the rhythm of the bass and the increased fret board activity, so a basic bass line will be shown if this is the case.


**’Cold Sweat’ tablature**



5.) A third and finally song will be introduced to the pupil, which will demonstrate a blend of simple and melodic bass patterns, which use root notes to uphold the beat and improvised interval notes to add a little life and excitement. Candi Staton’s ‘Sure As Sin’, (refer to the tablature below), was chosen because of its slow tempo, its beat driven root notes and its use of major scale note intervals. The song is a good example of everything that has been learnt so far in the lessons.

The bass line has a lot of fret activity with more of the fret board being covered than the pupil will be use to. This is why a basic pattern will be taught so that the pupil is able to build up to the actual bass line. The pupil will be encourage to persevere, as a lot of satisfaction can be found from the ability to learn and play a new song.


Candi Staton - ‘Sure as sin’ bass tablature

Introduction

G¦ --------------------------------------¦-------------------------------------------------¦
D¦ --------------------------------------¦-------------------------------------------------¦
A¦ --------------------------------------¦-----------------------3---6------2---5--------¦
E¦ -8----------------6------8------6--¦-5-----------------4-----------3----------------¦ X2


Verse

G¦ --------------------------------------¦--------------------------------------------------¦
D¦ --------------------------------------¦--------------------------------------------------¦
A¦---------------------------------------¦-----------------------------------2---5---------¦
E¦ -8-----------8----6------8------6--¦-5-----------------4-----------3----------------¦


G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ ---------------------------------------¦-----------------------3---6------2---5---------¦
E¦ -8----------------6------8------6---¦-5-----------------4-----------3----------------¦


G¦ ---------2---5-----------------------¦---------------------------------4---------------¦
D¦ -3----------------3-------------3---¦-5------------------5----5-----------5----------¦
A¦ -----------------------------3--------¦------------5-------------------------------------¦
E¦ ---------------------------------------¦--------------------------------------------------¦


G¦ ---------------------------------------¦-----------------------4---7------4---7--------¦
D¦ -3----------------3--------3-3------¦-5---------5-5----5-----------5----------------¦
A¦ -------------3------------------------¦---------------------------------------------------¦
E¦ ---------------------------------------¦---------------------------------------------------¦


Chorus

G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------5-----------------¦
A¦ --------------------------------------¦------------------------3---6-------5-------------¦
E¦ -8------------6---8--------8\-------¦-4------------------3-------------------7--------¦


G¦ --------------------------------------¦---------------------------------------------------¦
D¦ --------------------------------------¦---------------------------------------------------¦
A¦ --------------------------------------¦---------------------------------------------------¦
E¦ -8------------6---8--------8\-------¦-3--3-3--3--3-3--3--3--3--3--3--3---------¦


Back to Verse