Under Pressure By Queen Base Line - Part 2
The section starts off with the lyric, throwing away like a blind man. That is pretty straight forward when you see it in the PDF, which is coming, you might think, ooh really. But it’s actually pretty straight forward. Starts off, the first note that you see me play is a G, that’s held for three beats of the first bar of that section, that’s played at the 5th fret of the D string. Then those three bars of space, then you shift up and you play the G at the 12th fret of the G string, that’s the high note you heard me play. That’s the last until the fourth beat of that bar, and then we stop it. And then in the next bar, on the fourth beat, you play the A here, which is at the 7th fret of the D string, and then you, as soon as you struck it, you slide down to go in preparation for the first beat to the next bar which is also A, but it’s gonna be the open A string. Now, that bar, the pattern is this. So, it’s, you hold the first open A for 3/8th notes, and then that last note going down was G, which is the 3rd fret of the E string. Then you went to four bars of F, where you just play 8th notes through those bars, one and two and three and four and two and two and three and four and three and two and three and four, four and two and three and four and… so after the F section, you then play four bars of A. The first three bars are all 8th notes so just play two and three and four and two and two and three and four – three and two and three and four. Now the fourth pass, slightly different, it’s this. Now, if you’re counting that, it’s one and two and three… and then that last note, we settle for a beat, is the G, which is the 5th fret of the D string. Then you’re on to this little riff. Now, I’ve notated it and played it in the examples fairly straight, but when you hear it, and also if you listen to John Deacon’s play, you hear there’s lots of scope for putting in some little fills and stuff. But for now, I’m gonna teach you very simply and it’s up to you to sort of listen to John Deacon. Get some ideas and add some fills to it. So it starts off like this… okay. That’s the basic sort of two bar pattern, there was a slight variation coming up in the next two repeat of that. But start with, it’s… so that’s one bar where you’re playing just D note, which is the 5th fret of the A string, but listen to the rhythm. The first two notes are quarter notes and then this 4/8th notes, 1 – 2 – 3 and 4 and. The next bar goes down to G. So you’re playing G which is the 3rd fret of the E string and the other two notes are A, which is the 5th fret of the E string and then up to G, the octave, at the 5th fret of the D string. Okay, and then we back to the pattern or the bar that we just played before in D. The only difference is you add in the last note is an open A string that could take you down to the, as it lead down to the G, so it’s… and that repeats. Okay, and then when you’ve completed that section, you’ll find that you’re back into the verse. Now, in this, this next part of the verse, again I’ve left you with just the verse that, that I’ve looked at already, but if you listen to what John Deacon does, there’s lots of room now to add some rhythmic, rhythmic variations to the pattern. So instead of just playing, etcetera, you can do… or whatever you. Just have a play, see what you can come up with, because by the time you get to this part of the song, there’s lots going on. The drums have picked up in and sort of intensity, so there is space for you to play a bit more and do some driving. But the important thing is, is when you go back to the chorus and then come out and go back to the riff… that’s everything pretty much drops out, and you’re down to sort of bass drums, a bit of piano again. It’s very important to come out of that section at the end where it gets quite intense and just get the riff, have it nailed, no variations, because it’s a hook, a melodic hook that the audience, anyone you playing to a gig, will know. And if you start messing around with it, they’ll think you’ve, you’ve made a mistake rather than that you’re deliberately doing some variations. So very important when you come out of that section, come straight back out with. And it pretty much goes to the end of the tune with that. So that was Under Pressure, it’s a great tune. Don’t forget to try out doing some of the variations. Listen to what John Deacon plays, if you can get hold of some live versions of what he’s done. They’re always worth checking out, variations and stuff on, because he does different things. You can learn some cool tricks. It’s a great tune, play along with it. Don’t forget, if you want the PDF, you need to sign up for my escene. You should be signed up anyway, coz you get a free bass line every week. You get some other info every week. The people who are getting it so far, the email feedback I’m getting is, oh enjoying it. So you should be signed up for anyway, but if you want the PDF that goes with this lesson, that’s the only way you can get hold of it, is to sign up for my escene, so. Look for the next lesson. I’ll see you then, Paul from how-to-play-bass.com signing off.