july 2010

Chad Weaver gets the show back on the road despite losing nearly everything in the floods

If anyone saw the pictures I sent in place of last month's column, you know why I wasn't able to write. National media didn't talk about the flooding as much as our local news showed it but I've got to (thankfully) say I've never seen anything like that before. On Saturday May 1st, the streets began to fill up with water. As you may have read about in this month's cover story, one of those streets was Cowan Street, the location of Soundcheck rehearsal hall/gear storage and rental. It's located in downtown Nashville and housed storage lockers for more names in the music business than I have space to write in this column. Since the end of Brad Paisley's American Saturday Night Tour, we had placed all of our road gear there but were due to load out of on May 3rd. Unfortunately, it was about 36 hours too late. When I woke up on the morning of May 2nd, Cowan Street was completely flooded and Soundcheck had about 3 1/2 feet of water inside the building.

After breathing a sigh of relief that Brad's Trainwreck and all of his old Voxs were at home, I immediately started thinking of what I had on the floor of the locker, what was stacked high and wondering how I was going to pull off a brand new tour rehearsal that was set to begin the following morning. I called Brad and told him that I was going to assume a total loss until proven otherwise because we didn't have the time frame to wait and see. The first shows of the tour were in three weeks.

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“Low Bass Blues” is based around a popular sliding blues lick at the third fret.

“Low Bass Blues” is based around a popular sliding blues lick at the third fret. Slide into the fourth fret of the third string with your middle finger and follow that up with your index finger on the third fret of the second string:

There are so many ways you can use this lick. Here’s one way that uses triplets and slides back down to open position on the last beat, which is another common addition to this lick:

Download Example Audio

In “Low Bass Blues,” we’ll slide into this lick and leave our fingers on the fourth and third frets throughout the first one-and-a-half measures. To get that first measure to work, you’ll have to lift your index finger off of the second string on beat 3, and then put it back at the start of measure 2, where you’ll need to play the third fret. The open third string on the “&” of beat 2 in measure 2 gives you time to move your hand down to open position to grab the notes on the second fret. Then, you can bring your hand back up as you play the open strings in measure 3, letting it float above the frets until it’s time to play those notes at the end of the measure.

Over the A7 chord, we’re playing the exact same licks, with one exception—that second-fret C# note on beat 3 of measure 5. To grab this note, you’ll need to quickly slide your index finger down from the third fret and then bring it back up to play the note on the third fret in the next measure. This is a bit tricky to play, but if you slow it down, you should be able to get the hang of it. Feel free to slide both your index and middle fingers down a fret, so that you don’t have to stretch too much.

Notice how the bass line walks into a few of the chord changes. In measure 8, move up to the A string on beat 3, and move through the open string and first fret to reach the second-fret B note at the beginning of the next measure. In measure 10, you walk back through the first fret on beat 4 to reach the A bass note in the next measure.

The rest of the song doesn’t throw too many tricks at you, except for the turnaround in measure 11. A turnaround is a figure used at the end of a progression to either wrap things up or lead things back to another repeat of the progression. Here, we’re using a common trick that takes our two-note shape and slides it down one fret at a time until we reach the open position, at which point we finish with an E7 chord.

Download Example Audio

This lesson comes from:

Total Acoustic Guitar

Do thicker strings make you a better player? Let's find out!

Stevie Ray Vaughan's influence on gear and gearheads has been gigantic. Back in the '80s, it seemed as if he almost single-handedly resurrected the Stratocaster, helping boost vintage Strats into a mythic realm. And who else did more to bring the worship of vintage Fender amps to a whole new level?

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