Copia de RSL Lets Rock Bass-2013 OnlineEdition 01Sep2017 (1)

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com
BASS
RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com
ACKNOWLEDGEMENTS
Published by Rockschool Ltd. © 2013

Catalogue Number RSK121302
ISBN: 978-1-910975-98-5
24 July 2017
AUDIO
Recorded, mixed and mastered at Langlei Studios by Duncan Jordan
Producer: James Uings
MUSICIANS
Stuart Clayton, Neel Dhorajiwala, Noam Lederman, Jon Musgrave, Charlie Griffiths

PUBLISHING
Publishing Manager: James Uings
Editorial Manager: Stephen Lawson
Written by Stuart Clayton
Music engraving by Simon Troup and Jennie Troup of Digital Music Art
Logo design by Bryn Reynolds
Proofing: Becky Baldwin and Simon Bradley
SYLLABUS
Syllabus Director: Jeremy Ward
Instrumental specialists: Stuart Clayton, Noam Lederman and James Uings
PRINTING
Printed and bound in the United Kingdom by Caligraving Ltd
PHOTOGRAPHY
Photographer: Adam Gasson
Bassist: Becky Baldwin
DISTRIBUTION
Exclusive Distributors: Music Sales Ltd
CONTACTING ROCKSCHOOL
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Telephone: +44 (0)845 460 4747
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2 LET’S ROCK
Let’s Rock
CONTENTS
GETTING STARTED
2 Acknowledgements
3 Table of Contents
4 Welcome
6 Getting Started
LESSONS
16 Rock Part 1
18 Rock Part 2
20 Pop Part 1
22 Pop Part 2

24 Country Part 1
26 Country Part 2
28 Indie Part 1
30 Indie Part 2
32 Hip Hop Part 1
34 Hip Hop Part 2
36 Metal Part 1
38 Metal Part 2
PIECES
42 ‘Inferno’
43 ‘Don’t Stop’
44 ‘Honey Boo’
45 ‘Nova’
46 ‘Subsonic’
47 ‘Sheet Metal’
48 ‘Overload’ (Band)
49 ‘Slam’ (Band)
50 ‘Under The Radar’ (Band)
EXAMS
51 Exam Info
LET’S ROCK 3
LET’S ROCK
WELCOME
Welcome to Let’s Rock Bass!
T
his book will guide you also space for teacher feedback at The other is a backing track with

through the basics of rock the end of every lesson. the bass taken off so you can play
and pop bass playing. It has along with the band.
been designed to build your skills PIECES
and knowledge as you work your Once you have worked your way DOWNLOAD
way through the lessons. The book through the lessons you will be The downloadable content for this
is split into three parts: Getting ready to practise and perform book can be downloaded from
Started, Lessons and Pieces. your first full pieces of music. RSL directly at the following URL:
There is one for every style of
GETTING STARTED music covered in the lessons. www.rslawards.com/downloads
The first section of the book
contains all the information you There are also three extra pieces When downloading files you will
will need before you begin your which can be played on your own need to input this code when
first lesson. This includes a guide or as part of a band. The other prompted: KGPFNSDMU9
to how your instrument works, an band parts can be found in Let’s
introduction to reading music and Rock Guitar and Let’s Rock Drums The audio files are supplied in MP3
a walkthrough of all the basic and the full band score is part of format, the most widely compatible
techniques used in the book. your downloadable package. audio format in common usage
– MP3s will likely be familiar to
LESSONS AUDIO anyone with a computer, iPod,
The lessons are split into styles of Every musical example and piece smartphone or similar device.
music and there are two parts for in Let’s Rock Bass has two audio Once downloaded you will be able
each style. You will practise tracks that can be downloaded to play them on any compatible
musical examples which build up from the Rockschool website. The device; we hope that you find this
to a final example taken from a first is a full track that includes the extra versatility useful.
piece later in the book. There is bass part along with a full band.
4 LET’S ROCK
GETTING STARTED
GETTING
STARTED
INTRODUCTION
his section of Let’s Rock Bass contains all

T

the information you will need before you begin
your first lesson. Over the next few pages you will
find a guide to how your instrument works, all the
techniques that are used throughout the book and
an introduction to reading music.
LET’S ROCK 5
LET’S ROCK
getting started
THE BASS
A QUICK GUIDE
All you need to know about this amazing instrument
BASS GUITAR & AMPLIFIER

If you want to play bass you should first plug it in to an amplifier
(amp). You could play the bass ‘unplugged’, but it would be too
quiet to hear properly. Here are all the parts of the bass and amp
that you need to know about…

PICKUPS
The pickups have
magnets inside that sense
the strings’ vibrations. These
smart devices then turn the
vibrations into a signal that FRET
can be amplified (made BOARD
loud) by an amplifier This is the area on
(or amp). the front of the neck
where you place
your fingertips.
VOLUME
CONTROL
Turn this clockwise
(from 0 to 10) to
BRIDGE increase the volume
The strings are fixed of your bass.
at the body end TONE
of the bass by CONTROL
the bridge. Turn this clockwise (from
JACK 0 to 10) to increase the
PLUG brightness of your
Plug a cable in here bass’s sound.
then plug the other
6 LET’S ROCK end into your
amp.
TUNING
STRINGS PEGS
The bass’s sound starts Turn these to get your strings in
here. When you pluck a tune. The best way to tune your
string it vibrates, making a bass is with an electronic tuner,
note. How high or low the note or if you don’t have one of
sounds (its pitch) depends on these you could ask your
where you press down on teacher for some help.
the string.
FRETS
Frets divide the
strings into
FRET separate notes.
MARKERS
You can use the fret markers
to quickly work out which fret
is which. The following frets
are usually marked: 3rd, 5th,
7th, 9 th, 12th, 15th, 17th,
19 th and 21st.
NECK
DOUBLE BASS © WWW.ISTOCKPHOTO.COM

The strings are stretched
across the length of the
neck, which is shaped so

you can place your fingers
and thumb around it to
play notes.
STRAP
PINS
Attach a strap to these
and you will be able to
stand up while playing The first bass guitar was invented by a man called Leo
your bass. Fender. It went on sale in 1951 – over 60 years ago! –
and was called the Fender Precision because, unlike
the upright bass, the Precision (or P-Bass) had frets
ss’s pickup
our ba s so bassists would know precisely where to place their
y fingers to play each note. The P-Bass was such a success
om
to
r that it is still on sale today and most other basses are

l f based on its design.
your
a
sign
a
amp.
s
r rie
a
C
E
BL
CA
AMPLIFIER
This makes your bass sound
much louder than when it’s
unplugged. It has four basic controls:
volume, bass, middle and treble.
Volume makes the sound louder. The
bass control makes the sound fuller
and warmer. Treble is the opposite:
it makes your bass sound light
and sparkly. Middle is
between bass and
treble.
LET’S ROCK 7
getting started
PLAYING
THE BASS
You’ll need to master these basic techniques
to play the songs and examples in this book…
SITTING
WITH

YOUR
BASS
2
Wrap your left
hand around the neck
of your bass and use
your right hand to pull
the body of the bass
towards your
body.
3
1 The bass should sit
Sit in your chair straight up against your
with your feet shoulder ribcage. Place the fingers of your
width apart and pointing right hand over the strings with your
forward. Your shoulders thumb resting on the string closest to
should be relaxed but not your face. Your bass should rest on
slouching forward and your right leg at a slight angle to your
your back straight. stomach. Face forward and keep
your head up and shoulders
back for good posture.
8 LET’S ROCK
GETTING STARTED
PLAYING WITH FINGERS
1 2 3
Place your thumb on top of the Let’s start by playing the E When playing the other strings
1 pickup cover. This is called
anchoring because, like a ship’s
2 string – the thickest string on
your bass. Use the pad, not the nail,
3 you should take your thumb
from the pickup cover and move it
anchor, your thumb holds your of your first (pointing) finger to so it is sitting on the string next to
hand in a steady position from pluck the string. Try to move your the one you are playing. For
which you will be able to pick the finger just beyond the string (i.e. example, if you are playing the D
strings. Your fingers should point towards your thumb). string your thumb should be

down across the strings. anchored on the A string.
PLAYING WITH A PICK Don’t squeeze your fingers too

much; your hand should be relaxed.
1 2A 2b
With your right forearm
3 resting lightly on the body of
your bass, hold the pick over the
bottom (fattest) string. The tip of
the pick should be just above the
string. Hold the pick firmly
3 4 between your thumb and index
finger but keep your hand relaxed.
Move your wrist in a

4 downward motion so that the
tip of the pick strikes the string.
Try to keep the movement as small
Some bassists prefer to play Keeping your thumb pointing as possible so that the pick goes
1 with a pick (also known as a
plectrum). Here’s how to do it…
2 straight up, curl your fingers
back (2a) then (with your left hand)
only a few millimetres past the
string. This means you will be able
Take your right hand and turn it so place the pick on top in the to move the pick quickly back to
your thumb is pointing upwards, position shown and clamp your the starting position, ready to play
fingers pointing forward. thumb on top of the pick (2b). the next note.
LET’S ROCK 9
getting started
PLAYING NOTES 1
Wrap your left hand around the

1 far end of the fretboard and
place your thumb in the middle of
the back of the neck. Everyone’s
HANDY
hands are different, so don’t worry HINT
In this book we will often refer
if your thumb doesn’t line up exactly to the left hand as the fretting
as shown in the photo. Just make hand, because it ‘frets’ the notes
of the guitar. The right hand is
sure that the top – not the base –
known as the picking hand.
of your thumb is pressed against the Left-handed players
neck and that your thumb doesn’t should reverse this.
go over the top of the neck.
Press your third (ring) finger

ONE FINGER
2
2 on the 3rd fret of the E string

while pressing on the back of the PER FRET
neck with your thumb. Your finger
should be close to but not on top

of the fret. You will find this
uncomfortable at first but don’t
worry, you will soon build up
strength and the discomfort will pass.
3
Bring your elbow forward,
3 away from your body, so your
wrist moves closer to the neck.
This will raise your fingers so only
your fingertips touch the strings. As you play through the lessons
and pieces in this book you
Strike the string. You have just should use what’s called the
4 played your first note, a G! one-finger-per-fret method. This
means using your first finger to
play the 1st fret, your second to
4
play the 2nd and so on, as shown
in the photo above. Notice how
each finger is placed close to but
not on top of each fret. This
method means you can keep
your hand more or less in one
position and not have to move it
around every time you need to
play a different note.
10 LET’S ROCK
GETTING STARTED
HOW TO
READ MUSIC
You’ll be reading music in no time with this guide!
TAB what notes to play by placing each string. But TAB doesn’t show
TAB is a very popular type of numbers on top of four lines that you when to play the notes nor
notation for bassists because you represent the strings on the bass. how long each note should last. All
don’t have to learn to read music The numbers refer to frets and tell of this information can be found on
before using it. TAB shows you you where to place your fingers on the musical stave…
THE STAVE
q = 80 Rock
The stave appears above the TAB

Am D E Am G Am
?4 Ó œ œ and contains information on what
4 œ œ œ œ œ œ œ Œ Œ
œ ˙ notes to play, when to play them
and how long to play them for. The
T
A 0 0 0
0 2
0 0 0
stave consists of five lines. Notes
B 3 3 3
can be placed on any of these lines
or any space between the lines.
TEMPO, BARLINES symbol with one number on top of below shows there are four quarter
& TIME SIGNATURES another is the time signature. The notes in each bar, or 4/4 for short.
Music is divided into groups of beats top number tells you how many You will learn about quarter notes
called bars. Vertical lines on the beats there are in each bar, while in your first lesson. The tempo tells
stave called barlines show where the bottom tells you what kind of you how fast the song is, measured
each bar begins and ends. The beats they are. The time signature in beats-per-minute.
TEMPO BARLINES
q = 80
?4
4
TIME SIGNATURE
T
A
B
BAR BAR BAR
LET’S ROCK 11
getting started
THE CLEF
This is the bass clef. It tells you
which note each line and space of
the stave represents. There are
?
lots of different kinds of clefs
which place the notes on different
lines and spaces, but the bass clef
is the only one you need to know
for bass playing.
THE NOTES Fun Always’. The spaces between

The notes that fall on the lines of the lines can be remembered by
the stave can be remembered by ‘All Cows Eat Grass’. You can, of
the phrase ‘Good Boys Deserve course, make up your own phrases!
? œ œ œ œ œ
œ œ œ œ
G B D F A A C E G
Good Boys Deserve Fun Always All Cows Eat Grass

RHYTHM
NOTE HEAD STEM
The rhythms in musical notation are
Am
described on the stave by different ?4
4 œ Œ
note heads and stems. These tell œ œ
you where in the music each note
should be played and how long it T
A
should be played for. The lessons B 0
0 3
that follow later in this book will
cover different notes and rhythms.
Music notation was first used in

the Middle East over 3,000 years
ago!Instructionsforthewordsand
melody of an ancient hymn were
© SCHUTZE/RODEMANN / ARCAID
discovered in Syria on a clay tablet

from around 1400 BC. People in
those days used a stylus to carve
symbols in wet clay. Once the clay
was dry you couldn’t make any
changes – this was 3,000 years
before electronic tablets!
12 LET’S ROCK
GETTING STARTED
NOTE VALUES
To help you remember the the value of each note and rest
value of each note and rest relative to the others. So, for
you will come across in your example, you can see that one
lessons, we have included the whole note is the same length (or
diagrams below. These show value) as four quarter notes…
NOTE VALUES REST VALUES
Whole note 4 beats each Whole note rest 4 beats each

4 4
∑
Half-note 2 beats each Half-note rest 2 beats each
2 2 2 2
Ó Ó

Quarter-note 1 beat each Quarter-note rest 1 beat each
1 1 1 1 1 1 1 1
Œ Œ Œ Œ
Eighth-note ½ beat each Eighth-note rest ½ beat each
½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½ ½
‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
LET’S ROCK 13
14
LET’S ROCK
My Notes
GETTING
PIECES STARTED

LESSONS
LESSONS
INTRODUCTION
ow you understand how your instrument works

N and know how to read music and TAB, it’s time
for your first music lessons! These are split into
different styles of music, with two parts for every

style. You will practise short musical examples which
build up to a final example at the end of each lesson,
which is taken from a piece later in the book.
LET’S ROCK 15
LESSONS
ROCK
In your first lesson you will learn two notes and
PART 1
play basslines using a quarter-note rhythm
© ERIKA GOLDRING / RETNA LTD. / CORBIS

Flea is the bass
player for the
Red Hot Chili
Peppers. He was
influenced by
funk bass players
as well as rock
and punk ones,
so his style of
music is known
as funk rock.
bands have a singer, one or two or more notes and are usually
WHAT YOU WILL LEARN guitars, bass and drums. AC/DC, played by guitars rather than bass.
n Two notes: E and C
Led Zeppelin and The Rolling The root note is the most
n Quarter-note rhythms
Stones are some of the most important note because the chord
n Root notes
famous rock groups. The bass is is named after it (e.g. the root of
important in rock because it the E major chord is E).
R
ock is an interesting provides a solid backing for the
style of music for bass other instruments and makes
players because it offers powerful rhythms with the drums.
lots of different ways to P
play the bass. In this style of music CHORDS & Don’t forget that audio is
it is common to play with a pick ROOT NOTES available for all the musical
examples and pieces in this
(or plectrum) instead of the Many basslines in rock follow the book. Full details on how to
fingers. But don’t worry, either chords and are based on root access the full band mixes
and backing tracks can be
method will work fine. Most rock notes. Chords are made up of two found on page 4.
16 LET’S ROCK
LESSONS
Example 1 PLAYING QUARTER NOTES

Quarter notes last for one beat each. There are usually four beats and, therefore, four quarter notes in a bar, as in this
example. Tap your foot or count along to the pulse (shown as ‘1 2 3 4’ below) to help you play the notes at the right time.
q = 90
?4
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
E E E E E E E E E E E E E E E E
Example 2 ACCENTING THE STRONG BEAT OF THE BAR

The first beat of every bar is the strongest and sounds slightly louder than the others. In this example you will play four
quarter notes in each bar again, but this time play the first note of each bar slightly stronger than the others.
q = 90
? 44

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
strong strong strong strong
T
A
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Example 3 BASSLINE USING E & C NOTES

In this example you will use a new note: C. This note is found at the 3rd fret of the A string. Try to avoid fretbuzz when playing
this example. Fretbuzz is an unwanted buzzing noise that happens when your fretting finger is too close to the fretwire. Tap
your foot or count along to the pulse to help you play each note in time. The count you should use is shown below.
q = 90
?4 œ œ œ œ œ œ œ œ
4
œ œ œ œ œ œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 3 3 3 3 3 3 3 3
B 0 0 0 0 0 0 0 0
E E E E C C C C E E E E C C C C
LET’S ROCK 17
LESSONS
ROCK
In your second rock lesson you will be introduced
PART 2
to two new notes and the quarter-note rest
in the music make sure you stop

WHAT YOU WILL LEARN
n Two new notes: G and A your bass from sounding by resting
n Quarter-note rests your fingers gently on the strings.
This technique is called muting
because you mute any notes from
P
art 1 of your rock ringing on. By the end of this
lesson introduced the E lesson you should be ready to
There are two ways to mute the strings. The first is
note on the E string and tackle four bars of the piece

with your picking hand…
quarter notes, which ‘Inferno’ on page 42.

last for one beat each. In Part 2
you will learn about rests, which
are the silent parts of music where
you don’t play anything. The first
rest you will learn is a quarter-
note rest, meaning this rest lasts
for the same amount of time as a
…and the other is with your fretting hand. Rest
your fingers gently on the strings
quarter note. When you see a rest
Example 1 BASSLINE USING QUARTER-NOTE RESTS

This example has rests on the second and fourth beats of each bar. Don’t let the notes from beats 1 and 3 ring through these
beats. You can do this by placing both your hands lightly on the strings during the rests.
q = 90
? 44 Œ Œ Œ Œ Œ Œ Œ Œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A
B 0 0 3 3 0 0 3 3
E E G G E E G G
18 LET’S ROCK
LESSONS
Example 2 BASSLINE USING THREE NOTES

This exercise is another chance to play the C note which we learned in the last lesson, and features rests on beat 2 of each
bar. Remember to keep your fretting finger close to but not on top of the fretwire to avoid fretbuzz.
q = 90
? 44 Œ œ Œ œ œ Œ Œ
œ œ œ œ œ œ œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 3 3 3
B 0 0 0 3 3 3 0 0 0
E E E C C C G G G E E E
Example 3 BASSLINE USING THREE NOTES

This exercise introduces the A note and places the rests on different beats of the bar. Make sure you count or tap your foot to
help you play the notes at the correct time. Remember to mute the strings to ensure the rests are silent.
q = 90
? 44 Œ Œ Œ Œ

œ œ œ œ œ œ œ œ œ œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 0 0 0 3 3 3 0 0 0
B 3 3 3
A A A C C C G G G A A A
Example 4 ‘INFERNO’ BARS 1–4

This example combines everything you have learned in your rock lessons and is the first four bars of the piece ‘Inferno’ found
on page 42. Remember to count along to the pulse to help you play the notes on the correct beats.
q = 95
E5 C5 G5 A5 E5
?4 Œ œ œ Œ œ Œ Œ Œ
4 œ œ œ œ œ œ œ œ
T
A 3 3 3 0
B 0 0 0 3 3 3 0
E E E C C C G G G A E
LET’S ROCK 19
LESSONS
POP PART 1
In this lesson you will play your first pop bassline.

You’ll also learn a new note and a new rhythm
Larry Graham

was the bass-
ist for Sly & The
FamilyStone.He
inventedtheslap
© EPA / PAUL BERGEN / CORBIS

bass style where
the strings are
slapped by the
thumb rather
than picked with
a plectrum or
fingers.
sounds as well as drums, bass and keyboard. Although bassists don’t

WHAT YOU WILL LEARN
n A new note: D
guitars. Pop basslines are usually normally play a song’s melody,
n Whole- and half-note rhythms
simple so they complement the song they will sometimes play basslines
rather than stand out on their own. that sound like melodies. These
are known as melodic basslines.
RIFFS & MELODIES
P
op music is a style of
music that’s all about Riffs are short repeated phrases
making catchy songs that are used in lots of popular
that lots of people will styles of music, especially rock, P
like. One Direction, Bruno Mars pop, blues and metal. Melodies are Don’t forget that audio is
and Katy Perry are some of the musical phrases that are longer available for all the musical
most famous pop acts. Most pop than riffs and are usually sung by a book. Full details on how to
bands use keyboards and vocalist or played by a lead access the full band mixes
synthesizers to produce their instrument such as guitar or found on page 4.
20 LET’S ROCK
LESSONS
Example 1 BASSLINE USING WHOLE NOTES & HALF NOTES

Whole notes last for four beats. Half notes last for two beats. This example uses both of these note values. Each half note
should ring for two full beats, so try not to leave any gaps in between. Tap your foot or count along to the pulse to help you
play the notes for the correct length.
q = 90
? 44 ˙ ˙
˙ ˙ w w
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 0 3 3
B 3 3 3
G G A C C G
Example 2 ADDING THE D NOTE

This exercise adds a D note, played on the open D string. Make sure you remove your finger from the C note in bar 3 to stop
it ringing into the final bar.
q = 90

? 44 ˙ ˙ ˙ ˙ w
˙ ˙
T 0 0 0
A 0 0 3 3
B
D D A A C C D
Example 3 MIXING RHYTHMS

In this example the new half-note rhythm is combined with the quarter-note rhythm. Each bar contains a half note followed by
two quarter notes. Tap your foot or count along to the pulse to play the notes in the correct place.
q = 90
? 44 ˙ œ œ ˙ œ œ ˙ œ œ
˙ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T 0 0 0 0 0 0
A 0 0 0 3 3 3
B
D D D A A A C C C D D D
LET’S ROCK 21
LESSONS
POP
In your second pop lesson you will be introduced
PART 2
to another new note and the half-note rest
WHAT YOU WILL LEARN

n A new note: B
n Half-note rests
our first pop lesson
Y
Remember to rest your thumb on the string above
taught you how to play a

the one you are playing
new note and two new

rhythms: whole notes
and half notes. You played exercises
that mixed different rhythms. In this Most basses have four strings, but
lesson you will use these rhythms and the five-string bass has an extra
string next to the E string. It is
a new rest will be introduced. By the tuned to B below E and gives a
end of this lesson you will be ready deeper sound when used. Five-
stringbassesareespeciallypopular
to play four bars of the piece ‘Don’t in rock, metal and hip hop.
As always, keep your fingers close to, but not on
top of the frets to avoid fretbuzz.
Stop’ on page 43.
Example 1 BASSLINE USING THE B NOTE

This exercise introduces the B note and uses the rhythm of a half note and two quarter notes that was used in the last lesson.
It also uses a rest in bar 1.
q = 90
? 44 Œ ˙ œ œ ˙ œ œ
œ œ œ ˙ ˙
T
A 2 2 2 3 3 3
B 3 3 3 3 3
G G G B B B C C C G G
22 LET’S ROCK
LESSONS
Example 2 BASSLINE USING THE HALF-NOTE REST

Half-note rests last for two beats. In this exercise a half note is played at the beginning of the bar, lasting for two beats. This is
followed by a half-note rest, so the remaining two beats of the bar should be silent.
q = 90
?4 Ó Ó Ó Ó
4 ˙ ˙ ˙ ˙
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 2 0
B 3 3
G B A G
Example 3 COMBINING RHYTHMS

This example combines half-note rests with both half notes and quarter notes. Make sure your bass is completely silent during
the rests by muting the strings with your picking and fretting hands.
q = 90

?4 Ó ˙ Ó Ó Ó
4 œ œ œ œ œ œ
T
A 3 2 2
B 3 3 3 3
G G C B B G G
Example 4 ‘DON’T STOP’ BARS 13–16

This exercise will give you the chance to put everything you have learned so far into practice and is the final four bars of ‘Don’t
Stop’ found on page 43. It includes four different pitches as well as the rhythms and rests you have played in this lesson.
Remember to tap your foot or count along to the pulse to help you play the notes at the right time.
q = 85
G C D G C G
?4 Ó œ Œ œ œ Œ œ œ
4 ˙ œ œ œ ˙
T 0 0
A 3 2 3 3
B 3 3 3 3
G C D D G G B C C G
LET’S ROCK 23
LESSONS
COUNTRY
Your first country music lesson will introduce
PART 1
you to a dotted rhythm and a new note

Jack Bruce was
the bass player
© EPA / BALAZS MOHAI / CORBIS

in Cream, a
supergroup,with
guitarist Eric
Clapton and
drummerGinger
Baker. Bruce
mixes blues and
rock influences
andisveryskilful.
sound and additional instruments A NEW NOTE &

WHAT YOU WILL LEARN such as slide guitar, mandolin, A LONGER RHYTHM
n A new note: F
banjo, violin and harmonica are Your first country lesson will
n The dotted half note
used. In this case the bass player introduce you to another new
might play a double (acoustic) bass note: F. You will also learn to play a
C
ountry music began in instead of electric. In country music new rhythm, the dotted half note.
America but is now the bass is a supporting instrument
popular all over the and usually plays simple basslines
world. Like pop music, made up of root notes. However,
country music is all about catchy other notes from the chords can be P
songs, so the singer and the words used too. Johnny Cash, Taylor Swift Don’t forget that audio is
are very important. Most country and Dolly Parton are some of the available for all the musical
bands consist of drums, bass, guitar most famous country acts – again, book. Full details on how to
and piano. Sometimes musicians similarly to pop music, singers, not access the full band mixes
might want a more traditional bands, are usually the stars. found on page 4.
24 LET’S ROCK
LESSONS
Example 1 BASSLINE USING THE F NOTE

In this exercise you will play a new note: F. In bars 2 and 4 there are rests on beats two and four, so make sure there is silence
during these beats by muting the strings with both your fretting and picking hands.
q = 90
? 44 œ Œ œ Œ œ Œ œ Œ
˙ œ œ œ œ œ œ w
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 3 3 3 3
B 1 1 1 1 1 1 1 1
F F F C C F F F F C C F
Example 2 DOTTED HALF NOTES

When a dot is placed after a note, the length of the note is changed so that it lasts for its original length plus half of this value
again. A dotted half note would last for three beats (two beats + one beat). This example features dotted half notes on the
first beats of bars 1–4.
q = 90

? 44 ˙. œ
˙. œ ˙. œ ˙. œ w
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 3 3
B 3 3 1 1 3 3 3
G G F F C C G G G
Example 3 MORE DOTTED HALF NOTES

Here is another example that includes the dotted half-note rhythm. Remember to count “1 2 3 4” as you play this exercise.
This will help you stay in time with the backing track.
q = 90
? 44 ˙. œ
˙. œ ˙. œ ˙. œ w
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 0 0 3 3
B 1 1 1 1 1
F F A A C C F F F
LET’S ROCK 25
LESSONS
COUNTRY
Your second country lesson is an introduction
PART 2
to a new type of note called an octave
WHAT YOU WILL LEARN

n Octaves
© WWW.ISTOCKPHOTO.COM
n Three new notes: high E, F and G
o far you have learned

Using the one-finger-per-fret method will help you
S seven notes: E, F, G, A, B,
C and D. The next note

to play the examples in this lesson accurately.
you will learn is another E The double bass existed for

note. This has the same sound as years before the electric bass
was invented. It was used first in
the E note you learned in the last orchestras, then by bass players in
lesson; however, this E sounds jazz, folk and rock ’n’ roll groups. It
is hollow and much larger than an
higher. The second E is referred to electric bass.
as being an octave (Latin for eighth)
higher than the first because the
notes are separated by eight notes you should be ready to play the
Rest your thumb on the A string to stop it ringing
out while playing the D string
of a scale. By the end of this lesson piece ‘Honey Boo’ on page 44.
Example 1 BASSLINE USING THE HIGH E

This example introduces an E note that’s an octave higher than the E in the previous lesson. This E is played at the 2nd fret of
the D string. Rest the thumb of your picking hand on the A string to stop it ringing.
q = 95
? 44 ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ w
T 2 0 2 0 2 2 0 2 0 2 2
A 2 2
B
E B D E D E E B D E D E E
26 LET’S ROCK
LESSONS
Example 2 BASSLINE USING THE HIGH F

This exercise introduces another octave note, this time an F. This F is one octave higher than the F which is found at the 1st
fret of the E string and is played at the 3rd fret of the D string. In this exercise, both new notes will be used.
q = 85
F Dm F Bb C F
?4 ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙
4
T 3 3 2 0 0 0 3 3 2 0 2 3
A
B
F F E D D D F F E D E F
Example 3 BASSLINE USING E, F & G

This exercise introduces a G an octave higher than the G at the 3rd fret of the E string. This note is played on the open G
string. All three new octaves are used in this exercise, so start slowly without the backing track until you feel comfortable.
q = 100
G Em F G G Em G F G
? 44 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

T 0 0 0 0 0 0 0
A 2 3 3 2 3
B
G G E F F G G G E G F G
Example 4 ‘HONEY BOO’ BARS 13–16

This is bars 13–16 of ‘Honey Boo’ on page 44. It uses dotted half notes and two of the three higher octave notes you have just
learned in this lesson. The most challenging part of this melodic bassline is bars 1 and 3 where you have to skip over the D
string between the first and second notes.
q = 85
C F G C
? 44 ˙ . œ ˙ œ œ œ
˙. w
T 0 0 0 0
A 3
B 3 3 3
C G F G G C G C
LET’S ROCK 27
LESSONS
INDIE PART 1
Your first indie lesson will introduce you to arpeggios

and show you how to combine them with root notes
© OHENRY / imageSPACE / SPLASH NEWS / CORBIS

The Beatles’
bass player Paul
McCartney is
left-handed. He
plays a Höfner
ViolinBass,which
(like a violin) has
ahollowbody.It’s
a right-handed
model upside
down.
of the most famous indie bands. and keyboards will often play all
WHAT YOU WILL LEARN Indie basslines are often kept the notes of a chord together. This
n C major arpeggio
simple to complement the guitar usually doesn’t sound good on bass
n Basslines using arpeggios
and vocals, but playing simple so instead you will play each note
basslines really well is more of the chord individually in this
T
he indie style of music difficult than you think. book. This is an arpeggio.
began in the 1980s and
is mostly based on ARPEGGIOS
guitars. Its name is In your rock lesson you learned P
short for independent because it that chords are made up of two or Don’t forget that audio is
was released on small, independent more notes and are usually played available for all the musical
record labels rather than the by guitars. This lesson will teach book. Full details on how to
bigger, major labels. The Smiths, you how chords can be played on access the full band mixes
Oasis and Snow Patrol are some bass, but in a different way. Guitars found on page 4.
28 LET’S ROCK
LESSONS
Example 1 C MAJOR ARPEGGIO

This example uses the C major arpeggio. Make sure you stop pressing down at the end of each fretted note. This will stop
notes from ringing into each other, which will produce a clearer sound.
q = 100
C
?4 ˙ ˙ ˙ ˙ w
4
1 2 3 4 1 2 3 4 1 2 3 4
T 0
A 2 2
B 3 3
C E G E C
Example 2 BASSLINE USING THE C MAJOR ARPEGGIO

This example also uses the C major arpeggio, but this time with a rhythm that combines quarter, half and whole notes. Tap your
foot or count along to the pulse to make sure you play the notes on the correct beat.
q = 90
C
?4 œ ˙ ˙ ˙

4 œ œ œ œ œ w
T 0 0 0
A 2 2 2
B 3 3 3 3
C E G C E G C E G C
Example 3 COMBINING AN ARPEGGIO WITH ROOT NOTES

This example uses a combination of an arpeggio and root notes. Bars 1 and 2 use the C major arpeggio, while bar 3 uses the
root note of the F chord and bar 4 uses the root of the C chord.
q = 90
C F C
?4 œ œ œ œ œ ˙ œ œ ˙
4 œ w
T 0 0
A 2 2 2 3 3 3
B 3 3 3
C C E E G G E F F F C
LET’S ROCK 29
LESSONS
INDIE
In your second indie lesson you will be introduced
PART 2
to another arpeggio and the walking bassline
WHAT YOU WILL LEARN

n G major arpeggio
n Walking basslines
art 2 of your indie lesson

These are the notes of the C major arpeggios you
P shows you a new

arpeggio, G major, and

learned in Indie Part 1
introduces the walking

bassline. A walking bassline is one
that has a series of quarter notes
Fender has designed two classic
played one after the other. The bass guitars. The Jazz Bass was
steady rhythm that results is a bit introduced in 1960 with two
pickups (the Precision had only
like the sound of feet walking down one) and a slim neck that made it
the street, hence the name, easier to move your hand around
the fretboard. Its body was shaped
‘walking bassline’. for added comfort.
Here are the notes of the G major arpeggio you
will learn in Indie Part 2
Example 1 BASSLINE USING G MAJOR ARPEGGIO

This example starts with each note of the arpeggio played once and then the next two bars feature each note played twice.
Avoid letting the notes ring into each other.
q = 90
G
? 44 œ ˙ œ œ œ œ œ œ
œ œ œ w
T 0 0 0
A 2 2 2 2 2
B 3 3 3 3
G B D G G B B D D B B G
30 LET’S ROCK
LESSONS
Example 2 WALKING BASSLINE USING ARPEGGIOS

This example uses the G and C major arpeggios. Playing quarter-note arpeggios creates a part that is known as a walking
bassline. All the notes in bars 1–4 should be the same length, so aim to make the example sound like a series of even notes.
q = 90
G C G
?4 œ œ œ œ œ œ œ œ œ œ
4 œ œ œ œ œ œ w
T 0 0
A 0 0 2 2 2 2
B 2 2 2 2 3 3
3 3 3
G G B B D D B B C C E E G G E E G
Example 3 BASSLINE COMBINING ARPEGGIOS & ROOT NOTES

Bars 1 and 3 use arpeggios, while bars 2, 4 and 5 use root notes. Play through the example and listen to the contrast between
the walking arpeggios and the static, stable root notes.
q = 95
G Am C D G
? 44 œ Œ œ œ œ œ Œ œ œ

œ œ œ œ œ œ œ w
T 0
A 0 2 2 0 0 0
B 2 2 0 0 0 3
3 3
G B D B A A A C E G E D D D G
Example 4 ‘NOVA’ BARS 13–16

This example puts everything you’ve learned in these two lessons into practice. It is bars 13–16 of the piece ‘Nova’, which
you’ll find on page 45. Make sure the notes don’t ring into each other in bars 1 and 2 and that the rests in bar 3 are silent.
q = 90
G C G
? 44 œ œ œ œ œ œ œ Œ œ Œ
œ œ w
T 0 0
A 2 2 2 2 3 3
B 3 3 3
G G B B D D B B C C G
LET’S ROCK 31
LESSONS
HIP HOP
In this introduction to hip hop you will learn
PART 1
all about eighth-note rhythms

Bootsy Collins
is a very famous
funk bassist who
played with
© TIM MOSENFELDER / CORBIS

James Brown
and P-Funk. He
is known for his
star-shapedbass
and star-shaped
glasses. His style
of bass playing is
just as showy!
which were popular with dancers. have played has been played at
WHAT YOU WILL LEARN Since then hip hop musicians have the same time as one of these
n Eighth-note rhythms
used a mixture of live instruments numbers. If there are eighth notes
n Upstrokes and two finger technique
– including bass – and machines in a piece you should count out
called samplers to produce songs “1 & 2 & 3 & 4 &”.
ost hip hop music is that use short, catchy musical ideas
M based on sampling.
Sampling is taking a
part of someone else’s
record and making a new piece of
music with it. This was first done
that are repeated, usually for the
whole of a song. Eminem, Will
Smith and Jay Z are some of the
most famous hip hop artists.
P
Don’t forget that audio is
available for all the musical
in the 1970s by DJs in New York EIGHTH NOTES book. Full details on how to
who wanted to extend certain So far you have counted the pulse access the full band mixes
parts of the records they played as “1 2 3 4” and every note you found on page 4.
32 LET’S ROCK
LESSONS
Example 1 BASSLINE USING EIGHTH NOTES

If you are playing with a pick you should play the first eighth note in each group with a downstroke and the second with an
upstroke. If you are playing with fingers, play the first eighth note with your first finger and the second with your second finger.
The N.C. symbol lets you know that no chord is being played.
q = 90
N.C.
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
Example 2 RIFF USING EIGHTH NOTES

The eighth notes in this example follow each other quickly, so it is important that you use the first and second fingers of your
picking hand (or downstrokes and upstrokes) to play this at the right speed.
q = 90

N.C.
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A
B 0 0 3 3 0 0 3 3 0 0 3 3 0 0 3 3
E E G G E E G G E E G G E E G G
Example 3 RIFF USING A MIX OF RHYTHMS

In this exercise you will play a combination of quarter notes and eighth notes. Pay attention to the rest on beat two. As
before, try to make sure that beat two is completely silent and that all the notes ring for their full length.
q = 90
N.C.
?4
4 œ œ Œ œ œ œ œ
Œ
œ œ œ œ Œ œ œ
œ œ
Œ
œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 2 2 2 2
B 0 0 0 0 3 3 3 3 0 0 0 0
E E E E G G G G B B B B E E E E
LET’S ROCK 33
LESSONS
HIP HOP
Your second hip hop lesson introduces you to
PART 2
a new part of written music: the key signature
WHAT YOU WILL LEARN

n A new note: F#
n Key signatures
W
hen a sharp sign ( # )
is placed in front of
An F note is played by pressing your first finger
a note, the note

down on the 1st fret of the E string…
should be played
one fret higher than usual. An F
note is played on the 1st fret of the
E string and an F # is played on the Sometimes effects are used to
2nd fret of the E string. This sharp change the sound of the bass
guitar. One of the most common
sign is one of three musical signs effects is overdrive/distortion,
known as accidentals. The other which gives the bass a growling
sound. This is especially popular in
two are the flat ( b ) and the natural rock and metal.
…while an F# is played by pressing your second
finger down on the 2nd fret of the same string
( n ) sign.
Example 1 PLAYING F# NOTES

In this example a new note is introduced, F # , which is played at the 2nd fret of the E string. Notice that if this note is played
more than once in a bar the sharp symbol is not added again because it applies to all subsequent F notes in the bar.
q = 95
N.C.
? 44 Œ Œ
œ #œ œ œ #œ œ œ œ #œ œ œ #œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A
B 0 2 0 0 2 0 2 0 2 0 0 2 0 2
E F# E E F# E F# E F# E E F# E F#
34 LET’S ROCK
LESSONS
Example 2 USING A KEY SIGNATURE

If a piece uses F # notes all the way through without any F notes (like this piece), the composer will save writing lots of F # notes
in the music by writing a sharp symbol ( # ) on the F line of the stave at the start of every line of music. This lets the bassist
know that all F notes are to be played as F # notes. This is an example of a key signature.
q = 95
N.C.
?#4 Œ Œ
4 œ œ œ œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A
B 0 2 0 0 2 0 2 0 2 0 0 2 0 2
E F# E E F# E F# E F# E E F# E F#

In this example you will play a rhythm that uses quarter notes and eighth notes. Bars 2 and 4 have a rest on beat 2. These
beats should be silent. Place your picking hand back on the string to stop it ringing too long.
q = 95

N.C.
?#4 Œ Œ
4 œ œ œ œ œ œ œ œ
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A
B 0 0 2 2 0 0 2 0 0 0 2 2 0 0 2 0
E E F# F# E E F# E E E F# F# E E F# E
Example 4 ‘SUBSONIC’ BARS 13–16

This example shows bars 13–16 from the piece ‘Subsonic’ on page 46. Tap your foot to the pulse (“1 2 3 4”) and count aloud in
eighth notes (“1 & 2 & 3 & 4 &”) to help you play the eighth notes correctly.
q = 85
N.C.
?4 Œ Œ Œ œ Œ
4 œ #œ œ œ œ #œ œ
œ œ œ œ œ
T
A 2 3 2
B 0 0 3 2 0 3 0 3 2 0
E E G F# E G B E G F# C B E
LET’S ROCK 35
LESSONS
METAL
Your first metal lesson shows you how to play a
PART 1
bassline with a pumping eighth-note rhythm

Geezer Butler
is the bass
player for the
metal group
© TIM MOSENFELDER / CORBIS

Black Sabbath.
He tunes his
bass down for a
heavier sound
and uses a wah
pedal, which has
inspired other
metal bassists.
A typical metal band consists of of the chords. This provides a solid

WHAT YOU WILL LEARN two guitars, vocals, drums and bass. base for the other instruments to
n Pumping eighth-note rhythms
Whether you are playing a riff or a build on. Playing constant eighth
supporting bassline, it is important notes requires stamina, though, so
M
etal is a style of music to play with more force than usual the examples in this lesson will
based on distorted to get the right sound. Black feature just a few in each bar.
guitars, which make it Sabbath, Metallica, Iron Maiden and
sound ‘heavy’. The Pantera are some of the most
style began in the 1970s when famous metal bands.
bands started to play a more P
powerful version of rock than PUMPING EIGHTH- Don’t forget that audio is
before. Bass in metal often doubles NOTE BASSLINES available for all the musical
the powerful guitar riffs, but there Many metal songs use basslines that book. Full details on how to
are also lots of melodic lines to play feature continuous eighth notes, access the full band mixes
during the quieter parts of a song. usually played using the root notes found on page 4.
36 LET’S ROCK
LESSONS
Example 1 QUARTER-NOTE BASSLINE

This example uses quarter notes on every beat and will prepare you for the next example. Make sure you strike all the notes
strongly and aim to make them as even as possible.
q = 90
E5 C5 G5 E5
?#4 œ œ œ œ
4 œ œ œ œ
T
A 3 3 3 3
B 0 0 0 0 3 3 3 3 0 0 0 0
E E E E C C C C G G G G E E E E
Example 2 PUMPING BASSLINE

This example uses the same notes as Example 1, but there are eighth notes on beats 1 and 3 of every bar. Play the first eighth
note with your first finger and the second with your second finger. If you are using a pick, play the first note with a downstroke
and the second with an upstroke.
q = 90
E5 C5 G5 E5

?#4 œ œ œ œ œ œ
4 œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
T
A 3 3 3 3 3 3
B 0 0 0 0 0 0 3 3 3 3 3 3 0 0 0 0 0 0
E E E E E E C C C C C C G G G G G G E E E E E E

Here is another pumping bassline that uses eighth notes. Bar 2 alternates quarter-note fretted notes with eighth-note open
strings. This is used frequently in metal. Make sure that beat four in bar 4 is silent by using your picking hand to mute the note
played on beat three.
q = 90
E5 C5 G5 A5 E5
?#4 œ Œ
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
A 3 0 0 0 0 0 0
B 0 0 0 0 0 0 0 0 3 0 0 0 0 0 0
E E E E E E C E E G E E A A A A A A E E E E
LET’S ROCK 37
LESSONS
METAL
This second metal lesson features a final new
PART 2
note and shows you how to play a fill
WHAT YOU WILL LEARN

n A new note: B b
n How to play a fill
S
o far you have learned
about sharps where the
You already know that the normal B note is played
sharp symbol ( # ) tells

at 2nd fret of the A string…
you that the note to be

played is one fret higher than usual.
In this lesson you will learn a new
The Rickenbacker 4003 is one of
note, B b. The flat symbol ( b ) the most recognisable electric
means that any note next to the basses.Ithasaspecialdesignwhere
one piece of wood runs from the
symbol should be played one fret end of the neck to the end of the
lower than usual. So here, when body, with two ‘wings’ glued either
side to form the body. And it looks
you see B b in the music you should very cool!
…but the B b in this lesson is played at the 1st fret
of the same string
play the note one fret lower than B.
Example 1 RIFF USING B b NOTE

This heavy riff uses a B b note to produce a dark sound that is common in metal. As with all metal riffs, strike the notes
strongly to make the right sound for this style.
q = 100
E5 Bb5 E5 Bb5 E5 Bb5 E5 Bb5 E5
?#4
4 bœ b˙ bœ bœ œ
œ œ œ ˙ œ œ œ ˙
T
A 1 1 1 1 1
B 0 0 0 0 0 0 0 0
E E Bb E Bb E E E Bb E Bb Bb E
38 LET’S ROCK
LESSONS
Example 2 BASSLINE WITH FILL

This exercise starts with a quarter-note bassline, but adds a simple melodic fill in bar 4. It is quite common for bass players to
add a simple fill at the end of a four-bar or eight-bar section.
q = 100
E5 Bb5 A5 B5 E5
?#4 œ œ
4 bœ œ œ œ œ œ œ œ œœœ
œ œ œ œ w
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T 2 0
A 1 1 1 1 0 0 0 0 2 0
B 0 0 0 0 3 0
E E E E Bb Bb Bb Bb A A A A E D B A G E
Example 3 PUMPING BASSLINE WITH FILL

Like the previous example this bassline features a fill, but this time the bassline uses the pumping eighth-note rhythm that you
played in the previous lesson. Remember to alternate between the first and second fingers of your picking hand (or down and
upstrokes with a pick) on the eighth notes.
q = 90
E5 Bb5 A5 G5 E5

?#4
4 bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
œ œœœ œœ w
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
T
A 1 1 1 1 1 1 0 0 0 0 0 0 0 2 0
B 0 0 0 0 0 0 3 3 0
E E E E E E Bb Bb Bb Bb Bb Bb A A A A A A G A B A G E
Example 4 ‘SHEET METAL’ BARS 9–13

This is bars 9–13 of the piece ‘Sheet Metal’, which you will find on page 47. Pay close attention to the rhythms and count along
to help you place the notes on the correct beat.
q = 90
E5 D5 C5 G E5 C5 B5 G5 E5
?#4 œ œœœ œœ œ œ œ œ œ Ó
4 œ œœ œ œ œ œ
˙ ˙
T 2 2 2 0 0 0
A 3 3 3 2 2 2 2 3 3 2
B 0 3 3 0
E E E D D D C C C B B B E G B C C B G E
LET’S ROCK 39
40
LET’S ROCK
My Notes
PIECES
LESSONS

PIECES
PiEcEs
INTRODUCTION
ow that you have worked your way through the

N lessons and learned how to play your instrument,
you are ready to perform your first full pieces of music.
You will find them all in this section – one for each

style of music you learned in your lessons.
here are also three extra pieces which can be

T played on your own or as part of a band. The
other band parts can be found in Let’s Rock Guitar and
Let’s Rock Drums and the full band score is part of your
downloadable package.
LET’S ROCK 41
PIECES
Rock
‘INFERNO’
q = 95 Rock
E5 C5 G5 A5 E5
?#4 Œ œ œ Œ œ Œ Œ Œ
4 œ œ œ œ
œ œ œ œ
T
A 3 3 3 0
B 0 0 0 3 3 3 0
B5 C5 D5 E5 B5 D5 G5
?#

Œ œ œ Œ œ œ œ œ Œ œ œ Œ œ œ
œ œ
œ œ
T 0 0 0 0
A 2 2 3 3 2 2
B 0 0 3 3
[5]
A5 E5 D5 C5 D5
?# œ œ ˙ œ œ œ œ œ œ
œ œ ˙ œ œ ˙
T 2 2 0 0 0 0
A 0 0 2 0 0 3 3 3
B 3
[9]
E5 C5 G5 A5 E5
?# Œ œ œ Œ œ Œ Œ Œ
T
A 3 3 3 0
B 0 0 0 3 3 3 0
[13]
42 LET’S ROCK
PIECES
POP
‘DON’T STOP’
q = 85 Pop
G C D G C G
? # 44 Ó œ œ Œ œ œ Œ œ œ
˙ œ œ œ ˙
T 0 0
A 3 3 2 3 3
B 3 3 3 3
G C D Em Am D
?#

œ œ œ œ ˙ ˙ œ ˙
œ œ œ œ œ
T 0 0 2 0
A 2 3 3 0 3
B 3 3 0 0
[5]
G Em Am D G Em Am D
?# œ œ œ ˙
˙ œ œ œ œ œ ˙ œ œ
T 0 0 0
A 0 3 2 0 0
B 3 0 0 3 0
[9]
G C D G C G
?# Ó œ Œ œ œ Œ œ œ
˙ œ œ œ ˙
T 0 0
A 3 2 3 3
B 3 3 3 3
[13]
LET’S ROCK 43
PIECES
COUNTRY
‘HONEY BOO’
q = 85 Country
C G F G C G C
? 44 ˙ . œ ˙ œ œ ˙. œ w
T 0 0 0 0
A 3
B 3 3 3
C G Am F G

? ˙
œ œ ˙ œ œ ˙ œ œ ˙ œ œ
T
A 3 0 0 2
B 3 3 3 1 1 1 3 3
[5]
C G Am Dm G
? ˙ œ œ œ œ Œ œ Ó
œ œ ˙ ˙
T 0 0 0
A 3 0 3 3
B 3 3 3
[9]
C G F G C G C
? ˙. œ ˙ œ œ œ
˙. w
T 0 0 0 0
A 3
B 3 3 3
[13]
44 LET’S ROCK
PIECES
INDIE
‘NOVA’
q = 90 Indie
G C
?#4 œ œ œ œ œ œ œ œ œ
4 ˙ œ œ œ œ œ ˙
T 0 0
A 0 0 2 2 2 2 2
B 2 2 2 2 2 3
3
G C
?#

œ œ œ œ œ œ œ Œ œ Œ œ œ œ Œ
œ œ
T 0 0
A 2 2 2 2 3 3 3 3 3
B 3 3
[5]
Em D C D
?# œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ
T 2 2 2 0 0 0 0 0 0
A 3 3 3 3 3 3
B
[9]
G C G
?# œ œ œ Œ œ Œ
œ œ œ œ œ œ w
T 0 0
A 2 2 2 2 3 3
B 3 3 3
[13]
LET’S ROCK 45
PIECES
HIP HOP
‘SUBSONIC’
q = 85 Hip Hop
N.C.
?#4
4 œ œ Œ œ œ œ œ œ Œ
œ
Œ œ œ œ œ
œ
Œ
T
A 2 3 2
B 0 0 3 2 0 3 0 3 2 0
?#

Œ œ œ œ œ Œ Œ œ œ œ ˙
œ œ œ œ
T 0
A 3 2 3 3 3
B 0 3 2 0 3 2
[5]
?# Œ œ œ
œ œ œ œ ˙ ˙ œ œ
œ ˙
T
A 3 2 3 2 0 2 2
B 0 3 2 0 3
[9]
?# Œ Œ Œ œ Œ
œ œ œ œ œ œ œ
œ œ œ œ œ
T
A 2 3 2
B 0 0 3 2 0 3 0 3 2 0
[13]
46 LET’S ROCK
PIECES
METAL
‘SHEET METAL’
q = 90 Metal
E5 F#5 G5 A5 Bb5 G5 E5 G5 A5 B5 G5 E5
?#4
4 ˙ œ œ ˙ bœ œ ˙ ˙ œ œ œ œ
T
A 0 1 0 2
B 0 2 3 3 0 3 3 0
N.C. Bb5 N.C. Bb5 N.C.

?#

Œ b˙ œ Œ bœ œ Œ œ
T
A 1 0 1 1 0
B 0 3 0 3 0 3 0 3
[5]
E5 D5 C5 G E5 G5 C5 B5
?# œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
˙
T 2 2 2 0 0 0
A 3 3 3 2 2 2 2 3 3 2
B 0 3 3
[9]
E5 F#5 G5 A5 Bb5 G5 E5 G5 A5 B5 G5 E5
?#
œ œ ˙ bœ œ ˙ œ œ œ
˙ ˙ œ
T
A 0 1 0 2
B 0 2 3 3 0 3 3 0
[13]
LET’S ROCK 47
BAND PIECES
Rock
‘OVERLOAD’
q = 90 Rock
A5 D5 E5 A5
? 44 Ó œ œ Ó Ó
œ œ œ œ ˙ ˙
T 0 0
A 0 0 0 0
B 0 0
N.C.
?

œ œ œ œ ˙ œ œ œ œ
œ œ ˙ ˙
T 0 2 2 0 0 2
A 0 0 3 3 0 3 0
B
[5]
? œ Œ ˙ œ œ œ œ
œ œ œ œ œ œ ˙
T 2 0 0 2
A 0 0 0 0 3 0 3 0
B 3
[9]
A5 D5 E5 A5
? Ó œ œ Ó Ó Œ Ó
œ œ œ œ œ
T 0 0
A 0 0 0
B 0 0
[13]
48 LET’S ROCK
BAND PIECES
METAL
‘SLAM’
q = 90 Metal
N.C.
? # 44 œ œ
œ ˙ œ œ œ œ œ
˙ ˙ ˙
T
A 3 2 0 0 3 2 0
B 0 3 0 3 0
E5 A5
?#

Œ Ó œ œ œ œ œ Œ Ó
œ œ œ œ œ
T
A 0 0 0 0 0
B 0 0 0 0 0
[5]
E5 A5
?#
œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
T
A 0 0 0 0 0 0 0 0 0
B 0 0 0 0 0 0 0 0 0 0
[9]
N.C.
?# œ œ œ œ
˙ ˙ œ œ ˙ œ œ ˙
T
A 3 2 0 0 3 2 0
B 0 3 0 3 0
[13]
LET’S ROCK 49
BAND PIECES
INDIE
‘UNDER THE RADAR’
q = 90 Indie
Em G C Em
? # 44 œ œ ˙
˙ œ œ œ œ ˙ œ œ œ œ
T
A 3 3 3
B 0 0 2 3 3 3 0 0 0 0
G C G
?#

œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
T 0
A 3 3 3 3 3 3 3 3 3 3 2 2
B 3 3 3 3 3 3
[5]
Em C Em G
?# Ó œ œ Ó Ó
T
A 3 3
B 0 0 0 0 3 3 3 3
[9]
Em G C Em
?# œ œ ˙ Œ
˙ œ œ œ œ ˙ ˙.
T
A 3 3 3
B 0 0 2 3 3 3 0
[13]
50 LET’S ROCK
Exams
Exam time!
The Rockschool Premiere Exam
T he pieces in this book can now be performed in an examination

which is fully accredited just like every other Rockschool grade
exam. There are no tests or technicals, just five performance pieces,
making it the ideal introduction to Rockschool examinations. Entering a
Rockschool exam is easy. You can enter online at www.rslawards.com or

by downloading and filling in an exam entry form. The full Rockschool
examination terms and conditions as well as exam periods and current
fees are available from our website or by calling +44 (0)845 460 4747.
THE ROCKSCHOOL PREMIERE EXAM
ELeMeNT PaSS
Performance Piece 1 12+ out of 20
TOTAL MARKS 60%+
LET’S ROCK 51
Rockschool is the leading accredited provider of rock exams worldwide. Our

Graded Music Exams, Diplomas and Vocational Qualifications are taught the
world over and are renowned for their practicality, flexibility and creativity.
Rockschool qualifications are inspired by the legends of rock and created with
the musician in mind. Our philosophy is to let the student learn by playing the
music they love – and gaining a recognised qualification in the process.
For more information on Rockschool, our qualifications and

products, visit www.rslawards.com
BAND PIECEs
SUPPLEMENT
hortly after the release of the Let’s Rock series we

S received feedback from teachers requesting band
pieces – guitar, bass and drum parts that can be played
together as a band, as already happens in the

Rockschool Guitar, Bass and Drum syllabuses at
Grades 3, 5 and 8. We think it’s a great idea and have
produced three new band pieces as a result. If you have
the original release of the Let’s Rock books we’re not
expecting you to buy it again, so we’re making the band
pieces available to you now in this supplement. The
corresponding band parts for Guitar and Drums are
available in their respective books.
LET’S ROCK 1
BAND PIECES
ROCK
‘OVERLOAD’
q = 90 Rock
A5 D5 E5 A5
? 44 Ó œ œ Ó Ó
œ œ œ œ ˙ ˙
T 0 0
A 0 0 0 0
B 0 0
N.C.
?

œ œ œ œ ˙ œ œ œ œ
œ œ ˙ ˙
T 0 2 2 0 0 2
A 0 0 3 3 0 3 0
B
[5]
? œ Œ ˙ œ œ œ œ
œ œ œ œ œ œ ˙
T 2 0 0 2
A 0 0 0 0 3 0 3 0
B 3
[9]
A5 D5 E5 A5
? Ó œ œ Ó Ó Œ Ó
œ œ œ œ œ
T 0 0
A 0 0 0
B 0 0
[13]
2 LET’S ROCK
BAND PIECES
METAL
‘SLAM’
q = 90 Metal
N.C.
? # 44 œ œ
˙ ˙ ˙
T
A 3 2 0 0 3 2 0
B 0 3 0 3 0
E5 A5
?#

Œ Ó œ œ œ œ œ Œ Ó
œ œ œ œ œ
T
A 0 0 0 0 0
B 0 0 0 0 0
[5]
E5 A5
?#
œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
T
A 0 0 0 0 0 0 0 0 0
B 0 0 0 0 0 0 0 0 0 0
[9]
N.C.
?# œ œ
˙ ˙ ˙
T
A 3 2 0 0 3 2 0
B 0 3 0 3 0
[13]
LET’S ROCK 3
BAND PIECES
INDIE
‘UNDER THE RADAR’
q = 90 Indie
Em G C Em
? # 44 œ œ ˙
˙ œ œ œ œ ˙ œ œ œ œ
T
A 3 3 3
B 0 0 2 3 3 3 0 0 0 0
G C G
?#

œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
T 0
A 3 3 3 3 3 3 3 3 3 3 2 2
B 3 3 3 3 3 3
[5]
Em C Em G
?# Ó œ œ Ó Ó
T
A 3 3
B 0 0 0 0 3 3 3 3
[9]
Em G C Em
?# œ œ ˙ Œ
˙ œ œ œ œ ˙ ˙.
T
A 3 3 3
B 0 0 2 3 3 3 0
[13]
4 LET’S ROCK

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www.rslawards.

Published by Rockschool Ltd. © 2013

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

his section of Let’s Rock Bass contains all

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

BASS GUITAR & AMPLIFIER

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

DOUBLE BASS © WWW.ISTOCKPHOTO.COM

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

r that it is still on sale today and most other basses are

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

PLAYING WITH FINGERS

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

PLAYING WITH A PICK Don’t squeeze your fingers too

Move your wrist in a

Wrap your left hand around the

Press your third (ring) finger

2 on the 3rd fret of the E string

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

BAR BAR BAR

THE NOTES Fun Always’. The spaces between

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

Music notation was first used in

discovered in Syria on a clay tablet

NOTE VALUES REST VALUES

Whole note 4 beats each Whole note rest 4 beats each

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

ow you understand how your instrument works

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

play basslines using a quarter-note rhythm

© ERIKA GOLDRING / RETNA LTD. / CORBIS

Example 1 PLAYING QUARTER NOTES

Example 2 ACCENTING THE STRONG BEAT OF THE BAR

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

Example 3 BASSLINE USING E & C NOTES

to two new notes and the quarter-note rest

in the music make sure you stop

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

quarter notes, which ‘Inferno’ on page 42.

Example 1 BASSLINE USING QUARTER-NOTE RESTS

Example 2 BASSLINE USING THREE NOTES

Example 3 BASSLINE USING THREE NOTES

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

Example 4 ‘INFERNO’ BARS 1–4

In this lesson you will play your first pop bassline.

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

© EPA / PAUL BERGEN / CORBIS

sounds as well as drums, bass and keyboard. Although bassists don’t

Example 1 BASSLINE USING WHOLE NOTES & HALF NOTES

Example 2 ADDING THE D NOTE

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

Example 3 MIXING RHYTHMS

to another new note and the half-note rest

WHAT YOU WILL LEARN

our first pop lesson

RSL-731140103199 / 1 / cristina damasso / cmdamasso@gmail.com

new note and two new

Example 1 BASSLINE USING THE B NOTE

Example 2 BASSLINE USING THE HALF-NOTE REST

Example 3 COMBINING RHYTHMS