As much as the above African soukous bass line is a tricky one, it’s also a helluva fun to play. If you think so too, don’t forget that you can download the TAB by clicking the button under the article! After the relatively more relaxed and more laid back beginning section played on the lower part of the neck, there is a rather lively sebene part. Getting into the groove of it can put a smile on the player’s face. Okay, let’s pretend. -.- The tune is in F-sharp major, and the chords follow the simple I-V-IV-V-I-V-IV-V harmonic scheme to the end.
Steady Notes with Syncopation
The easier part takes place on the upper three strings and outlines all three chords of the tune. You need to play a pattern with the exact same shape at three different places. Once on the D & G strings, once right below that on the A and D strings, and once a whole note (2 frets) lower on the same two strings. After that, you repeat it once in the previous position, and then you repeat the whole thing 3 more times. Easy as pie. Just pay attention not to miss the frets and get into a relaxed, grooving pocket. To put it simply: enjoy the ride. After the repetitions, you have to play a partial ending that starts with quickly stopped notes, and there are two power chords in it as well. Fun! After that, you shift slide into the next part.
Fast Sebene with Octaves
Yep, these rhythmic octaves are the heart & soul of this piece. Just like the previous section, this one is built mostly from sixteenth notes as well, but the dexterous, skippy feel is more audible here. It’s partly because the sebene is in the higher region, near the 12th fret of the bass, and also because of its melodic nature. The rhythmic aspect is especially enhanced if you play it with fingerpicks & a thumbpick thanks to the healthy transients they generate. Of course this playing style has its own challenges and obstacles to overcome. Especially when it comes to muting/blocking strings. Are you ready for this challenge? Are you really ready for it?! -.-
Just like the previous one, this segment needs to be repeated four times too, and it also ends with power chords. But since we are up high on the neck, we can add the octaves of the root notes in these power chords, making them somewhat fatter sounding. I can think of a few scenarios when fat is good, and it’s definitely one of them.