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Alternating Bass Guitar Lesson

Home > Guitar Lessons > Genres > Fingerstyle > Fingerstyle Guitar > Alternating Bass
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Steve Eulberg

Alternating Bass

Steve uses the classic childrens song, "Paw Paw Patch" to demonstrate how an alternating bass line can be played within a fingerstyle arrangement.

Taught by Steve Eulberg in Fingerstyle Guitar seriesLength: 15:42Difficulty: 2.0 of 5
Chapter 1: (00:19) Lesson Introduction Steve gets things started by playing through a fingerstyle arrangement of the children's tune "Paw Paw Patch."
Chapter 2: (12:31) Alternating Bass and Paw Paw Patch Steve uses the song "Paw Paw Patch" to demonstrate how an alternating bass line can be applied to a simple chord progression.

The Chord Progression

The chord progression consists of a simple C (I) to G7 (V7) vamp. A vamp is a short chord progression that repeats several times. However, additional melody notes are added to the basic structure of these chords throughout the tune.

Applying the Alternating Bass Pattern to C Major

The thumb always plays the bass line in an alternating bass pattern. The thumb carries out a specific job on each beat of the measure. An analysis of this thumb pattern is listed below.

Beat 1: Thumb plays the root note of the chord (C)

Beat 2: Thumb plays the third, or the chord is strummed

Beat 3: Thumb plays the fifth of the chord (G)

Beat 4: Thumb plays the third, or the chord is strummed

Practice this pattern along with the C major chord shape. You may find it useful to isolate the right-hand pattern with open strings. When the right hand pattern becomes second nature, add the left hand back in.

Applying the Alternating Bass Pattern to G7

Over this chord, Steve alternates between the root and fifth only. He does not usually include the third of the chord in the bass pattern when playing over G7. Follow the directions listed for C major when applying an alternating bass line to a G7 chord. The root and fifth of a G7 chord are G and D respectively.

Alternating Bass Exercise

Practice these bass lines within the context of a chord progression. Steve plays through this exercise at 02:10 in the lesson video.

Paw Paw Patch Pattern

A. Proper Right-Hand Fingering


Once you have mastered the simple alternating bass pattern played by the thumb, it's time to add accompaniment notes played by the remaining fingers. Remember the basic right hand rules of fingerstyle when adding these notes. The thumb plays all notes on the three bass strings. The first finger plays on the third string. All second string notes are played by the middle finger. The ring finger plucks all notes on the first string. You will learn when and why these rules can be broken in future lessons. For now though, do not deviate from these important right hand rules.

B. Adding Melody Notes

Melody notes can be added to the treble strings of each chord. Watch Steve at 08:30 in the lesson for a demonstration. At first, learn and practice the melody by itself. Once you have it memorized, add the alternating bass line back in.

Playing Through Paw Paw Patch

Once you have mastered these basic exercises, you are ready to take on "Paw Paw Patch."

Note: Notation and tablature to Steve's fingerstyle arrangement of "Paw Paw Patch" can be found

Pay careful attention to which string the melody is played on at all times. Remember that the melody of the song is sacred. It must clearly stand out from the bass line. For this reason, alternating bass lines are frequently palm muted. Playing with a thumb pick enables guitarists to palm mute bass notes within a fingerstyle arrangement.
Chapter 3: (03:22) Final Thoughts Your thumb must be on auto-pilot in order for the other fingers to play a melody line at the same time. As you play through the song, sing through the melody in your head. This will help your fingers move to the right locations as they fret the melody line. Break the melody up into its individual phrases to learn the song in the most efficient manner possible.

After you have mastered the basic alternating bass line, begin to apply it to other songs that you have learned. For example, try to apply the bass concepts from this lesson to the chord progression in "Freight Train." Then, begin to incorporate the melody with the other fingers.
  • Basic Alternating Bass Pattern
  • Adding Fingerstyle Accompaniment
  • Paw Paw Patch
  •  
  • C
  • G7
  •  
  • Paw Paw Patch (Board)
  •  



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Member Comments about this Lesson

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patsendpatsend replied on December 24th, 2009

Hi Steve, on alternating C why dont-t you put your pinky on A sting and third on G instead moving the 3rd?

rarsenrarsen replied on November 24th, 2008

Hi Steve, I played some picking patterns (ie: travis picking) in college over 20 years ago and now started to get back into playing again thru JamPlay. I'm lovin your bluegrass style and songs. My goal is just to have fun playing and get family and friends to sing along. I'm learning the picking pattern but I'm having problems adding on the melody. Paw Paw is simpler but I'm still struggling with Freight Train. The Melody doesn't seem to fall into a picking pattern. I've slowed it down but still can't get it down smooth. Any suggestions? Thanks, Ron

jboothjbooth replied on November 26th, 2008

Freight Train is so difficult! I always have problems with that song, it's also very difficult for me to get the rhythm established, all I can recommend for that one is to take your time and practice each little portion not for note until it sinks in. Steve will chime in soon I'm sure.

steveeulbergsteveeulberg replied on November 21st, 2008

You're welcome! Play on.... Steve

djmckenziedjmckenzie replied on November 20th, 2008

Just the lesson I was looking for. I have the pattern down and have used it for years. But I wish to add melody to the pattern as well. Thank you for a great introduction.

Fingerstyle Guitar

Found in our Beginner Lesson Sets

Fingerstyle guitar is the classic art of playing the guitar solely with the fingers. Fingerstyle playing opens up a whole new realm of possibilities on the guitar.



Lesson 1

Starting Fingerstyle

Steve introduces you to the world of fingerstyle guitar by teaching a few exercises and an orignal tune called "Porch Swingin'."

Length: 38:00 Difficulty: 3.0 Members Only
Lesson 2

Matteo Carcassi

Steve Eulberg teaches you to play Op. 60 (No. 1) composed by Matteo Carcassi.

Length: 42:00 Difficulty: 3.0 Members Only
Lesson 3

House of the Rising Sun

Steve teaches a fingerstyle arrangement of "House of the Rising Sun" by Animals.

Length: 29:00 Difficulty: 3.0 Members Only
Lesson 4

Freight Train

Steve covers some of the fingerstyle techniques created by Elizabeth, or "Libbis" Cotton.

Length: 24:00 Difficulty: 3.5 FREE
Lesson 5

Planxton's Farewell Part 1

Steve Eulberg teaches you how to play his original piece "Planxton's Farewell." This is part 1 of a 2 part lesson.

Length: 34:00 Difficulty: 3.5 Members Only
Lesson 6

Planxton's Farewell Part 2

This is part 2 of the fingerstyle song "Planxton's Farewell." In this lesson Steve teaches you the second half of this beautiful tune.

Length: 22:00 Difficulty: 3.5 Members Only
Lesson 7

Drop D Tuning

Steve discusses drop D tuning and how it is used. He also teaches an original song in this tuning called "Neither Lion Nor Lamb."

Length: 30:00 Difficulty: 3.0 Members Only
Lesson 8

Porch Swingin' Part 2

Steve Eulberg teaches the second half of his beautiful fingerstyle piece, "Porch Swingin'."

Length: 30:21 Difficulty: 2.5 Members Only
Lesson 9

Five Foot Two (fingerstyle)

Steve teaches a fingerstyle version of the classic song "Five Foot Two."

Length: 29:54 Difficulty: 2.5 Members Only
Lesson 10

Operator Introduction

In this lesson Steve shows how to play the introduction of the classic Jim Croce song, "Operator," in a fingerstyle fashion.

Length: 22:21 Difficulty: 3.0 Members Only
Lesson 11

Operator Verse

Steve returns to the beautiful Jim Croce song, "Operator," in this fingerstyle guitar lesson. This time around he demonstrates the verse.

Length: 12:58 Difficulty: 2.5 Members Only
Lesson 12

Operator Chorus

Steve finishes up the Jim Croche song, "Operator." He covers the chorus and brings the entire song together.

Length: 9:55 Difficulty: 2.5 Members Only
Lesson 13

Alternating Bass

Steve uses the classic childrens song, "Paw Paw Patch" to demonstrate how an alternating bass line can be played within a fingerstyle arrangement.

Length: 15:42 Difficulty: 2.0 Members Only
Lesson 14

We Wanted a King

Steve Eulberg teaches a beautiful fingerstyle arrangement of his original song, "We Wanted a King."

Length: 36:31 Difficulty: 2.5 Members Only
Lesson 15

Building the Thumb

Steve Eulberg guides you through a series of exercises meant to improve the dexterity and independence of the thumb.

Length: 12:52 Difficulty: 2.5 Members Only
Lesson 16

Mixing Up the Fingers

Steve Eulberg mixes up the fingers to create a dynamic fingerstyle exercise.

Length: 12:48 Difficulty: 2.0 Members Only
Lesson 17

Chopsticks

Steve Eulberg explains how to play the classic song "Chopsticks" using fingerstyle technique.

Length: 12:18 Difficulty: 2.0 Members Only
Lesson 18

Advanced Chopsticks

In this lesson, Steve Eulberg teaches an advanced version of "Chopsticks."

Length: 8:11 Difficulty: 2.5 Members Only
Lesson 19

Ode To Joy Part 1

Welcome to the first lesson in a 3 part series on the song "Ode To Joy". Steve has arranged a very unique fingerstyle lesson that starts from square one. This 3 part series can really help any beginner...

Length: 10:32 Difficulty: 1.5 Members Only
Lesson 20

Ode To Joy Part 2

In the midst of this three part lesson series, Steve continues his "Ode To Joy" song lesson by introducing a parallel movement. This will demonstrate a "skip a string" technique with the picking hand and...

Length: 7:25 Difficulty: 2.5 Members Only
Lesson 21

Ode To Joy Part 3

In his final lesson in the three part series of the song "Ode To Joy", Steve adds a few more additional fingerstyle techniques to the mix. By adding a harmony and a D string drone note, this will complete...

Length: 10:43 Difficulty: 3.5 Members Only

About Steve Eulberg View Full Biography An Award-winning multi-instrumentalist and singer-songwriter, Steve Eulberg weaves mountain and hammered dulcimers with a variety of unusual instruments to create thought-provoking, smile-inducing, toe-tapping acoustic experiences.

He has sung and composed for religious communities, union halls, picket lines, inter-faith retreats, mountain-top youth camps, as well as the more familiar venues: clubs, coffeehouses, bookstores, festivals, charity benefits and showcase concerts.

Born and raised in the German-heritage town of Pemberville, Ohio, Steve was exposed to a variety of music in his home. Early piano lessons were followed by trumpet in school band, and he became self-taught on ukelele and guitar and harmonica. Mandolin was added at Capital University where, while majoring in History, he studied Ear Training, Voice and took Arranging lessons from the Conservatory of Music.

While at college, he first heard hammered and mountain dulcimers, building his first mountain dulcimer just before his final year. Seminary training took him the west side of Denver where he built his first hammered dulcimer. With these instruments, he was able to give voice to the Scottish, English and Irish traditions to which he is also heir.

Following marriage in 1985 to Connie Winter-Eulberg he settled in Kansas City, Missouri. There he worked cross-culturally in a church of African-Americans, Latinos and European Americans, with music being a primary organizing tool. He moved with his family in 1997 to be nestled beside the Rocky Mountains in Fort Coillins, Colorado.

Founder of Owl Mountain Music, Inc. he teaches and performs extensively in Colorado and Wyoming with tours across the US and the UK. He delights in introducing the “sweet music” of dulcimers to people in diverse settings and in addition to his own recordings, has included dulcimers in a variety of session work for other musicians.

In 2000 he was commissioned to create a choral composition featuring dulcimers for the Rainbow Chorus in Fort Collins. It was recorded in the same year (BEGINNINGS). He is currently at work on a commissioned symphony that will feature hammered dulcimer and Australian didjeridu.

Eulberg passionately believes that music crosses cultural and language barriers because music builds community. Influenced by a variety of ethnic styles, his music weaves vital lyric with rap, rock, folk, gospel and blues. Audiences of all ages respond well to his presentation and to his warm sense of humor.

Steve is a member of Local 1000 (AFM), The Folk Alliance, BMI and BWAAG (Better World Artists and Activist's Guild).

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