Home | Back Issues | Other Mel Bay Sites | Purchase Bass Products
All Mixed Up | Applying practice to reality: Celtic bass
Extended Range Bass Neck | Classic Chord Chart

Applying practice to reality: Celtic bass

By Elizabeth White

After joining a Celtic band in the Lubbock, Texas area about a year ago I discovered a difficult part about Celtic bass - there aren't many bassists to steal ideas from. So what can you do to create a bass line that fits more traditional Celtic music? I turned to music theory and several years of crash-course bluegrass bass for a foundation. These things have allowed me to play to just about anything so why not Celtic? My keys to unlocking Celtic are 1) tonality and 2) rhythm patterns.

Tonality and Chords
Sheet music? What's that? Celtic is mainly learned by ear and while sheet music is becoming more common, you still won't see it much. You've got to listen and play the music to get to where you hear the chords. I work by trial and error, and I'll often switch instruments to get a different perspective. Some common elements in songs to be aware of are parallel key shifts - like A minor to A major. Common chord changes are 1 to 6min, 1 (maj or min) to b7 maj, along with every combo possible of 1, 4 and 5 chords.

Once I've found the chord pattern that is obvious I look at it to see what, if any, substitutions I want to add. Try 2 minor to 5 (think jazz stuff); 4 minor instead of 4 major in Dorian keys, and don't be afraid to try stuff. Experiment and see what you can come up with that the musicians you're playing with will accept (big limitation there). Sometimes using power chords (just root and fifth) will add interest. Example: Bonaparte crossing the Rhine. The chord pattern to the A section runs: (Am F)(C G) Am G / (Am F)(C G)(Am Em) Am. One variation of the first 4 measures is:

The power chord feel adds some punch. When a guitarist plays the original pattern with this it makes a (Am F(add9))(C G(add9)) chord pattern when you add the two parts - sophisticated harmonies that add a jazzier feel. In the B section of this tune there is a 2 measure section that shifts from A Dorian mode to A Mixolydian mode. To emphasize this shift I like to do as full a chord as my instrument allows. The first example is what I play on double bass with a bow; the second is what I'd do on electric bass.

To build a bass part out of the chord patterns start with the roots of the chords. Hornpipes, polkas, and slides will often work with a root and fifth two-beat bass line. In songs with key shifts try using double stops. Be careful about adding too much into a bass line - leave some room for other instruments.

Buff up on your chords in Mixolydian and Dorian modes because even tunes in major and minor are heavily influenced by these. If you know what notes and chord qualities belong in a mode it will give you more options for chord substitutions and walking lines. Try looking into the back issues of Bass Sessions® for more information on modes. The chart below gives chord names and qualities (Major/minor or o-diminished) for the main Celtic modes starting on C.

Rhythm patterns
Compound time signatures are everywhere in Celtic. A fast way to deal with compound time signatures is to take the top number, divide by 3, and thats how many 'beats' the rhythm players are going to have. For example, I think of 9/8 time as a fast 3/4 where every thing is in triplets. Beware: this is not a classical definition of compound time - it's a player's translation for use in the real world.

Jigs are in 6/8, Slip-Jigs are in 9/8, and Slides are in 12/8. Mazurkas are in 3/4, but are played like a fast waltz. Aires can be in 4/4 or 3/4, but they are played very slowly. Hornpipes, polkas and reels are in 4/4. Slides, hornpipes, polkas and reels can be played with a very bluegrass type bass line - a root and fifth two-beat bass line, and feel free to walk between the chords. The jigs and slip-jigs are more difficult. I just try and lay down the root of the chord every effective 'beat' - jigs have 2 beats, slip-jigs have 3. Once you get used to the groove of a particular slip-jig don't be afraid to drop some notes, to where you're doing one note to a measure or so. Example: B part of a slip jig. My initial bass line was intended to 'hold down the fort' until I knew how the song felt, but after a while the bass line went to this:

In Celtic drones are a hold over from the bagpipe, but can be very cool in some situations. On electric bass you can do whole notes to create a drone effect, or eighth note pattern variants if the song allows. If you play acoustic upright - get thyself a bow! Once you sound good and know a few tricks you will be using it at every turn - I speak from experience.

D.C. Al Fine
I hope this has given you some interest and some helpful tips for Celtic bass. Practice up your ear training, dabble with chord substitutions, and hang in for a musical. Remember to "Keep It Simple Stupid"! The melody instruments are used to having the spotlight - they can live with out you if you run them over, and the bass has the beat, not the drum. Bodhran drum style includes extremely complex rhythm figures that cam make it hard to grasp the downbeats. This is still bass playing - guide the changes to make things sound a smooth as possible.

Feel free to email me with questions and comments, Elizabeth White Email - EAWhite@moment.net