![]() ![]() To ramp into the chorus, Taylor always performs a B7 type-of-fill, 1-2 bars before the chorus to signal the change of section and harmony (9, 17, 25, 35, 42-43, 55, 64-65). Taylor always accents the upbeat of 4 throughout the first two verses but in subsequent verses, other upbeats are accented, such as the “and” of beat 2 and/or 3 (50, 60) just to prevent the one-chord verses from sounding stagnant. This gives the first verse its distinct character and makes the groove sound not-so-plain, despite consisting of just one chord. The important quality of the verse section is the upbeat accent on the “and” of beat 4. Many Rolling Stones’ songs feature verse sections, such as this, that consist of only one chord (“Street Fighting Man”, “Silver Train”, “Shake Your Hips”, etc.) Despite the very few chords employed, Mick Taylor’s bass work plays a crucial role in giving the harmonically static verse of “Tumbling Dice” its signature groove and forward motion. It can be challenging to approach these mind-numbing repetitive songs and keep it interesting while not overplaying. Editor’s note: Mick Taylor, the Rolling Stones’ second guitarist, played bass on “Tumbling Dice”, due to bassist Bill Wyman’s absence the night of the recording.Įvery bassist has been in situations where they have had to hold down a one-chord or repeating bass line ostinato for long periods of time or an entire song. ![]()
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