Chords for Keith peters Bass journey with A.R.Rahman a museekmag exclusive

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Hi, this is Keith Peters.
Welcome folks to Music Mag.
So we're going to have some fun.
Born in Chennai _ and started playing music from the age of 21.
I was basically born in the musical family.
My dad used to play music, my brothers.
_ And I really took to bass professionally in 1982. _
From 1990, I started getting into the films by starting to play with Mr.
Rahman for his jingles.
_ And then Roja happened in 91, 92.
_ _ From then I've been in the film industry.
The first [D] thing I have to keep in shape with yourself.
I have to keep practicing.
There's non-stop, there's no stop for practicing.
And also keep along with the times, listen to the new music.
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[E] Style, _ _ _ _ first of all, depends on how the song sounds and that's part of it.
I try and contribute something.
But then if the music director is very particular about something he wants, then you have to play.
Basically the music is universal language.
The notation and the music is the same.
But for the South Indian film industry, or basically the film industry, it's a little
bit not like the American, the western side, pop stuff.
There'll be a little bit of raga-based kind of tunes.
So if the director wants you to stick to that kind of raga, or sometimes he lets you to
be free, you can play free.
But nowadays some modern guys play with the rhythm machine, play with the groove, or play
along with the sequencer.
In the beginning movie, Roja, the first song, Chene Chene Aase, had a very _ remarking bass line.
And of course he had programmed it on the keyboard, but then again, like you say, he
wanted me to play the same thing, to give it a fatter sound.
So I played on top of that.
The line was, the pallavi goes like this. _
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_ If you want the charnam line too, you have to add a distinctive line to it. _ _ _ _ _ _ _
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[B] _ _ _ _ For Rahman, there's one song, I think in Anjali, the main song Anjali, I just played
some fretless lines over the song.
It comes there smooth.
Enna Vale, that song, [Gb] I had to do that.
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_ Yeah, a lot of bass lines, many songs.
Like the movie Indian, _ _ that Akkada song, they had to take a bass line.
There was a pickup I used to play that. _ _
_ [G] _ _ _ That was it.
Then Rangila.
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_ _ _ _ _ [F] But another one which came out later in 2000, was a very, still it's being a hit song,
that's Kadhal Sadakudu, it goes like this.
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_ _ _ That's one thing with Rahman, he allows you to do what you want.
_ And he's always smiling on take.
Down the years I've been using different basses.
Like for the first recording for Rahman in Studio Dei, I used to use a washburn bass.
That was four string.
Then I got a jazz bass, that is in different recordings.
And from 2000 I've been using a five string bass.
_ Like an Ebeneez, then I had a Fender Squier.
Now I got this as an endorsement from Warwick.
And I use this bass permanently in the studios for recordings, for live shows.
First of all, touring with him is a big experience.
The _ hours of practice you put in _ and the rehearsals and soundcheck and all those things.
But there's one particular tour I'd like to mention was, 2010 we did a world tour.
That was beginning from US and other countries.
And there we played with the musicians from there, from America.
_ That was a really unforgettable experience for me.
Because the way those guys used to practice, everything was perfect.
And playing with a big setup, _ you have to give your best.
That was Rahman.
_ He's a perfectionist.
The song from Kadhal Desam, that Kaluri Sale.
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_ [D] _ _ _ _ was a good riff.
So whenever I get time, 45 hours practice.
He showed a nice warm-up exercise.
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[Ab] _ [Am] _ _ [Db] _ _ [D] _ [Eb] _ [Dbm] _
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_ _ Then [Eb] this. _ _ _
[C] _ _ _ [Eb] And keep alternating. _
[N] _ _ And there's also one more. _ _ _
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_ [Ab] _ _ [Gm] All kind of warm-up for the fingers.
And then this.
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And the first lap, just_ _ _ _ _
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Just a few tips.
Upcoming musicians, first of all, search your soul.
Be true to yourself.
_ Practice. _ _
And always thank God for your talent. _ _ _ _