2

G E N E R A L INFORMATION

T h e left hand s h o u l d be f o r w a r d on the neck w i t h the fat p a r t of the t h u m b a l m o s t i n the m i d d l e and p o s i t i o n e d t o w a r d the t u n i n g p e g s . Play w i t h the r i g h t hand between the p i c k - u p ( s ) and end of the n e c k f o r best tone q u a l i t y . F r e t s a r e i n d i c a t e d by Romn numeris. E a c h f r e t i s a \, e x a c t l y l i k e the p r o g r e s s i o n of w h i t e a n d b l a c k k e y s of the p i a n o . P l a c e y o u r f i n g e r s a s cise to the f r e t a s p o s s i b l e to p r e v e n t buzzing. % (sharp) b (fat) t ( n a t u r a l ) 3 step ( 5 tone) h i g h e r ( 5 step i s 1 f r e t A L W A Y S , a w h o l e step i s 2 f r e t s ) 5 step ( 5 tone) l o w e r N e u t r a l i z e s a l t e r e d notes (#'s o r b's) w i t h i n the b a r l i n e u n t i l a l t e r e d by a f o r b a g a i n . T h e b a r l i n a a u t o m a t i c a l l y caneis e v e r y t h i n g but k e y s i g n a t u r e f ' s o r b's i n a l l f o r m s of m u s i c . W h o l e step (2 h a l f s t e p s ) h i g h e r W h o l e step (2 h a K s t e p s ) l o w e r

(double)

bb(double b)

K e y s i g n a t u r e | ' s a n d b's indcate notes a l w a y s s h a r p e d o r f l a t t e d i n that p a r t i c u l a r p i e c e of m u s i c u n l e s s a l t e r e d . A l t e r a t i o n i s good o n l y u n t i l the b a r l i n e . If a note i s a l t e r e d , i t i s the s a m e no m a t t e r how m a n y t i m e s i t i s w r i t t e n w i t h i n the b a r l i n e i f i t i s not a l t e r e d a g a i n . A dot i n b a c k of a note i n d i c a t e s 3 a g a i n a d d i t i o n a l t i m e valu added to the o r i g i n a l m e t e r :

Je
, N V

is

is

T i e s ( ^ - _ y ) indcate one note H E L D . m e t r i c a l l y onto a n o t h e r note w i t h o u t s t r i k i n g the s e c o n d t i e d note: 1 (2) an 3 (4) an

11 1 1 .
| ,
M| J J|i

'

1 1H

(2)

(3)(an)(4)

same as

A l l n o t a t i o n i n t h i s book s c o n v e n t i o n a l l y w r i t t e n up one octave (8va) f o r r e a d i n g c o n v e n i e n c e a s E l e c t r i c B a s s u s u a l l y s . T h e r a n g e i s the s a m e a s S t r i n g B a s s u n l e s s the S t r i n g B a s s h a s the a t t a c h m e n t to a l l o w the " E " S t r i n g to p l a y down to " C " b e l o w the staff. It i s w i s e t o p a t y o u r f o o t on e v e r y beat a n d " t h i i i k " through a s i g h t r e a d i n g l i n e f i r s t ( w h i l e Patting) b e f o r e y o u p l a y . Note how m u s i c i s s e p a r a t e d b y b e a m s into beats s u c h a s :

. 1 e ana

4 e

A note w i t h a dot u n d e r o r o v e r i t i s p l a y e d V e r y s h o r t (stacatto).. A note w i t h a n a c c e n t u n d e r o r o v e r i t i s p l a y e d v e r y h a r d , D C m e a n s to r e t u r n to the top of Lhe m u s i c . DS m e a n s to r e t u r n to the DS s i g n and p l a y u n t i l y o u r e a c h the C o d a . e n d i n g on the D S . C o d a m e a n s to s k i p to the next p a r t of .the m u s i c cise to the e n d . l s t E n d i n g m e a n s to r e p e a t b a c k to the r e p e a t m a r k s but s k i p feo the 2 n d E n d i n g again) the next t i m e a r o u n d . F i n e m e a n s the end of the m u s i c .
E a s y E l e c t n c Bss - 51

Y o u a l w a y s take the 2nd

E n d i n g (don't p l a y l s

Tming
G Is't String. D 2nd String A 3rd String

I
(Fret) I G G|

m
II III; IV V

m
B

E 4th String

r I irY
4

Ab

Bb

,B

pg i r I i H r ir I
1 2 3 4 4 0 1

D" Dj|

E#_

Ff

Eb

Gb

A#

O E

p i I
3 4

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Db

.4

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Ff

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Gb

Ab

Counting
NOTES

1 2 3 4

i j i ij
an 3 e an a 4 e an a

2 <m(3) an 4

iJ n.jin
an a

a{3)

an 2

1 e an(a) 2(e)an a 3 e (an)a(le)

frp /e

trip

let

1 (trip)

let

trip

(let)

LA

UBI 8W!

E a s y E l e c t r i c Bass 5 1

ESTS

(1

2 3 4)

(1

2) 3 (4)

(1)

2 3 (4)

(1)

an 2

3(4)

Ieana2eana3a4

1 (2 3 4)

(2an)3

(4 an)

Jt 3 J. EE
1 an a 2 an a 3 (an) a 1 4 an (a)

3
(trip) let

h1 i 3 > < J ,

(1)

J J J l J
-3

trip let

i JT1-J J J

1 (an) a

2 an

(3)

an a

(4) (an) a

T h e Strings
G String

* I g |tr"T~f

r r r ir r r i r r r r
D String

? f f T T ~

i r

B r r1 1
E a s y E l e c t r i c Bass 5 1

A String

i j -tJ ii
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-1

t'
- 4

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h
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t=F=

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r ^
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J 1

= * =

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#==**=

asy E l e c t r i c Bass 51

rv-rtr \^\
2 1 4 4 4 1

i i^i i r , iff| |
4 2 1 4

M |

i ri
1 4 1

m i r u iflj > J " 3 1 i ni ir J IJJJ IJJJ 5

1 4 1 2 4 1 4 O 1 4 2 1 4 2 1 4

2 1

1
j

1 4 2 1 4 2 4 2 1 4 2

r 1 1n r m i
4 4 4 1 1 2 2 4 4 1 1 1 1 4 4

11

fr-^-h-u-ir | ir i
4 4 3 ^ 1 1 1 4 4 4 1 n 0
i

r
2 4

Ff====P===51 u
2 4

_J

p
1

r -r

p 1m [ i
1 4

J
4

p 4^
7 T " "" 1 1

r ~3 P[
2 1

3
2 4 1 4 1

i
0

J
1 4 4

*
y*
4

p
1 1

p
1

1-

rr
4

rii-

2 1

J J
2

j =i
1

1
1

J
J
4

f f

E a s y E l e c t r i c Bass - 5 1

Exercises

H r* i i
1
2 0 3 0

hr
4 0

r
4 0

i if i i i
4 0 3

"r

1
0 4

1
0 4

1
0

1
3 0

ir i 'i i 11 i i
2 0 1 0 0 2

4IJ i i ' i ' i "'i Ti 'Ti ' i '

0 O 1 0 2 0 3 0 4 0 4 O 4 0 3 0 2 0 1 0 0 2 0

i,J j JUJ J j
0 0 1 0 2 0 3 0 4 0 4 0 2 4 1 4 1 0 1 0

Ji^
O 2 3

r
an 1 an 2

r
3 an

r f
1 e

r r r
2 e an a 3 e an a

u r u r_r
1

an

an

an a

E a s y E l e c t r i c Bass 5 1

Sea les and Exercises

F MA10R SCALE I E Stg. ' ' A S t g . D i r

4 0 2 4

1 1

-F

' -42 1 0

r ir i r r ir TLF " IJ J
1 2 2 0 1 2 1 0 4 0 1 4 4 3 2 4

S
0 4

f i i
2 4 4 0 2 4 0 3

^'
4

ij J r r i i
J
1 0 2 0 4 0 1 0

i
1 0 4 1 0 0

3 4 2 1 4 1 0 0

J
0

1 0

r
0

=M r 1 =s
0 4 2 2

r
V

h* J "i F"'

ir r r
1

r r 1
r i
1

r
t

rr
p , 0

J 1
4

t)- i Jrri FT
4 0 2

rr , 3 f 1 ==4== " r 1r * J J J
4 2 4 2

=
J

= F + F

r
4

J
3 1

1 1

~fPf*"

E a s y E l e c t r i c Bass 5 1

m0-

i
4 0 2 0 4 2 0 2 4 0 3 4 0 4 0 1

^ T ^ - ^ r rj' r i' i rx.u" r i Lrxr P

1 4 0 1 4 0 2 4 0 2 4 2 0 4 2 2 0 4 2 0 - 0 4 2 0 4 4 2 0 4 1 2 4 0 2 4 1 ir 1 0 4 24 0 4 1

T5" 1 0 4 1 0 4 1 0 4 0 4 0 4 0 4 4 0 4 0 4 0 4 1

Easy E l e c t r i c Bass 5 1

E a s y E l e c t r i c Bass 51

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1 1

11

B\> M A T O R S C A L E AStg. I D Stg.

i rG S t g .

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AStg.

"

m u i
0 4 0 1 4 0

1
4 1

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0 4 0 4 1 0 1 4 0 2 0 4 1

r;^^
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4 0 2 4 2 0 4 1 4
r r

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r

rrnri
2 4 2 1
f J

g
0 2

i
0

n
2 1

4 1

rrr

r rrr
0 1 2 4 2

irri
1 2 1 0

i .
L

rr^s
4 0 2 4 2

4 0 4 1

0 4

1 4 0 1

0 0

' i
0 4 1 0 4 1 4 0 1 0 1

jl 1
1

! i
1 0 4 1

Jl jJ

i I
1 4 0

i" I
4

1 4 0 1 0 0

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0 1 4 0 3 4

1 4 0 1 4 1

E a s y E l e c t r i c Bass 5 1

12

^ 1 1 4 0 1

5 1

4 0

i
1

i
0 4

1lu H i tu
1 4 1 0 1 I I A Stg. I ' E Stg .l

G MAJOR SCALE I EStg. I I AStg. I I DStg. I DStg.

2 4 1 2 4 1 3 4 4 3 1

1
3 4 1

| I
2

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4 2

r ir ir
j
1 1 2 4 4 1 3 1

i
1 2

r ru r
J
1 1 4

i
2 2 4 3 1

4 1 3 4 3 4 3 1 1 3 4 4

m
3 4 1 4 1 3 4

r i r r r i"r ^
b
2 1 1 2 4 2 4 2 4 3 2 4

MI

'

ijJ i
n

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3

i n

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E a s y E l e c t r i c Bass - 5 1

tai
E

C MAJOR S C A L E A s t g . ' ' D Stg. iGStg.

r | if r
4 4 3 1 4

ir

DStg.

ir
2 1 4

AStg.

i
2

E a s y E l e c t r i c Bass 5 1

14

i * r

J"T]

1 ana

2 ana
m r r

3 an a 4 an a
r r r

H - ^ L I L

| ^ :

SYNCOPATION S y n c o p a t i o n o c c u r s w h e n t h e u s u a l a c c e n t i n a b a r i s d i s p l a c e d (notes a r e off the b e a t ) a n d r e s u l t s f r o m t y i n g notes i n a n u n a c c e n t e d p a r t of a b a r to those i n a n a c c e n t e d p a r t ; o r f r o m a w e a k a c c e n t t o a s t r o n g a c c e n t , a l s o p l a y i n g l o n g notes between s h o r t e r o n e s . F o r i n s t a n c e , h a l f n o t e s b e t w e e n q u a r t e r s , q u a r t e r s between e i g h t h s , o r eighths b e t w e e n s i x t e e n t h s , e t c . A s y n c o p a t e d note s h o u l d a l w a y s be a c c e n t e d . T h i s i s g e n e r a l l y i n d i c a t e d b y a m a r k o v e r o r u n d e r a note ( ? ). T h e f i r s t note i n each b a r i s u s u a l l y p l a y e d w i t h a s l i g h t a c c e n t a n d s h o u l d not be p r o n o u n c e d u n l e s s i n d i c a t e d w i t h a n e x t r a a c c e n t m a r k . In 4/4 t i m e , the f i r s t a n d t h i r d q u a r t e r s h a v e a c c e n t s , the t h i r d l i g h t e r than the f i r s t . Syncopation i s a n e x a g g e r a t e d a c c e n t on the n o r m a l l y w e a k p a r t o r p a r t s of the b a r . W h e r e 4/4 t i m e i s i n d i c a t e d , count eight eighths (8/8) f o r " f e e l " a n d a s a n a i d i n r e a d i n g B o o g a l o o . In c o u n t i n g eight to the b a r , a q u a r t e r note r e c e i v e s two e i g h t h counts a n d a half note f o u r e i g h t h counts, etc. T h i s helps i n d i s s e c t i n g b a r s .

U ^ U J - H ^ - I '
1 an(2)an(3)an(4)an
E a s y E l e c t r i c Bass - 51

i . - r n

E a s y E l e c t n c Bass 5 1