| of this book is f make the gontents ot erview portidm GF the vidlee tape, Jaco Pastorius. Modert Hleet': Mone ace: si. ble to the s sete wishes co fleann Pisation. Through he book, you will begin tp ur Hance of thinki ond than fee in the ereation fof music. Then you will tltimately beable te aincler stand and interpret what yOu feel, in addition to inning or retearning how t@ play the eleatrie bass ina very musical w the Many examples and sales stand the tony The playin; doesn’t requi eandom fetes, *vigaling your fin h thught, whereas the yilaying specific ves, Just Because a phrise oF p: D teen was created with alate feeling does you have tO practice it ata fast specd. your own specd, always Using 3 while practietnyg the m. Knowledge of theory, hagmeny. chord and scale con struction and use of the iniversal number system of mst (0 Eaeita te ur inst nt. he purpose of mem je steps is a ugh learnin provided for the apid and thor A brief veviews is ping pattems by scallé degree or éhiord qulility, interval seq This number system spueds learning, exec ranspositien 1 other keys and rhythms, in « to providing a focus for ideas while im when aecempanying and soloing. Da yourel’ a favor! Rewrite the examples fr Lapelaind inghide at the top ef dadh inet didgiee and Ghord quality, You will be amazed at nie deeper your understanding will become: when this is done Pranscritve thie samples ane x selfs always loolkin for Bome kind af jpantern. T exgellent forear training, Yau pon! shauld be iG IbE fash as « playing fesse Memerize the patterris by alvw ‘youre “whaeethe palfety bow many tir isthe sequence, whi¢h directi¢m €agce Wher you pick up your instrument, camethin s. specific, suctvas a chord Gr atpe! fascale, song, etc. In Bther wortls, Baye some ining (tell yourself whaktelde) and execute lesgly Bit slowly at first! Good luce Make: —Jerry Jemmont INTRODUCTION t's very gare for a musiekan 1} come along thar has the genius ead talent (0 |fevolutionize the approagh #6 an instritment — Jaco wats one oF special individuals. $ fortunate te have beem able io stuily and play with Jaco both in Miami andon tour with the Gil Evang Ofchestsa, The energy and feeling with which be approached the music alongwith his viru I sity and sotind, is whatqwas sb ingpining to all of u Keep in'mind wher you're practicing these ex cikeS hat IGS the fecling-and crenge you put i chem tha: ceally Brings (the musi aa fife, Use cea aon ERY our GHBREaalRABG v0 develop your ase safe of playing. ‘Thanks Jaco, your a lah universe —Mark Eganmusic is based on the chromatic scale degree), whole-step, whole-step, half-step to the 4th at of which the major scale is formed, The degree, three consecutive whole steps to the 7th jor scale is constructed with the following degree, anda half-step to the actave to complete the formula: in ascending order; root (1st seale scale. Model scales are derived from the major scale, but start ent modes with their relative chords and their major on different degrees, using the same pattem of whole — scale staring points and construction, and half-steps as the major scale. Below are the differ Jonian 1 123-45-6-7-8—8-W.WLW-W-W-H Dorian Tl 23-45-6782 RW WWW Phrgian I 3-4-5-6-7-8-2-3 R-H-W-WW-EWW Lydian IV 4-5-6-7-8-2-3-4 WWW WW Mixolydian V 5-6-7-8-2-3-4-5—R-W-W-H-WW HW “Acolian VI 6-7-8-2-3-4-5-6-R-W-H-AW-W-EL-WAW Locrian VI 7-8-2-3-45-6:7 8 HWW WW ‘Chords are built on every other note of a major scale Wiite out the scales, modes and chord construc- such as 1-3-5-7-9-11-13-15 of 2-i-G-8-10-12-14-16, tions in reverse order, When transposing to other Notes above the first octave are the same asthe notes keys, don't forget to give the proper accidental whi in the first octave, except that they are an oc la you are using, higher, so that 8=1, 9=2, 10-3, 11=4, et ve will agree with the scale formu Chord constr on for ascending 7th chords Major root—major 3rd—minor 3rd—major 3rd Minor root—minor 3rd—major 3rd—minor 3rd Dominant root—majar 3rd—minor 3jrd—minor 3rd Diminished root—minor 3rd—minor 3rd—minor 3rd Half-Diminished —root—minor 3rd—minor 3rd—major 3rd Augmented root—major 3rd—major 3rd—minor 3rd. If the distance between the root and the third scale third), then the chord or scale is minor. degree is two whole-steps (major 3rc), the scale or Diminished chords employ all minor thirds and ‘chord quality is major. If the distance between the — the scale construction is W-H-W-H-W-H-W or HW root and the third is one and a half-steps (minor W-H-W-H-W-H 8 Let harmo ne x -Play as dead note. r — Open diamonds inelicate natural harmonics—where they occur indicates finger placement fF ~ Filled notes denote stanciard notes. D ~ Strings used are shown below staff Numbers used are Jaco’s left hand fingeringcars sa co ome o on ay oo (© Lawerian F2 1" Metoc) 5S tt = suas a $5 bo o an cay +6 ‘7 a b aD Diminished Lr pd al 2G (wholestep/hall-step) === Wholetone Elvnbomniieisiecs) >= pS 1 o —— = =—— iy = eye ae an | wei 1Finge i chromatic seale is one of the hardest things toner: beginning on your low E string, play through on the bass, Playing it will help teach you where ane octave and back down; then go through the the notes are through correct finger spacing. Play entire middle and upper register and back down is scale and all other scales in the following man- again slowly Example 2—Major scale exercise in one-stretch position, using 16th-notes This exercise utilizes a descending four-note pattern going down the scale in nds, “Eee 4 Example 3—One octave major scale in ascending and descending 2ndsAbers at the top of each note represent the degrees used in this pattern. Memorizing the numbers will 40 “Tun” the patter through different keys. Mec s wi woresst etEl Etre canes — — P41 4 ete sample $—Major scale in broken 3rds His is the “normal” way of playing the scale in 3rds. It ‘example 4. ent than Jaco’s “3nxd-2nd” pattern used sample 6—Ascending major scale in 2nds—descending in 3rds—followed by ascend- g and descending in 3rds the pattern used in the first bar, consisting of arpeggios (rds), moving down the scale in 2nds ascending major scale in 2nds. The last note of Notice how the fourth note of this four-note patter at 1, bar two, is the beginning of another serics of serves as a pickup, so that the feeling is 4-1-2-3, 4-1 firnote patierns utilizing descending 7th chord 2-3, ete eee ties!Example 7—Major scale in 6thsML king abead with specific ideas is the only way to achieve this level of improvisational clarity and direc- to vee + ra 1 =n é to CLOSlap fingerboard with palm of right harees os - aS fee 3 oe 7 Maga 47 : 41449—Arpeggios—fingerboard memorization you've found where the notes anc on the Fingerboard—play this exercise without Looking te. help with n of the fingerlxxird. (With the exception of the octave, the 3rd finger can be stistituted for the it playing examples 9 and 10.) Example 10—Arpeggios—ascending chromatically This is the same pattern as example 9—moving up the chromatic scalenext example is a very musical approach to playing double stops via spelling out a chord and harmoniz: major scale. next example is based on the ability to Create ideas based upon different types of scales, broken ameg- chords and song fragments, all played in patterns utilizing rhythmic groupings.Example 13—Major 7th arpeggios Here's 4 goox! exercise: arpeggiate up the I chord, down on the Il, up on the III, down on the TY, ete Be he age re On Gs —_— ee Mn =e - we Be me ne g- ~ Db? can BT? Freely hdtageca phat Pc 7 — i ¢ ye af eyed capa cethe = ¢Boing down the scale in seconds on the downbeat (1-c-an-1}—up the scale in seconds on the offbeat a1} down again on the downbeats. Example 15—Alternating fingers with different numbers This example shows the division of the be the next scale note, a 2nd from the previou 0 five pants—five notes down the scale and up a flatted Sth to ring, note. 15Example 16—Duet Jes, cived and executed mak* ee sere mee dees = ie ee < bn aaa 7 ne lee oo eS a oe el >a the» aoe reas ——— bff tess _ set PoP oeye 5% Sa tS sess 2S aes reer Tei + ARR Boh hebapette & fisLorrttite fe eee tintpee wes Ue tye ea.a — 200 yoeeecgpnttet eal PPPOE A eae, “get oesple 17—Right hand raking with left hand muting oe this example with multiple patierns on even strings, Forexample: second finger on E, first on A, secone! first on G, first on E, third on A, second on D, third on G, ete. Freely E: 18—Two hand muting via scale in 3rds c conscious of this very important technique when crossing stringsExample 20—String crossing via minor to major chords ething to do with the right. Try playing this as an item, like in example 17 ng to think about for xercise based on a parti ul AbATA“ch efe, pa # = afftte, : . BE See eyExample 21—String crossing in 4ths HEBis setwally playing arpeggiated WV chord progressions—first in aths, then chromatical nd again in dths pat Glave cat eo et ere =p Ree oF Eteus AAT DTsus GA? (Tsay FAT. BTsus Eb? 25rhary Coz Fb ae = oa mple 23—Tuning the bass with harmonics Example 24+—False ha: a the ° o to o o o25—False harmonics—scale in 3rds the string exactly one octave above the fingered note to achieve the harmonic sound quality feriear sal Sow hveraghons pat ple 26—False harmonics using scale patterns and arpeggios the sime instructions as in example 25 Sea sbreyghooaer 27—False harmonics low the same instructions 4s in example 25.[Ratural bass harmonics BaopbDaG = BEAD ° —Gtc? FEB ie) ———— — E A D Graeb) —— Same as | lower octave e | e po | |SS SSsee i =o