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: Margaret Ford

Design: Debbie Johns Lipton Background Image,' «) Phoro Disk. inc.

Guest: Gregg Bissonette on Drums uced by: Steve Bailey and Victor Wooten at: Slam Shack. N, Hollywood. CA

, by: Steve Bailey.

Victor Wooten and Snan Springer

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CD Contents Program Log

Introduction to lesson Section' : .. 9

Lesson Section A Chick From Cored

Bangkok Blues .

Stan The Man .

Victors Jam .

Thumb Start My Harley .. Emerald Forest..

Moonri(Jge .

.................... 5 10

. 9 1 1

.. 11 i2

'" 14...... . 13

.16........ 14

lB .

.20 .

.......... 22 .

. ... 15 16 .. '" .... 17

Donna Lee

Song Transcriptions A Chick From Corea

Bangkok Blues .

Stan The Man.... ...

Victors Jam .

Thumb Start My I-I,ll Icy. Emerald Forest. .. Moonridge ..

Donna Lee ....

24.. . I

................... ..14 2

....................... 53 .

. 3

. 4

.. 76 .

ts I .

.5

..... 96 6

109.... . 7

. i 16

. B

Bass Tab Glossary ! 30

About

e

oole

Steve Bailey and Victor Wooten hove put t09cther this incredible boss showcose.

These recordings emphasize the tremendous, often unreolized. potentiol of the bass as both a lead and .occomponyinq instrument. On the recording, Steve and Victor demonstrote how the bass can supply boss lines, piono orid guitar type comping figures, lead solos and percussion, in styles mnging from Bebop to ~~ew Age to Heovy Metal - all without overdubs. Each piece highlights different aspects of their ornczinq techniques; like Steve's three finger technique and his owe inspiring commcmd of harmonics and chord voicings; or Victor's incredible funk grooves, thumb and two handed topping techniques. Because of their incredible ability to simultaneously ploy boss lines and chords it often sounds as if each port is actually played by two boss plovers. At the end of the song section of the recording, Steve and Victor walk you note-for-note through the licks and techniques that moke up each tune, explaining ond demonstrating everything at slow speeds. Victor is panned a little to the right and Steve a little to the left.

The book explains all of the techniques and licks used in each song. Both bass parts ore fully transcribed in nototion ond tablature.

In this first piece, Victor is playing the tenor bass (A-D-GC tuning) and Sieve is playing a fretless 6 siring (B-E-A-D-G-C tuning). While Victor takes the melody in the A section, Steve uses his thumb, index, ring and middle ngers to create a chordal accompaniment (see Example 1).

Even if you playa four-string bass you can still use this technique. Try the voicings in Example 2A. After you have them under control, try moving the e~tire ii-V-I cadence by whole-steps: Dm7-G7-C, CI1l7-f~'7-Bb, BI'm7-Eb 7- A~, etc. When you can do this smoothly, try adding the artificial harmonics found in Example 3A. Playing the chord in

I

harmonics will make the chord voicings stand out more clearly.

Victor's single line playing really shines on this tune. Try the "chicken pickin" in Example 4 and the melody in Example 5. Start slowly and gradually increase the tempo, using a drum machine or metronome for reference. Since this is all played on a tenor bass, you might try toking this down an octave or even restringing a spare bass in tenor tuning. You can even take a spare 5-string and lune it E·A-DG-C a la Steve Swallow!

in this song, Steve takes a supportive role playing chords and boss lines. The boss line to the A section is:

N.C.

Bi·HI7 1:!.7 A' A.II .:
( b-d .~. t J;J=J l
t *
r I b~ p ,. ...",...
I f!' J I . . __ :i·lr=--~1
I . I I I !f .... - J-J----
_'.- .... -----_ .. , ..... _._- .. ,_._._. A.H .

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l

Il

'4 !

N,C.

j '=.·.f fU~.c,._.-·.-.'. !.~.-.- .•. ~ .•.. ~'=:-.·=:±I· -······-----~~~J:::I

lWIJ liBel li"1 j 1_[ 1_

Examp'e2

Here, Steve demonstrates both styles of music - Country & Western - with a very guitaristic "boom chick" part. The roo! and 5th are played on the two low strings and the 7th ond 3rd of the chord are played on the 3rd and 4th strings.

-.- ... -.------.-1t---~--11

- ---- .... -.-- .. - ·to---·-----10-

_._---_-_---_._._.---------_._-_._.' .

---.--.-.-----.-- .. -.-9-------- ---

----.---.-- .. ---------~

Example 2A shows how the same type of pattern can be applied to a 4-string boss.

Example 2A

Example 3

Harmonics can be added by touching the string one octave! 12 frets) above the fretted note with the index finger and plucking the string with the ring finger, all while playing the alternating bass line.

Note: A detailed description of artificial harmonic technique is found in Steve's Advanced Rock BaSSI available from CPP/Belwin.

Here is a 4-string fingering for this harmonic technique.

Om7

A.H.

(J7

A.H.

A.H .

Cmaj? A.H.

.. On this song, Victor played the tenor bass which is tuned: AD-G-C (up a 4th from the regular four-string boss). He

I .'

.. plucked the strings harder than usual to get thot "chicken picking" guitar sound. To get this effect, hook your

fingers under the strings and "snap" each note. You can also create this effect by simply picking harder, using conventional right hand technique:

Sva (throughout)

D~7

~<"\TTh't;:3~~j;:::~:('r:fl .U i* J'< .. I ~ r' r'd :"1'

':':~""Ef1~:::~4::::...-::::~::::- •.••••. C:::l...JL .~... ~J ' ..

15'13

15

'. .. b . . . simile

:W··· ..bd:..J......-: .r: ' jbC_r.... -~~" f""'g£_j ".

..•. 1::..... ..... .. . . . ..• . ..... fill· :._:::::::: .• ~

----·--1. . - ·....r:_j~: ······::·~-:::=IJ

Here, Victor demonstrates, ot a slow tempo, the melody from "A Chick From Corea." 8VLl (throughout)

~- !- ~ 11-.' ~-:1f --GJd I i/ t -. ~ ~-J

-.=--=-=--==_==:.:-==-_ -'':'17 - -- _- i 5 1? • S . -14 '--H- -15 .

--------11---· --- -.

-------------- -- - -

1&;.1 UII!BJllllll! I

![

I t 1JIIIlIlllf j

~ .= ..= - =--~- . .:. - - b - b :-.. r.: ~ -=. -= ~ r--: .--~

_!_:=~~~~:;-~~=~-_-~;=~~~~~===~~~-18_-~-~~-~:~::;~;~~~~_-~_[~~~_-~:;~~:~~~~~~~~-:~~~-~~=l_~===_~~-~ __ ~31

'-'-"---~

Bangkok Blues is a great example of how two different players can approach the same concept. This tune is primarily a feature for Steve, and it shows how he can use artificial harmonics in conjunction with fretted noles to create a three octave spread in the double-stopped melody (Example 6). In addition, pay attention to the "impossible" chord voicings in the B section. Steve is using the string bass concept of the "thumb position" to hold the F pedal point with his thumb. This allows a greater reach for chords and enables the bassist to add upper extensions (9ths and 13ths) to the chord voicings.

Victor produces widely spread voicings by using a two-handed tapping technique (Example 7). You can get your on this technique by taking something as simple as a C scale and playing it with two hands (Example 7A). Just remember to anchor the right hand thumb on the top of the neck when you're tapping. This gives you more power and a better articulation.

In this song the melody is played in "double octaves." For example: D is played in octaves with the lower note on the E string and the upper note on the C string; then Steve uses his right hond index and ring fingers to play the harmonic 12 frets above the upper D.

And the same with the melody:

8\'u N.C.

1511!d

;; ''-

~ .

....

:.. ~ ~

,.

... ,.

.....

- ...

~

• ...

- ...

.. ....

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- ,.

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ill' <II

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Example 7

Victor uses a two-hand tapping technique to achieve the same two octave spread osin Example 1. He taps the lower D on the A string (5th fret) with his left hand and with his right hand he taps the high D on the G string (1 ~ fret). Victor adds vibrato to the long tones to give them a more vocal quality.

+

.J.

+ ·····17

+

112

The two-handed technique that Victor is using utilizes both hands, each tapping the same notes, octaves apart . Try this with the following C scale. (Example 7A). Note thai the right and left hand fingerings are identical.

Example 7A

+ +
+ f 4
+ ~
+ + ·1 I
+ 2
2 4 I
RJl f
.. - To help get a better riqht-hond attack, anchor the right-hand thumb on the top of the neck. This next exercise is played right-hand only.

Example 7B

...

...

.-

..

-

..

IIf

..

...

..

• ..

..

H

ictor is back on tenor bass as he and Steve pay tribute fa legendary bassist Stanley Clarke. The melody is _-,n",,,,,·t,,,rl by a strong modolly- based chord progression. This is a Clarke trademark, as are the open string

_ ....... "" ..... Ie 8 shows how Steve uses artificial harmonics in conjunction with fretted notes to outline the chords IE/G~, E/B, & CdmL Check out the recording to hear him do this, while really locking in and grooving with Greg

,

demonstrates his three finger technique for high speed runs in Example 9. You could call it 1/3 x 3" because plays 3 notes per Siring with 3 right-hand fingers Ii m o]. He explains both of these concepts in full in his book:

ctor uses a radically different approach for his high speed work. Using his thumb like a guitar pick he II double mbs" using down and up strokes of the thumb, and then adds an index finger U pop" to play incredibly fast

ets (see Example 10AI. After you've got the basic technique down, try 3 notes! lOB) and then 3 notes per ing {loq.

Sieve combines a bass line with chords voiced cbove. Steve ploys the chord tones arpeggio style, in

E/G~

A

E/B

II ]

II

Example 9

Steve has on interesting technique for producing the fast triplet passages found in the solo section of this song; this technique involves a three finger right hand technique. Usually the fingering is "0 m i" with all three notes played on one string.

,.-

- .-

8va

,... -

-

-

m 6 a 111 I

6

6

6

'--.- -- - 14 -13 11 . - - 14 -13 11 ---~ 14-1311 --- 14 1314--- ---14--4311----- - -- 14----1

.. -. -.-- .. - - --- ----- --- ---141311- ---- - -14 1311 .------- 14 13-11- -----14-l3A-1- ----44-13-11-----

~~=:~~~~~~ --~~- ~~~~:~--~~~=- ~~=-~ - ~~~-~=~ - -- --;-~ -~ --=~-- ~~~-~~~=~-~-:-;~~ -~~: ~~~=:~~~=~~ ~---- ---=.----~

.Y~~~ii£ttrEr~ctFFeJ't€ [r''''-CI··· t-frF-fjsr·IT1¥fff=~tgj~;]

~?-.=- :1f:- ~_::_ __ n ••••.• 6--- _9- .---- --- ----~- . "-, ....r··· . 6 . 2:J_ .-- u_ .•• -- -.. ". ·~~..·-··::::_-:t:·:~:l= I

6 3 6 '

6

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.-. ....

,...

81'0

------1* "-13 - ---~ '* , ---------- -- J -21-2<} 18- ------ .. ,-_---21-21)--,B---~

-------- .. - ---······--161-4-13--- -- 161413----'--" . - -------.---.. '-'--21--1918--'--'--- . ---'

-E=:==-~.· .• _~===-:~-.- ~~=_~ .. · .. ~~~~=~=~~-~ .••••• _·.·.-.~=_····~~_~~.-:~_1.~ .. ··.· .••• ·._·.·.==~~_.~=.= __ --~~:: __ .~==:::~~_::::---~?~~=: •. :---~~:~~._~11!=-~~

----_ .. _-_._-----,.-.- _----_ _ .. - •.......... -. __ - -._.-_._. __ .. -_._ .. -_--------"_--------_._._-"_---_._... ---_ _--

-

..

,...

Example '0

-

- ...

Hoving been very influenced by Stanley Clarke, Victor sought ways to emulate his speed and technique. He found that by using his fingers alone he was unable to play triplet passages as fast as Stanley and so developed an interesting technique involving the right hand thumb and index finger. He uses a down-up stroke of the thumb followed by the index finger to produce the three separate ottocks.

- ...

- ...

- ...

Example lOA lone note triplet exercise):

- ..

- ..

-

-

,.

-

-

-

-

-

--

-

• -

Example lOB (three notes):

-

-

..

-

..

-

-

-

-

--

-

-

1

..

Example i OC (six notes):

.. ··'")!.·~=l[·~=~:?-~~s~:::.==:r~:.i::::: •. ·.:.··.-.·:~.·:L·:C-~t=t-:::¥-=:f--:=?±=:=t=i~~ ... =~.:.r-=::::f:::--~e+¥=-~:n F~£::::-E-~-:E-·E-·E--!::::::.E-·· ~-'!::'-E-±=: ~-f=:--~~,=-a::± --!::--=;!::-"'~~Z3

6 6 6 6

Tbt, Tb t S Tbt Tb t s Tb1 Tb 1 S Tb! Tb t s Tb! Tb t s Tb! lb T s TbJ Tb t S Tb.!. Tb t s

_F~·~~~~· __ ::~:·~!.~~·~~~:·i·4~.~:_~-.:~~~~_~~=~~~~~.~~!~.:~~~~~~:-';~=-~;~~ .~~~::-~·-t~3

In order to further emulate the Stanley Clarke sound, Yicto~ uses a tenor bass (tuned: A-D-G-C) with a lot of high end and a very sharp attack.

.

On this song, Victor uses mainly the E mojor pentatonic scale [shown here fingered for a standard four-string bass}:

I '

You can hear from the example on the recording, that the scale works well for all of the chords.

Victor's Jam showcases Victor's jaw-dropping slap technique. If you've been fortunate enough to see him live or on video, you've probably noticed how little movement he requires to create a flurry of notes. This is due to his use of both hands together. You can get your feet wet with the "open hammer pluck" technique shown in Example 12. Then, add more notes by using index and middle finger pops. This is done in one rolling motion with the right hand and creates a "Hem," like a drummer plays (Example 13). After you get this down try Example 14 and then the entire solo. Just remember to start slowly, use a metronome to stay steady, and be very patient.

---~

Example r 2: "he Open Hammer Pluck

3

~~i#fc4~~Er~~rn~

Th·1STb s'n,HSTb S

~-~E~~=~~~-::==·:o~,~··~·~~ .. -·.~ .• ·.··=.·.o=~;~ .. ;==~~~-~=1

Example '3

Most bass players will use a down stroke of the thumb, followed by an upward pluck with the index finger. If you combine the thumb with an upward pluck of both the index and middle finger' you can get a very fast triplet, which, when muted, gives an effect similar to a drummers flam.

- ....

~ • .. ...

-

• -.::r=='~-'-"~:-:' ...... ~.:~'111~.:. .... W· _. '::'-=X=~:t~:.::.~~- ... -tfg~-OC ·V--·~:

. ~-..- .. __ .. I....... . _- .~._ .. m......... .. '-'-p - .-_.. - -... - _. -- -----.~ .

..:::.: ..... _ ...:::.:.._==7Il==.= :::==". := === =1::=::::: .== ..... = __ == .=::-.::::=~=. - -.-- __ --. =- .:==:-:JL--~.:

Th j m Th i Th mTh Th m Th i m Th 10
I x---c----x 0---* I II
6-'---4--- 0 " 5
a- e e
------_ .. -_._- -= You can also apply notes to this technique and produce fast scale and arpeggio techniques. It's easier than it sounds, so experiment with the technique and have some fun; just make sure you groove with the drummer!

Ie 14

re is an example of the main bass riff upon which this tune is built. Nole the use of the open string "hammer _-JHJ\.. .... " technique.

~~~t~~=.~0iJferfF::cfrF::-~-:~__3)==J;;~'

T S UlTTb lb STb S -Ib Sib S rs

t-R--~ -~~~:i~=::~~=~2~' ~~~~~=r=~~=~==~~~~-~-- _; ~

"'--" '-----'

I

-.~

This tune continues to showcase Victor's funk prowess. Example 15 shows a more advanced "open hcrnms

,

pluck" pattern thot relies on rapid string crossing for its impact. It really sounds a lot harder than it is, so give it

shot. When you can play the sextuplets smoothly try the basic groove pattern found in Example 15A.

...

..

....

..

~

Steve gets to really cut loose on the opening cadenza! He's using a combination of delay, distortion, compressio and reverb to create his sound. The fretless really beco~es one huge whammy bar. In this case, the sound real! helps to give the notes more impact. So break out your effects and go to town.

Example rs

....

..

Here is yet another example of Victor's spectacular triplet technique. As you can see, once you have a com man of these basic techniques, they can be applied in many different ways to many styles and playing situations.

..

This example utilizes the "open hammer pluck" technique (see Example 12). Here, Victor begins by playing a open A followed by a "hammer" at the octave on that string (A, 12th fret). Then "pluck" the open G with th right hand index finger; this produces the first triplet. The second half of this lick uses the same techniques. Pia the open D, then "hammer" the E at the 14th fret on the same string. Now "pluck" a high B on the G string (161 fret). Now slide the lick down a whole slep [use the same open strings}.

II

..

,.

..

6 6

...

Th. S Th. S Tb. S Tb. S

------~·····-····t6·· -e--~--.14_4---__,,11

f---i-----. -&···-M--~--·-··--e-~1H12'---------H::

----6~1-2- . e ·--10

. __ . __ -._-----

~

..

..

"

·

Example 15A

A

·

AI

·

AI

16

this song, Steve essentially plays a "lead guitar" part, using a Korg Ai for distortion. Using Ihe stereo outs on unit, he then blended his dry (no effect) and wet sounds (with effects) in the mix. Along with distortion, Steve is using an aural exciter Ito add presence), compression and delay.

Freely

8va - - - - - - - - - - - - - -- - - - - -. - - - - - .. - - - - . - - - - - .. - - - . - - - - . - . - - . - - . - - - - - - -1

AY1H ~

rm~$~---:--~~~~;fJt1hW~===I

.7

artificial and natural harmonics are used to get the really high notes, further giving the impression of a lead iter, ruther than a bass.

add l Sma . -I

harmonic

~.. ------·---····---····----··---·--·---·-·-1· ------.----- .. -·-------··-·---···16---·------- --- --1o(28}--·---

~_:_j~~-~~==-~:=-== _:-=:==-= -~ ~- :~~~

* This harmonic node divides the string in half.

18

sound of a Harley revving up is produced by sliding up the fingerboard on the fretless bass.

N.C.

I

.

B

t':"I

~~~~~~::~~=~~~1

--------------------------------------------------------------------------~

Emerald Forest showcases Victor's two-honded accompanimenf and Steve's fluid fretless work. By playing two

I ..

notes wifh each hand, Victor creates a rolling bed of 6th chords for Steve to solo over (Example 19). Using the ii·

V-I cadence from Example 2, you con create the same kind of rolling effect (Example 19A). like the previous pattern, try moving it around in whole steps.

....

-

-

..

-

.. ..

Steve uses a different approach to this same effect in Example 20. He creates a rolling arpeggio with artificial harmonics and moves to the upper node 17 frets above the fretted note. This produces a note one octave and a fifth above the fundamental and adds upper extensions to the chord voicings (see Advanced Rock Bass).

I

Example '9

,. ..

~ ...

.-

..

- ..

... ,.. ..

"" ...

,. .. ,.. ,. ..

On this song, Victor lays down a two-handed tapping ostinato bass part providing a pad, over which Steve can play the melody and improvise. The first half of the ostinato pattern is derived from an E major pentatonic scale beginning on low E on the E string. The pattern then repeats, up a fourth from A on the A string. In the following examples the notes played by the left hand are stems down and the notes played by the right hand are stems up.

+ + + + + + + + + +.;. + +

-----~==--=---.. ..,-,- .. -,-----,---.-----.- ... --,~

------2----_ .. _,14_·- __ 16_ ,&-16--1~~-=*_:::~'2:=~=~~~i~~~~~~--,-"-' !~~' FdI

Example 19A: (not on recording)

A ii-V-! cadence using two-handed topping technique.

8va

Dm7

- - - - - - , - - - - ,- "1

+

+

+

+

+ + + + + + + + + + + +

----------1-5---,--·-4-1=====---1;2===415-5- ,1&~----"-.m"·--1-4 f&-- __ · --~17r--~21-----..f._1_,_d.1

.. ·""- .. ·---~------1i)----,--- - - .... "'" .. ,-,, .. 16--

--,--- .... " .... ------ --- ".-6-'-, .. -"-.-".,,---

'"

-

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,.

...

..

..

,.

..

..

..

..

..

..

...

..

+

III

..

.. ..

-

20

Here, Steve sounds like two people playing at once. He plays 0 bass line while simultaneously playing an rpeggie-style accompaniment part in harmonics.

Top voice: A.H., l Sma (throughout) Bottom voice: 8va (throughout)

~n- .

-_-_.

~~~1fj_~f=~E:J'J~

--~-----------------------16(i2BJ - --j

~C===-- - _-~~-=---~~~~~=~=~z-~~=_=:: .l .•

---15 -15

. L£l=l~

_~ __ __ fI __

-- - ---- -

I ----.--

qo

This is Steve's 5010 piece. In it, he relies on an open D drone string to serve as a pedal for the moving voices i the chords (Example 21). Note Steve's signature use of artificial harmonics. In Example 22, you can see hethese are used to produce an Em6/9 chord by moving to the 17th fret node. Example 23 shows the harmonic available on the open E string. SIeve explores the whole concept of harmonics in Advanced Rock Bass.

......

Example 21

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,. ... ,. ... ,.

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~ .... ,.

... ,.

... ,.

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.....

- ...

- ....

,. ....

This solo piece by Steve is a great right hand study. The melody is played on the G and C strings while the opel D pedol tone is played "In the cracks."

8v{I (top voice only) - - - - -

D1 r

-

-

-

...

- ..

U_ "f r

Lfj ~d

"r / ... r

_-- -_-.-.'. - ,., ..

... ,-~- _ - _ - .

_ ..... _ .•...... ~ __ .. '.'.' . 'f

:-0'" ~~l 4-f' _::: __ :_:: _::::4._ j .' •.•..

-

...

- ...

-

...

-

...

r=>;

... 14 -14-1 ale -) - - •. - .. 18------' 8-----19---19-18-----16----1 4---- •.. _.1

'4·····14 -- .-- 14--- 14· ,-",-,11 ·-----17-------11--16--1-&--117-----15----

o -0- - - --------------------------------------------------------------... - ... - .. - .... ---.-,-- .. - ..... -.--.-~- ... -- .. -.--- ... - .. _ ....• _ ... _-_. __ . __ ....•.... _----_ ..

.... --.- .. - - - .. --.-----,.- •.. --.--~ .. --.,. ~-.- ... ,.---.--- .•.. ,. . .. _._. __ . . __ . -,., •.. _._ .... _._ .... --_.-._--"._._--------_._-_.---

-_. __ ---_-_._ .... _._--_'--_._ _ .. _-,_._'--"--------_ .. _,_' .. _-----_._.-.- ... -----.----~ ..... ---.--- .'._--------_ .. ---_._. __ ._-- ... -

-

..

(8m)

C7

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- ..

- -- - -1

AIL· --,

_~gi=~l~J~:~d~~± .. ~~i~J]~f~ .. q~ .. !:~i'Gi~.-~=c]

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,. ...

, ..

1/1 ..

...

, ...

, ...

-

..

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.-__:::::;;iiil_

is piece also serves as an excellent example of harmonic technique. You will notice that Steve a~cends through arpeggio using harmonics at the octave (12 frets higher than the fretted notes), he then descends through the _·· .... o'· ... lo, up a fifth, by sliding his right hand further along the neck and playing the harmonics a fifth higher 119 above the fretted notes.

,---, A.H .... "'1 A.1I. " .... , .. ,' .. " " ... " .....

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. this example, Steve demonstrates the "E" harmonic series of artificial harmonics on the G string. Beginning with on the 9th fret, he then plays the octave E at the 21 st fret, then the 5th (S) at the 28th fret, followed by the next E the 33rd fret and G~ 01 the 37 fret. Obviously, you don't really have 37 frets on your instrument. Instead you st imagine these fret positions and locate the notes by ear. Once you find the" spot", memorize it's location. u will be surprised by how, with a little practice, you can find these "off the neck" harmonics very quickly; Sieve Is this "muscle memory." Experiment, there are many other harmonics available .

. Harmonics follow the overtone series, which means Ihot the same harmonics are available for all notes.

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This is the showpiece of this entire collection. Victor takes every concept that he has used to play funk vocabuk and uses them in the context of linear bebop lines. He uses his "double thumbing" technique (see Example 13) play scaler lines (Example 14) and the head (Example 25). Although this seems mind-boggling, there is a polte to it. When playing an eighth note scale passage he uses down/up strokes of the thumb. Triplets are piaYE thumb down - thumb up - pop. Finally arpeggios ar~ played: thumb - hammer -- index - middle. All of the techniques are demonstrated in Example 25A

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In addition to some incredible soloing, Steve does some great comping on this track (Example26). Note how uses crtiliciol harmonics throughout to make the chord voicinqs more interesting and clear.

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Example 24

In order to ploy Donna Lee with the incredible speed and driving feel with which he does, Victor uses 0 downstroke with the thumb combined with an index finge~ pluck (see Example 13). To gain command of this techniq practice the following C major scale using the indicated right hand fingerings.

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Here is the first section of Donna Lee with complete right hand fingerings.

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by Steve Bailey and Victor 'Noato

Ballad shuffle »= 176 Steve:

N.C.

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by Steve Bailey and Victor Wooten

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T .' V .• . • __ ....... _. __ .. ••• ,_ .. _._... :

r-t-- .---- ·-·--------'t---------J

I--R--------------+--------+------------

,~'-------- ----_._._----- '-----------'----------'

__....,--15--1~'&-------16-----1---15--------.--~------1~6-15--;--~ .. -- ... ---.--.~.-. '1

1--:;:-----'16------15-16 --- - --1&-·--------- -6---- '9~H-13---

1---1---------. --- ... --.- ... _ ....... ---.... ~------ ... --- ... -.

-i- .. ---- - ~ ~::~~===- --~.::-.- ::J

E7 All

tBva) - - -- - - - - -- - -- - ..

All

Bass Fig. 3 - - .- - ~ -.- - - - - -. - '.- - - - - - - - - -- - - - - - - -- - -- - - - - - - -- .- -- - - - - - -- .

8~------------------------------------------------------------.

+

+

+

(8va) - - - - - - - - .- - - - -- - - - .. - - - - - - - - .- - .-. - -- - - - - -- - - .. - - - - - - - - ". - - - - .- .-. -- -, - -

E7 All E7 All

~i~~~~¥j~=?~:=f=::=~_g§f~=:-l~--~:-------'- ~iiiiiiiiioool.

- - - - - - - - - - -- -- .. - --- - .... - - -- .-. - - .. - -- -- ... - - --- (end Bass Fig. 3)

(8va) - - - -- - -- -- - -- - - - -- -- .. ' .. -- -- -- - -- .. .. .. - - - - .. - .- - - -- - --.. -- - - -;

c'l1ffit.t1~t~E1pf~~f~@f==t~BC]~~]jPr=C:Fihft~~

15ma - -- -

(8va)-------- .. --- --------, MI.-

~i~=:-= -:==c:!~:=:[~~~--:!=:~~~4ft"--=~=I! - =-:~-=~-::~::_~.._~

.. -- _ .. _,

- .- -. -- ... "'1

Sva .. -- -- ... - -- _. --- - - - .,

If'

-

(If -

15ma-------, Arnaj?

A.H. - - - -. - - -., 8va - - - -- - - - -- - - - - - - - - - - . - - - - - - - - - -- -- -- -- -- -- -- -- -- - -- - - -

'/§'2r-+=\~': -~~~~EE·~¥=~- - t~~f~Lt~~-~_~I~~-~==·--=:.:=_=-===:==========~ _3

A.H. -- -- - - - -- - 1

f-------13(25)-16(3)~ .. liiL· .. f--------·-1-6---r16-·-----------16-~----

~~~---------------------1-S--1-6~------.~~~~~~~~~~~~~~~~~~~

8m- -------------------------------------------------------

-~Ef~ iffJ B kr:r @t~tfe:ifr=

~~.~ ~- ~--.==r==i.. ----4c:::--w===

.. ....

6< ....

+ + + + + + + +~ + + ~ + t--.

---.---.------.......... - -·--1---- ~-16-18 21--16~

---·-18-16--1~- .. ------- .. ···----- .. - .. -------··- ··· .. · .. ·---14···16-- .. -··-----14-1&----18·---·

-===~!-·16-==-_:_-------1;:!~~16-1~6·--1~----= .:~-12====--=------=--1_ _ - ... -----.-

Gmaj?

top voice 8va - -- - - - .- - -

A.H .... - - - - - - -- - - -

A.H. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- -- -- - - - - - - - - - - - .

(23)-t-t(25) 11(23)~ --~21) 9(28) 9(21) ~21)-

1-f-JL-_~4_._----'t-1(} 1(23) 11(23) '" 11~) 11(23-i1=~~~1}-'-~21) 9(28) _ 9(21) 9(21) _

~~T-------------4-7~~--------.----============~_-_-_-~1~~~-------- 4

B

(top voice 8va) - - - - - - - - - ._ - - ._ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

A.H. - - - - - - - - - - - - - - - _. - - - ._ - - - - - - - - - - - - - - - - - - - - -- - - - - - - - _. - - - - - .

Fmaj? m Am7/C mA7/C~ n

fTl =~JTI fn =~fTj

~K------------------------------------------------------

(top voice 8va) -- -' -- .... - - _- _ - - -- - - .- - - .... - - - .. - - _ - -- - _ .. - _ -

A.II. _ - - - - .... - - - .. - - - - '-

Dmaj1 m

n

1

nn

J>

A.H. - - - - - - - - - -- - - - -- - - -- - - - - - - ." - - - ._ - _ - - _.. - - - _.. - - - ._ - - - - - _. - - - ._ - -

(top voice 8va) - - .. - - - -- - -,

A.H. _. - - - - - - - ._ - - -- -- .- "1

c:aFf J ) n

B7 sus

A.H. - - - - -- - - - - - - - - - -,

(end Bass Fig. 4)

L .. _ 3 ._ .. _.1

w/Bass Fig. I (2 times) Eq9

Steve's Solo:

l!a~l;~

±~~-=-~_~M-8~"'t~W ij ~t:f r~

(Victor continues simile w/Bass Figs. 1,2 and 3)

&~----~---------------------------

(Rva) -- - - - - - - -- - -- - -- -- - -- - - - - - -- - - --_ -- - _ -- - - --- -- -- -- -- ---- -- - - - - - - - - - -- - -- -- - - - -

A ~

·=Hf~~~=1~~~~OO

L_ 3 __ .J=~ ~

J5ma -- --

• ..

• ..

..

--

!------1&-------16-v---.~16_-'f6(28)_'fa_16{26} --- I ===J

~----_------~-_1-&-- ~__ :~:a}-1&{~!-~~~--~_-- 16{9?~~2&)----_-_~

~L---------------------J----------------

A.H_ - - - --- - - - - - -

-- - - -- --- -- - - - - - - -,

Sva - - - -- -- --- -- - - - - - - - - - -- ---

-- - ---1

...

...

A_II_ - - - - - - - - - -1

&---1!&-1-&-- ,p ---~16--20 X 15(27M&f2&} ~

1-...,------46-----1&-16-16---'1(;-1&--- - -1&- _ _:__:___:_":"__----t"6(28}--

I-+-A----16 'u -'18-18-16-16--- ==:::========:=:.~&f~'28:!t)~=====~

,i----'~B..___-_- __ ---------- __ --_- __ - -_~==_-_. __ .:::.__________ _ = __ ============

Sva - - - - -- - - -- --

~------------------,---------15__t_l1S~4_!155__---------H15;---t1B-1~ __ - ~-..r---------15S=!16~~1 ... ~Hi======1==-=- =!1~~1~6-~1~6==:=~===16-1S-15-16-1-6 _

A - 1~

...

,.

B

ffl~)--------------------------------------------------------

A Arnaj?

_ ;pff=f-1tg~Y=[={=fc=Fc('~c:I=p~:=!== - .. ~

--==1t~ --~- ~ ~ --- ---::_~=:..-----------il:=~=~I~~~~~::::_ffi=:::f:==A

15------16 15-------------, 'O---f6--~" 1

1-,..------16_16--15-1&-1& 6-16-15------16---16-16---15----- _---

1-+-------------------------------------_-1& ------ 14--

~=======================t============--==---

...

..

r----- 3

------I

--_ ... _.,

l_ 3 . .1

.....-..

5- 11 11

, .'

15ma---------------------------------------l A.H. - - - - - .- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -,

----

A.H. - - - - - - - - - - - - - - - - - - ... -- - - - - - - - - - - - - - - - - - - - -,

---

Arnaj?

8~-------------------------------------------------------

faa: HE" rt r Hi ME t ~r=tf!=ftf; Ed UB

8 18 18 18 18 16 16 __ 1_6 __ 1&-_-_+:-16--45- '-18_0 to

6 16 16-18-466-----_-It-----------· =t

E7 A7

( 8va) - - - - - - - - - - - - - - - - ~

" r-F .,..~ f"_ ~__ - c-~-ct=tZelL;.-:__ -_jj---' __

E7

....--.. ~----~2+1-~2~ar--,~o~==~,~-~1·~D--~-----------.-------~1f;1---;1·+__1a__44---------_,

:=~:=============::'v:=:'v:=======--=-~_-_-_-~~~ __ -_~ __ -_'lr-_.~_-_~:~-2~~.~1-a~~~~==1:a:=====~~-~~_-_-_~_._%2=====----- .. ~-~-_- __ =-ttfj-_--t_

-

E7 A7

(81'0). - -- - -- - .- - - -- -- - -- - -- - - -.. -- - - - -- -- - . - .- - - - .- -- -- ... .- - -- -- -- -. -- - - -- -- -- -- -.. - -. -- -- - - -- --

'~f)@fla

.. - -J

--.. --

I--~----;Z"P-~O-S -1~""""'------= ... 12-~_:-- -_ -_ -_ -_ -_ -_-_ -_ -_ -_ T"t-I ====~-l:'1""_-:_-_-_-:_--,-lli:-:~~~~~::-~~::::'::oe-=c--_-_-_-_-:_-:_-_-_--=

_I

E7 A7 E7

(8I'a) - - - - -- - .- - - - - - -- -- - - - - - -- -- - -- - - - --

A7

, 'II

E7 A7 E7 A7

~w)-------------------------------------------------------~

~~~#4=ir_:=frt=tsf'F [t[~·~.-~r-o:J_:::~~::_= .

.. 'II

-_--_-_._._._--------------

I--=-----~~,.:::;;:_~. t. t. ~~=--T-··---·----=--1-9~~-f8--,-:::---~--------

top voice Sva - - -- - - - - .- -- - - -- - - - - -.- .. . .- -- -- .. - - - - .. -- - - - - -- - - .- .... -- - - __ -

w/Bass Fig. 4 A.H. - -- - - - ... - - - - -- -- -- -_ .. - - - - -- - - - - - - - -- - -. -- - - -- -- -- -- -- -- - - -- -- - - .. - -- - - - --

(Victor) Grnaj? -n 1 F#m7 n

_ lor 11_ 1 . _ _ 1 J_] j = 1

- ~ : ~~~----~--- ----=--- .. --.~-~J~F~~:----·-- -- C

,. .. ,. .. , .. ~ ..

A.lt -- - -- - -- -- -- -- - -- - -- -- - .-- - -- - -- -- -- -- - -- - ....

I---------~-(t-}-+. t(2S} 11(23} 1 t{3O} 11(30} H(23}-) -----.I--9{21~l:-*1tt}-9-:-(2--;--!9Hl(2~8)._9(2t.\-----

1--~-----le-----------------------------~10r __ ---t-:-~-----------------~--

(top voice 8va) - - -- - - - - - .. - - - - - - - -' - ... - -- - -- -- - -- -- - - - - - - - -- .. - -- -- -- - - - --

A.H. - - -- -- - - - -- - - - -- - - - ~ - - -- - -- - - - - - - -- -- - -- -- -- - -- -- - - - - -- - - - - - - - - - - - --

;~~ __ 2 __ J_f¥r_;~:_~_~c~_~

t----------- .... -.u-".,-~9f,·,21~ "u,.. ",,,,

"

-

z,- ~~: ~{:1} z~z:::: 9{28} ~\'21H)--9-{2-1-) 9f9(2-1} 9(21} 9(28) 9(28) 9(21)

- ...

(top voice 8va) - - - - -- - - - - -- -- - - -- - - - - -- -- - - - - - - -- -- -- -- -- - '1

A.H. - -- - -- - ... - - -- - - ... -- -- - - - - - - -. -- -- -- .. -. -- -- -- -- -- -- -- -- -- ... -- - -,

DmaFj 1 } F1 J C~m7 m. .

Ii - - - - - t n ~. - - 7= Ai!'

~r+V-~~ -' - Ii ~F ~ ~ 3=/E u

~ - . . ~ :.--m---~Ef .. -' ie_

A.H. - - - - - - -- -- - - - -- - -- - - -- -- -- -- -- -- -- - - - -- .. -- - - -- - -- - -- -- -- -,

"" ) 13- -.---_,,------94-,-','26\--,-1-9--------

I--T=------+t{2&)}-__:_--'--t1~1('2i23iH)-..:--::-1f-11~(33EO~t-) ---';__;.-----«11---~!----9f,l.21) 9(28) 11 9

A

If'

A

ft.

..

~~B------t~--------------------------_4&_~---------~-~~------------------------------

15ma-----, Harm. - -- - - - - - - - -- --- -- --,

Cmaj? L I

__ _ I q~

F+)~~.- --

EZ_:. __ .-~ .::~ ----

B7sus B7

lLq~~~_~r~- ~~ _ _-~j~-~-~~-' 1~~~~ll

Harm. - - - - - - - - - - - - --I

B

-

9 9

I--~A------------------9--f----------9""·--~-+-------------+l

v

~.L-------------------L------------i--&-v----------u

(Victor continues simile w/Bass Figs. 1 and 2) E6f9

15ma - - - - - - - - - - - - - - - - -- - - - - - - -. Harm. lIarlll.- --. -- -- - - -,

~

/~~~~~6 --_~~--:~~~F:=r~~---· 4~ ~~~~~.---_-~--.- ~~l::::-~-~:::::=:::~=-=rtTI

Harm.

Harm. - - - - - - -,

-

~~I---~------~--+-~·~~i---------~---------------~

--A---------------+--------------4-----------------~

B

._

. Amaj?

~9~:~:~{~~._~~:~-ffi~~I~~~~--t~

,,--..

'6-----1.~ 5-- 3--. ---.- ... - .. ---. 13 15-16---16 18 ------16--1~

·····-----------t3--15-16 I -------- .....

1-+----~·41-----14""-<-1 --H-- -------- - -

I-*-----------"-....-""""":.__--+--.-- - ----. .-----1------------1

~_.._----------

____________ .____ _ __. . --l ___j

'6

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