Preface he purpose of this book is to provide the aspiring bass player with a wide variety of finger exercises in- dispensable to anyone wanting to develop the technique necessary to succeed in today's music scene. It can also play a very important role in a bass player's daily prac- ticing program. This book is dedicated to the memory of my father, Francois Turenne des Pres (May 4, 1907 / November 29, 1990) for his lifelong support and infinite inspiration, and David Paul Schuchman, (November 2, 1960 / September 1, 1989). His encouragement and help gave me the initial force in writing it. Josquin des PresIntroduction Approach to Practice SECTION ONE SECTION TWO SECTION THREE SECTION FOUR SECTION FIVE SECTION SIX SECTION SEVEN SECTION EIGHT. SECTION NINE SECTION TEN moving across the fingerboard variations on exercises from Section One alternating direction variations on exercises from Section Three skipping frets skipping frets, alternating direction moving between strings moving back and forth between strings finger independence (centered around finger #1) finger independence (centered around finger #4) 18 21 25 28 32 36 40 & ContentsIntroduction hese exercises are designed to help increase your speed, improve your dexterity, develop accuracy and promote finger independence. ii ven though all the tablature and finger combinations apply to the left hand, they will also work your right hand as some of them require swift and precise right hand moves. he numbers on the tablatures indicate both frets and fingers: Number 1 indicates the index finger as well as fret 1. Number 2 indicates the middle finger as well as fret 2. Number 3 indicates the ring finger as well as fret 3. Number 4 indicates the little finger as well as fret 4.il ractice daily, playing each exercise for at least 15 minutes before moving on to the next one. | lay each exercise up and down, then move up chromatically in half steps (a half step equals one fret). Starting at fret 1 up to the 12th fret and back down. fl lways use a metronome, playing 8th notes (2 notes per metronome click). Start at the slowest indicated speed, concentrate on your sound, then gradually speed up. hen crossing over strings be as precise as possible by watching alternatively your left and right hand. Approach to PracticePartA é Exercises with all 4 fingers moving across the fingerboard 5 Q 7) J = 60/180 up pown 1 FOSS FS 4 Teer | | ‘ reo EA + FA + + + aJ = 60/180 uP bown . — eeehe, —_— ° PEE pees Peni eie z fe tet Piya “a | meeB 15 with 1 finger remaining in the same position and 3 moving across the fingerboard= 60/180 DOWN 17 iiss pete yo 7 + Fi set + + £ 6 = i ee up DOWN 18 [PSS a ape DOWNDOWNaL Noa an tect Cae o8t/o9 = 7 pimoquabuyf ay) ssoio Bujnow g puD uomsod sums ayy un Gurmouias suabinf’ Z YNM saspioxy oO 441Dd1/180od brett gy pietetehe = piietttehert re 96 an - = po eee as 4 iat a cariietone = =e FF SS [aortic = dq deg oqugehe oa Fae oP li EG ce nawoa = anD with 3 fingers remaining in the same position and I moving across the fingerboardost/o9 =J =60/180 uP DOWN 45 betere beNOILOaAS T uonoag wy paurjucd sasia1axa ayy fo Su}DUDA V 440d0% —— 7 rt featttictetet yc og Nao an be 5 piede ete +G4 6s dn ++ = al an =e hoporte | ee Cus an ost/o9 = 7A alternating direction, with all 4 fingers across the fingerboard = 2 & 9 Q a = 60/180Nmoa ost/o9 = Panoquabuyf au) sso190 Bujaow ¢ pun uomsod aus ay) uy Burumuas Jabuyf | yn ‘uonea.tp Bujy;ouiayTD sasjosaxcp qf 310d wePart C Exercises alternating direction, with 2 fingers remaining in the same position and 2 moving across the fingerboard 4 = 60/180 DOWN 23we fiet—Petet , Tete! Peper ieentrtt tle NMoa an ost/o9 =f pinoquabiuyf'ay) sso1on Buyaout | pun uoyjsod aus aun uy Burujouias suaBuy€ ym ‘uonoeap BunpuiarD saswuaxg d 30dVariations of the exercises contained in Section 3 4 = 60/180 SECTION DOWN9% o8t/o9 = 7J =60/180 uP DOWN uP DOWN hepa er Fick SO rircd Ms ; - : aH sae 4 rere ogihe) Sapeeetepetttt nc. sa n - 7 pees a 4 eee t — 68 an ost/oo = 7 proquebuy ayy soi Bunaow suabuyf # 1p unm ‘sjauf Buyddiys 10f sasoiaxg, V ibd a & Q 8 2Part B Exercises for skipping frets, with 1 finger remaining in the same position and 3 moving across the fingerboard J =60/180 uP DOWN 29og ost /o9 = + pmoquabunf ayy ssoiov Buaow z pun uomsod aums ayr uy BunuDwas suabuy’z yn ‘say Burddiys 10f sasioioxg, Oo 340dPart D Exercises for skipping frets, with 3 fingers remaining in the ‘same position and 1 moving across the fingerboard |= 60/180 bow ae he. Ee mt] ee tees —S = a are f uP bebstiea be ote 31we NMoa an 8 = = 5 etittef pinta eas 8 a proquabuy ayy ssoio Buaow suabuy’p 1 yn 3 ‘uopaanp Bujrowior ‘siauf Buyddpys sof sasyoiaxg ° g V 10dPart B Exercises for skipping frets, alternating direction, with 1 finger remaining in the same position and 3. moving across the fingerboard /= 60/180 up DOWN 109 up DOWN up DOWN 112vs (ibe on an ost/o9 =F Pinoquabuy ay) ssoiop Buynow z pup uoWsod aus ayy wy Buyurou9s susbufZ yum ‘uoppenp Buypway ‘sjauf Bunddnys 40f sasiouaxg 0 WDPart D Exercises for skipping frets, alternating direction, with 3 fingers remaining in the same position and 1 moving across the fingerboard. J = 60/180 ° Dae = = Pedate rebere 119 4 a7 ene PPE Ti dicvepape age reer Loar Cr + = + + + $-++-2 +2 tae + Cf fi 4 up DOWN 359g ZI eT Zer sbunys usamjaq Guyaout sof sasoiex V 310d NOILOGS125) += 60/180 up DOWN uP DOWN 37NMoa an 3G Tet sbuuns Binddrys sof sasiuoxg q@ ddDOWN 39or ani eet Ec) er an o8t/o9 = s6ungs uzomiaq yuiof pun 3anq Bujaou sof sasiouaxgq V 40d NOILOASPart B Exercises for moving back and forth between strings, alternating direction J =60/180 up DOWN 41 uP DOWN uP DOWN 41ow NMoa an o8t/o9= 5 Burns uaamaq yiof pun ya0q Gurddyys 10f sasjouaxs Oo WDdPart D Exercises for skipping back and forth between strings alternating direction 60/180 up DOWN 43NOILOGS an ost/o9 = (uonow promdn) 1 ¢ sabuf pune. pasaquad sasjaiexe aouapuadapuy sa6un V 4dJ = 60/180 uP 155 DOWNor aa ES eee cet oat NMoaJ=60/180 uP a7Natoa NMoa — et = et = pie thick phe an ost/o9 = 5DOWN 49os fortte = o8t/09 = 7 (uonow psvmumop) | # Jabs puno.m paiaquad sasjaiexa aouapuadapuy abun @ 740d sorJ= 60/180 DOWN 51es ost/o9 =J = 60/180 uP 171 DOWNS| pt an an 08t/o9 =fJ= 60/180 up BS = be UP 176 iz ee eS POET ylgad yl ge Jobe es SSI ek 4 + a = ++ + 559s Naoa NOILOGS oie aoa SEE pe erg eset fictpietp pp the ttptelete pete tthe zn an O8t/o9 =" (uonow paomdn) py saBuy? 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Kao0y Lioptoba ty well any pop 24 or fey Bon, ‘Tow .N, 320u wos ‘nos uno ais am HLVaEYS XOVIE 0109900 phy 1 Op + ouvopow poy « Jodd, kog'» 84/060) wo * ¥'S'S'N 241 UI 7PER sOPAPUI 5 yNO4 9P4, 841 Ae popuo3es £0 suoydoauDy OOS Ssva SIUVaa sors 'Se109900 fu sP 990 a «09 #9 ete Uy ano] 'sepapul "ungje YysoUE fnouB sadns siy) 0} oyoy Gurpqou oy) @wnd—HuWsouly servis sovig “sapgsuodas IMOGUIO;UOD Of 52]5SD]> ous soanppes soysos spy *qDy PUD sejou suypyu0S {pg unyAG sspq 405 Ajssoudxe ou >su aut P juan oryRich Appleman Werklee college of music, bass department chairman, Bass Player Magazine columnist) “A very concise and comprehensive approach to the art of the finger exercise. A welcomed adaltion for the serious player's practice routine, We need more material Ike this forthe electric bass." 200 chromatic finger exercises Dale Titus (BIT instructor, session player) “This book is long overdue! Ifa bassist works through this book cover to cover, he should eliminate any weaknesses in either of his hands. A ‘must for the serious player designed to: increase speed, idy Sarzo (Whitesnake. solo artst) “Josquin’s finger exercises are the perfect warm-ups Jor the studio and stage performance.” improve dexterity, develop accuracy Bunny Brunel erbie Hancock, Chick Corea, solo art) 200 ways to a greater technique. These are defitely some very good ldeas to practice on your bass.” and promote Jimmy Brown (Guitar World, Guitar Sehool Magazine, music editor) ‘Never have I seen such a well organized comprehensive technique primer for the bass player. These exercises cover a wide range of technical requirements and difficulty levels that will benefit even the ‘most advanced pro. Yet, they are presented in a simple, uniform Jormat that even the greenest beginner will feet comfortable with.” finger independence Carmine Rojas (Rod Stewart, Michael Bolton, session player) ‘One of the best books Ive seen yet for developing technique for a wide variety of music. Excellent for beginners and non-begtaners.” ‘Mark Egan (Sting, Blements, Pat Metheny, Gil Bans, Solo Artist) “Bass ness will definitely get you tn shape for any mustel situation. along auoaited thesaurs fr finger exercises.” Barry Rudolph (afusic Connection, “new toy" column) “An aerobic workout for your fingers that wil force you to ultimately become « better player” Ron Garant (Bassies Magazine} "Whether you use these exercises to improve your finger dexterity or as warm ups, you will find them very helpf.” Karl Coryat (Bass Player Magazine) i you're looking for a catalog of finger calisthenics, this book's for yout!” AmevaA Venta por catélogo ‘npartado 276 -03590 Al “To: (96) 584 37 61 Fax; (96) 58438 64 13999 BUTT "0 HL.00660177 HB i temara Publishing Corporation CARVIN $88