JOHN PATITUCCI ELECTRIC BASS TRANSCRIPTIONS BY TROY MILLARD EDITOR DANIEL THRESS BOOK LAYOUI/COVER DESIGN JACK WALTRIP MUSIC ENGRAVING BOB SHERWIN COVER PHOTO RICHARD LAIRD INSIDE PHOTOS ROB WALLIS PUBLISHED BY MANHATTAN MUSIC, INC.™ © 1991 MANHATTAN MUSIC, INC. All Rights Controlled and Administered by CPP Media Grou lll Rights Reserved International Copyright Secured Made a division of CPP/Belwin, INC. S.A DISTRIBUTED BY: CPP MEDIA 15800 N.W. 48TH AVENUE MIAMI, FL 33014SECTION ONE: TECHNIQUE HAND POSITION LEFT HAND DEXTERITY BUILDERS THE SPIDER HAMMER ON/PULL-OFF RIGHT HAND PICKING EXERCISES SCALES ARPEGGIOS STRING CROSSING SCALES ‘VIBRATO AND DYNAMICS ARPEGGIOS BACH CELLO SUITE NO. 1 ING MAJOR Tracks used from Jobn Patitucctand On Toe Corner, countesy of GRP Records. WRITTEN RANGES OF THE TWO BASSES ws = Left hand vibrato bea JH = Hammer On Bub - ‘T= Thumb slap P = Pulloff - Pe Pall i = Muted ghost notes SECTION TWO: TIME/GROOVES 20 JAMES JAMERSON 20 JERRY JEMMOTT 20 (CHUCK RAINEY 2 GROWING a SLAPPING/POPPING. 2 PAUL JACKSON 23 FRANCIS ROCCO PRESTIA 24 ROCK AND ROLL 24 JAZZ/WALKING BASS 5 SHUFFLE % SEARCHING, FINDING a SOLO TRANSCRIPTION 2B SECTION THREE: LATIN, BRAZILIAN, AFRICAN AND REGGAE 30 LATIN ~ 30 BRAZILIAN SANBA/BAIKO 31 SOUTH AFRICAN 32 REGGAE 32 KINGSTON BLUES 33 CD TRACKING cor ou Song Excerpt 1 James Jamerson 1 2 Hand Position 3 LeftHand Denterity Builders 4 The Spider 5. Hammer On/Pull Off 5 Hammer On/Pull Off (Continued) 7 Right Hand Picking Exercises, 8 Arpregios 9 String Crossing 10 Scales AL Scales/Fingering #2 32 Vibato and Dyramics 13 Arpegsios 4 Bach Cello Suite No. 1 in G Majo: -+) Play octave higher than writen 1 Play octave lower 2 leny Jemmoe Chuck Rainey “Growing Sispping/Popping Paul Jackson Francs Rocco Presta Rocke and Rell Jaca/ Wing Bass 20 ‘Shuffle 11 "Searching, Finding” 22 Letin 13 Bralian — Semba/Baito 14 South Alican 15 Regaae 16 "Kingston Blues" Numbers above notes refer to left hand fingerings. When preceeded by “RH.” they denote right hand fingerings. Letters under notes indicate which sting the note is to be played on,EAS Been) 1 feel chat ive imponaat to play with one finger per fret spacing, keeping your fingers curled, and your second finger parallel 10 your thumb, By using curled Finger postion, the notes will have E major full and round cones wih a minimum amount of movement with the left hand. Practicing with the fingers curled will also make it potsible 1 play more fluidly and rapidly, with greater ease, RIPEN Pacer ee ee nba] Prac 22 everthing you do ta time. Practicing ia time will help develop consisteat time and a very dexterous left hand that can execute with efficiency and case. 's always important 10 lock in on the subdivision in any ATHE SPIDER Spider in Stis and minor 3rds—each note shoul case 1 The subdivision is the smallest part of the beat—in this notes. The drum machine patlern that [ am using con- sists of hthat paying 16th-notes, cross-itick on all quarter and kick drum on “1 into the next 1 314213 324 he poebe 2: DGDGDGDGDGDGDGDSG Practice exch exercise slo “gradually working your fay up the metronome or drum mac! DGDGDGDGDGDGDGDG ©, until you can play it sapidly 5Spider in octaves and minor 6ths: 3 £ BAA iL 8 ele ——— AGAGAGAGAGAGAGAG AGAGAGAGAGAGAGAG Spider in 11¢hs and minor Sths: 1344314213 24 31 42 t £ b - pk a t EGEGEGEGEGEGEGEG EGEGEGEGEGEGEGEG-AHIAMMER ON/PULL OFF Anoth way of developing left hand dexcerity is through the use of hammer on/pull off exercises. "Hammering on” is merely taking u inger and putting it straight into the bass neck. The "pul-of? that accompanies it, is pulled staight down with one fluid motion, H P Hammer On Pull Of ower to higher pitch) 13 higher to lower piteh) 3.2.1 Let's practice this in time: HO oP H P H P H P HPHP \ Ist, 2nd, and 4th on G string (C.D, pectively) hold your 3rd finger down on the A string, 7th HHH P HH PPHHH P HH PPHER PH H PPHHH P Now we'll mn the exercise over. 1st, 5rd, and 4h fingers on G string (C, D, Bt respectively) hold 2ad finger down on the A string, 6th fret-Db ee, ‘These exercises are going to build independence in each finger because you are isolating the fingers and working them—almost like isometre exercises, 7“The next exercise is a varistion on the hammer on/pull off idea, utilizing a chosd, This will help strengthen the 3rd finges, which can be one of the weakest fingers major 7 add 6 Chammer on/pull off between 7th & 6th fret) only the third finger will move. EAT adds HOP OH OP HOP HP HP HPHP gigi fi 4 24,130 514 247431424131 514 6G HP HP RDGGGGGDADGGGGGD ADGGGGGDADGGGGGD We can aio isolate the dth finger and do a simple pull off exercise to keep it in shape: Isolating th finger—ist & th fingers on G sting (CH & E}hold down 2nd & 3r¢ fingers on & sting CE & F) 2nd finger—pull off exercise. Isoliting 2nd finger—Ist & 2nd fingers on the G string (C& D) hold down 3rd & 4th fingers on the A string & F)RIGHT HAND PICKING EXERCISES} Refer to SECTION 1 for left hand fingerings. The following exercises focus on-w-basic okermiag-technitqre—down in Sth-notes, 16th-aotes, tiple, or any pattern in which iullzing the Ii and 2nd fingers on the right hand. Take sore- ce cgit hans i constanly required 10 play in time with defini thing simple like a scale and practice playing it sraight up and von and evenness of tone ASCALES E major scale in 8th-notes: 2123 12121271 pewweee PP Aten 1312212 i c — tt Notice how my fingers are alternating different patemns, Don't be ferent fingering patterns E major scale in 16th-notes 16:h-note triplets in 3rd: De1 24 2 simile * te pee a H 2ee —— AARPEGGIOS ‘Two octave E major arpeggio in Sth-notes: bua oo1l4411 44111244 Tada 2703 03 +e 44110 EEEEEBAA S AADDG GGG GGGG6GGG GGDDAAAA EEEEE Bua - RH.12121221 22212421‘Two octave E major arpeggio in 16ch-notes Ceame left hand fingerings) L241 simile go121221212121 212121212ASTRING CROSSING Here is an exercise that will take you from the bottom of the neck to the top. We'll go up and across in 4ths, then up in half-steps, String crossing exercise in ths, left hand fingering as follows: Ha a Wace re pa pf Bee — 1a 1 thee aot CooMoving more quickly through the progression: ‘You can elabonte on aay of these exercises by playing quavternote tiple, Sh-note wiplets, 32nd-notes, anything you want—the rain thing isto ger used to costing up and back with the right hand, Psi gigi ees aod SCALES [recommend that for scales, arpegsios, and everyching, uusiealy you ean refingera passige and make it plyyable, Fingering #2: “Playing up the & suing”AVIBRATO AND DYNAMICS synamics ane vibea~ When practicing scales i's important 10 use to to make the scales “live” a litle bic more, so they won't be so. ry and unmmusicel, [ basically use three types of vibrato, The jomto is classical gitar uibratoncy , which is fest type of achieved by pressing the string on to the neck and moving the Dynamics can also make the line goes down, we will decrease the ¢ynamic, E major scale (3 octaves) with dynamics and vibrato: note side to side. Another vibrato is used more in cuntent styles such as funk lic ate » Where you "shake" the note with a light touch on the string from side to side, The third kind of vibrato, used in biues yy, shakes the note up and doxva the scale sound much more musical. When the line (scale) goes up, we will increase the dynamic; wienAARPEGGIOS bein by king the F major apegsio and aoplying this simple fingeng pater which consiss of groupings of? and & ajor arpeggio in Bih-notes: E E major in 16th-ntes: et ing slighty for the minor arpeggie improvement when you pris ises, beginning very slowly and grad | You will notice marksBACH CELLO SUITE NO.1 IN G MAJOR Adapted for 6-string bass by John Pati cc ‘When playing this piece, the time should flow evenly ina freer siple rather than strict metronomic ume. Listen to Pablo Cssals* recording of this piece 0 hear the use of rubato in his interpretation. Please notice that this transcription is written in treble clef due to i's high register on the six-string bass 24313434 24313434 214343412145 34141 SS SS SS Se oS yee o—- < yocecocoDeDCCCDECD SGcccGC a A A cocGc@occccca D DoD FocGenco*daccenaed A 164327134323 011543 2119429421135 41352 GDGGCGDGDEDGGGDED DGCcCcCGNDGECCCCcScG 144424241414 2424 45149493565 ,434 42 P ; SS SS *6eGGcGcgaGcGcaccGces GGGGGGCGGGGD = poGcoGs4 412 12041244 7 aE 43253-2122 GGDDGGGcCcGGG 6 GppasDdoGccece boat tag oe oe pecGocGGDPpcGaccGcnDdDdD oe CeCe ee pec ce s Beecccocaoc 18SSS cGcGcGGt GeCGcGcGccGceccscGce CGAGCECGCGAGCGCG IDESECTION 2: TIME/GROOVES Time is the most impornt thing to worle on at a bassist. It’s important that your time is stu:dy, solid and easy t0 play with ‘You and the drummer will provide the foundation for every group that you are « part of, When practicing time, it's important to work with a metronome or drum machine and t0 be able to channel your emotions so that you can create a groow. A groove is simply a solid time feeling wich em expressed clearly and powerfully, without wavering, ‘A great way of learning how to groove is by listening to records with bass players who are masters at grooving—people A James Jamerson who make you feel like dancing when you listen to thei records. By saturating yourself with the playing styles and musi cal ideas of different great bassists, you will begin to learn whe grooving is. ‘The firse groove that Dave and I will phy on the tape is ia the style of James Jamerson, ray first big influence on the bass, amerson wes the king cf the Motown sound, playing on many. records in the ‘60s, including Diana Ross and the Supremes, The Temptations, The Jackson Five, Stevie Wonder..ll the great Motown artists. This is a simple *Motown-ish” kind of groove that Jamerson was best known for. Bogs ——— 2 A jerry Jemmott Jemy Jemmott is another o: Jerr?’s groove fiom Memphis Sov Stew: my favorite groovers, I fist heard Jerry on a King Curtis record called Memphis 6 ee ul Stow. Here is 20ACbuck Rainey (Chuck Rainey—like Jamerson and Jemmott—had 2 big influence on my playing. His use of 16th-notes in a Muid motion, and hie use of double-stops, are particularly interesting. The next bass line incorporates both of these ideas AGrowing A very important part of grooving is hooking up with the drummer's bass drum pattern The next groove is from a tune of mine called Growing, ftom my first record. Notice how one or two-bar patterns wil help to establish a nice rhythmic feel which you can then elaborate on. Hooking up with bass drum patterns Growing ‘a.Tvs also possible to have your bass line work “agtinst” or play off of, the bass dlnum, In this next groove, we're going t bass dram and show how it ean produce an i Playing off of the bass drum: 2 ASLAPPING/POPPING Toumb slapping and popping are par of a style that began in the ‘60s. The originator of the style was Larry Graham who played with Sly and the Family Stone, and later with his own Graham Gentral Sation. The style was carried en by Chuck Rainey, Lovis Johnson Sanley Clarke and later on by Marcus Miller, Will Lee, and many others. ‘Tae next groove is 2 basic thumb/slap groove. The thumb is hitting with the bass drum and the pops can either be associated with the snare, hi-hat or any of the other cymbals. F 2 22‘A good way to practice thumb slapping is to use a metronome or drum machine and practice the major scale in Slh-notes. To prac- tice popping also use a major scale practiced in time. Now lets practice thumb slapping and popping by playing the major scale in octaves Slapping/Popping over major scale in octaves: TPTP TET TPTP TPTPTPTP TPTPTPTP APaul Jackson “Another fine groover on the bass is Paul Jackson, bes: known for his work with Herbie Hancock. The next bass line is an ‘of Paul's syle of playing. Notice the type of vibrato usad, and the “finger style” of funk. Bia --- wy (ligh®) 2:AFrancis Rocco Prestia Francis Roceo Presta, whose finger style funk became pp ‘hat he influenced the 16th-note percussive with Tower of Power in the "70s, is another important hastist. fee 1c0 Pastorius. The next bass line illustrates this kind of feel, de the. AROCK AND ROLL Rock and roll music has giv ‘Toclay’s influential rack basi note pulse, say great bass players: Paul McCartney, John Entwhis s include players Geddy Lae and Billy Shee f the Who, and Jack Brice of Cream. san Here is a basic rock and rall groove utilizing the 8th- Bih-note rock grooveAJAZZ/ WALKING BASS Jaze music has produced a number of amazing bassists, both on Upright and electric bass. Its important to go back to the :00ts of the upright bass and listen 10 guys like Jimmy Blanton, who played with Duke Ellington, Ray Brown, Ron Carter, Oscar Peuiford, as well as the great players of today, like Stanley Walking bass (F blues) Clarke, Ede Gomer, the ist goes on and on, Ons of the main styles of jazz playing is called the walking ass. This pavern is related to the rhythm glayed on the drum- mer’ ride cya 1g together to create a feeling of forward ‘motion, Here's an illustration of ‘walking the blues" in 4/4, t Be se ‘ i ee-ASHUFFLE ‘The shoffie is another interesting feel, which can be heard in blues and gospel music. Notice ie has a kind of a lazy, “behind th beat” feel Shuffle (Swing feel) we Dave Weck!John Patitucci ARIS BAT bene = = ——— eee = 2 3 EW u cen CB BABEL Fett Fad Solo over form @ 1988 Litha Musie/Iecuttap Uked by Permission, Intemational Capyright Secuved. ‘Made In USA. All Rights Reserved. fees‘SEARCHING, FINDING” Bass solo following the saxophone solo: = == ii —— : = SS | 23 cepenlomogn of l eR opr AbTE BATH ENP. cel 4024 244 dale eat Buse14,2 131244224 Rta DGcccas ce 21433 0 y 5 43141344 45141341 ——— == cccaccalc eccaecceSECTION 3: LA! BRAZILIAN, AFRICAN AND REGGAE ALATIN More than ever, Latia music is becoming an integral pact of the playing, check out israel "Cackao” Lopez, Bobby Rodriguez at bass player's vocabulary. The Latin influence can be found in all Oscar Cartaya. Also look for records by Tito Puente, Ru, Kinds of jazz and pop music today. To hear authentic Latin bass Baretto, and the group Afro-Cuba.* ‘The foundation of this music isthe clave. su aucunamenmaiedse reece eee Wed ued eeu ‘ictnodietn stats Tht lle Jad eel remmamaormaveniyae 2 Jo) eT v de d | rameanemudtmen aes (tol eel bel Tumbao Drums 1 pesscmennmmas © dP adhe J 24) e: 2 : Say = *For an in-depth study of Afro-Cuban dhythns, refer to Funkifying The Cléne: Afro-Cuban Grooves for Bass and Drums, by Lincoln Goines and Robby Ameen, also available from Manhsttan Music/DC1ABRAZILIAN—SAMBA/BAIAO Music from Brazil has some fascinating bass lines. Two of the best known are the samba and the baido. The bass line for semba is derived from the surdo drum rhythm, Its baste shythm is in half-aotes on the strong beats, "1" and “3.” Samba Samba-double time fer You can learn more about the music of Brazil by listening to the music of Airto and Flora Purim, Hermeto Pascoal, Milton Nascimento, and Brazilian “pop” stars like Djavan, Ivan Lins and Tanis Maria,-ASOUTH AFRICAN South African music has some extremely rhythmic bass Lines. Paul Simon's Graceland album exposed us to some of these great rhythms. A friend from Angola showed me this very interesting and upbeat groove: South African ———— & Soe ee Sy a SS 7 =. — oo od ——— | AREGGAR Reggae is an extremely interesting style for the bassist, It incor porates a very free kind of chythmic playing that’s not found in other styles, You will hear this type of bass playing on records with Sly Dunbar and Robbie Shakespeare, also Bob Marley Ziggy Marley, and many others. ‘The right-hand muting technique used in reggae incorpo" rates the palm and the thumb. Rest your palm on all the strings back by the bridge and then just pluck, using the side of your Reggae shutfle thumb and thumbnail. I's imporant to roll some extra bass on your tone controls for mere "bottom," to create 2 firm founda- tion while you are muting, Check out the way Marcus Mller and Anthony Jackson apply this technique. The nex: example is a reggae-shuffle, illustrating this right hand damping technique, and the free flowing syle of regste bass playing, aoe ete,191 x/Acapella singers 2nd x/Everyone AA John Patitueci wee Band enterst— eo a © 1989 Litha Musie/ccutiap Used by Permission, International Copyright Made In USA. All Righis Reserved.D.C. al Coda Coda S ———_ Crescendo yA bee Pe He : Sf iz ——— = Pt 7 1 pe ou Bhs | =! a | re So + vo ueSolo section (8x) T we To[A (vamp and fade over melody)