JOHN PATITUCCI ELECTRIC BASS TRANSCRIPTIONS BY TROY MILLARD EDITOR DANIEL THRESS BOOK LAYOUT/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 Group, a division of CPP/Belwin, INC All Rights Reserved International Copyright Securecl Made in U.S.A. DISTRIBUTED BY: CPP MEDIA 15800 N.W. 48TH AVENUE MIAMI, FL 33014SECTION ONE: TECHNIQUE 5 HAND POSITION 5 LEFT HAND DEXTERITY BUILDERS 5 THE SPIDER 5 HAMMER ON/PULL-OFF 7 RIGHT HAND PICKING EXERCISES 9 SCALES 9 ARPEGGIOS 10 STRING CROSSING 12 SCALES 13 VIBRATO AND DYNAMICS 14 ARPEGGIOS 15 BACH CELLO SUITE NO. 1 IN G MAJOR 16 Tracks used from fobn Patituced and On The Corner, courtesy of GRP Records, SECTION TWO: TIME/GROOVES 20 JAMES JAMERSON 20 JERRY JEMMOTT 20 CHUCK RAINEY 21 GROWING 21 SLAPPING/POPPING 22 PAUL JACKSON 23 FRANCIS ROCCO PRESTIA 24 ROCK AND ROLL 24 JAZZ/WALKING BASS 25 SHUFFLE 26 SEARCHING, FINDING 27 SOLO TRANSCRIPTION 28 SECTION THREE: LATIN, BRAZILIAN, AFRICAN WRITTEN RANGES OF THE TWO BASSES 6— string all aa* = Left hand vibrato H = Hammer On = 1 P = Pull off T = Thumb slap — P= Pull f = Muted ghost notes Numbers above notes refer to left hand fingerings. When preceeded Letters under notes indicate which string the note is to be played on. AND REGGAE 30 LATIN . 30 BRAZILIAN SAMBA/BALAQ: a1 SOUTH AFRICAN 32 REGGAE 32 KINGSTON BLUES 33 CD TRA cpl cD i 1 Song Excerpt 1 James Jamerson 2 Hand Position 2 Jerry Jemmot 3 Left Hand 3 Chuck Rainey Dexterity Builders 4 “Growing” 4 The Spider 5 Slapping/Popping 5 Hammer On/Pull Off 6 Paul Jackson 6 Hammer On/Pull Off 7 Francis Rocco Prestia (continued) 8 Rock and Roll 7 Right Hand 9 Jazz/Walking Bass Picking Exercises 10 Shuffle _ & Arpeggios 1] “Searching, Finding” 9 String Crossing 12 Latin 10 Scales 13 Brazilian'— Samba/Baiao 11 Seales/Fingering #2 14 South African 12 Vibrato and Dynamics 15 Reggae 13 Arpeggios 16 "Kingston Blues" 14 Bach Cello Suite No. 1 in G Major ) © Play octave higher than written, ++. = Play octave lower by “R.H." they denote right hand fingerings.a SECTION 1: TECHNIQUE I feel chat it’s important ta play with one finger per fret spacing, keeping your fingers curled, and your second finger parallel to your thumb. By using curled finger position, the notes will have full and round tones with a minimum amount of movement with the lef hand. Practicing with the fingers curled will also make it possible to play more fluidly and rapidly, with greater ease. E major scale: LEFT HAND DEXTERITY BUILDERS Prackee eventhing you do in time. Practicing in time will help develop consistent time and a very dexterous lef hand that can execute with efficiency and ease exercise. The subdivision is the smallest pam of the beat—in this case éth-notes. The drum machine patiern that I am using con- sists of hi-hat playing l6th-notes, cross-stick on all quarter-nates It's always important to lock in on the sebdivision in any and kick drum on “1." ATHE SPIDER Spider in 5ths and minor 4rds—each é should sustain into thé next. 1 3 2 ,4 3 1 4 2 1 * 2 Ig: A 1 4 2 | De we oe: | be. = — St — — | Z = ae ‘i : I | i - * - D G DB Go B Go —B G E Go ob So Db G D G ba 43 4 2 aS facil 2 t a = Ss DGDGDGODBDGDG DGDGDGDGDGRGOGEDdDEG Fractice each exercise slowly—gradually working your way up the metronome or drum machine, until you can play it rapidly. & ) yup Pray PB 5Spider in octaves and minor Gths: 14,2 1 3 3 2 1 14 3 » be 2 4 ‘be —— AGAGAGAGAGAGAGAG AGAGAGA GAGA GAGAG Spider in 11ths and minor Sths: a ee i a 4 we = ae + be: i al pee tt |—_-t t = ie be ie —E G -— G E G .£- 6 1 3 z 4 3 1 4 2 182g eT Ae 8 ae ae ~~ he eH EGEGEGEGEGEGEGEG EGEGEGEGEGEGEGEG£ AAYLAMMER ON/PULL OFF Another way of developing left hand demterity is through the use of hammer on/pull off exercises. “Hammering on" is merely taking the finger and putting it straight into the bass neck. The “pull-off” that accompanies it, is pulled straight down with one fluid mation. H oT P — — Hammer On H Pull Off P (lower to higher pitch) 1—3 (higher to lower pitch) 3.—.1 = a — t t —+-——+ D OD D OD Let's practice this in time: H P H PB H P H POHRPHPHPRERERPHPRPHRE i H H P P oH dH oH P HH PPHHH P HH P PHHHE #E ON NE 1 be - be. - - ~~ 7 be ee fofeF obe?t fote2F iP: PP HAH P HWP PEO H.P A MPP Bn P H H LL NT NN NN ET NR NN NINES NEN OSS ob elt 0» # ae helen ote? belt opt et ——— ———! = etc. Now we'll turn the exercise over. ist, ard, and 4th fingers on G string (C, D, Eb respectively}—held 2nd finger down on the A string, Gth fret-Eb BoE? Be BOF HH SO SO Qo tet These exercises are going to build independence in each finger because you are isolating the fingers and working them—almest like isometric exercises. 7The next exercise is a variation on the hammer on/pull off idea, utilizing a chord. This will help strengthen the 3rd finger, which can be one of the weakest fingers. E major 7 add 6 Chammer on/pull off between 7th & 6th fret) only the third finger will move E47add6 H PH PB H P H P HP ae 4 Seer ; sg ae mug eee 24 143 143 14 2 i i ete te « to ete tt» #2. elettt-o eteot rs T r aioe Tipe — Se ADGGGGGD ADGGGGG&GD ADGGGDADGGGGGD FAtadd§ iP H PHP HP H P ao Aaa ao ao 24131 4 24131314 24131 4 241431 4 eee o ontata ott e 2 ‘pete — 2 — ere ADGGG Pp ADGGGOGGD ADGGG DB ADGGEG oD DADGGGGG&GOB GGG e@lc, ADGG DADGGGGGOB We can also isolate the 4th finger and do a simple pull off exercise to keep it in shape. Isolating ith finger—ist & éth fingers on G string (C! & E}- hold down 2nd & 3rd fingers on A string (E & F) ve H P H B H H P H H, _P H P H P ete. 2nd finger—pull off exercise. Isolating 2nd finger—Lst & 2nd fingers on the G string (C? & D} hold down 3rd & 4th fingers on the A string (F & FF) H P H FE He E H FP H e H P H Bs H ee ees aes ae ee ee eee ee ws ez - rs -_ -»« #£ 2 #£ = ef _s _f_¢ = , ———— en ee . etc.: RIGHT HAND PICKING EXERCISES Refer to SECTION 1 for left hand fingerings. The following exercises focus-on-a-basicaltermating technigre—down in Sth-notes, 16th-notes, triplets, or any pattern in which utilizing the Ist'and 2nd fingers on the right hand. Take some- the right hand is constantly required to play in time with defini- thing simple like a scale and practice playing it straight up and tion and evenness cof tone. ASCALES E major scale in 8th-notes: 2b 2 2.4 1 ; RH. 12121221 eee ee Notice how my fingers are alternating different patterns, Don't be afraid to try different fingering patterns. E major scale in 16th-notes: RH. Sse : Say 16th-note triplets in 3rds:re AARPEGGIOS ‘two octave E major arpeggio in Sth-notes: ooiil4dd41i 44111144 114 41144 £23421 441llo - - ze 7 ~ EEEEEEAA AADDG GGG GGGGGGGG GGDDAAAA EEEEETwo octave E major arpeggio in 16th-notes (same left hand fingerings): eee 121221212121 222) 2702:12ASTRING CROSSING Here is an exercise that will take you from the bottom of the neck te the ep. We'll go up and across in 4ths, then up in half-steps. String crossing exercise in 4ths, left hand Fingering as Fallerws: ooccO0UOCUOUMU 5] Sees ~s | el : EEAADDGSG GGDDAA EMoving more quickly through the progression: You can elaborate on any of these exercises by playing quarter-rioce wiplers, ath-note triplets, 323nd-nores, anything you want—the main thing is to get used to crossing up and back with the right hand. the development of your technique on the hass. Seales are esseni Fingering #L: E major scale—3 octaves ao 140 1 4 12 4A 2 2 4 \ 52. =e a 7 oe z 1 HE ‘ r = a i a a oe & T E A a) G Gud --- +288 ccc st ee 1 4 ‘ 142 2 ad 21 4 2 1421 4 4 4 TBS a ee pa eS Rees SSS | — ; a i G D A Je— J [ recommend that for seales, arpeggios, and everything that you practices, that you have several different fingerings so that if you get in a "jam" musically you can setinger a passage and make it playable. Fingering 72: “Playing up the E string” Bug.----+--225S eee By SR A Pet RH gor ol 4 4 ao & ~ BEE ga WP EE Ee i ae ot —— ———AVIBRATO AND DYNAMICS When practicing scales it's important to use dynamics and vibra- note side to side. Another vibrato is used more in current styles to to make the scales “live” a litle bic mare, so they won't be so such as funk music ey » Where you “shake” the note with a kind of dry and unmusical, [ basically use three types of vibrata, The light touch on the string from side to side. The thi ‘ : 5 c , ao B first type of vibrato is classical guitar vibratoy,, , which is vibrato, used in blues .,, , shakes the note up and dowa achieved by pressing the string on to the neck and moving the Dynamics can also make the scale sound much more musical, When the line (scale) goes up, we will increase the dynamic, when the line goes down, we will decrease the dynamic, E major scale (3 ociaves) with dynamics and vibrata:AARPEGGIOS Let's begin by taking the E major arpeggio and applying this simple fingering pater which consists of groupings of 1 and 4. E major arpeggia in Sth-notes: Se E major in 16th-notes: Sug +2077 74, 7 e142 EMEA TAD 4A £18 eo - > * Se af ro —= : - ote tt et | =i =SS225————— ee E la poG Ina e ! You can also break up the arpeggic like this: 13114113 ol4elid¢i = aA aren « See fet fee : £ ; mI tet i oni ch eee > eet td | — | = EEE Emmet DAGOGGGD GGGGGGDA GDAA AAEEE AE AA DAAE {?i t ” BACH CELLO SUITE NO.1 IN G MAJOR Adapted for G-string bass by John Patitucci When playing this piece, the time should flow evenly in a freer style rather than strict metronomic time. Listen to Pablo Casals’ recording of this piece to hear the use of rubato in his interpretation. Please notice that this transcriptios clef due to it's high register on the six-string bass. is writen in treble 2431343424313 434 2164 304 2 441 = ee ES ES Tt fe 7 = pt : oe — ot oy ee fe s a t ei DpoccDC De NCCE OCD EG toG A > GDGD¥DGGGDGD A 'DpDGDODB 16431211343231211343 2321342142223 41321 =a Se , t es =e oe —— = 6 ete J aie 3 GpDGGGDGPCPGGGRDGD DGecceccGcpPdDacecccasG 14124242414142424 43143 4213 5 35 6314 2 a a Sa eG foe cocGccoGcGacGcecGccs GGGGGGCcCGGEGaOD oe DDAA = i —t — i ee tg z 1 +e r he r oe _ PEGS Gp Pe Ge ks i ADDDDGG 17412 412 4 1.2.4 4.2 2414 = eee tt tt ee — = t 2 : ; oe + J = test GGDDGGGCeecacaea6 cog Dp ~# 36 C ¢ Cag Ge. € Et Da DB ow 34 42 1341 43 2 24431341 124: 2 2a 4 2434 wo =e A DGCcccCcCcCGBDDAAD DOD GOG E E i ey a ee » 1S SB 7 1 _——— Se! zi —_— | ey SSS ESS = : : -& wag SGP pecGGGcPRPDpesgoonondd e eecGcecaccccccece GGE 6 G.€ Get Gee boeuGg ¢-G ¢ A 1814 BS Bee SOE A Be eS hl 2 a =——_ : —— poe a eles cee fre ey : G Cc cena 2 ©eGcGee cae = o i Go Ge G €:G © ¢ ¢ Gt G6 4141 4.1 40 47; a a, 222.4 BU. Sh oy sat og ae Ae gf Bd i ; i GCepDGGDGDGD GDGDGBR G D cGaGcGceGecGgaGccacag IGESECTION 2; TIME/GROOVES Time is the most important thing to work on as a bassist. It's important that your time is sturdy, solid and easy to play with, You and the drummer will provide the foundation for every Broup that you are a part of, When practicing time, it's important to work with a metronome or drum machine and co be able to channel your emotions so that you can create a groove, A groove is simply a solid time feeling with emotion that's 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 Brooving is. The first groove that Dave and I will play on the tape is in the style of james Jarerton, my first big influence on the bass. Jamerson was the king of the Motown sound, playing on many records in the ‘GOs, including Diana Ross and the Supremes, Tie Temptations, The Jackson Five, Stevie Wonder...all the great Motown artists. This is a simple ‘Motown-ish" kind of groove that Jamerson was best known for. eo ea 2 SSS ee A Jerry Jemmott Jerry Jemmott is another one of my favorite groovers, I first heard Je erry's groove from Memphis Soul Stew: ry ona King Curtis record called Mempbts Sou! Srew. Here is = I r 3E = € Ts 20AChuck Rainey Chuck Rainey—like Jamerson and Jemmott—had a big influence on my playing. His use of 16th-netes in a fluid motion, and his use of double-stops, are particularly interesting. The next bass line incorporates both of these ideas Xt tf fy re re aL el a ell a tt te all al ry fel = S55 3 = 3 etc, AGrowing A very important part of grooving is hooking up with the drummer's bass drum pattern. The next groove is called Growing, from my first record, Notice how one or two-bar patterns will help to establish a nice rhy then elaborate on. from @ tune of mine inic feel which you can Hooking up with bass drum pattern: Growing 4] 4 )% o 37It's also possible to have your bass line work “against” or play off of, the Dass cum. In this next groove, we're going to play off of the bass drum and show how it can produce an interesting effect. Playing off of the bass drum: H H H serra B AF = I = = | — : Bs ee : —_ a ae aE T ay : fA i T TT “a ASLAPPING/POPPING Thumb slapping and popping are part of a style that began in the ‘60s. The originator of the style was Larry Graham who played with Siy and the Family Stone, and later with his own Graham Central Station. The style was carried on by Chuck Rainey, Louis Johnson Stanley Clarke and later on by Marcus Miller, Will Lee, and many others. The next groove is a basic thumb/slap proove. 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 ay 2. i : = ——4 t £ —— it € i bs — f — 2 7 = —e— om oe e = o oe - = - TT T FE 5 T T T T cE 22a] A good way to practice thumb slapping is to use @ metronome or drum machine and practice the major scale in Sth-nates. To prac- tice popping also use a major scale practiced in time, Now let's practice thumb slapping and popping by playing the major scale in octaves, Slapping/Popping over major scale in octaves: sc = o£ + -» q : zasasoae SS ae LLL TPT Top Eee TERT 2 Pee PRT eR Bee TPT P APaul Jackson Another fine groover on the bass is Paul Jackson, best known for his work with Herbie Hancock. The next bass line is an example of Paul's style of playing. Notice the type of vibrato used, and the “finger style" of funk. Sua - —= ; a+ (light) =f - F aa Glight) : I SS eS 23AFrancis Rocco Prestia Francis Roceo Prestia, whose finger style funk became popular with Tower of Power in the 70s, is another important bassist. [t's possible that he influenced the 16th-note percussive funk of Jaco Pastorius. The next bass line illustrates this kind of feel, Lead Harmonics AROCK AND ROLL Rock and roll music has given us many great bass players: Paul McCartney, John Entwhistle of the Wha, and Jack Bruce of Cream. Today's influential rock bassists include players Geddy Lee and Billy Shechan. Here is a basic rock and roll groove utilizing the &th- note pulse. Sth-note rock groove: oonAJAZZ/ WALKING BASS Jazz music has produced a number of amazing bassists, both on upright and electric bass. It’s important to go back 10 the roots of the upright bass and listen to guys like Jimmy Blanton, who played with Duke Ellington, Ray Brown, Ron Carter, Oscar Petiford, as well as the great players of today, like Stanley Walking bass (F blues} : Se Clarke, Eddie Gomez, the list goes on and on, One of the main styles of jazz playing is called the walking bass. This pattern is related to the rhythm played on the drum- mer's ride cym rking together to create a feeling of forward mation. Here's an illustration of “walking the blues* in 4/4. ta be rrr. r ihA SHUFFLE The sbufffe is another interesting feel, which can be heard in blues and gospel music. Notice it has a kind of a lazy, "behind th beat” feel. i Shuffle (Swing feel} a? = as a : = 1 1 eae — pete oe a 2 e m pe ee = Simile throughout Dave Wecki“SEARCHING, FINDING” John Patitucci Vamp pa 1G . 2) = E-tt cen Fay 8 BTEe 3 AbTHS FATE : FF tt ; i z — —— eS = L f A | t 1 ae a +e bas se Bp-0. oS :: He Za ew LL ow = 3 i 3 3 2 E-l fe Crll cise BbISEIL Felt Fall = —?,7 | wet = a cs 2 Z eee —— ee 2 = tt | Ll * 3 E-ll Ce FATS)y APAT IBY AJB + —— ae " =e —— ———— = Kt a ar oS a : Solo over form = ——F ee . F — © 1985 Litha Music/Tecutitap Used by Permission. International Copyright Secured. Made In USA. All Rights Reserved. >=“SEARCHING, FINDING” Bass solo following the saxophone solo: G GGDD Er ch oes -—> SS 312413 sy yeot Mls 2 oe Roe Fp 111.4 212 r= etter : Se oe» — eS = SSS SSS | 3 GGDGD)/GiIpyap «az| te : | Geccce ecg = 74 | Gee ¢ SSS Fil? BI = AbT#S PATHI E-ll CEU a T T ] a a a ee ee ea en a A = Bor oy oss | G CGDG DG Cir BbI3ei1 FF-11 FAT#L SS 5 SS —S 3 0 1 3 oe Poa oe 2 SCS es op ye yg Sg gg ~ z —___=_ == = = ee o CoG C ll hee Sa i Lae © Zs GDG'pDDGGG GDG G6 DD fe G OG6 Geco6ge | Frll . Cll uy —— ye st Pere ee 2 28x 1 21 4,2 ghadtdoao4 Tet t 1 ~—— ae he - T f at 7 = ==s ef — , ==5 ADD lee cee 8S Docc coos DEGe oC caDpDecGceae D FAT§g AbS7/Bb AB E-ll Ce SS 5 SSS SS Sa FS SS 24 1 kod 2. 2 a A oe 2 de BR oe 2 4 —_____F a eS ee ot oS eceC GCC et GG ——_—— Gppc ©®6Cecgaccéce E-ll xe i poe ee re == == = a Ne TTF gan a vg 5 13 1 — —— 1 3 2 43 14 =? oo — SS F 2 eee a = ue DP Gepoe he fe eb eee St GPA SoD ASA BI Ae oe EAE ; Ell yf ==> = x Zz - 7 ee Tt: otSECTION 3: LA’ BRAZILIAN, AFRICAN at GL e7 UG ALATIN More than ever, Latin music is becoming an integral part of the — playing, check out Israel "Cachao" Lopez, Bobby Rodriguez ar bass player's vocabulary. The Latin influence can be found in all Oscar Cartaya. Also look for records by Tito Puente, R., kinds of jazz and pop music today. To hear authentic Latin bass Baretto, and the group Afra-Cuba.* 5 The foundation of this music is the clave. The traditional “3:2” grouping of the clave is played: J fe db i J | g J J t | The “modern” version of the 3-2 clave is played: J i b z 4 b | i J J g | | J | | The 2:3 traditional or son clave is played: 2 J J é | aL 2 a | 2:3 modern or numba clave is played: z J i é | * 4 > ¢ * d Tumbao i {| | i tf +) etc etc. "For an in-depth study of Afro-Cuban rhythms, refer to Funkifying Tbe Clave: Afro-Cuban Grooves for Bass and Drums, dy Lincoln Goines and Robby Ameen, also available from Manhattan Music/DCl. eeABRAZILIAN—SAMBA/BAIAO Music from Brazil has some fascinating bass lines. Two of the best known are the samba and the baigo. The bass line for samba is derived from the surdo drum rhythm. Its basic rhythm is in half-notes on the strong beats, "1" and “3.” Samba Samba—double time pf — A —— = a = —— ~ oa i = Serene a oo ‘The baido is another interesting groove in Brazilian music, whose rhythm relates to the bass drum pattern: #- bd Baldo 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 Tania MariaASOUTH AFRICAN South African music has some extremely rhythmic bass lines, Paul Simon's Graceland album exposed us to some of these great thythms. A friend from Angola showed me this very interesting and upbeat groove: South African I I —_ —— ———_ = a SSS SS 4AREGGAE Reggae is an extremely interesting style for the bassist. It incor- porates a very free kind of rhythmic playing that’s not found in 1 styles. You will hear this type of bass playing on records th Sly Dunbar and Robbie Shakespeare, also Bob Marley, Ziggy Marley, and many others. The right-hand mu rechnique used in reggae incorpo- rates the palm and the thumb. Rest your palm i] the strings back by the bridge and then just pluck, using the side of your Reggae shuffle etc. thumb and thumbnail. Irs imporant to roll some extra bass on your tone controls for more “bouom," to create a firm founda- tion while you are muting. Check out the way Marcus Miller and The next example is a reggae-shulfle, illustrating this right hand damping technique, and the free flowing style of reggae bass playing. o : 5 —— Se mF 7 a er = = 5 — = == : 7 Sa sy a = = : t etc, I?9A Ist x/Acapella singers 2nd x/Everyone John Patitucci 5 # =e £ (Melody) FRI SSS Be 7 1 =— ie tet Band enters7— ee hil =| © 1989 Litha Music/Iccutitap Used by Permission. international Copyright Secured. Made In USA. All Rights Reserved.te terrlelt feosee = = ee ee Se | FRU A SS SS — D.C. al Coda _——S =e ee = 8 7 [a] FH Fit Esus ps | Re = f ; oo —_—— mp Crescendo Abell i DAE Eb-1l BATH He A ‘* 5 sae be: foes es ——— ry ? Bi-9 / Deo cl ee : 4 : =e es a ——} 6- D8 p-725 G/bDH ty le 15 a= iM = ee To[A] (Vamp and fade aver melody)