the jaz bass field. No other musician fhas won as many awards in the annual polls conducted by influential publications such as Down Beat, Playboy, Esquire, the old Metronome and, in England, the Melody Maker: Similar recognition has also been accorded him in France, Czechoslovakia, Australia and Japan He is regarded not only as the listeners musician but the “musicians” musician.” An integral part of the Oscar Peterson Trio for several years, Brown's early experience included periods with Dizzy Gillespie's big band and with his own trio, featuring Hank Jones on piano and Charlie Smith on drums. He also has taught music at the School of Jazz in Lennox, Mass., and currently is on the faculty of the Advanced School of Contemporary Music in Toronto, Canada. ‘And so the best of both worlds—playing and teaching—is embodied in Ray Brown's book, Bass Method, designed for expert and beginner alike. S= 1953, Ray Brown has dominatedFOREWORD: [neiein music student today is» pri leged person. his. fingerti experience, advice and empirical guidance of men who are his personal idole, who in their own developmental years had no such help to tely on. Typical the case of the young bassist, who to-day has the unique advantage of being able to study with Ray Brown—either in person, at the Advanced School of Contemporary Music in Toronto, or through this book. In the early 1940's, when Ray was studying bass at high school in Pittsburgh, most tuition was based on formal conservative concepts that had no direct bearing on the special requirements of the jazz musician. But Ray expanded his knowledge by going out on the road with a band soon after his graduation in 1944 Tt was only a year later that I met him in New York, just after he had joined Dizzy Gillespie. It has been a continuous joy to follow his progress through the years, to hear the great music which he has always been associated, and to observe his evolution as both performer and teacher. Before the Advanced School of Contemporary Music was founded, he was a faculty member at the School of Jazz in Lennox, Massachusetts, from 1957. Gene Lees once noted, in Down Beat, Ray's “passion for understanding everything he does, right down to the marrow . "- manifest to-day in the gorgeous lines he plays behind everything Oscar Peterson does... Whatever he's doing, it will bear an uncanny relationship to what his colleagues are doing, This is the kind of sensitivity the young bassist may develop from a study of Ray's advice. “The book should provide a foundation, he says, “not to make people play like me or copy me, but to enable them to use my. experience as a basis for developing along their own lines.” The perfectionist in Ray has made his didactic development a logical stage in his career. The expert bassist, expert cook, expert golfer, expert composer has become an expert teacher. LEONARD FEATHERINTRO: This book has been written so that every bass player can + "avail himself of the valuable knowledge and expericnce | have had the pleasure of accumulating through many years in the manic Thave included most of the basic ingredients which I believe will make you a better bass player. Regardless of which base player you admire ce sant scarlet yo muri tl hve a good frundaton onthe inaramentT ve tried to give it toyou in this book and I hope you will use t se cra i stone in becoming the musician you want to be ne Also. you will notice that I give fingerings on some exercises and not ‘on others. The reason for this i to force you to think and te proction, ‘And this last point, T want to emphasire : NEVER STOP PRACTISING RAY BROWNa CONTENTS ee CHAPTER I Scales, Triads, Thirds, Fourths, Fifths, Sixths, Sevenths Bc Octaves’ ole eis Se ee CHAPTER II = Carrhae ee a EE te ee 28 CHAPTER III Pvercises in Tenths. ... 20:0. eu .e Pees ee eee 33 CHAPTER IV : Rhythm Patterns with Drops. ......-.---+5-5 +--+ ... 63 CHAPTER V Diminished Chords, Runs & Variations.........------- 7\ CHAPTER VI Augmented Chords, Runs, Variations and Whole Tone Shales. Sono oo A RE or ee Bad CHAPTER VII Blues Patterns 22 28 5 ee Se 99 CHAPTER VIII Extension Scales & Exercises.....---- 5-22-02 e etc 104 CHAPTER IX Solo Exercises and Arpeggios.....-----+-+--+2+-- 00> 117 Copyright 1963 by Ray Brown Music All rights reserved. No part of this book may be reproduced in any form: or by any mechanical means, including mimeograph and tape recorder, without permission in writing from the publisher. For information address Ray Brown Music Co., P.O. Box 1254, Hollywood, California 90028.CHAPTER I SCALES, TRIADS, THIRDS, FOURTHS, FIFTHS, SIXTHS, SEVENTHS & OCTAVES On the following pages you will find all of the scales played on the lower half of the bass, plus thirds. fourths, fifths, snths,,sevenths and Setaves. These should be studied and practised nul you know and can play them at any given Tneluded is an exercise for two-fingered prac- tice and slur practice, enabling you to articulate tnuch better on fast passages for parts and solos. ‘Make sure you have a thorough knowledge of the foregoing before you proceed to Chapter Il.Right hond position for soft pizscato playing, o bold playing.Right hand position fo good jazz sound (thumb against the fingerboard).Right hond position for heaey faz playing (Viumb against the fingerboard)t Position of hands and body in higher thum positions.SCALES mE A EP MATOR TRIP MINOR TRIAD Key i L ~i_ 2 2 Z Wing g 200 ¥ é ey zi = == = i a 4 eo 1 4 to 4 o a ° oe c oan — z mae z == zs SE = ' 4 A PRACTISE UNTIL You MEMORIZE EVERYTHINGgo ft zoe 7 sei Gbbbiaet| MasoR TAD MINOR TRIAD | | oa all|pR oan oo, —e A SS aS Ee =} = SS i ge ea ee i 3 1 or ee a | — do AD ) SS Sea t ' ,4@or §' 4 @ 4 42 4SCALES ee — dr AY % USE 3rd FINGER IF YOU ARE COMING BACK DOWN AND THUMB IF YoU ARE GoING UP.Right hand position for tuorfinger syle piszicato,SCALES oh Meet ttt $283 $882 222 = _ tet $itt Fits se2. GVA = nnn rn nnn nrc ttn ne ete nnn eee enn : QTE: ARTER YOU CAN PLAY THESE THOROUGHLY, PLAY PICKING EVERY OTHER NOTE. SLOW AT FIRST AND THEN FASTER. EXCELLENT FOR 2 FINGER PRACTICE ALSO.THIRDS Sao HI OF rare tee: eae et ee 1 DA TO24 24TH 1412 1494 ZIFO thoy Birt aA . s 5 ast eft Ett site 2THIRDS eer srpretetttet pipe 282 2 LoeFOURTHS pe oor ca 7 baw 44¢oo0 224e Trae re * zt Git we zz oo4gd Zroe uy 4 - + petit ete teete ere =o t tt ptet sit puttie $28) tether i eer ee ent ee eeent ee ee ee ee eeFOURTHS + 2. SS St He)FIFTHS 2 , See tete tet eiet i —_—. 2 = + pipet tt ts bat t THig 1414 1414 V2VIF VETTE Te 4g { Ge Ytruyy rzatar rer Ycy ++ +-¥4-£ 6 Eee ee ! tbe “EsFIFTHS £ + = ere + = + £ &SIXTHSSIXTHSSEVENTHSSEVENTHSOCTAVESOCTAVESCHAPTER II CHORDS A good jaze musician should, as we say in the jazz ‘venacular, know all of his changes. You should begin Chapter II by learning all of your triads—major and minor, After getting these under hand, you should add the 6ths, 7th ‘A bass player who not only knows his che but is able to call them out to some one else is a valuable asset to any musical organization,MAJOR TRIADS (with variations) rt bbe, + ws ——— = sett ft Lab pit eet fh tet 4MINOR TRIADS (with variations) qe eet = : het e cue eeCHORDS MAYOR OTH MINOR GTH = DOMINANT 7TH = MINOR ITH MAYOR StH i qr. GII4 424g ered e242 + 4104 7 1o4 f ee tet at: Sq l¢ b2IY cate 52Tt baTe o414 pr~tde auto ozo oui Lite Zot 2ziryy 2°47 212 mag + +-# raver vot za tog 1 G2 oder ttt $ F ote tt soetty 4rte aie Grie 11% 4q 1, ¢9TH (dom) CHORDS MINOR 9TH MAR oraCHAPTER III EXERCISES IN TENTHS One of the great thrills in playing bass is the utilization of what I like to refer to as color, great deal of which can be achieved in the plas ing of 10ths. I'do not think bass players of today cr the older days have done enough experiment ing in this direction. Remember that the main factor in the playing of lOths is intonation. | recommend that You spend a great deal of time examining the material in Chapter III. You will find it very rewarding. 2EXERCISE IN TENTHS = = po ee ey eo 4+ Oo + Got & Gow 4 EJS == = qt gett =| ag = fg ptt et i == att 7 SS SS eS eS ad === SS $a eee =EXERCISE IN TENTHSEXERCISE IN TENTHS segs ee = q 4 0, 4 o b i Goo fo 4 0 b b b be be eee ees = =+ e =F ee eet Jy bg be be eS == == tee NOTS: PAACTISG THESE UNTIL THEY CAN BE PLAYED FANT AND SMOOTH. 4 %6EXERCISE IN TENTHS + zs = ££ 10 410 oe | woe £ be be NOTE: PRACTISE THESE UNTIL THEY CAN BE PLAYED FAST AND SMOOTH,Major tenthCHROMATIC EXERCISES IN TENTHS (Major) ae gent = sie hs = $127 Saat 24 4%. Le FyCHROMATIC EXERCISES IN TENTHS (Major) be ht dehy be ——— ps SEE i 2 go 2 _£ ¢__$th rie =————— SSeS a fgig eg be thy + eS == = SS = qt Eig £¢___ipht abe = = eeCHROMATIC EXERCISES IN TENTHS (Minor) att ae =i 44, at £ + t det igh __ gp _s'3 $e te = wet ft, eae = 24 abe be he $ ge PENS gig, Ee, ee a a : 7 2L 3 Por re o 23 ' z 23 2 : (Do Mor cRoss STRINGS ) ‘CHROMATIC EXERCISES IN TENTHS (Minor) bPosition of the eft hand for playing tenths as double-slops (major)MAJOR TENTHS AS DOUBLE STOPS 4 “ALL MAJOR 10ths SAME FINGERING (MASOR TENTHS IN @RACKETS Ane FNHAgMONIC)Position ofthe eft hand for playing miner tenths in the upper positionsMINOR TENTHS AS DOUBLE STOPS + tp tle Trott hi tN Wb |} 9 |e 2 o 5S ratte a > as = * ALL MINOR 10ths SAME FINGERING ; ..tenths — fifth added (ed's note: this fingering is ook bul should be allempled), Alternate positAlternate position for major and minor lnths—sith added (els rot: ths fingering ts ‘a etre in the book bt shouldbe attempted), 49EXERCISE IN MAJOR TENTHS (Fifth added) sis zits, + £fg £ Fae ira te ets in 4b t £ Fs oo T fits, ttEXERCISE IN MAJOR TENTHS (Fifth added) J 3 SANG ERS SHe ehe he as 3 3 ta 2,781 Tazz, HD ye! t¢ re) itt te ; : co =f fie 28 'fe, tte, sists see eS = - Et. rg SE 2 tehe oa ss = = = 7 ao le | tit tT Ri rge 143 eS st z cutee 2) &EXERCISE IN MINOR TENTHS (Fifth added) 4 3 d brig, 42°F, Ete alt Es 5 tia + = F 7 st. "EF ehey ooh Fe + to f = ae she, thy, s't'tte, 2 fF se Bg gt reer Fite EEEXERCISE IN MINOR TENTHS (Fifth added) ebe - 3 Srang € BES? - epee k ‘ ie bi ra FR i“ ou 2 Tesh *“o ee v1 ara Ce a hee = PF beEXERCISE IN MAJOR TENTHS (Sixth added) STRING: TRING: po GRE ERE GRE 4a 3 ' 3 rs = = a te ve eu me Pao ae ete Ee BE ra a ae + a ee 3 be z te x sey, ; zt het ~ tet teltt, te! $e oF Fa ae ttt tE te ste ee h $ fgg 2 gett Ee ars eta 2rs sre 2ta sr aris area smug: EDG GDEEXERCISE IN MAJOR TENTHS (Sixth added) © ree. «! he, rn etl See tt ete che afte , zoe. CTT t belt = tees taat) 3210 e ttt... he : ag, aH, 3 55EXERCISE IN MINOR TENTHS (Sixth added) 3 3 + z + bebe ooo HS 2 2i2 7 634° '3 ea eins aaa he nisEXERCISE IN MINOR TENTHS (Sixth added) 4 3 obs. oho, 3 2 Stain & og «3 € be o, 122 bebe nr SS ale, 2 0 wr 2 eee obs58 Position of left hand for major tenths (seeenth added).EXERCISE IN MAJOR TENTHS (Seventh added) STRNGE 9G BE 4 = o ‘ 1 122 n qe 3S t ° § 4 7 rete = + TT2s 3 2T Tbs 3aTTasaiTEXERCISE IN MAJOR TENTHS (Seventh added)EXERCISE IN MINOR TENTHS (Seventh added)EXERCISE IN MINOR TENTHS (Seventh added) obs = 7 3 ane EVE ED «ying be i) 4 eat as Tee oa otitis eile. a bee? 3 i eS = pbtebe ri ret se bedene | 7 > she bahe eles wes,’ sir 77343 beh easy 7 62 4CHAPTER IV RHYTHM PATTERNS WITH DROPS My view is that “drops” should be played in “holes. or used to give the thythm section a boost and the reason 1 have not written too ‘many of them into this chapter is that I feel that they are personal and should come from within ‘one’s self. The main point to remember is that “drops” should be played so smoothly there should be no festng of los of time or any feeling of unbalance. De not strain to play this type of figure as it will show in your playing. Above all don't play “drops” just anywhere. Listen to some of my records. | think they will sive you some idea of where and how “drops” ean be used and you can carry on from there. “Hoes are spots where the slit lays out (renthes) ot whee beens an't playing tthe saanRHYTHM PATTERNS WITH DROPS (Phase 1) ? iL ora, + Zhe abe: —h- ty st 7p SS SS ar The muRHYTHM PATTERNS WITH DROPS (Phase I!)6 How to “rake” strings. The motion shown in the aboce and next two photos should be executed on the “and” of | (third bar, page 69). Part 1RHYTHM PATTERNS WITH DROPS (Phase III) . aus tet 2% ENS ’ os Ss = Se a tot ttt ia PS + wocccecsccoreneee scoey 5 oN? 4 ae ttt So HH VERY GEFECTIVE IF AST 9 NOTES CAN BE PLAYED UP AN QcrAVE. BVA (errionac) °°" GVA ormonn,)ierrre ter cere ce rece eres *. RHYTHM PATTERNS WITH DROPS (Phase IV) stue Shue, — = 2S SS ity sue ey eae i et peter tr eS y sue stor, 4 SwR suk, w@ © Sue SLURCHAPTER V DIMINISHED CHORDS. RUNS & VARIATIONS Diminished chords. runs, ete., are another part of the basic equipment all. bass players should have. | have presented the diminished chords in various ways which you should learn, ‘Then start to work out variations of your own. Intonation is very important here also. Pay strict attention to the fingering.DIMINISHED SEVENTHLeft hand position forthe extension phase of the E diminished run (B-flat; D-fal; E). nLeft hand position pase of the F dim (F; A-flat; B-notural)Left hand postion for extension phase of F-sharp diminished run (C-D-sharp; F sharp).Position ofthe left hand for extended diminished runs in the upper postions.t tens lees Stef T¢8 ae FE fet tet free toe i +. # UMS: We byte hebshe * aeis's hg , 7 | etetes? 2 2 4DIMINISHED EXERCISE (Beginners) we : be, silt): 2 2 = b os; git tt “4 tebe. + * 3 4siee belle? & erty tet = ¢ 12a 29 0 SR 5D z = ax = ture rss : 4 4 huntepl | tthe ie + 2 Z = ata So ae wer ie AF ie Ip : :DIMINISHED EXERCISE (Advanced)ie Ro. i igs I it its, Let Lut th ee Toereraon sale be epaaet sets tag tt ieted et £ ait gstt galls $e Bisa Secor tele Mee siya fer Eeishe, We ties, SS t debe 2 tye = 1 ie + > Weight. by Web, bs96 CHAPTER VI AUGMENTED CHORDS, RUNS. VARIATIONS AND. WHOLE TONE SCALES Augmented chords, runs, etc. like diminished chords. are very valuable in the playing of jazz AAll of the variations presented here should be learned as thoroughly as your scales. Once, again, pay strict attention to the fingering.Pasion ofthe lft hand for playing augymented exercises (“fingering 2-1-4),Lefthond position for playing augmented exercises in the upper positions (fingering 2-1-3).Augmented Seventh Octave Double OctaveWHOLE TONE SCALES ste't Etats = he they, ; sy et Eee -sgechele tT sieht Fitteng Ete he £h aie hieAUGMENTED EXERCISES We; Opec ee sees eaten 2s orca ea oo bee geotp ote tte 2 sees t Sea ko VEre Bete fetes Sees = \ 4 We. 2 bs ott Otieete » mI 1—t + iat t oH te Wz +. - ste Oey. 2 ( peest Peete. sue 9 eager ttTatte Ate etry t pate ott Petts tee Bee Ty be 1 be he VE, te gy b betes"? Fizes. lee, (a2 GD T VTirir2 3 trast) +1 224 7eras bet ee es dept z = $e aie _»-t¢ ® ee 4). ete ot. a ee aE Pe + = a aaa aan ees te te # ee ee ere es [ae pel Pe apt ee tosAUGMENTED EXERCISES @) 24) k ate Paes gee gt) a ee ee ie fb, ste ett 4, ote iz SS Se je Fp ett ne £4E ean Sa 2 +S =j elt ,t208 pole $ gets () 2 = it £ att te te? 4 . be ie ttF 4, 24t F be HF pen — = et ieee ng ft Fy te tte ’ —_ ts E gelee e205 F gue £ ———— f =+ HOF octet seallt Eee § cease tt T ao gt En gts + pales Fs be wae E nt et be iris — —— ”2 tbe 4. ote E (Nt te aap ee SE f 4 t+ pete reg > - be siz Fb) o FT TY 24(cont.) TT 2 4 4 2 tes oa et Sih eget Ft te Sa tells Oey elt FWS¢e FF gee Oey. , dott EWSe. + t = its + Hit t+ Hs be ete = 9 be = sag -~t es oz £0) by OF SWte—PRACTISE Stow AT FIRST vP fo Mm. J = 80 STRIN@SA D G PD GRES 210 42214 214 274 214 213 2zes be phe Eee tent £. the ~ k OE ie tts 421 104 214 214 a a 3 = 2 > ¥ the = She = ats, be be zs F x =e eta pa ea ba ea arpa ag he eS . = . to. ote ae rit: shee sie ‘She os bp f+ 2 tee + be ~o— age ies BS ee]AUGMENTED EXERCISE shh ee Wet beh U2 214170 ' 2 v «tt fe zs +t stk ied t+ pe si es = We" Elen e ate: a esta A : > > +CHAPTER VII BLUES PATTERNS oO the pent four pages area series of blues lines which you should play over many times "The first page contains notes which are very basie but very necessary and excellent on an ‘opening chorus ‘As we progress into blues 1, 2 and 3, you will notice they get more and more complicated but, in key spots, never fail to revert to the basic formula. After studying these, you should have fan idea of how to play lines which will be complementary to any soloist. ‘The good bass player always picks his spots in which to play the various lines and should always listen to the soloist, trying to use notes which primarily let the soloist know where he ig at all times. Blues lines such as those in Blues 2 and 3 should be used with discretion because the true funetion of the instrument should never be forgotten, 9BLUESBLUES (1)BLUES (11)BLUES (III)Ey CHAPTER VIII EXTENSION SCALES & EXERCISES After reviewing many of the parts I have had to play im the last ten years its qbvious that extensions on certain parts of the bass can be used to a great advantage T have included seales between Db and Fé because I think this is the most practical place 10 play extensions Also, with enough practice you can play with good intonation and spe ‘The use of extension scales requires a slight stretching of the hand but with a little practice you will find you can play scales without moving the hand. This may then be injected into things you have to play. Tf you cheek back to Chapter V, you will see that [ use this across the strings in the dimit runs. Intonation is the big factor here.Position ofthe lft hand for extension scales and exercises.Position ofthe left hand for extension scales and exercises (side sew).EXTENSION EXERCISES STRING A A D D> Dd ba ps 2 & § 4 > > > A At Ii} HH rH} ott “il * Tl hy ool ny) oH ‘ na A aa ad | “| ti + Lait hl fH rl) Ht +H “4 | a a H ‘al ot 4 -t i “i ie i “Tl i | at TT t : AN My alll) tH “I a i) tl i al 108Heil off ea 4 ST oy all ¥. +t + = =o SSS SI e+ f+ t=t Fr. # --na£ 7 z 2 ¥ f—s T ¢ f T = ¥ f T—— ¢ E £. +CHAPTER IX SOLO EXERCISES & ARPEGGIOS ‘On succeeding pages are a series of what I call brief musical excerpts Some you will be familiar with but the reason 1am including them is that most of us can only play certain things in certain keys. This should Inspire you to learn how to play your own things in all of the keys,EXERCISE (Solo)EXERCISE (Solo) {rho Wee or ot e 4 oorEXERCISE IN FOURTHS 2S SS 2 ee ee | a whet 3 ere 7a 4 et —t> - 3 Fe Ff 4EXERCISE IN FOURTHS T4ez42 TH 2e 2 R ia I, if P Kitafe nett sdelelt £ babe 2't S wepttt? se) rehE 2 223 bate PES opapg Ste toe PEE masts ttt etzet oreeie b, be 3+ bab - Wet $ 2 Ligh E mestetts T3ZIz Sh aD aot gail -tt (he HE wee yer t PteEXERCISE (Solo) ae ee z 14442 vada (42a (424 2Pe rete Ste pa beslt septal St Sa PE ete 2 pepe el pobet se gj tet 3 + ed atti?) reel S ietiz gett Pet he es tt + tHe PP) + at ot Ft2 ipbee ES die CEES {f) x = THe rs 2 t PEE palette Lee Sy aette oTEF ¥ thi 4 esex, == oe — é —— oO — Pe ¢ tir Er ae SS S—- = EXERCISE (Solo) 2 3 ca sea SPs dee ai era Seer as 1 qi | a aul C a yy cit « “itl r ii tril (ML Cit CrEXERCISE IN FOURTHS (Solo) k Lo, pty ont ot be . ora Oth Coen 22015 eS ° Ag be. b. theesié (Ho ete he, ches tit ts thete'f hehe be pepe aE ee ee ele be, + be bp, + oe thes « beet Ehetet he hey . 7 tho wstt rene fe wi aA gE iste +1355 bere? £¢ Drrielte, °EXERCISE (Solo) fee, tee het» be = S ea et 24H Hr ILHo Herr 2g ev b2r pce f StEXERCISE beARPEGGIOS FOR ENDINGS oe fF + == eS SS Sia ate ae ee eee °TRIPLET EXERCISE FOR SOLOS 4 4 + 3 3 3 3 5 t2Ze (20120 (to ° {ZO 120 {20120 5 3 ae) 2 4 3 3 t 241 21 240 24 at at) 24) a4 & 135ray brown presents — Music by and for Musicians... OSCAR PETERSON JAZZ EXERCISES AND PIECES BOOK I For the Young Jazz Pianist! each $1.50 JAZZ EXERCISES AND PIECES BOOK 2 & BOOK 3 Interesting Follow-Up! each $1.50 A Great Contribution to Canada’s Musical Heritage ‘CANADIANA SUITE For Piano Solo each $1.95 JUNIOR MANCE HOW TO PLAY For the Organist BLUES PIANO JAZZ, EXERCISES For the Young Jazz AND PIECES 9 Pianist! Organ Book 1 $1.25 $1.50 RAY BROWN MUSIC CO. P.O, Box 1254, Hollywood, California 90028