JACO PASTORIUS MODERN ELECTRIC BASS by Jaco Pastorius REVISED EDITION with Jerry Jemmott Interview and text Jerry Jemmott Revised edition transcriptions Lincoln Goines Additional transcriptions and introduction Mack Egan Initial transcriptions Jerry Jemmott and Kjell Benner Produced by Manbattan Music Editor Dan Thiess Cover design and Layout Jack Waltrip Music engraving Bob Sherwin Cover/Inside photographs. Ebet Roberts CD TRACKING INFORMATIONhe goal of this by OB: interview px Pastorius: Me ble to the serio learn the art of el visation, ‘Through the the book, you will be tance of thinking, mo of music. Then you wil stand and interpret learning or re-fearning ina very musical way. The playing of random doesn't require much t specific patterns does. tern was created with a mean that you have Proceed at your o metronome while pract ways play Knowledge of theory, a ipeggio, part struction and use of the seale steps is a must t ough learning of your A isl 5 it happen! provided for the purp.BRIEF REVIEW Jester music is based on the chromatic scale AN fo of which the major scale is formed. The major scale is constructed with the following formula: in ascending order; root (Ist scale Modal scales are derived from the major seale, but start on different degrees, using the same pattern of whole degree), whole-step, whole-step, half-step to the 4th degree, three consecutive whole steps to the 7th degree, and a half-step to the octave to complete the ent modes with their relative chords and their major seale starting points and construction. and half-steps as the major scale, Below are the differ- Jonian 1 1-2:3-45-6-7.8 -W-W-H-W-W.W-H Dorian MW 2:3-45-6-7-8-2R-W-H-W-W-W-H-W Phrgian MW 3-4-5-6-7-8-23 R-HW.W-W-H-W-W Lydian TV 45.6-7-8-2.3-4 R-W-W-W-IL-W-W-W Mixolydian V 5-6-7. -S—R-W-W.-W-W-EL-W Aeolian VE 6-7-8-2-3-4-5-6R-W-H-W-W-HWAW Locrian VIE 7-8-2-3-45-6-7 R-WW-HWeWeW Chords are built on every other note of a major scale such as 1-3-5-7-9-11-13-15 or 2-4-6-8-10-12-14-16. Notes above the first octave are the same as the notes in the first octave, except that they are an octave higher, so that 8=1, 9=2, 10=3, 11=4, etc Chord construction for ascending 7th chords; Write out the scales, modes and chord construc- tions in reverse order, When transposing to other keys, don't forget to give the proper accidental which will agree with the scale formula you are using. Major root—major 3rd—minor 3d—major 3rd Minor root—minor3td—major 3rd—miner 3rd Dominant Fo0t—major 3rd—minor 3rd—minor 3rd Diminished root—minor 3rd—minor 3rd—minor 3rd Half-Diminished root—minor3rd—minor 3rd—major 3rd. Augmented root—major 3td—major 3rd—minor 3rd If the distance between the root and the third scale degree is two whole-steps (major 3rd), the scale or chord quality is major. If the distance between the root and the third is one and a half-steps (minor third), then the chord or scale is minor. Diminished chords employ all minor thirds and the scale construction is W-H-W-H-W-H-W or HW. WEW-HW-H a© tonian (Ist degiwe) % 4 € Phiygian (Brel degree) > eee) - . omy ded gs, ay Y ftis, nt ! — = 10 4 pdb 4 3 06 Ww 709 47) vas cw 2 J be1 FI a nT) $ 7 o chi ap tytn 766 melodic) ta =e = = qc + : # — A Faw 2 Tl 3 s & ’ o (fiw 3) Maayan 6 Meloak) a bd be * z —4 c SS — Wate 1 2 3 7 > WwW o ap ca Tent inom 3 ——— babe om —- = Hs 1 bs 7 6 ap cs ee — : — a BL b2 +3 1 bs be b7 Go DD Diminished 1. thal tep whole step? , 3S —] bE \ sf — dd hdd 12 1 2 BCU bs bo bo Wholetone fiicloapttolams . 5S — +. = a ne o ayExample 1—Finger spacing—one finger per fret ner: beginning on your low E string, play through ‘The chromatic scale is one of the hardest things to play on the bass. Playing it will help teach you where one octave and back down; then go through the all the notes are through correct finger spacing, Play entire middle and upper register and back down this scale and all other scales in the following man. again slowly Example 2—Major scale exercise in one-stretch position, using 16th-notes down the scale in 2nds This exercise utilizes a descending four-note pattern go feet = ettente # a tte tefte te,Example 4—Major scale in consecutive 3rds and 2nds tern. Memorizing the numbers will The numbers at the top of each note represent the degrees used in this allow you to “run” the pattern through different keys. 976431 f Example $—Major scale in broken 3rds This is the “normal” way of playing the seale in 3rds. It is a slower ascent than Jaco’s “3rd-2nd” pattern used in example 4 fe Example 6—Ascending major scale in 2nds—descending in 3rds—followed by ascend- ing and descending in 3rds Notice the pattern used in the first bar, consisting of arpeggios Grds), moving down the scale in 2nds, an ascending major scale in 2nds, The last note of Notice how the fourth note of this fournote pattern nother series of serves as a pickup, so that the feeling is 4-1-2-3, 41- beat 1, bar two, is the beginning of four-note patterns utilizing descending th chord 2-3, etea Harmonic E 4 Example 7—Major scale in 6ths Scale intervals are used to create sound patterns, and to gain awareness of skipping, strings and harmonic propulsion, ° t,t a dExample 8—‘Jam in E” Thinking ahead with specific ideas is the only way to achieve tion. 7 ve ele = ote pe om ate. Sto Pte a eee this level of improvisational clarity and direc Ry {I te Dpiztps lag efferepte oP lepet pclae age Be spEeLrrriras Sia de ry + wet We teeta Ta Sine Hasire psnerrre ftpittt ids a Te tee DAD rarer Lg ed apes pe £ pe prio ie 8 BGBesa it EE eet tee eager Seitrsnrerstl eboprrer i Tliersst hg aS Cea see erates ole seater agp ees TE Pate Se pbk fA ee TS 11Example 9—Arpeggios—fingerboard memorization After you've found where the notes are on the fingetboard—play this exercise without looking to help with ation of the fingerboard. [With the exception of the octave, the 3rd finger can be substituted for the 4th when playing examples 9 and 10.) — dl Example 10—Arpeggios—ascending chromatically This is the same pattern as example 9—moving up the chromatic scale 12Example 11—Double stops this next example is very musical approach to playing double stops via spelling out a chord and harmoniz- ing the major scale. Freely Example 12—“The Real Deal” This next example is based on the ability to create ideas based upon different types of scales, broken arpeg- gios, chords and song fragments, all played in patterns utilizing rhythmic groupings. bebe ebeie bebelt ehoAb DoT at Fe BT ak B Example 13—Major 7th arpeggios Here's good exercise: arpeagiats up the Fehord, down on the U1, up on the HL down on the IV, ete 14Example 14—Whole tone scale—alternating fingers ‘Try going down the scale in seconds on the downbeat (1-e-an-a)—up the scale in seconds on the offbeat (e-an-a-1)—cown again on the downbeats Example 15—Alternating fingers with different numbers This example shows the division of th peat into five parts—five notes down the scale and up a Mlatted 5th to the next scale note, at 2nd from the previous starting noteExample 16—Duet The use of modes, fingering patterns, shythm and chords all become clear when seen on paper. The speed at which it is conceived and executed makes for an exciting sensation for the mind and body f tele peee 2) eeeefeeree ee Se = Se eeoeby oe te ae ae ye = = 432 74 igi o iterate 18of fetta gles 641 + = prep eer irre te oitaar # =r EExample 17—Right hand raking with left hand muting Practice this example with multiple patterns on even strings, For example: second finger on E, first on A, second on D, first on G, first on E, third on. A, second on D, third on G, ete Freely ———— Example 18—Two hand muting via scale in 3rds Be conscious of this very important technique when crossing strings ae coe tfees feet rerrerepirerreee septeppererie tt Cireitrrttre etrevided ony Example 20—String crossing via minor to major chords thing to think about for the left hand and something to do with the right. Try playing this as an exercise based on a particular string attack pattern, like in example 17 Here 23Pre pat: i cart, 9 att weniteExample 21—String crossing in 4ths Jaco is actually playing arpeggiated IV chord progressions—first in 4ths, then chromatically and again in 4ths tL pa? 4 Gisus car £ FTsus_ be BAT et ps ea — cee ie oii te el —— a E7sus AST Disus. GAT C7sus. FAT BH?sus_ BATA “% eK f 25Example 22—‘Barbary Coast” The choice of notes gives it that distinctive sound : tbe # 4 ; ee ee — Example 23—Tuning the bass with harmonics This technique insures accuracy in tuning the bass owing to the auelbility of the notes in this register “Portrait of Tracy” (Intro) This example uses harmonics to create a melodyExample 25—False harmonics—scale in 3rds Divide the string exactly one octave above the fingered note to achieve the harmoni¢ sound quality Seve those it Dg lee Example 26—False harmonics using scale patterns and arpeggios Follow the same instructions as in example 25. ea tbrghous Example 27—False harmonics Again, follow the same instructions ts in example 25. seyNatural bass harmonics EA DG | ~DG CF (8va) —BEA D (8va) — Gi ct FB —EADG —BEAD — Gt ct FAB —E A D G(8vb)Example 28—Remembering “Tracy” % [refer to key on page 3, for notation of harmonics} & ie TF aka 4 ¢ ee saree a = oO: 2: 2G Gee ah ee t + - 7 4 a4 : a = Rot | SSS so = be wd 4 a4 — | 2S eS See : =a BOG 3 ' : | G D # ay pads 23 tard 1 GpG —F 2930pee er eed ee ‘one bassist, JACO PASTORIUS constantly topped readers and critics polls worldwide, As Cee em ec oe eee La Ce ade See ea ec a Rou) eh ; De ae ee Bee Ua d ee eee eee en eee Dee eae oi The audio recording contains Jemmott’s inter View with Jaco as well os playing examples from the video. The recording concludes with o trio performance featuring JOHN SCOFIELD and ee ere eee). Noe