BASS

HI M RARY
HYTHM lenON

BASS
TOM WARRINGTON
•

© 1994 WARNER BROS. PUBLICATIONS INC.

All Rights Reserved

Any duplication, adaptation or arrangement of the compositions

contained in this collection requires the written consent 01 the Publisher.
No part of this book may be photocopied or reduced in any way without permission.
Unauthorized uses are an infringement of U.S. Copyright Act and are ounishable by Law.
 FOREWORD
The purpose of this book is to focus on the bass as it relates to the rest of the rhythm section. The
rhythm section is the most import&;lt element in today's contemporary music scene. Whether it's a big
band, jazz combo, show band, pop group, or heavy metal, the rhythm section lays the foundation.
Starting with set up, the rhythm section must know how to adapt to various musical settings and set up
in a logical and effective manner. The rhythm section must work together with each player,
understanding their role. Those roles or functions vary from tune to tune, demanding a clear and
complete understanding of style.

Being faced with ·sketchy" parts to read, the rhythm players are constantly forced to interpret the music
and create a distinctive feel. With music or without, good rhythm players are aole to fit into any musical
setting.

To this end, this book is meant to provide not only practical suggestions and ideas regarding a
particular rhythm instrument, but also an overall concept for effective rhythm section performance.

THE TAPE/CD
The audio tape/CD contains all the musical examples performed on the video, "The Contemporary
Rhythm Section." The various rhythm section selections (Charts #1-#12) represent a broad overview of
important contemporary styles. It is hoped that the tunes not only serve as a listening/play-along
reference, but are also performed in a live setting with other members of the rhythm section.

Due to the improvisational nature of contemporary styles of music, the illustrated examples throughout
the book are very basic renditions of what is played on the tape/CD.

Students are encouraged to:

1. Learn the basic examples provided in the book as an introduction to the variety of
styles presented .

2. Transcribe and practice the tapes' embellished examples.

3. Explore and develop their own ideas.

Text derived from the DCI Music Video "The Contemporary Rhythm Section-Sass" (VH0163)
Editors: Debbie Cavalier, Sandy Feldstein
Production Coordinator: Diane Laucirica
Technical Editor: Glyn Dryhurst

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~ THE CONTEMPORARY RHYTHM S:::CTION
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BASS,
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CASSETTE AND CD TRACK INDEX
~ Cassette users: For easy location of all 30 tracks. always set your tape counter to 000 when
~ beginning the tape. Fill in the index numbers as you progress through the recording.

~ CD TRACK II CASSETTE INDEX #

(C\
1. Bad Walking Bass Une ..............................................................................................................
~
2. Good Walking Bass Une ...........................................................................................................
~ 3. Example #1 ............................................................................................................................... .
~ 4. Example #2 ............................................................................................................................... .
~ 5. F BLUES Chart #1 ................................................................................................................... ..
6. Slow Tempo Embellishments ....................................................................................................
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7. Fast Tempo Embellishments .....................................................................................................
~ 8. Repeated Notes (Bad Feel) .......................................................................................................
~ 9. No Repeated Notes (Good Feel) ................................................................. !........................... ..
10. Bb RHYTHM Chart #2 .............................................................................................................. ..
~ 11. Busy Rock Bass Part .................................................................................................................
~ 12. Better Rock Bass Part ...............................................................................................................
13. Em FUNK Chart #3 ....................................................................................................................
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14. Em FUNK"(With Variations)
(8\ 15. Bossa Nova Feel .......................................................................................................................
~ 16. TOM'S BOSSA Chart #4 ...........................................................................................................
17. Samba Feel ...............................................................................................................................
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18 GENTLE RAIN Chart #5 ............................................................................................................
~ 19. Example #6 .............................................................................................................................. ..
~ 20. INVITATION Chart #6 ............................................................................................................... .
21. Example #7 ............................................................................................................................... .
(ItA
22. Example #8 ................................................................................................................................
~ 23. Example #9 ............................................................................................................................... .
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24. ODD-TIME PIECE Chart #7 ......................................................................................................
25. Good Ballad Sound ...................................................................................................................
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26. BODY AND SO~'~ Chart #8 ......................................................................................................
~ 27. HALF-TIME ROCK Chart #9 ................................................................................................... ..
~ 28. NEW MATH Chart #10 ............................................................................................................ ..
29. SNAPPIN' THE GIZ Chart #11 ................................................................................................. .
(' 30. WBC Chart #12 ....................................................................................................................... ..
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.' .·A. Medium .Swlng ......................•........................................................................~~.~~~~ ..~~~................ .~
~ . B.• Up-Tempo Swing ...................................................................................................................
~ .... ;,. ·~:'.Q~;~op~u'.IA~....................~.•.••·••·~-;;:•••••••••••••·••• ~.....~.....................;...~io.t~·•• ~·~~~;,.~~ ••• ~~.j.·ri.~~~ ••~:;,..~·~·~ •••••••••••••
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~ VI~. Suggested· Listening List .........................~ ........................................... ~ ........ ~ ........ ~.:....................~3~";:··

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VIII. Suggested Reading List ................................................................................................................ 3;:',:
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I. RHYTHM SECTION SETUP

It is a good idea to position the bass in such a way to have good eye and ear contact with the other

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members of the rhythm seUion. Normally, the bass player should be between the drums and piano,
with the piano on the right, opening toward the audience and the drums on the left so a blend can be
heard with both of those instruments. It is very important to be able to hear not only the time feel
~i.., coming from the drummer, but also the varied harmonic information coming from the piano player .
Many players like to have the amp on the floor a few feet to the rear so that it can be heard blending
with the other instruments. Elevating the amp causes a couple of problems. First of all, it puts the amp
closer to ear level, which makes the bass sound louder relative to the rest of the rhythm section,
making blend more difficult. Secondly, elevating the amp takes away some of the low end frequencies,
so for those two reasons it is better to put the amp on the flot" - then you can play at an appropriate
volume without playing too loud. Of course, these things can be adjusted for various playing situations,
but the blend that you hear as a player is every bit as important as the overall blend that the audience
hears. It's impossible to play musically if you're uncomfortable with what you are hearing. In a big
band setting, the amplifier is angled more toward the horn sections so that they would have a chance
to hear the entire rhythm section in a nice blend.

DIAGRAM #1
TRIO SETUP

- - - = visual sight lines Audience

DIAGRAM #2
QUARTET SETUP Audience

.........
/c2

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 DIAGRAM #3
SMALL
, GROUP WITH MONITORS

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(PI RHYTHM SECTION/BAND SETUP
~ Audience
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Plano
P' Sax.phon., ~
~ DDDD~ ~
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o Lr'I~J· ~ ~ g
Trumpets ~
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DIAGRAM #5
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~ SAMPLE SPEAKER MONITOR SETUP Audience Ii
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II. CONTEMPORARY STYLES

A. MEDIUM SWING

A walking bass line is one of the most important elements of the swing feel. In the past, this role was
fulfilled by the bass drum, but with amplification the bass assumed the function of providing the
quarter-note pulse. The length of the notes is one important factor in generating the right feel. If the
notes are too short with lots of space between them, it creates a halting, choppy feel. The attacks of
the notes are important because they indicate where the time is.

There is a great difference between how a bass line feels when the notes are short and disconnected
versus when the notes are long "",d connected. This is achieved by keeping a note pressed down with
the I"'ft hand until the next attack. Some young bass players have a tendency to play the note and
then release the finger pressure immediately, which causes undesirable space between the quarter
notes.

(Track 1: Bad Walking Bass Line)

(Track 2: Good Walking Bass Line)

The choice of notes in a walking bass line is another very important consideration. Of course, this is a
complex issue, but briefly, the bass needs to provide three things for the music. First, the bass needs
to provide a good rhythmic feeling. The notes need to have length and they need to be placed on the
time correctly in conjunction with the other players.

The bass line needs to provide a solid harmonic foundation for the chords that happen above it. This
can be achieved by choosing notes that fit with the existing harmonies in a way that emphasizes those
harmonies. In 4/4 time, the first beat of the measure is the strongest and the third beat is next
strongest. That leaves the second and fourth beats as the weak ones. Initially then, it is a good idea
to play the root of the new harmony on the strongest beat, the first beat. So, if the chords are changing
every measure, it would be good to hit the root of the new chord on the downbeat as the chord changes.
This isn't a rule etched in stone, but it is a good idea to start pinning down the harmony this way.

The most subtle function of the bass line is to create an effective counter-melody with the line that
functions well with the other elements of the tune. Example #1 illustrates a few bars of a blues chorus
in which the bass line strictl y uutlines the harme,', It performs this function well enough, but the
absence of melodic elements in the line causes it to sound : ';ff and sort of disjointed. In Example #2 ,
the harmony is still clearly outlined because the root of each new chord change is falling on the
downbeat, but the following notes are approaching the next root in a more melodic way. Notice how
example #2 sounds much smoother. Examples #3 and #4 repeat good melodic bass lines.

EL03942
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(Track 3: example #1)
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9:~J J F F IJ F F r IF J J J 10 II
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(Tr8r.~ 4: example #2)
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The following is a sample walking bass part to a chorus of F Blues (Chart #1). Try using this t:>ass line
while playing along with Chart #1. then construct your own.
~
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~ TrackS Chart #1 example
~
FBLUES
~~

~ Medium awing J =116

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F7 Bb7 F7

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(1i" ILead Sheet
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 B. UP-TEMPO SWING

In up-tempo swing, it's important for the bass player to stay relaxed and loose. Don't tense up and try
to muscle your way through. That type of tension al~v'ays finds its way into the musicl Keep the
shoulders, arms and hands relaxed, as this will help your bass line have a sense of lightness and
forward motion whicn is crucial for propelling the music forward. Also, listen to the ride cymbal beat
and make sure your quarter-note line is fitting with that; it is essential that drums and bass play the
time together, or the overall feel will never be happening. If a tempo is really fast. sometimes it helps
to think of the pulse in larger units. Rather than think of each quarter-note going by rapidly, think of the
pulse in two, or in half notes. That way, even though the quarter-notes may be flying by, the pulse in
your head is only half as fast and, hopefully. a little more manageable.

Stamina also comes into play for the bass player. In a jazz setting, a fast tune with soloists lined up
around the block could go on and on. It is important to practice and play up-tempos for several
minutes. keeping your attention completely focused for that length of time.
I
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Any embellishments like pull-ofts should be more eighth notes rather than triplets. because the tempo
is too fast for triplets. (Track 6: Slow Tempo Embellishments) (Track 7: Fast Tempo
Embellishments)
•
Also, to maintain the sense of forward motion in the bass line. it is a good idea to avoid repeating notes
as much as possible. Repeated notes cause a flat spot in the bass line that hangs up the forward
motion. (Track 8: Repeated Notes-Bad Feel) (Track 9: No Repeated Notes-Good Feel)

The following tune (Bb Rhythm - Chart #2) contains a sample chorus of walking bass. After listening to
the chart and analyzing the sample chorus. construct your own walking lines. Have funl
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Track 10 Chart #2 example

BbRHYTHM

Up-tempo swing j =152

Bb G7 C7 F7 Dm7(bS) G7 C7 F7

9: ~lz 4 J J J ~J IJ ijr F b
r IF ~F r ~J IJ ijr F F
Bb Bb7JD Eb7 Edlm7 Bb71F G7 C7 F7

r
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9: Ii" r J F
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IF F F ijr IF 'F F _J IJ ~r F F
Bb7 G7 C7 F7 D7 G7 C7 F7

9: biz r ~F r ~F Ij b
r r F IF #J J _J IJ §r F J
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.' Bb Bb7JD Eb7 Edim7 F7sus Bb
0: i lz J r F
r IF r ~F r IF 'F r F IF F F J I
(Am7) D7 G7
9: i J lz j J #J IF F 'F F IF r F r IF F
_J J

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(Gm7) C7 (Cm7) F7
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~ Bb7 Eb7 Edlm F7aua

91~,!Lt J J
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~

~
~
~
Track 10 Chart #2
~
~ B~RHYTHM
~
I~:~j Sheet
~ Up-tempo awing J =152
~
Bb G7 Cm7 F7 07 G7 Cm7 F7
(lftt 4~bj »~
I
~
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I »~
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» II.
I II. r~
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~

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r l
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~
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Bb Bb71D Eb7 Edlm7 I~b7JF G7 Cm7 F7 I
~
4~b r
~
II l
I I
~

I" I' I
~

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~ ,I , ~ ~
» :11
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Bb
» ~
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I
D7
i
~
I
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i
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" I» ~
l- I- l- I
G7
»~ ,1 ~
» I
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~
C7 F7
~
4~'! ,I I' II I
~

I I
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I I
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I" I
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,
~

I»
~
I- I
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" Iz ~ ,I ,
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~ ~~b » ~
I- »
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» ~

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~
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EL03942
13
~
~
~1
I
C. ROCK/FUSION

There are several things to consider when playing a rock style. First. the time feel. or groove. is the
main drMng force of this music. So. the bass figures need to be placed solidly on the time, not rushing
or dragging. It helps to devise a short phrase or figure that is relatively simple and can be repeated.
This stabilizes the groove much more than a bass line that is busy and constantly changing. In fact. a
simple. melodic bass pattern can actually become the most memorable part of a tune. giving the tune
its unique identity. Think about some of your favorite tunes. It is likely that the bass line is an integral
part of the tune's overall character. so strive to create simple. yet melodic lines that lend something
special to the song. (Track 11: Busy Rock Bass Part) (Track 12: Better Rock Bass Part)

Ifs also a good idea to line up your rhythmic pattern. or at least part of it. with the rhythm of the bass
drum. When the bass and bass drum are working together, it creates an extremely strong and solid
rhythmic feeling that is the essence of this music. Get together with the drummer and work out some
of the patterns and lines that you both want to use. Then, when the gig happens, you will sound strong
because you are functioning together as a unit.

The next tune (Em Funk - Chart #3) demonstrates various bass patterns. The vamp modulates and
goes to a half-time feel and a samba for variation and contrast.

Track 13 Chart #3 example

Track 14 Variations
Em FUNK

Basic groove J::: 136

Em7
9:'a 1- ~m!t rill
Variation/modulation
Em7g
.~: # t iJ=* 'I WI;
Gm7 -
9:# J
Half·tlme feel
Em7
I J. ;
9:'; 1 ; y j) I J- J! r D I) J y J)
r U
.Double time/samba
Em7
9:' It J :; J. l I r- pr- p I r- pJ. ; I r· pC r t·j I f i -

EL03942
14
~
~
(91
D. LATIN STYLES
fi"
~ BOSSA NOVA It is important in this feel to line up your notes with the bass drum and not to rush the
(1" eighth notes on the "and" of 2 and 4. Be sure the bass line sounds nice and /elaxedl Sometimes it
feels nice to add a slight emphasis on the third beat. You can also experiment with half-notes, rather
~ than strictly doubling the bass drum rhythm. For instance, you might playa dotted quarter eighth-note
(91" on the first two beats, followed by a half-note; or you might play all half-notes for a part of the time.
(t" (Track 15: Bossa Nova feel)
~.

(II'

~ Bossa Groove example #5

<'"
(it'
~
~
9:j # J. P r· ;) 1 J. P r· J' 1 J. P r· J) I J. P r· J> I
~
f""'. 9:b J. 1>J I J. ;); I J. ;); I J. ;);
(1IA

fi\
~
~
9:b J r IJ J 1 J r IJ J
~.,

f!P' The following is an example of the bossa style. "Tom's Bossa" (Chart #4) is written out for a portion of
~. the tune to give the player some ideas of what to play. The entire song (lead sheet) then appears. Try
the sample part first, then play along with the chart inventing your own bass lines.
~
~ Track 16- Bossa Nova Feel Chart #4 example
fP'
(!fA
TOM'S BOSSA

~
(!IA J = 108
Am11 Cm9/F Am11 2 Cm9/F
~
~
9: 2 i 'I ) J) J )i IJ j. if
(0'.
~ 0 Am11 Am/G F_m7(bS) B13 B

~ 9: J. ;) Ij j I #3• ) J IJ !f
~ #~
~
J
(iA
GblBb ClBb F_m9IB GIF
~
~
9: jJ. } J I bJ J h~)J· }J
~
~

~
~
15
~ EL03942

~
 ~

~
Jl
j'1,
~J Track 16 ChartH4
~

,~ I ~
', .. !
Toni Ranlef
,~ 11 .~

,~~;
i: :
"
i ILead Sheet TOM'S BOSSA , ~

,;,:
.; l;
JIntro
=108
~
;',t'
r~r
.. :

42 ,~ ~ (
Am11

~ I(
Cm9/F
2 ~

*
(!J! ./)- ~
~.
: f
.
~

'"
~
'~ Am11 Am/G F_m7(bS) B13 B7(b13)
;!
~,

:.~.
,
~~ ; 4 Ii I
'I
»'I il
I il iI , ~
iI
I " ,t I
~
iI
I i' I
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~
'yt., .. " GblBb ClBb F_m9IB GIF ~
:;:
4 I,
;~
:l
J'~ ~
I
'I

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'I
I 'I
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~
I I
~

I it I
'I

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II I
~
I
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I ~

'A ~ ~

i~
I~ l,
Eb6(9) Bbm11(bS) BlA ~

{'
~~~ i·~
'I~
.:'
4 iI I
'I
iI »
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~
I
~
I I i
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il I
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li
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~ I ,. II I ~
~ ~ ~ ~ ~ ~ ~ ~
»'I I II I I I I I II I I I
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{:.~
,,~
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Cm9 Cm9IF

~ , .~

.~ 4 »~ »~ ,~ ~

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r
1# I ~

'"
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Am11 AmlG F_m7(bS) Bb/Ab ~
~,

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,J i I I It I I I " I I I I
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'<d;:: ~

J EmlG F_sus BmIF_

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"1994 BEAM ME UP MUSIC, C/o CPPJBElWlN, INC" Miami, Fl33014
I
~
»
~
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All RIgh1s Reserved
~
','1 EL03942 16
%~
'~
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~
l'"' t"\.)
,.i
" \,~ . . '
~
<-' SAMBA In a samba. the rhythm of the bass drum is essentially the same as a bossa nova. only faster.
~ It is true that many bass players like to jouble that rhythm right along with the bass drum. However,
(I«l' doubling that exact rhythm for a long time can be a little tiresome. It helps the overall feeling of
relaxation to Intersperse
, more half-notes into the feel. especially at faster tempos. Try itl (Track 17:
(R\
Samba Feel)
~

t9'~ The following tune demonstrates a samba. A sample bass part is provided to give the player a better
idea of what to play.
~
(R\ Track 18 Chart #5 example
~
GENTLE RAIN
f"'\
(Samba)
~
('\ J =96
Am7 Bm7(bS) E7
~
~
9: If! j j I J. J)j IJ F 'F I r· ~J
<:'"
(P\
(f"t Am7 D7 Gm7 C7 F6
(i'\
('Pi'
9: J
F IJ j ffl Ij j
IF
(1"
~. Track 18 Chart #5 example
Luiz Bonfa
~'I
GENTLE RAIN I
(1'\~
ILead Sheet (Samba)
~
('1'1 J =96
Am6 Bm7(bS) E7
('J!'I

~
~
4 It III J. fJlj. .F1 I J. 111
~
Am7 D7 Gm7 C7 F6
(!A
~ , IJ I
~ '----~----..-"""
~
F#m7(bS) B7(b9) Em7(bs) A7(b9)
(fA

~i
~}
~ r n IJ. J1i3 I&r A IJ.
(fA

~ Dm7(bS) Bm7(bS) E7 l~m6 Sb7

(fA

~
4IzJ. i7J I J. f1 "e'---------~I J. I :1
(i1'\ Copyright C 1967 EMI UNART CATALOG INC.
International Copyright Secured Made In U.S.A. All Right Reserved
~ 17
EL03942
('Ii'h

(fP'
 1t,7 D7 Gm7 C7 F6 C7

4 B_ , IJ
-----
~ J~ jI u
"-- ~
'J ~ J~ j I
F6 Em7 Am (E7)

4 u
"--=
Ij
---"
F r F r I "", L" (I

SONGO The songo rl ;ythm is one of the harder ones to get comfortable with because, unlike most
other grooves, the downbeat is NOT played. The bass and bass drum notes fall on the "and" of two
and on beat four. It's a good idea to play this groove for a while with the drummer until you feel
confident that you know where "one" is without having to play It to keep things straight. Also, don't rush
the note on the "and" of two.

If you are really having trouble with this groove e:-:~ you seem to keep getting off the time, try example
#6. Start off playing the figure and adding a note on the downbeat of every bar, ~s in (a). Then, try
~l i eliminating every other downbeat, as in (b). Next, go one step further and only play the downbeat on
... ;'J
the first bar of every 4-bar phrase, as in (c). Eventually, you should start to feel more comfortable with
the silent downbeat, so you can play the figure without any of the inserted "helper" downbeats.

Track 19: Songo Groove example #6

a.
9: ¢ J.

b.
9: J. fr t It ,fr J I J.
c.
9: I ,rr: t II J J

EL03942
18
~
~
(8\
The following tune demonstrates a songo feel. A sample bass part is provided to give the player a
~ better idea of what to play.
~
Track 20 Chart #6 example
~
~ INVITATION
r- (Songo)
~
~ J =120
em7
($\

~
9: bbl, ¢ J r· ~ IJ r fa I J.
..
J) r IJ r r
~ em7 F7 B~7
~ 9: bl'b J.
..
J)
r I r- ~ J J IJ r· p J.
1 ~~F ~F
~
E~m7
~
~
9: bl'b r· pr I r- OJr lr IV r· p
Ir J ~F
~ E~m7 A~7 Db7
(!'k1

(01\
91 ~&& r- J I J. J)
r ilEt I ~r
;j J I~f' ~ J I,j

~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
EL03942 19
~

~
Track 20 Chart #6
Kapsr/Washlngton
INVITATION
ILead Sheet (Songo)
\

J =120
Cm7
~~3~ ~3~

H ijJ J J Iu IJ JJ J I
'-------_..-"'"
F7 Bb7
. - 3---,

J J J I J. J Ie............::------~e
Ebm7 To Coda-$-

err F J I,,_______JJ
. - 3 --a

r r"- l'r
r-- 3 ---, . - 3 --a

~ bbld d J JF
Ab7 Db7(if.)
.-3 --,

J J r I J. J Ie
Z

Gb7(alt.) Bm7

d ~r J r I
. - - 3 ----,

@", I'"
Bm7
. - - 3 ----,

~ bbb #3 ijJ -F 'r/ }9

D7 D7 (alt.) Gm7
~ r - 3----,

IF ~@ ~F d FI ~"'-
Em7bs Eb7 07 (alt.) G7(alt.) D.C. a/Coda
r - - 3 ---,

-$- Coda
err J J I" I" II

87_11 F7 (alt.) Bb7(alt.) Ebm(maJ7)

~ bbb I'~r.
Ii 3JJJ1J b(frjIF I'E ~r e ~FleC3·d II
Copyright C 1944, 1952 (Renewed 1972, 1980) METRO-GOLDWYN-MAYER INC.,
c/o EMI ROBBINS CATALOG INC.
Intemational Copyright Secured Made in U.S.A. All Rights Reserved

EL03942
20
~
~
~

(i1iI'\ E. ODD-TIME
Odd-time tunes are, as the name implies, rather oddU Actually, "odd" means not "even" - - tunes in 5/4,
~
7/4 and the like. The main thing for the bass player to do in this type of feel is to discern how the
~ eighth-notes are group~d and then play the feel over and over with the drummer until it starts to feel
~ comfortable and not so "odd." It is very helpful to subdivide the eighth-notes and see how the
~.
groupings fall on the time. Most of the time they will be in some combination of "2's" and "3's." Think
of the "3's" as long notes and the "2's" as shorter notes so you can perceive the major pulses without
~ frantically counting every eighth note. For example, consider two different groupings of 6/8 time in
~. Example #7. The first two bars have dotted quarters, which equal three eighth-notes, so they're "long."
and the second two bars have quarter notes, which equal only two eighth notes, so they're "short,"
~
relatively· speaking. Play the four bars in Example #8 over and over. first subdividing and counting the
~ eighth-notes. Then, try to play it by feeling the flow of the "iuI1g. long, short, short, short," pulses. Now,
~ carry this same concept over te' the 7/4 time; the measures are longer, but the concept is the same.
~
Track 21 : example #7
~
~

~
~
~ IF F t IF J :11
~

~
~
~. Track 22: example #8
~
~.

~
t F t F :11
~
~
~
<-
~ Track 23: example #9

9: I J. r r r r I J. r r r :1

Odd-Time Piece in 7 (Chart #7) is an example of an odd-time piece. A sample part is provided so that
the bassist can better understand the subdivision of beats (2, 2, 3-3, 2, 2, etc.)

EL03942 21
Track 24 Chart #7
Tom Warrington
ODD-TIME PIECE

J =120
Dm7

~tJt ~ IF'
Dm7 8~maJ7

E7(13) A7sus Em8j7/G~ C7/G

9: & J.
'r J1 1 J. (t J I.;. ~~

F7aua F7(f8) B~6(9)

9: & J. IJ iiI~ J. ~ ~ IJ J.
J J I
J. ~ J ~ 0 1

E7aua E13 EmaJ9 C7(i~) F7(~!) Bbm7

9: & r· r r I J. r J IJ I
J J. lJ
To Coda -$-
G7(~ID E7('9) C'7('9) F'7(IS)

9: & J J J J Ie r· I DJ· 'r _u. p3

D.C. a/Coda
Em7 A7

9: ~I:"r- .J ro p~r 1 r- .J r· pJ :11

-$-Coda
CI7(19) F17(11) 87(19) 87(19)
Ivamp I
9:& #J. 'e _3. _J§[J J J II: _J J J :11
_ill -j
Q1994 BEAM ME UP MUSIC, C/oCPP/BELWIN,INC., Miami, FL33014
All Rights Reserved

EL03942
22
F. BALLADS

In a ballad, the bass provides the essential harmonic underpinning for the tune, so it is very important
to get with the other chord players and make sure everyone understands what set of chords will ~e
used as the basic structure.

Of course, it's possible to deviate from those somewhat as the tune goes along, but it is nice to have a
consensus to depart from. Since the bass is playing long sustained notes, any mistakes or wrong
notes are really obvious. Having the harmonic structure agreed upon beforehand allows you to play
the bass line with confidence and hopefully, avoid playing notes that don't fit the chord forcing you to
quickly jump to a better note. These types of mistakes can really break the spell of a beautiful mood
piece and turn it into a rank dirge. Also, it is a good idea to use a little vibrato and try to get as much
length as possible in the bass notes. (Track 25: Good Ballad Sound) And remember, each note is
going to last a long time, so choose the notes wisely.

The jazz ballad (Chart #8) is demonstrated with a suggested bass part for the first 8 bars of the tune.
The rest of the tune - you're on your own - good luckl

Track 26 Chart #8 example

BODY and SOUL

(Jazz Ballad)

J=50
Ebm7 Bb7(bS) Ebm7 Ab7 DbmaJ7 Gb7 Fm7 Edlm7

9: b'lb b4 r
I
J F Ir J j
Ir J IJ r ~r-e [r I
s

Ebm7 Ebm7IDb s Cm7(bS) F7 Bbm7 Eb7 Ebm7 Ab7 11D~6 ab7

I
r.... g IJ F Ir J r :11
3

EL03942
23
Track2B Chart#S
John Green
BODY and SOUL
ILead Sheet (Jazz Ballad)

J =60
Ebm7 Bb7(b9) Ebm7 Ab7 Dbmaj7 Gb7 Fm7 Edlm7

'~bbj~ t I~ ¥ l> 0 J. l> Ir r' 11 j n r' l Ir ~ rr

B~m7 E~7 E~m73 A~711i1>& Ilt~
pm no
Ebm7 Ebm7IDb Cm7(bS) F7 Bb7 A7

4~bl!j~ ,
r-3-,

F rJJ IJ J I, 10 :11
u
I h~~ •• -&

DIF~ F~m7 Bm7 Em7

4'&'
DmaJ7

;)
Em7(A71E)

jT:J Jl
l.
j l.

Jl
I~ r Jl
Gm7

Jj
C7

J> 1 J) J J)
A7

J J I J.
DmaJ7
,
Dm7 G7 CmaJ7 Ebdlm Dm7 G7 C7 B7 Bb7
.. ..

4'" ;PW J~ j ) IP F ~ ~ F
Jl I ~p
r J1 r J IJ #J ~J ~F I ~~~Ill bb z

Ebm7 Ab7 DbmaJ7 Gb7 Fm7 Edlm7

l.
;Cj l.

1'1 Jl
r· J IF r r
4nj~ IFF J J IJ
I
Ebm7 Ebm7JDb
~s-,
Cm7(bS) F7

J
Bbm7

I¥ J) J
Eb7

-0
Ebm7 Ab7 3

j
PJ
Db&

u
(Bb7)

II
Fine

Copyright C 1930, 1947 WARNER BROS. INC. (Copyrights Renewed)

International Copyright Secured Made In U.S.A All Rights Renewed

EL03942
24
(9'

~
~
Another kind of ballad, a half-time rock ballad (Chart #9) is demonstrated with a bass part for the entire
(V\ chorus. Once you feel comfortable with ~he notes and the concept - experiment.
(8\
(Wt\ Track 27 Chart #9
Tom Warrington
~
(9"
~
J ILead Sheet HALF-TIME ROCK
(Ballad)
~. J =126

cf
C7sus(b9) Fma)9/C
~
f!A 9' ~ j J. f J 1 J. f J i 'I f J
(G\
(9\

~ Fma)9/C B9(bS) Bbm7

t I t·
('P\

~
("!P.

~ Eb7(~)
j

Abdlm7
)os
r E ~ r II
Ab6(9)
¥
-' I 'I &ltl

J" ~#n 1 1.8 cl J I" ~~ diJ J

(S'I

(\"
~
~,
C6(9)/G G7dlm F6/G G(~!) C6sus(9)
r'" ..... ..
(9\. 9 & J.1
P !f 9 0 I J. 'I J. J? IJ J,
e E~ r - II
f'k'
~
Bbm9/C F6(9)/C
f"" ..
~
'): & J
,,;
'I Jl- 1- I j.
f'!'
~
Bbm9/C Fmaj9/C Fdlm7/C
~ ..
~ 9: & J. Jl - 1- y JtJ'!f I j y J>- 1- , Jt. j
~
(fA
Bbm9/C F6(9)/C
~
~ 9 &J. 1 J) -
..
1- ¥ Jt....J1 ¥ I.J .
Jl -
~
~
Bbm9lC Fmaj9 D7(~9)
~
('PI

~
'):
,,;
& J.
..
J) - ,- ¥
.. ..

.tJ) 'I 'F y ~

e

F· II
C 1884 BEAM ME UP MUSIC, C/o CPPIBElWlN,INC., Miami, FL 33014
('I' All RIgh1s Reserved

~
EL03942
25
~

~
 III. ADDITIONAL MUSIC

The following three tunes (Charts #10, #11, #12) were performed on the video "The Contemporary
Rhythm Se~{'Jn Complete." Three different types of lead sheets are provided so the player may follow
along and eventually perform the tunes.

Track 28 ChartN10
Paul Viaplano
NEW MATH
(Opening Tune)

J =128 ~ Am7(11) Eb6(9) D7(fs) Gm Em7(bS)

Cm7 A13 A7(~13) em D7(~) I~m F.m7 Gm7 I

91
!jbj !dj !d_J I IV tJ e,lr I)' mJ _J I J. jl - In
Double X feellWalkl
DIE B~m B~mlA B~mlA~ C7('9)

~J 12_ II' I I I I' I I I

-~

Fm FmlEb Dm7(bS) G7(b13) EtC C6(S)

, , ,
rI »
I
, I'
r I I
I
I
I
I
I ,1 I »
, I
I, I I
, I
, I

Bm7(no5) Bb7(13) Eb6(9) E7('S) Am AmlG~

, , , ,
5): jlz I I I I I' I I I
I I
I
i
I
I I
I i
I ,t
I I
I, I I I
I
I

AmlG AmIF~ Am E7{'9) To Coda -$-

I ,,
9: jill , , ,, , , ,
I
I It I
I I
I
I i } I I
I ~~
Am7(11) Ffm7 1~7(11) C7sus II!m7(11) C7sus
- .. -I
9' I~ fa ¥ oP'"tIl I •
~
u
It], ~ , Jt~JJ' III i1' ~ i tj9
FmaJ7(f11) EblE GblEb AID ClDb Cm D.S. ~ torS%s

I .. I J. Jl I
~i
:;:>< >:::c;:::::

-$- Coda B~7(~11) B~7('11)IE

~ ~,
.1
;
9: 4 I I JkgErl ([{fEU I d I
I ~.~~ ,.- II
3 J
C 1994 BEAM ME UP MUSIC, c/o CPPIBELWlN, INC., Miami, FL 33014
All Rights Reserved

EL03942
26
fiR'
(*'
~
Track 29 Chart #11
~ Eric Gunnison
SNAPPIN' THE GIZ
~
~
ILead Sheet (Jazz Tune)

~
~.
J =88
B~sus D~7sus G7(~9)
~
(1#\' QI
~
~

c- Cmal7 E7alt A7sus A7alt

(fill 9: II:
($"A

(*I
(!/I" DmaJ7 B7sus B7alt

F-7 B~7 EbmaJ7 E-7 A7

~ ~9~:~~~~~~~~~~~~~~~~~
~
~
(i'A DmaJ7 A~7(~9) D~maJ7 G7alt
I
~ 9: :11
~
(W"
A-7(bS) D7alt G-7
~
c- Ir I »I

~
~ C7
~
j
~
~
(it'
F7sus F7 B~7sus D~sus G7(b9)
~
~ 9: IT j I 'I bJjJ J. J&Le 1'1 bfr r· ~lr' J] II
~
(¥Jt'
~ C 1994 BEAM ME UP MUSIC, C/o CPPIBELWlN, INC., Miami, FL 33014
All Rights Reserved
~
(M'
~ 27
EL03942
~

~
 TrBck30 Chart #12
Steve Houghton
WBC
I Lead Sheet (Closing Tune)

J= 116
F7 Bb7
cr
, ~
-,
I I I I
> 0". ..
V
I -, I
-,
I / -,
I

C7 F7
C):
, > -,
I
-,
I
-,
I o' o'
V / -,
I l
-,
I 0oil
1
I
'"
[!] Bb Csus C
r): ,-, -, -, -,
, I
> -,
I
-,
I
I -,
I
-,
I
-,
I 2
I -,
I2
-,
I
-,
I I
I
I I I I
-,
I

Om7 CIE C7
"~!
, /
-,
I l
-,
I
II
-,
I /
-,
I
II
-,
I
-,
I
-,
I
I -,
2
-,
I I -,
I

F7 Bb7
C): , , , o' ,
, I I
I
I I r-
I I I
I
I
I
l

C7 F7
r):
, I
,
I
,
I
,
I
, ,.
o'
I I
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2
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2
II

C 1994 BEAM ME UP MUSIC, C/o CPPIBElWlN, INC., Miami, Fl33014

All Rights Reserved

EL03942
28
~
~

~ IV. SOLOING/IMPROVISATION
At clinics. questions are constantly being asked about SOLOING, "How do I become a good soloist?
~
What do I need to do?" First of all, it is of primary importance to develop a good fundamental
~ knowledge of harmony and the role of the bass within the harmony of the ensemble. This is not to say
~ that soloing isn't important. but your ability to function in a group and play the grooves well will be more
~. bankable skills. If you can solo. that's an added plus. but if you can't play in an ensemble and get a
good feeling - groove with the drummer. your skills won't be in very high demand. With that in mind.
(1A
it's good to practice developing a strong sense of time; practice with a metronome. make tapes of
f!'" yourself. listen back to the tapes and evaluate the sound of your groove and feel as it compares to
~ bass players that you hear on recordings. It's really important to listen to yourself objectively so that
you can spot specific weaknesses in your playing and devise ways to correct them.
~,

~ At some point you will want to develop your soloing skill. The great importance of ear training cannot
(fA be over-emphasized; it is essential to be able to recognize harmonies and melodies and find them on
your instrument. Of course. you should practice your scales and arpeggios, patterns. etc. so that you
~
have some vocabulary on hand to draw from when constructing a solo. Also. it is a great idea to
~ transcribe some solos of other players that you would like to emulate. Study their way of constructing
~ a solo; see how they do things and try and do similar things you find interesting. And. most
~ importantly. get out and play with other musicians as much as you possibly can. Too often students
get caught up in the academic pursuits and neglect the very thing they want to learn how to do -
~ PLAVIII Get together with your peers and jam as much as you can. Play solos, make tapes. check 'em
~ out, practice your rough spots and play some more. Actually, that's what we all have done all along
~
and it never stops.

~ Learn the melody to a tune; that's a good starting point for soloing, because understanding how the

,..
(I'A original melody works will help you in building one of your own. It is also important to understand the
structure of the song. that is. its form, the length of the various sections and the harmony that goes with
those sections. Only when you're armed with this knowledge can you begin to build an effective solo.
~ Also, listen to soloists on other instruments. like piano, guitar. saxophone. etc. There is a vast wealth
~ of information to explore. so don't limit yourself.
~
V. CHART READING
(f'h'
Many times bass charts provide wrong or misleading information, therefore, it is necessary to be able
~ to do some on-the-spot editing in order to make musical sense of the situation. Look closely at
~ example If. I u.
~
This is a portion of a typical chart that one might encounter on a gig. Notice in the beginning that the
~ arranger has attempted to write out the entire bass line without the benefit of chord symbols and as
~ you get into this bass line, you will find it isn't all that great. Later on in the chart there are some
sketchy chord changes that would almost certainly be embellished by the chord player. Usten to how
~
this chart sounds as written and look at the information on the chart. Analyze the probable harmonies
~ and create your own bass line to add a little life to the chart.
~
~
~
~
~
~
~

~
~
~ EL03942
29
~
 READING CHARTS

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EL03942
30
(#A
~
~
@'J' VI. EAR-TRAINING
~
Once again, the need to learn ear-training is of primary importance so you can recognize what you are
hearing. Music is a language and in order to converse intelligently, you not only need to be able to
(*
read and write it, but you must also be able to speak and understand it. Understanding requires
~ recognition of the sounds you are hearing. Just as you understand the words someone speaks without
~. having to run for a dictionary, the same immediate recognition of musical sounds must be developed to
participate in a musical dialogue. Once you decide to be a musician, the lUXUry of being a passive
~
listener is over and it should be your goal to recognize every aspect of every bit of music that you hear.
~.
Dig the changes they use on some pop tune while you are pushing your cart up the grocery store aisle.
(A Some of this stuff is hilarious, don't miss outl! Get your brain involved continually figuring out what is
going on whenever you hear music. Take your favorite records and figure out all the chords to all the
fI'" songs and try to get the exact vOicings. It is a challenge, but it is also a lot of fun once you get into it.
~ The skill of having instant awareness of what harmonies are occl.rring will allow you to adapt to
~ different situations. Instead of learning a tune one way and playing it just that way. you can play the
~
same tune with many different players and adapt to the varied harmonic treatments each player brings
to the tune. That way. you are equipped to make the most musical sense out of each unique situation.
~
~ And, above all, enjoy yourself. Music can be really fantastic when it is right and I hope our time here
~ together will help you along the way toward a lot of great musical experiences. Good luckl
•
~ VII. SUGGESTED LISTENING LIST
~ When we listen to music, we can't help but absorb what it is saying to us. When we listen for
f!!" enjoyment, we are moved by the music without being concerned by it technically. We can then grasp
the feeling that the soloist and/or composer intended, or create our own image and interpretation. that
~ is, the essence of the music. When we are too analytical in our listening. we tend to concentrate on
~ specifics rather than the whole picture. Although there are times when we need to concentrate on
~ technical matters, just keep in mind that listening should also be a fun and whole experience that
allows us to stretch our ears and become well-rounded musicians.
~

~
~
Acoustic Bass Electric Bass
~
~ Ron Carter Stanley Clarke
~ Paul Chambers Nathan East
Eddie Gomez Anthony Jackson
,..
~
Dave Holland
Marc Johnson
Jimmy Johnson
Will Lee
~ Scott LaFaro Marcus Miller
~
Gene Parla Jaco Pastorius
Gary Peacock John Patitucci
~
,... Mirouslav Vitous

~
~
~

~
~
~
~

~
~ BL03942 31
 -----------

VIII. SUGGESTED READING LIST

Bailey. Steve. 1991.5 String Bass. Miami, FL: CPP/Belwin. Inc.

"

Bailey, Steve. 1991. Fretless Bass. Miami. FL: CPP/Belwin. Inc.

Bailey, Steve. 1991. Rock Bass. Miami, FL: CPP/Belwin, Inc.

Goines, Lincoln and Robby Ameen. 1990. Afro-Cuban Grooves for Bass and Drums. Miami. FL:
Manhattan Music Publications.

Haslip, Jimmy. 1991. Melodic Bass Library. Miami, FL: CPP/Belwin, Inc.

Houghton, Steve and Tom Warrington. 1991. The Essential Styles, Book I. Van Nuys, CA: Alfred
Publishing Co., Inc.

Johnson, Mark. 1993. Concepts for Bass Soloing. Petaluma, CA: Sher Music.

Pastorius, Jaco. 1991. Modern Electric Bass. Miami, FL: Manhattan Music Publicati(\n~_

Patitucci, John. 1990. Electric Bass 1. Miami, FL: Manhattan Music Publications.

Reid. Rufus. 1974. The Evolving Bassist. Miami. FL: Studio P/R. Inc.

Reid, Rufus. 1977. Evolving Upward, Bass Book II. Miami, FL: Studio P/R, Inc.

BL03942
32