Preface he purpose of this book is to provide the aspiring bass player with a wide variety of finger exercises in- dispensable to anyone wanting to develop the technique necessary to succeed in today’s music scene. It can also play a very important role in a bass player's daily prac- ticing program. ‘This book is dedicated to the memory of my father, Francois Turenne des Pres (May 4, 1907 / November 29, 1990) for his lifelong support and infinite inspiration, and David Paul Schuchman, (November 2, 1960 / September 1, 1989). His encouragement and help gave me the initial force in writing it. Josquin des PresIntroduction Approach to Practice SECTION ONE SECTION TWO SECTION THREE SECTION FOUR SECTION FIVE SECTION SIX SECTION SEVEN SECTION EIGHT SECTION NINE SECTION TEN moving across the fingerboard variations on exercises from Section One alternating direction variations on exercises from Section Three skipping frets skipping frets, alternating direction moving between strings moving back and forth between strings finger independence (centered around finger #1) finger independence (centered around finger #4) 18 21 25 28 32 36 B ContentsIntroduction hese exercises are designed to help increase your speed, improve your dexterity, develop accuracy and promote finger independence. il ven though all the tablature and finger combinations apply to the left hand, they will also work your right hand as some of them require swift and precise right hand moves. he numbers on the tablatures indicate both frets and fingers: Number 1 indicates the index finger as well as fret 1. Number 2 indicates the middle finger as well as fret 2. Number 3 indicates the ring finger as well as fret 3. Number 4 indicates the little finger as well as fret 4.il ractice daily, playing each exercise for at least 15 minutes before moving on to the next one. fi lay each exercise up and down, then move up chromatically in half steps (a half step equals one fret). Starting at fret 1 up to the 12th fret and back down, fl Iways use a metronome, playing 8th notes (2 notes per metronome click). Start at the slowest indicated speed, concentrate on your sound, then gradually speed up. hen crossing over strings be as precise as possible by watching alternatively your left and right hand. Approach to PracticePart A Exercises with all 4 fingers moving across the fingerboard SECTION eee goer es von Heb, 5 = 2 94 aad fey poy Mee pa S|] = 4 [i if . | 4DOWN+= 60/180 Tr vars a CE + Ee : 7 = a4 ; uP DOWN/ = 60/180J= 60/180 uP DOWN up DOWN uP DOWNPart Cc Exercises with 2 fingers remaining in the same position and 2 moving across the fingerboard J = 60/180 uP ehoge DOWN DOWNJ = 60/180 UP so 3 eer up 36 = a TE PaapD with 3 fingers remaining in the same position and I moving across the fingerboard = 60/180+= 60/180 uP 4 ERs “SeesJ = 60/180 ul P DOWN 45PartA Variations of the exercises contained in Section 1 SECTION += 60/180 up = SSS na 50 Qe re z & + + + + up = =m ] B15 ear F te ¥ =e feat 4 ‘J = 60/180 up DOWN uP Down bp___php__» tre SE Corry a 4+ up Down - [Tre cp phtebelie ot bee ey © DF adglilte**s bg tur Eze tf = :. Ey soe +—4 Bo a 20A alternating direction, with all 4 fingers across the fingerboard SECTION DOWN 21Part B Exercises alternating direction, with 1 finger remaining in the same position and 3 moving across the fingerboard /= 60/180 uP Down ogee tity porter sa Th 22,Part C Exercises alternating direction, with 2 fingers remaining in the same position and 2 moving across the fingerboard J = 60/180 reyeg_ebebeten eee + + r Ee 7 - = Ee uP DOWN ft + + up DOWN poeple - 23Part D Exercises alternating direction, with 3 fingers remaining tn the same position and I moving across the fingerboard uP DOWN 24Variations of the exercises contained in Section 3 SECTION 4 = 60/180 uP DOWN/= 60/180 up 3 === a t Bae uP DOWN 26J = 60/180 w own -——__(TT poabe yg tbe bebe py E | = Teme a CESSES cad up DOWN 27Part A 5 Exercises for skipping frets, with all 4 fingers moving & across the fingerboard oO Q o J = 60/180 up Down I pti by —; £ whet £ =e ra vp bow 90 Fry wer thele poegttisttanesate : OF, ples = CEE eset pape | + * Tt = Pete at Ee . 28Part B Exercises for skipping frets, with 1 finger remaining in the same position and 3 moving across the fingerboard J=60/180 uP 29Part C Exercises for skipping frets, with 2 fingers remaining in the same position and 2 moving across the fingerboard J = 60/180 uP DOWN 30Part D Exercises for skipping frets, with 3 fingers remaining in the ‘same position and 1 moving across the fingerboard += 60/180 31Part A Exercises for skipping frets, alternating direction, with all 4 fingers moving across the fingerboard z 2 & g a J = 60/180 = + 4-3-4 106 (9 pisteiet (Pr Foe beat = re eS gor oe = ‘ e+ rt = x a SS Ce ee UP DOWN vor) 94 pS Ta cect Echt yj og teste r got CF * 7, cf ao Cf Teel ur 108 4 4 + = vee t= EB +8 32Part B Exercises for skipping frets, alternating direction, with 1 finger remaining in the same position and 3. moving across the fingerboard += 60/160 up DOWN 89:Part C Exercises for skipping frets, alternating direction, with 2 fingers remaining in the same posttion and 2 moving across the fingerboard J =60/180 up DOWN EE bpbatateberty z 4 4 Ha = 34Part D Exercises for skipping frets, alternating direction, with 3 fingers remaining in the same position and 1 moving across the fingerboard += 60/180 17 a= Aileen tePart A Exercises for moving between strings SECTION ae —te erate iF er 36+ =60/180 uP DOWN 127) 37Part B Exercises for skipping strings 129 poate f DOWN 38DOWN DOWN 39Part A Exercises for moving back and forth between strings SECTION = 60/180 uP DOWN DowN 140 Fhe “pe 40Part B Exercises for moving back and forth between strings, alternating direction J=60/180 bef I Uw 41Part C Exercises for skipping back and forth between strings J = 60/180 UP DOWN 145 146| 147 42Part D Exercises for skipping back and forth between strings alternating direction = 60/180 up DOWN TT pepe te uP DOWN uP DOWN 43Part A Finger independence exercises centered around finger #1 {upward motion) SECTION J=60/180J = 60/180 155 Meck aeccie en Tet DOWNJ = 60/180 up a 2? See : ote he fa DOWN DOWN 46J =60/180 a7= 60/180 uP 161 DOWNJ= 60/180 49Part B Finger independence exercises centered around finger #1 (downward motion) 1 = 60/180 Down DOWN 50167 J= 60/180 uP DOWN > SSS 51J = 60/180 169 DowN ptbetebe pepe ttbe tebe By 52= 60/180 uP coo a7 be GIy FS ae ct ; 2—+ Ce + + 2 + + DOWN te poled be bet o —- bp be te bebe te » =e : + DOWNJ = 60/180 DOWN 54J=60/180 up 175 55PartA Finger independence exercises centered around finger #4 (upward motion) SECTION 177 5660/180 Down DOWN 8711 ation == : Seg ott | Sige LL pe If = HS bo eee DOWN Log be ther pies « ae -y es aH E aa 58+= 60/180 DOWN= J = 60/180 uP 1868 5 nF 60/=60/180 up 187 61Part B Finger independence exercises centered around finger #4 (downward motion) J = 60/180J= 60/180 ee he toe * tbe — et 5 = "iptpte eb nee —| SS a an El errr aa ae 631 = 60/180 up 193 Fe —_. = ———— or | 47) edad) fog ops ete pees eae Sp EF +34 weer wrarasar! avap tT ae oe DOWN 64J = 60/180 Down 65J = 60/180 DOWN 66J=60/180 uP 199 a5 lari DOWN bow 53 : =F Oy ee —— seeRECORDED VERSIONS Recorded Versions Bass Guitar are strai; off-the-record transe: tions done expre: a bass iter. 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Boe 3818 Mae, S212Rich Appleman Werklee college of music, bass department chairman, Bass Player ‘Magazine columnist) “A very concise and comprehensive approach to the art of the finger exercise, A welcomed addition for the serious player's practice routine We need more materia like this forthe electric bass.” 200... finger exercises Dale Titus (BIT instructor, session player) “This book is long overdue! [fa bassist works through this book cover to cover, he should eliminate any weaknesses in either of his hands. A must for the serious player.” designed to: increase speed, idy Sarzo (Whitesnake, soto artist) “Josquin’s finger exercises are the perfect warm-ups for the studio and stage performance.” improve dexterity, develop accuracy Bunny Brunel {Herbie Hancock, Chick Corea, solo artist) 200 ways toa greater technique. These are definitely some very good (eas to practice on your bass.” and promote Jimmy Brown (Guitar Wortd, Gultar Schoo! Magazine, muste editor) “Never have I seen such a well organized comprehensive technique primer for the bass player: These exercises cover a wide range of technical requirements and dificulty levels that will benefit even the imost advanced pro. Yet, they are presented in a simple, uniform format that even the greenest beginner will feet comfortable with.” Carmine Rojas (Rod Stewart, Michael Bolton, session player) “One of the best books Fue seen yet or cleveloping technique for a wide variety of music. Excellent for beginners and non-begtnners.” Mark Egan (Sting, Elements, Pat Metheny, Gil Evans, Solo Arist) ‘Bass Finess will definitely get you in shape for any musical sttuation. R's a long auvaited thesaurus for fnger exercises. Barry Rudolph (atusie Connection, “new toy" colurer) ‘An aerobic workout for your fingers that will force you to ultimately become a better player.” Ron Garant (Bassies Magazine) “Whether you use these exercises to improve your finger dexterity or as warm ups, you will find them very helpfl” Karl Coryat (Bass Player Magazine) “youre looking for a catalog of finger calsthentes, ts book's for yout” Ameva Venta por catalogo ‘Apartado 276 -03590 Alton “To: (96) 84 37 61 Fax; (96) 58438 4 13999 BUTT "0 HL.00660177 HB i temara Publishing Corporation CARVIN $93