ey wer Table of Contents Explanation of Musical Notation 2 & Ex.1 Scale in Thirds .........+-+ 5 —x.2 Chord Progressions a @ Ex.3 Major &Mingr...... : at —x.4 Ascending Tumarounds ‘ acces mesa: soon Ex.5 Descending Tumarounds . * a _ 10 Ex.6 Short Tumarounds .... ae wn: Jone nie W Ex.7 Flat Five Substitute .... ences . a -conie TE Ex.8 Diminished Chord . 215 Ex.9 Altered Tumaround 16 Ex.10 Tag 0... cece ee au7 Ex. 11 Song Progression in F ¥ 18 Ex. 12 Connecting II V's . # eeeaew uo oe GE Ex. 13 Skips, Drops, Glisses, & Rhythmic +25 Ex. 14 Intro een | Ex.15 Bb Blues 27 Ex. 16 Trading Fours . or) Ex. 17 Minor Blues wee 30 Ex.18 Cycle Bridge.......... 32 Ex. 19 Common Bridge 33 Ex. 20 Fast Bridge . . uM Ex. 21 Introduction to Soloing .... ee 35 Ex. 22 Right Hand ........ seen amine oe 7 Introduction to Appendix . 338 Appendix: Scales starting on the 1st finger . Scales starting on the 2nd finger........... Scales starting on the 4th Chord chart : Fingerboard charts.v 3) 4) 5) 8) Explanation of Niusical Notation Chord symbol Indicates tonal center Finger number String number Line indicates that a series of notes are to be played on the same string, An asterisk over a note indicates that it is not in the tonality. It will need an alternate fingering. These accidentals are used to: a) change the Vm to a V dominant (see Ex. #3 page 7) b) change the Vim to a VI dominant (see Ex. #6 page 11-13) ©) add chromatic notes to avoid coubling notes or dropping beats (see Ex. #6 page 11-13) er cme comm cme eeeExercise #1 SCALE IN THIRDS Introduction to Roman Numerals herds are built out of the major scales. It is important to remember the dif {erence between working off the scale (tonality) and working off of the chen The C major scale written in thieds demonstrates this. The Remon Numerals above the scale indicate the degre: "66 of the scale — |, Il, Ill lV etc. If you analyze the two notes under each chord symbol, the first line is harmonized wrin the root ang the third for the major chords (I, V, V) {he root and the minor third for the minor chords (ll, VI, Vil. The second line is harmonized wit the third and fifth for the major chords the minor third and the fifth for the minor chords. The VII chord in the secon: fifth. The VII chord is rare relative minor. 1d line is harmonized with a minor third and a flatted 'y used in the major tonality. It is used as a lim" in theExercise #2 . CHORD PROGRESSIONS ‘The ROMAN NUMERALS can be rearranged to display the two most common progressions in jazz. From these two progressions, a large variety of song forms can be made by: a) varying the time value of each chord symbol b)_ using only part of the progression ©) modulating (changing) to another tonality. The first line of each example lends itself more to bass lines. The second line of each example lends itself more to soloing. Played together, these two lines harmonize the basic triads — roots, thirds (major or minor), and fifths. 1 v 1 Vv tim vm Im Dm GMa CMa FMa Bm Em Am 21 a ft 6 tg gt 1 v 1 v CMa FMa Bm-8 Em Am 2 5 q o— o— 9 — eee| : Exercise #3 | MAJOR & MINOR Jeno sjr anita relative minor share the same ey slgnatue. Te flowing exmpl emonsrates how ‘smoothly you can play from the major into the relative minor, rine V chord of the relative minor is a minor chore. This is using the natural minor scale. The chord in the nample has been altered by raising the third to create a dominant chord. Changing ine third of the V Chord raises the seventh degree of the minor scale — this is the harmonic minor scale. The flat nine of the ¢ cnord has also been raised to the pinth. This raises the sixth degree of the minor scale — raising the Sicth and seventh degree of the minor scale is the melodic minor scale, The strong dominant chord helps fo tirmly establish the | minor chord in the next measure. (These alterations are much less important when, soloing.) The melodic minors used in the example, On the bass, the harmonic minor is more dificult to finger, 7Am7 pt Bm7-5 ET-9 Amt DT Bm7-5 EI-9il se | | Exercise #5 DESCENDING TURNAROUNDS Allof the following are closely related to the Ill VIII progression.u Exercise #6 ‘The following examples demonstrate short turnarounds. The FIRST note of each chord change is usually the ROOT of the chord. This establishes the chord. The second note can be almost anything: REPEAT the ROOT play the FIFTH : play the THIRD (major or minor) play a HALF STEP ABOVE or BELOW the FOLLOWING note. rin I “The last possibility rarely creates clashes. This facilitates playing through brisk passages that are either difficult or impossible to finger with fifths and not nearly as smooth with roots (using thirds always work well, ff “Rate natin time wo smi: progressions have buen combined (VE Whe viminoe _chord bas been altered to VI dominant. in short turnarounds, where the chord changes are only two beats is easier to alter the individual phord then it is to change the tonality. esr i Y | | | SHORT TURNAROUNDS IN G I i i BmT ET Am? DT GMa? ET Am? DT Bm? ET AmT DTS GMaT ET Am7 DT GMat ET AmT DT13 Bm? , ET Am? ba GMay ET am? pb? Bet ET Am? y DTS GwaT | ET | amt D7 Bm? ET AmT br GMaT et a7 DTExercise Dy ‘ A 1) FLAT FIVE SUBSTITUTE |< This exercise shows the different ways a flat five substitute can be used. The flat five sub refers to a change in the progression, not in an individual chord. The first example is an unaltered Ill VIII V progression. The second example demonstrates the substitute. The dominant chords and their respective tonalities have been moved the distance of a flatted fifth The thirds example places ll chgrds in front of the new dominant chords. This more firmly establishes the new tonalities, The flat five substitute should be used by both the chord player and the bass player. If the _ghord player doesn't use the sub,a clash can occur. The fourth example demonstrates how. the bass player can use the flat five sub whether the chord player Bm7 BbT Am7 Abr \Lis using it or not. e Bm7 FmT — BbT Ebm7 Ab7 Bm? ET (Fm7Bb7)_AmT Dr (ebm Ab7)15 . Exercis DIMINISHED CHORD The diminished chord is often used as a chromatic “connector:’ Since it is not part of the tonality, it can be difficult to conceive of a proper fingering, especially in a fast tempo. The diminished chord can be thought of as a non-root dominant seventh chord with a flatted ninth. It is built a major third below the diminished chord. The tonality is now readily apparent and much more easily played The first example demonstrates a progression with diminished chords. The second example demonstrates the same progression with the diminished chords changed to dominant seventh fiat ninth chords. CMa? ATb9 Dm BIb9 Ole Oa Orme o © o—o Em? Am7 Dm7 at16 Exercise #9) , ALTERED TURNAROUND ‘The altered turnaround is sometimes chord. The first example demonstrates how to pla’ howto play through the chord changes. y to the chord changes. The second example used to replace the IVI IIV turnaround. Each chord is treated asal demonstrates — = = TF. Exercise fo) TAG The tag is commonly used as a way to end a tune. The following example shows the most common type of tag ending. Tune normalyExercise #11) . il SONG PROGRESSION IN F ‘The following exercise demonstrates two choruses of a 32 bar song progression In F. ‘The first 16 bars demonstrate the proper usage of roots and fifths, Gm cr FMa? Bb MaT Em?-5 AT : . z ! a 4 A + aos ‘ 4 22 4 2 = - a SS ES : SE = = = © o ® @ Oo od o—o @ @. eo @ cr FMat Em1-5 AT‘The second 16 bars place emphasis on the seventh (major or minor) of the chord, along with roots and fifths.in the MAJOR & MINOR exercise (Ex. #8 page 1 0! ding IV line is demonstrated. ust ‘The fourth 16 bars use the same motives found addition, the proper use of accident als in an ascen i fi h“3 Amt Re Mh. {i | e tm FAT meee ee ee eeer 1 BbT Gt At Fm? Dm7 Em? ebm? br _7 bt bt Amt Amt Amt? Am? 2425 Exercise PD) SKIPS, DROPS, GLISSES And RHYTHMIC FIGURES The following exercise demonstrates some of the more common rhythmic figures that can be added to a quarter note bass line. To be most effective, they should be used sparingly. CMa? Dm7 Em? At Dm7 ay Mat CMaT Dm? Em7 oy AT DmT at Mat 2 4 6 Mat omar ane : Dia =a °25 i ‘This second chorus of blues demonstrates how you can smoothly play from one end of the instrument to the other. i Bb Ebo Bbo ®) — : o— = ——— - F 5 = — SS is @ —— 6 2 ® @ o— Fmt bo : : Bobo: ates £ 2 2 42> = z ae = BbMaT EbMaT DmT oT cm7 i i26 Exercise (1 . 2 INTRO 1ed to be used specifically as an introduction to blues. ‘The following exercise is a bass line design Elo Bb Bb Bb Gr cm? e e 6 e ® e FT Dm or FT yar I HEBBEBEHE HEEB Ew. Exercise Bb BLUES “s The following example demonstrates a simple, but effective bass line for modern blues chord changes. cm? Dm7 ar cm FT Bb cm? Fv we aBy TRADINGFouRS ese) A common device used by jazz groups is “trading fours’ The following illustrates how to trade fours with a drummer on blues. Instead of playing a solo for a full chorus, the drummer alternates every four bars with the rest of the group. It is as important for ne bass player to keep track of the time during the four bar break, as it is when playing. Coming back in we. ly, orin the wrong place, could throw the time all off Bo Eb9 Bbo Fm7 Bho30 Exercise far) ‘Another type of blues commonly employed is the Minor Blues (Ominor is F's relative minor) MINOR BLUES The fingerings are from the F Major scale. Dra Ss — o @ Gm7 SK rT Tee Hea Hw eee Ee wi31 ‘This second chorus of D minor blues demonstrates a bass line that is very effec tive for fast tempos. The half notes create more contrast between the bass line and the solo line. us aa om aa a er ————- = i Em7-5 at Dm Em7-5 AT “| ee32 CYCLE BRIDGE ‘The first example is avery effective bass line for a cycle bridge played at a fast tempo. Exercise #18 __e 1 _ a. The second example Is designed for a more moderate tempo. It is designed in four bar phrases and moves smoothly through the tonalities rather than against them. Gm? cr cm? FT BhMat?33 . Exercise COMMON BRIDGE the step motion is mirrored between these two examples, to show You now to anda descending line on each chord change. play both an ascending line ch FMaT FS | | : Gt Mat Am7 br Dm7Exercise(#20) FAST BRIDGE This exercise is designed to be played very fast. Practice it al a medium tempo and gradually work for speed. Playing fast demands clarity and simplicity. Relax, do not bear down. the Am? pt GMa? = oorExercise (21) . INTRODUCTION TO SOLOING Bass lines in jazz are constructed mainly in quarter notes. Soloing, however, is not very effective based on quarter notes. The solo ends up sounding more like @ syncopated bass line than a solo. This exercise will show you how to use eighth notes (and eighth rests) to design your own solo. Each two bar phrase is set to I! V in G. The restriction from starting on the root is lifted. The third (major or minor) is the most effective note to start a phrase on (although any other note in the chord can be used effectively). am? bt GMa?36 GMaT bt am? br Amt ° amta7 Exercise #22 RIGHT HAND Most of the exercises in ins book deal with the development of the left hand. The right hand however, is equally important. ‘The following right hand exercise is designed to sh ingeneral, alternate the index and middle finger: 1) onthe same string 2) onascending lines. ow the proper use of alternating fingers. Use the same finger when: crossing strings descending. practice these examples alone, Then try this technique while practicing tne major scales found in the appendix before trying the other exercises. l 4 indicates the index finger. 2indicates the middle finger. Use either a) or b). Do not mix.INTRODUCTION TO APPENDIX Major Scale Fingerings 4) The scales are arranged in the oycle of fourths. The fourth cycle is the natural progression in music, It is also a quick way to learn the key signatures. 2) There are three different ways to finger a major scale on the electric bass. You can start on'the 1st, 2nd, or 4th finger. 3) The three fingerings can be linked together. The fingering starting on the 1st finger ends on the 2nd finger 2nd finger ends on the 4th finger 4th finger ends on the tst finger. By connecting the three fingerings in this manner, you can avoid unnecessary shifts in the micBle of a fine. The examples in this book are fingered in different ways to demonstrate how these three fingerings are used. See if you can recognize the diferent finger. ings. The tonality and the chord symbols will help to give you clues. Remember, there is usually more than one way to fingera musical phrase.“ CHORD CHART ‘The chord chart illustrates the Roman Numerals in all 12 keys. Notice that the seventh of the chord has been added to the basic triad FINGERBOARD CHARTS ‘The bass fingerboard chart is a handy reference showing the location of all the notes on the bass in the bass clef A bass guitar fingerboard chart is also included. The bass guitar is a close relative of the electric bass. Music for the bass guitar is written in the treble clef, Arrangers occasionally still write parts for the bass guitar. A versatile electric bassist should be able to read both clets. esr40 SCALES STARTING ON 1st FINGERaLaz SCALES STARTING ON 2nd FINGER4344 SCALES STARTING ON 4th FINGER @QearmBehm Gém Bmas CHORD CHART n ut m mt vr ve vat > Mat Det Emt FMat a amt Bmt-s = x = S —— as ) FMa? on? er om? Emt-5 = b. b: = ¥ a Bhat cont Det EbMat FT omt AmT-5 > ; # 2 3S = E: = > EbMat Fmt mt AbMat Bbt cmt Drs 5 b. ye bs ye — > abmat hot Gmt-s a post ht rot hata? a pint cat-s yp y , a 1 P= t ; 2 E a chat Abst Bint bit got pre = fee be pbs _b b? 8 bee 3 ie A iS ®D BMaT Cem? Dém7 EMa? eT GimT AbmT-5 tt Ef 23 f fe a ems? Bint Get Amat 3 cimt ——Démtes erty #e = z # 4 = oH 2 SS ® AMaT BmT Cem? DMaT ET Fim? Gtm7-5 ath ze Fi i : — + © pont Ent Fiat cmat at Bot ctates 2 ___t AE = = et © GMat Amd BmT Mat bt Em? Femt-5 as = ra =i = ee eeBASS FINGERBOARD CHART Strings Strings a7 ® @ @ ® 4 Ae gt ck ee 2 zl if Rb Alb Ih Gb th Frot Gh a Ez; Al 14th Fret tof OD te BP | Lok te Pe sed Fm siren =BASS GUITAR FINGERBOARD CHART a Strings Strings a ® ® e® Oo i | a Fe a ih 8 2nd a d_¢ ahs a oe altar B oh ek ab oh ae oe dh 1 4 dss b 8 g Lath Fret