a LEGEND FOR NOTATION AND SYMBOLS Ww == SLIDE: The first note is struck and then the frethand moves to the location of the second pitch on the same string using the same finger SS HAMMER-ON: The first note is struck and then the second is fretted on the same string in a continuous motion, Two fingers are involved, Sq PULL-OFF: The fst nate is stuck and the second sounds without plucking, The fiethand pulls the string to sound the second nore SS VIBRATO: The string is vibiated by rapidly bending and releasing a note v with the frethand, WRIST MUTE: The string is dampened by the plucking hand pressure at the wrist again producing a percussive effect. SNAP ATTACK: The string is pulled away fiom the bass body with the plucking hand: then is released, aliow- ing the string to snap back into position. HARMONIZED SNAP ATTACK: Two strings are pulled away from bass body with two plucking fingers; then, released causing both to snap Back into position THUMB SLAP: The plucking hand thumb is brought down sharply against the string to produce a popping, accented attack.c === CHOKE: (Mute) The string is === _ HARMONIC: The frethand lightly dampened by the frethand finger(s) to === touches the string qver a designated fret produce a toneless percussive effect. land then it is stuck producing a chime- like effect OCTAVA (8Va): Note(s) is to be played PICK HAND TAP: Attack the fret board ‘one octave higher than the writen with the pick hand using enough force pitch) to sound the note(s}. PLUCKING: Grab the string with the index finger and thumb, then pull string CHORD EXTENSION: While using finger(s) on the pick hand to fret the it i away from bass body and let the sting upper register of the chord, sttum the snap back entre chord with the pick hand thumb. HAMMERED ATTACK: Attack the fret SIMILE: Continue established pattern board with the fret hand using enough Until new directions are given, force to sound the note; no picking is involved. 4 DIAGRAM KEY ‘TAB [TABLATURE]: Indicates notes by diagram. Horizontal lines designate strings from bottom to top: E sting to G string. Numbers on fines designate ‘open strings (0) or fet locations (fret number).®@ “FIVE G" Gva ----- 1 +c4cw+ +4+045 we & JBI - vy ea pucacwth + tact co + cAcwt +eeote tec + JB2 : Y JB4JB9 JB 10 JB JB 12 Alc# eeeJB 13 JB 14 | JB 15 JB 16 SCALES AND SCALES EXERCISES G MAJOR: 2 OCTAVES i Ik it Yh eonsJB 17 JB 18 JB19 JB 20 (2) 6 mason: seconos inTERVALs} @) emor:in nios @) mason, rournss 54 srevrewe (4-4) © cunow-w res creYfove Cbs)| spar © smasor. iw sues | JB 22 | | 6 vs geccccccoe 4 JB 23 i Y JB 24JB 25 JB 26 JB 27 JB 28 1” DESCEND USING DIFFERENT FINGERING | OTHER IMPORTANT SCALES (CREATE YOUR OWN FINGERING) G NATURAL MINOR G MELODIC MINOR ASCENDING Foam | [Dascenome Foam G HARMONIC MINOR G DIMINISHED: WHOLE STEP/HALF STEP Gm 7bs: G DOMINANT: Gm MAJOR 7: LOCRIAN MODE MIXOYLYDIAN MODE USE HARMONIC MINOR ‘OR MELODIC MINOR ASCENDING FORM= ee G AUGMENTED DOMINANT G AUGMENTED MAJOR SEVENTH JB 29 SOLOING Q@) exams eb7 Bey By Byam JB 30 20 JB 31 QQ) -swesin en BY eb7 Bb JB 32a E7 e7 E dim JB 33 Bb7 G7 Cm7 g@va— — - —--- -- = 7 JB 34 == 22 87 Bt7 G7 cm7 FT Bbz JB 35 23