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Reading Contemporary Electric Bass Aly thas by RICH APPLEMAN ere pioiicaions. a Publications ee ~ollal ena Patti. Pabiishieg Corparetion TABLE OF CONTENTS Section | Pages Regular bass line rhythms. "Walking Boss”, “Two Feel” 425 Section II ‘Syncopated, more'octive bass lines ‘ond rhythms. Eighth-note feel. Top 40, Soft Rock, Country/Western, Radio ‘and TV Jingles 26-51 Section Itt Busier, more syncopated lines ‘and rhythms. Eighth and sixteenth note feel, Funk, Rock, Disco, Contemporary Musical Theatre 52.74 Section IV Vamps, Repetitive phrases using moderately active rhythms 75-79 Section V Reading exercises. Voried styles of bass lines and rhythms found in professional performing situations 80-111 © Copyright 1989 Berklee Press Publications [Al Rights Reserved FOREWORD Contemporary Electric Bass Rhythms mean many things to many people: fost repetitive funk vamps, long low sustained notes behind e singer, walking lines composed fon the spot that shape a framework for a jazz soloist, and many more The rhythms and bass lines in this book are representative of what I've been playing in many different areas of performonce — Theatre, Pop, Recording, Jazz, Dance, Funk, Fusion, Latin, Disco The Contemporary bassist must play, read, and compose in « variety of different styles. Some general rules to think about: * Don't get fooled by the apparent simplicity of basic foundation lines and chythms, It fakes good musicianship to play them right! * Develop a vocabulary af basic rhythms and styles and use it as a basis on which to constantly expond. Be as versatile and flexible as possible. * Be solid and supportive; Develop o good lime feel and good sound belore trying to be an out front leacetype player. Some hinis for practicing these exercises. * Always play slowly and perfectly when learning something new. * Play ot different tempos with different phrosing * “ry playing the lines and rhythms in all keys. Memorize the lines you especially like and expand upon them. * Chord symbols have been omitted fo make certain thatthe bookis used todevelop reading skills * Don't just ploy notes . .. moke music! Good buck Richard €. Appleman Choieman, Boss Deportment BERKLEE COLLEGE OF MUSIC SECTION | Regular Bass Line Rhythms. "Walking Boss’ “Iwo Feel” ES ee - = os | == ae E SS SS SS SS Se ee é ——— ee E at —: = = = ze si fort = aaa 6a He " asses J a a 1 U t aa [hy I Bs it | Hy no ‘ | i Ap) [te | Zor4d 4 FG Bes DC. al coda Coda Fine ee To Coda GF e See : 7 te & b + oH F ae op aS he __ — = SSS SSS 7 Ee ppg 1G. al cod Coda Fine Fr fF a 2/28 22 8 22 2 giz ——— = E D steig £4) et os Ql 4 — =p td == SS ? =z i= SSE = ESS s == #38 Ee SS ee =H Med." 2"Seel re! Coda Fast"2" (Samba) To Coda & BE = ° beep bp: is = “ Hic. al coda March i SECTION Il ‘Syncopated, More Active Bass Lines and Rhythms. Eighth-Note Feel Top 40, Soft Rock, Country/Western, Racio and TV Jingles. i Lit H ut Fe e a 5 bea 9 ty = —s = _————s a r : 1 oe oe ——<———- fre 28 Coda , : = hah 8 Mie > ~ + . 4 BESS 2 a ee i Eee So A : __ 4 _ aS . ra = 2S oo — DC. al coda pe eet ae 2 e e ee —SS SS oO 33 4 es +4 ki 2 £$t2e £¢ 2 22% £z re = 1 T + 4 a wie ¥ H AL | re fh fre WW Le | ht moe tg Mi re is t i> {RII ie a He ‘| A ma in ‘al Wd Hl its ii Hoi ooo qi + ifs WH | nD Uh 8 Yo Coda & Tic. al coda Med."2" (Latin) 2>> fe Ley | LI fred a2 4a 4“ 288 = = t FF os ae Se ae: == 45 Yo i it ‘| 1 a to af ee iGo a fe FE aa = pe ts» 4% j + = gory a on Ae it ‘ a | ee fad ho ody ih om at l — , Note. ao 50 SECTION Ill Busier, More syncopated Lines and Rhythms Eighth and Sixteenth Note Feel, Funk, Rock, Disco, Contemporary Musical Theatre, BESS See 52 Vamp 53, Usually written written —t mb 4a % bin*? 56 Long Notes fra ie ol i a E i Ei ay Uh o Zo 59 ro ed re 6 62 a tone 6 { # 5 tH lt eee t ! by M1 i tI im oa +4 i x a 6a aS oe z ee i ge ii 8 ee oo : a ez I 65 To Coda (ie, ad ao ql ton ‘| TH s \ | 3 l | + +h TAC. al coda oe 66 a a — @ Se zt —— x sas 7 cy es o ep ost ppce_e@: os = eee ee St aor 70 = fo Cees — eo Pee ee = wt To Coda a DC.al eoda Coda, 42 Seel Coda SECTION IV ‘Vamps, Repetitive Phrases Using Moderately Active Rhythms = Dead Note eo 78 SECTION V Reading Exercises. Voried Styles of Bass Lines and Rhythms Found in Professional Performing Situations 80 ay a = Se et = h + b. Bea 82 = =F a ~ Se of | = ——— ase == ee Z ee fa == Se 2 tte 4 ca 83 85 86 a = —— ee ae SS Se = eet ——— i + = oe aw ee =. t =z ¥ = 7 _- a Sst ae ai es Ae oko, = om vy 28. 89 249 | a a \ Tr 3 4] tte wh 4 Wu * tat \| @ nw x Ni || i Th tl (lt fay ee tl 1 98 Ss << ok allt " a Me iy As f = oll! | Yd it qn ji de i q tie iN L| iv \, tn tH ql ff tT et t ik tM ay hth at eo 94 2. i> aS we ee — To Coda Ba = ——_ == SS aes 5 at 2 Sa er —— SS = —— .; —— eS eee eee > ra mS ees se Dc. al coda £2 22 £ ez 2 £ £ m aut aH Hl ip Al ba ri 44 ol nM all fh ¢ HOR i) £2 ae, Ft + oa —— = eS ow aE ¥ at a ah I] oil ti) Hk ail wi) fl “ ely ey X “yk Nl of al alia ho of A oR A RO tt i RR 1 1 v i LT y it di 1 i i # far Ht ty Ha tf oh ip i ae i‘ ‘tl : doh ae = Fe) 100 jailll|!—enldl!] al a | 4 Ca j aagll i ul “ett, aut it ot e . | il # Hy) oH ail 4 on on Mh ‘ wy eat || a bin i lel, eda ot #7} cy BH Sas 4 i “a ati ah alt 4 all tte 222 - 22k “Ez = i Poe gol 2/24 she h uy a % By a Hoa OF il ne al ail! | Ai. 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