the bass line book a workbook SP by arn evansINTRODUCTION This book is written for bassists and other instrumentalists who wish to improve their ability in writing, playing and improvising bass lines, Before we can attempl to work oui a well-constructed, meaningful bass line, we must understand the primary functions of the bass line. The two most important functions of a bass line are rhythmic and harmon The rhythmic function is one of providing a pulse or beat. The harmonic function is one of outlining the chords, and propelling the pro- gression of chords (progression: harmonic movement within a key or keys). Anyone who wants to play good bass lines must know all the key signatures, the make-up of all intervals, triads, and seventh chords. He/she should also have a working knowledge of harmony. This workbook will deal mostly with the walking bass line, which is inherent in jazz, Broadway music, pop and blues (not to mention disco/ funk). My feeling is that once you can improvise a well-thought-out walking bass line, there's no reason why you shouldn't be able to fit a good line into any type of musical situation. We will concentrate on the bass in its supportive role. Of course, the bass is also a solo instrument, but first things first. Acknowledgment I would like to thank Irwin Stahl for giving me a thorough understanding of many of the concepts in this book.How To Use This Book ‘The material in this book is arranged in progressive order. The greatest benefit will be obtained by following the order judiciously, since the material in each section is dependent upon the student's understanding of preceding material. The procedure to use when completing questions (fill-ins) is as follows: 1) Complete the entire group of fill-ins 2) Double-check all of them 3) Go to the answer section in the back of this book and check your answers with the correct answers 4) If any of yours are wrong, DON'T PROCEED until you've found out why you made the mistake and you underst: correct answer Use of this book will be most beneficial when combined with study of music theory, harmony, and, of course, technique on one's instrument. PART I: MANIPULATING THE BASIC ELEMENTS Exercise #1. Fill in the notes of each triad. Use accidentals (sharps, flats and naturals not in the key signature) wherever necessary. 1 STUDIO P/ie INC. (MD, Au rs Admalscea he ABNER BROS, PUBLICATIONS INC. Reserved Public Performance for Profitc) Cm F Bb Eb AP (dim) D Gm GS — r T === rs r x — - ; t t : i De Gm C F Dm £e At (es) Dm =D SS SS SS SS] ; = ; f : A pe G ce F Bb Eb r r = r + — x : i i £ E r : : Go Am Do bm E A D + + - a I I r r t ; z r I t Exercise #2, Play all the triads from Exercise #1, in the order of root, third, fifth. For example: ¢c Am Dm a3 5 R 3 § rR 3 §& Play each 8-measure section repeatedly, in order to hear the harmonic pro- gressions. Stepwise Connection The best way to make a bass line sound smooth is to use stepwise connection between chords. (Stepwise means by half-step or whole step.) In other words, if we have only a half or whole step between the last note of achord, and the first note of a new chord, we will hear a very smooth, strong chord change.See L-4 doesn't sound nearly as smooth, or connected as this: = Ry That's because the first example uses a large leap (m'?) between chords, whereas the second example uses a smail interval (M2). Play them and hear the difference. ~~ Consider it a rule of thumb that stepwise connection across chord changes sounds smoothest, and is therefore most supportive. This stepwise connection can be used in longer progressions in the same way. a F Bb Eb SSS — Se hla Play the above example, and notice that all the notes are triad- based and that in each measure one pitch is played twice. Exercise #3. Write, and then play, bass lines (triad-based) using stepwise connection across chord changes. You must have 4 quarter notes in each measure, and always begin each new chord on its root. Label all chord functions (r. = root, 3 = third, 5= fifth, ete.).Dm 2) Dm pee Ae Bb ~. (repeat ) Gm Ab Eb Bb Fn Gr omEm Am D + L C#m Fe : 8 Dm Bo F E Am | =f I = Use of Seventh and Sixth Chords | A seventh chord is a four-note chord built in thirds. It can be thought of as a triad with an extra note added, that note being a seventh above the root. While triads are the basic building blocks of harmony, the var- ious seventh chords are the ingredients which enhance the harmony and make it move. It is important that you be able to identify any seventh chord and its place in the key. Its place in the key depends upon where in the scale the root of the chord falls. For example, in the key of Bb, a Dm7 chord is the Ill (three) chord, because D is the third note of the Bb scale. Chart of Basic Seventh Chords Type of 7th Interval Name/ Abbreviation Triad (above root} Major 7/ Ma7 or A 7 Major Major 7 Dominant 7/7 Major minor 7 minor 7/ m1 or -7 minor minor 7 (continued)Type of 7th Interval Name/Abbreviation Triad (above root) minor Major 7/ mM7 minor Major half-diminished/ 9 diminished minor (minor 7 flat 5/ m7b5) diminished 7/ 07 diminished diminished Augmented 7/ T+ Augmented minor (dominant 7 raised 5th/ 7*5) Major 7 augmented/ MaT+ orA\7+ Augmented Major (Major 7 raised 5th/ Ma7*5 or At) Sixth chords are considered additive chords, and are used mostly for Tonic (I) chords. A sixth chord is a triad with the note a Major sixth above the root added to it, thus forming a four-note chord, containing root, third, fifth and Major 6th. (The minor 6 and Major 6 chords both use the additive Major sixth interval.) Exercise #4. Name the following chords and each chord's place in the Major key in which it appears. For example, Am; Vim? Key: C ) When using Roman Numeral aa as above, use horizontal crossbars A for Major chords, and omit them for minor chords. Augmented chords get crossbars and a plus (+) symbol (+). Diminished chords omit the crossbars and get a small circle VU). (All chords are in root position.) a) b> >) 4) ae ayWhen we create bass lines built on seventh chords, we have to be careful. The seventh of a chord should not be leapt to or from, but should be surrounded by chord tones. When sevenths "stick out," bass lines sound jumpy and harsh. Sixths, on the other hand, are less dissonant, and can be used more freely. (You will find that the sixth of a chord has a natural "push" toward the fifth of that chord. Take advantage of this "push" in your bass lines.) Exercise #5. Fill in the 4 notes of each chord: Ani Dm? @ AbMs’ DbMe! Co Gl | - 7 r 1 : + 1 T t r : + = Fr BbMa? EbMe’ Ag D7 Gme Git : + ¢ 1 * : = : — : ©) GMa CMe’ Bm? ET Am? = AT DTT Ea : + = - 4) Grit 7 FMe’ pm? Ed ATt ~Dme DT = = : : : ;e) £¢ At os Gt CH FI _BbMal EbMa’ SS ee #) Ac Atel Bm?l ET Cart Fat Bet £7 ——— EE Double check all chords for incorrect notes. Exercise #6. Play all the seventh and sixth chords from Exercise #5, in ‘order of root, 3, 5, 7. mt Dm! CMa" A ae. pS eS Here is an example of a bass line using seventh and sixth chords, and applying the principle of stepwise chord connection. Fo BbT Ag D7 ca Gi de Gn at = zi a SE Label all the chord functions in the example above. Notice that between bars 6 and 7 there is no stepwise connection. This is because the chord root is not changing, but only the quality (type) of the chord. Play the example above, and listen to all chord connections and placement of sixths, sevenths.Exercise #7. Write bass lines on the following chord progressions. jnust have 4 quarter notes per measure and chord roots on first beats. Use sevenths and sixths freely, but avoid sevenths which "stick out". Treat each 8-bar progression as if it repeats. nection wherever possible. You Use stepwise chord con- a.) Fo Bb? Aad D7 ee SS Gl ” Gent C7 == | = b.) De GMat Far! BT (S2= f im 4 i —7 v Em" At He = = = c) Cri? Fa BbMa EbMa == =] Ag DT Gro GT & FE | i = 4.) Dm" GI CMe! FMat SS == | f = bg ET Ame AT = = | i =e DMa? Bm" En! Aq 255 f j = j Fatm™ BT = Em? Al £) EbMe™ Cm" Frm" Bb? Gret ct Ft fet, Bb? Exercise #8. Play all the bass lines from Exercise #7, at various speeds. If possible, have someone accompany you on piano or guitar with the appro- priate chords. Listen carefully to chord connections and placement of sixths and sevenths. Third on First Beat When a chord moves cyclically (up by perfect fourth’), its seventh will move nicely into the third of the next chord. For example, Cc m! Fl pases t ———— —— R35 @>3@ 2 7 Here's another way of moving into a third on first beat: Fe ci, ; ; eta. === = RR 3 R 6 5 —> 3 3 etc. 5It is colorful to occasionally start a new chord on its third. The root should be played soon afterward for best support. Exercise #9. Write out, and then play, bass lines using occasional third on first beat. «) Foe? Fact Ga Ey, 6 Fey, BT Ee =f f Sj =| Gm c? Ant, OT, Emi, OF, E } = | b) AMa? Awol pe, oT ae, Te, Ss E S| Cm? fet, Bm? ET - Be E 4 y Ui = E rE Gite, Seed EEN’ AbMT Ez = E = z} da.) EbMa™ Crm Ez 7. Es f E | a 7 Fm? Bb? Eb Ma" GbMa? Bme’ Ema Fae j } iNotice that many tunes and progressions have variable harmonic thythm. Harmonic rhythm: Rate at which the chords change. PART I: TECHNIQUES FOR BASS LINE DEVELOPMENT Passing Tones You may have noticed that none of the bass lines so far have sounded much like a "walking" line. They have actually been chordal bass lines, constructed of chord tones only. A true walking line consists of chord tones connected by passing tones (a passing tone is a non-chord tone placed between two chord tones) and is much smocther and more sealic (scale-based) than a chordal line. Passing tones (abbreviated P.T.) are used in two ways: 1) between notes of a chord: Cm Fl ; BSS + = 2 i" + ! £ f a ler) 3 5 a 7 \en/ 5 2) and between two chords, as connective notes: CMa" Em’ B=] ee SS eas lex) a ete. Passing tones can also be chromatic, especially when used between two chords as connective notes: 4) DMma’ GMa" == eee 5 \e.Ty Rete.Here's an example of a bass line using diatonic and chromat: passing tones: 6bMe? G7 Cm Fr Neighbor Tones | A neighbor tone is exactly what the name implies. It is played by striking a chord tone, visiting the note next to it (its neighbor), and returning. For example, 4) DT GMa! =e > ete. c¢? 2 S/F ft. A lower neighbor tone may be diatonic or chromatic. Upper neighbor tones should be diatonic (unless severe dissonance is desired). Neighbor tones are not nearly as common as passing tones in bass lines. Exercise #10. Write bass lines using passing tones and occasional neigh- bor tones. (Employ all the other techniques we have used so far. ) ay CMa’ Amt Deal & Ee sf == =b) -EMat De! Gr! qa Bs y j zi c) BbMa! Gr! Cr FI SS =f d) Bm! e7 Ae Atto™ Eo ql e) Em? ar De Dio? Es : = f) Am? oT Ge G07 9) GMa? Bb Ma? EbMat AbT & 4 bh) CMa? EbMa? AbMo? Db7 i) FMo? AbMa? DbMat GLI es f zi Fw Bbmt Gd cr Pease : j i) Brat Ebm? cg FT > Ebr! Abra! Fd Bb? Exercise #11. Play all the bass lines from Exercise 10 (if possible, with chord accompaniment). Listen for, and correct, any "bad notes" (most of which will actually be mishandled sevenths, or passing tones which don't lead correctly). Direction With the use of passing tones, neighbor tones, and the other tech- niques we have worked on, it is now possible to play effective lines which are almost completely scalic (stepwise). At this point, the directions and shape of a bass line need to be taken into account. The following are some basic facts about direction: 1) Descending bass lines engender a feeling of relaxation. This is because of an effect called musical gravity. As in the physical world, what goes up must come down. There is a certain inevitability to a descending line. 2) Ascending bass lines create tension. This is due to the ascending line's fight against musical gravity, which gently pulls downward. Bass lines lose support when they travel very high (this can, at times, be desirable). Also, ascending bass lines create tension due to leading tone effect. The listener's mind wonders when this "pushing" (leading fone moving upward) will end. 3) Leaps in a bass Tine create interest, providing they are the exception and not the rule. Leaps up create more tension than leaps down, which sound more natural. Therefore, a creative bassist can manipulate the tension and energy of a piece of music by varying the direction of the bass line, and by using leaps for interest.of the music. Balance ‘The Compensatory Principle in Music states that a leap in one direction should be balanced by stepwise motion in the opposite direction. ‘This is a very good principle to follow in writing and playing bass lines. Rhythmic Variety ‘An excellent way of adding interest to a bass line is by using various rhythms. These rhythms (in a walking line) should be secondary to the quarter-note pulse. ‘The higher the level of rhythmic activity, the thicker the texture Here are examples of bass lines using rhythmic variety: 4) Gril c1 Fo FHol ES SSS Srey 2) Dbe Bbrl Al Abt prised of chord tones. 2) The "Drop" ret gpl A drop is a descending figure (usually an eighth note triplet) played to enhance the "feel" or groove’ of a bass line. Drops are usually com- 1) bb S uo GMal Eb? For example, ==Drops sound great when combined with pull-offs and open strings. Listen to Ray Brown and Ron Carter to hear pee technique used effectively. Exercise #12. Write, and then play, bass lines using various rhythms ‘and drops. a) (Bes) ¢7 Fl C7 “A, — E i + os + Fl ‘s: Ci Ed AT = — E | by (extended Minor Blues) Dr Te aoe 4 S Gu! cl FMet BbMaT E¢ Al DmMa? Bey AT = dj ; Z|21 ce) EbMa’ ct Fm! Bb? B= E E j Sj és cl FT Fin? BbT 3) GMa" CMat Br! E7 About Modulation It is very common for a tune or piece to be in more than one key. Modulation is the primary means by which we change keys. The most common modulatory movement in music is to approach the new key via its dominant (YZ). Usually, the dominant is prepared by playing the” two (Il) chord of the new key before it. Thus, we arrive at the two- five-one (|l--I ) progression, the strongest means available for ‘entering a new key. Here isa simple |]-Z-1 7 Gi Mat Here is an example of a chord progression which modulates using the ||-¥-I2 1 BbMa? EbMa!? Key of Bbt Im? Ag Dt Gme Fi inGm: Hl T Ime Here is a progression with multiple modulations: 4 ct 7 Key of DE mt ¥ Fe bMa! EbMa? Ew! At DMal Fit! BIT a 5 4 in D: mt wt lat Tmt Wat Exercise #13. Label all Il-J-I progressions and identify all new keys. Ame z Em AL DMa? Be SS E E f UL Dm? Ge CMal = Cm F1_ BbMa’— BB ET E £ i i ——b) Ad =DIt Gm Cr? FI Bee EbMal ee Abm? Db? GbMo! Cha? Cd FT Bb Ma! i = = = Exercise #14, Write, play and improvise suitable bass lines. a) Ame wz Em! AT = E f E | — DMa" A Dm? Gl E i E j CMa? Cm' FT BbMo" BS 1 GMa! “7s Gwt GE = =} z FMet Fm! 667 EbMa!l Eg AToc) Ag DI Gm Cwil FI Bbe EbMal ES : == =— UH Abm! Db? GbMa’ CbMal CB Fr Bb Mal iE f = i d) Bs E7 Am De’ GT Ce FMa? ES == zi E Sj Bbw Eb? AbMa? DbMa’ Dg G7 CMa? E F d PART DI: ADVANCED TECHNIQUES Interpreting Polychord Notation Polychord symbols are quite simple: the top of the symbol indi- cates the chord and the bottom of the symbol indicates the bass note to be played under that chord. AJG means AT with a G bass note. In sections where a polychord appears for a short time, play only the indicated bass note. In sections where a polychord appears for longer periods of time, emphasize the indicated bass note, but also use the chord notes (and ‘Giher chord-related material where space permits). Here is a bass line written on a chord progression using occas- ional polychord notation. Notice that it is partly in a "two" feel.Gm Gy, AG, DT Gm Sm ag, pT “Eb ET Sass * Gm OH oH E¢ AT ng SSeS rete D or oe — - —t = SS BbT Ebe Ad ag he pit As you can see, this type of polychord notation identifies specific chord inversions. Another type of polychord use involves chords and bass notes which are not related, but form suspensions or strong dissonances: % (suspension) Fr b (suspension ) . be Qe Fs oO ace (dissonant susp.) Bee 3 (dissonance) * > = Cab 2 (dissonance) EMg, #2 (dissonance) = c ef 2=S5Polychord notation is used mainly to identify a specific bass line or bass direction. A good bassist will work out an interesting line ‘without sacrificing the integrity of this motion. Trust the composer, and emphasize clearly the bass note indicated, ® Exercise #15, Write and play appropriate bass lines. Interpret with various "feels. " Me) p,,(? G) 2) Dm Ong) Poe) Pre” Fay At Boy Ee f ; ss : c) OMe Dwg Arm? &, Ee = f a DMa? Eg BbMa? Aes Usd Improvising Bass Lines ‘The only way to become adept in improvising bass lines is by doing it. It helps to hear the chords of the piece, so try to have a friend accompany you on piano or guitar, or make practice tapes for yourself. Here are some basic progressions which you can use for impro- vising practice. Play them in every key.1 2 Es Sa dap Hr L9H — 2 2) —— CO? CFI tery “CET? stp Et Hn? Een 6) MINOR BLUES = = Com es emiowelt SS In Ami(Am?) (Dm? : Cam? PE Mal HG EL L —t f camry i: CFF Cor ETT wk = Also, practice improvising on all the progressions in this book, and on all sorts of tunes. Begin at a slow pace, and work your way up to fast tempos. Keep in mind that the faster you play, the more the emphasisshifts from notes to direction. Use your metronome, but don't become dependent on its beat. Above all, listen to every note you play, and its relationship to the harmony. Try to "hear" each note internally before you play it. If you are playing with other musicians, take care to avoid getting in the way of the melody. Don't "pull the rug out" from under soloists and/or singers, even when playing interesting lines. Avoid entering the solo- ist's/singer's register, unless confusion is desired. And always be sure to keep your time (pulse) steady. Exercise #16. Practice improvising bass lines on this diatonic progres- sion, which moves by fourth within the key. Play in every key. See vate: ttm C= CF rar) Sa ea | SS SS SS SSS Example: — ze £ BSS Sa are = Aral Dm Gr CMa? Experiment by using secondary dominants (dominant sevenths built on chords other than V) on }j|, |, || , and/or J] (individually or cumulatively). Anticipation Notice the anticipation at the end of bar 5 above. Anticipation is a means by which we play a note of the new chord before the newchord's actual placement. It is most effective when used in a syncopated manner (on an upbeat). Since the object of anticipation is to add interest, you can forego stepwise chord connection and give the anticipation a double kick: rhythmic and intervalic. Exaraple : i Fee? BbT gn? AT 7 _ Ew a eS SaaS Spe Ey Sat Chord Deflection Chord deflection (appoggiatura) is a technique by which we jump to a non-chord tone, and then play the adjacent chord tone. (The non-chord tone must be half or one step from our goal chord tone.) It is a method of putting off playing the chord tone, and adding more accentuated non-chord material. The non-chord tone forms a temporary dissonance which is resolved by playing the chord tone. Chord deflection is most useful during pieces with slow harmonic rhythm (infrequent chord changes). Examples of chord deflection: a Qa == Cm + eta. b ie cra oo — ee t fare : = =4) Gr! Ease = : 2 Examples c and d above used a filled deflection; in other words, the whole step between deflection and chord tone was filled by playing the chromatic notebetween. SS Half-step (chromatic) deflections work great from beneath the chord notes, because they function as leading tones. However, when deflecting from above, it is best to stay diatonic (except when using filled deflections) because chromatic deflections from above tend to be heard as extreme dissonances. Exercise #17. Write, play and improvise suitable bass lines using de- Hlection and anticipation. 0) Ee? Arm! = E j FH¢ ou Em Z -_ } f | Gl C1 F Mo" BbMa! F#¢ BT Em Em, ct BT b) EbMet v. Fr v.Fel Bb Gel C7 Fmt BET P= = j = i ) BMa" ve ca? x SZ f { C#m" Fa? Dim! Gtl Cum! FHT ea 5 = =I A d.) Minor BLUES Gmt Cot Grit Cm" Gent Cm"? F1 BbMa? EbMal E f t = j Ag or GmMot Ag 01 = aaa | Latin Bass Lines Most Latin (Bossa-Nova, Cha-Cha, Samba, etc.) bass lines are a form of chordal bass, not walking bass. The root and fifth are the main ingredients. Syncopation and chord connection are the techniques to use for color and interest. Anticipation is highly evolved in true Latin bass playing.SSS Experiment with combining measures of various lines from the previous exercise. Also, play it continuously, ignoring repeat signs. Basic Dominant Substitution Whenever you have a dominant —>tonic relationship (V7-31), or any relationship of a dominant seventh moving up by perfect fourth, you can substitute for that dominant seventh the dominant seventh a dimin- ished fifth away from it. For example, C7 is moving to F. You can replace the C7 with a Gb7, which is its substitute chord. The Gb? now moves to F from a half step aboye, changing and strengthening the dominant ->tonic relationship.Substitution of this type is used in one of two ways: 1) Simply replace the original dominant seventh with its substitute chord, or 2) Play the original dominant seventh, and then its substitute as an intensification: CT Gb F ESS = Here is an example of a bass line employing dominant substitution (substitutions in parentheses): Dm" G con Ce At Cee) SaaS owt mi? Ala) Om’ = GT Gt io & FSS eS SSS aS See There is another similar technique, all too common (and misused) these days, called upper leading tone, by which you approach the root of anew chord from a half step above it, regardless of where you are coming from: Get Ebm’ Ab? BbMal ease Ee “This last use of upper leading tone could also be considered a dominant substitution (Db7).Exercise #19. Write, play and improvise suitable bass lines using domin- ant substitution and upper leading tone: a) Dee! @ CMat cee? Ess f j Sj Dnt Fr! BET CMa? Eg Ar E — b) Bom’ eet AbMat Act aE ! L = Bb? Db? GL7 ABM? cd F7ts Bans j d = ec) Cm Fm? BbT ss EbMa? Gs, » OF Fe | + = S| Fm? BbT EbMa? pg «GT nor LEB 4) Em" Am? D7 GMa? BY, ET fF S="s = = =| Am! b7 GMa™ Fed BT Tt i ELInterpreting Static Harmony Static harmony, or non-moving harmony, is the opposite of pro- gressive harmony. Pieces written with static harmony use few chord changes, and long one-chord sections. The chord changes which appear usually avoid relationships which are strongly directional (progressive), such as dominant tonic. To play an effective bass line during an extended uni-harmonic (one-chord) section, use all the various techniques which work well within a given chord (passing and neighbor tones, rhythmic variety, drops, deflection, ete.). Be aware that most tunes written in a static harmony style are based on modalities. This means that you, of course, need to have knowledge of all the modes and their applications. Here is an example of an extended uni-harmonic bass line. Gm? (Dorian) “3S bw eb: ax e a See Exercise #20. Write, play and improvise suitable bass lines: a) Ent (dorian) F Mal Clydian == = FE | Em’ (dorian) Ds CMal(lydian) “% = f =37 5) «= Dl (dorian) % ee “ Loe 4 S BET (myxolydian) = -% w w i j | Dm! (dorian) Y Y Y, Ebm (dorian) “ Y “v E a 5 il ¢) ¥ G7sust Call myxolydian) y yY Ee 4 4 BLT sus 4 Y, vy a Hou AbT sus + iL Pe Ls ‘ : = E S j B15us + Yes A Ls E E == *A dominant seventh suspended fourth chord is a dominant seventh with the third omitted, the perfect fourth (above root) replacing the third.(In G7 remove B and put C in its place, spelling the chord G C D F.) When playing bass lines on a dominant seventh suspended fourth, avoid emphasizing the third, but use it in passing. "Goal Tone" Concept Whenever you are playing or working out a bass line, keep in mind where you want your line to go. Have a goal to work toward -- a specific note you'd like to get to. This helps you to put together a line which has direction and balance. REVIEW/OUTLINE OF BASS LINE CONCEPTS & TECHNIQUES PART I 1) Use of Triad Notes 2) Stepwise Chord Connection 3) Use of Seventh and Sixth Chords 4) Awareness of Cycle Motion 5) Interpretation of Roman Numeral Notation 6) Proper Handling of Sevenths 7) Third on First Beat PART I 8) Passing Tones and Neighbor Tones a) Chromatic b) Diatonic 9) Awareness of Direction and Balance 10) Rhythmic Variety 11) The "Drop" 12) Interpretation of Modulation (the I}, V, I progression) PART I 13) Interpretation of Polychord Notation a) Inversion type b) Suspension type c) Dissonance type 14) Improvising Bass Lines 15) Anticipation 16) Chord Deflection (appoggiatura) a) Diatonic b) Chromatic (continued)17) Basic Dominant Substitution 18) Upper Leading Tone 19) Interpretation of Static Harmony 20) Goal Tone Concept Afterword At this point your mind is probably crammed with all sorts of useful information about bass lines. However, the most important thing now is to develop your hearing, especially your ability to internally "hear" a line before you play it. You must let your ear be your guide -- let it have the final say. One suggestion I have as a means of improving your bass line- related hearing is to go through this entire book and sing every bass line in it -- all the examples, and all the exercises (which you have written). The better you hear, the further you can get away from music as an intellectual process and toward music as an integrated spiritual/intel- lectual experience. Much luck to you!Answer Section Exercise #1. Do G Ab me e == See eae? =e) De ¢ Bm Em Am A D Ab | SS ——— Ss ere ee cc) Cm F Bb Eb Ae D Em GS SS Sees =r 8) Gmc F Dm Ee At pm SS ee eee e) Ee A be © = F eh Eb a= se SS j #) G Go Am D Bm E A D S Exercise #4. . a) DMalj Mo" p> Abe; IE Me’ c) "5 4d) Gt) let Key: D Eb G z EG; ve 6) FMayIEMe™ gy Gast; Vie’) Catt stmt )y AbMalj ZMal 5.) Omit; Wleml Ky 41 Fimo Vim& ib) Cen! 5 iim? im ee Ab A ma) Abt; 27 9) Cm; Im! o) of 3x6 p> pb; 7 Db Bb t a Exercise #5. &) CMa? Am? opm? GTS ABM’ « DbMa’ GO) G7 6 c) GMal CMa’ opt? 2) Gm! c7 FMal Dm? + by Cm FT BbMa? ~EbMe’ Ad pt Gme o Arn? AT D7 GitFe Bb Ag D7 z $ f 2S RG > RER 7. R15 3 R 5&6 RS GT Zz Gm! CT Exercise # 13. a) Ame Em’ AT 4 | in Ami [me in D: Um xT DMa? a Dm7 G7 IMe eG: mT 7 CMa" Crit Fa Bb Ma? Bd EF IMe in Bb: m7? 7 a Ma? inam: IG WT z b) Ad DT Gm Cw Fr Be EBM al in BB: Tw Abm? Db? GbMa? CbMa!’ Cg Fr BLMa?™ inG@b: Im 7 Ma la? im Bb: Bey MatAdvanced Rock Bass [F3t07BGXAN) with Cassette 'F3t078GXCD) with CD Advanced Flack Bass is witten for players ready for a serious challenge, Includes: strng crossing evercises, double stops, odd meters, harmonics, artificial harmonics, arpeggios and chords n harmonics, thumd position, and solo bass paying. Written in standard nota- tion ane tablature, Bass Extremes [F33898GXCD) ight complate altusn tracks featuring Stove, jeter Wooten and Greg Bistionette, fol lowed by eight instructional ‘racks, pared with a book of complete transcriptions in standard notation and tablature. In styles ranging from bebop to New Age to heavy metal, each piece highlights different aspocte o! their amzing techniques a ZA toe Steve Bailey * Bass Guitar Series Five String Bass (F31098ex) Fivo Stiing Bass explores the fretboard in relation to the added fin string, enabing you to tully integrate the expanded range and added possibilities of this instrument into ‘your playing style. Beginning with pasition studies, the book progresses {o intervals, extended scales, chard veicings, and arpeggio studies. Fretless Bass (F3i08EGXAN with Casserte (F3107EGXCO) with: CO Frotloss Base ig meant for tho player who ichos to add this instrument to his arsenal, “The book focuses on developing accurate intonation, then progresses to special eiects such as harmonies, double stops, nuances atic to the fretless Dass, end numerous solo bass otudes. Rock Bass (F3106BQXAN with Cassetio (F3106BGXCO) wth CD ‘An aid to gaining complete technical contr ‘and understancing of the bass. Starting with right hand alternation studies, the book progresses to 3-fingor technique, irtorvallc. studies, double stope, chords, and time studies. With hazard studies and fingor Dusters. In standard notation and ta. ‘Six String Bass (F3111086X) Sx Sting Bass Is wi"ten to help you make the transition trom either [he four or five st ing bass to the six string. The Look Begins wilt: a2 exploration of the low 6 ang high © 38 followed by scale studies, random note studies, technique, and chord wolcings ds. seventh chords and inversions) teve Balley has toured and peformed with Paquito D’Rivera, Dizzy Gillespie, tra Sulivan, Lany Carlton, The Rippingtons, David enoit, T Lavitz, Kitaro and many others. Steve isa very versatile bassist, equally at home in jazz or heavy metal situations. He isa master of all basses — tour, five, and six string, fretted and fretless, electric and $8.95 iy) |