Vdocuments - MX Walking Bass Technic

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TABLE OF CONTENTS
About the Author v
Introduction . . . . vii
On reading this book .i
Playing tips. . . . . .i
Proper technique for playing the bass violin .1
Left hand and ann positions .1
Right hand technique. .1 1
Chapter I - Key of C .... .1
Section A
Section B - Skips
- Section C - Ghost Skips
- Section D - Pull-off Skips, Slurred Skips, Syncopated Rhythms
- Section E - Triplets
- Section F - Combined Techniques from Sections A - E
Chapter II - Key of F. . . . . . . . . . . . . . . . . . . .. 44
- Section A
- Section B - Skips
Section C - Ghost Skips
Section D - Pull-off Skips, Slurred Skips, Syncopated Rhythms
- Section E - Triplets
Section F - Combined Techniques from Sections A - E
Chapter III - Key o f E~. . . . . . . . . . . . . . . . . . . . 56

- Section A
- Section B - Skips
- Section C - Ghost Skips
- Section D - Pull-off Skips, Slurred Skips, Syncopated Rhythms
Section E - Triplets
- Section F - Combined Techniques from Sections A - E
Chapter IV - Key of A minor . . . . . . . . . . . . . . . 68
- Section p . . .
- Section B - Skips
ABOUT THE AUTHOR
Although internationally acclaimed as a "jazz" bassist, Jeremy Steig, Billy Hart, Dave Liebman, Bob Broo
Mike Richmond has performed in symphony orchestras, meyer, Richie Cole, Jimmy Knepper, and Marion McP;Jr
folk groups, fusion bands, and Broadway show bands. land. Mike is presently performing solo bass concerts
He has been a member of the CBS orchestra in Los ana concerts with his own duo and trio.
A.ngeles, and has conducted on NBC TV. He recently
.placed the late Charles Mingus as bassist and musical Since 1974 Mike has been conducting a series of clinic
director of the Mingus Dynasty. worldwide, from Denver University to the Cairo Conserva
tory of Music in Egypt. The clinics include walking ba
Of the four albums Mike has recorded as a leader, lines, as treated here in Modern Walking Bass Technique
"Dream Waves" (Inner City 1065) was chosen in the 1979 (Ped Xing Music), rhythm section concepts for ba
Downbeat Readers' Poll as one of the top ten albums of
and other instruments, soloistic concepts, musical form
the year. In the same poll, Mike placed in the acoustic
melodic content, and chord substitutions. The clinics a
bass, electric bass, and composer categories. "Swing conducted informally, with ample time for questions an
Journal" of Japan heralded Mike Richmond as one of answers and the natural give and take so necessary to
the finest bassists to emerge in the seventies.
musician's development.
Over forty of Mike's original compositions appear on Mike Richmond received his Bachelor of Music Educa
the more than fifty albums he has recorded. He has per- tion Degree with classical study in bass violin (Edward
formed his compositions, while with Stan Getz, on both Arian-Philadelphia Orchestra) from Temple University.
the Tonight Show and the Dick Cavett Show. He continued to study with Mr. Arian in graduate schoo
In addition to his classical studies, Mike studied jaz
Middle Eastern and Indian melodies and .narrnonies bass with Jimmy Garrison, the renowned bassist wit
have influenced many of Mii..e's improvisations and John Coltrane.
compositions, and in 1980 Mike was invited to appear as
., guest soloist with Ravi Shankar at a recorded concert Upon graduation from Temple, Mike taught music i
Bombay, India (Jazzmine-Polydor 2392-523). the public school systems in New York and Pennsylvania.
He has been a member of the string faculty at the Stat
University of New York, and presently conducts clinics
In addition to the Mingus Dynasty, Stan Getz, and
Ravi Shankar, Mike has performed with such art sts as and teaches privately, both string and electric bass.
Jack DeJohnette, Hubert laws, Pat Metheny, Elvin

Jones, John Abercrombie, Dizzy Gillespie, Billy Eckstine, Affiliations include: International Society of Bassists
Horace Silver, Gil Evans, Chet Baker, Chico Hamilton, Nationa! Association of Jazz Educator
Buddy DeFranco, Thad Jones, Hank Jones, Mel Lewis' American Federation of Musicians
Big Band, Glenn Miller Band, Sir Roland Hanna, Woody

For further information on clinics and concerts, write to:
Herman, Toots Thielemans, Bobby Timmons, Sonny
Stitt, Tommy Flanagan, Joe Henderson, Milt .Jakson,
Ped Xing Music
P.O. Box 628
Tom Harrell, Pepper Adams, Arnie Lawrence, ,abor
Englewood, New Jersey 07631
Szabo, Roland Kirk, Randy Brecker, Mike Br icker.
Phil Woods, Bill Watrous, Joe Farrell, Steve ! .uhn,
INTRODUCTION
"Walking Bass" refers to the quarter note lines played

by the jazz bassist. These bass lines are constructed
using scales, arpeggios, chromatic alterations and modes.
The fundamental principle of a walking bass line is to
establish a harmonic and steady rhythmic foundation for
the jazz ensemble. This rhythmic foundation creates a
pulselike.that of & heart beat, pumping renewed life into

the rhythm of the music. It also allows the other musicians
to float along with the rhythmic undercurrent it creates.
In order to make the traditional quarter note walking

bass line more interesting rhythmically, it is necessary to
introduce various rhythmic elements such as skips, slurs,
triplets, ties and syncopated rhythms. These are executed
with various combinations of right and left hand finger-
ings. These added 'rhythmic devices punctuate the bass
line and enhance the groove. It should be noted that while
these figures create more percussive effects, the overall
feel of the line should be smooth and even. These devices
must be used at the proper tempos because if played out

of context they will disturb the rhythmic flow and upset
the forward motion of the line.
As we apply the various rhythmic embellishments to

the walking bass line itis most important that the modern
swing feel is maintained. Rhythms such as n hould
be felt and played J~j) which is in keeping with
the triplet swing feel this book emphasizes.
ON READING rms BOOK
ACCIDENTAL RULES
Accidentals (# ~ q) placed before a nete are gooo
for that bar "only." Accidentals are applied to all octaves
within the bar.
FINGERINGS - CHAPTER I
In Chapter I the left hand fingerings are given for [0]
Slurred Skips and [E] Triplets. In the following chapters
these fingerings will be chosenby the reader.
ELECTRIC BASS FINGERINGS

When reading these bass lines on electric bass the third
finger on the left hand can be used when the fourth
finger is written, allowing the fourth finger to extend the
range of the left hand.
PLAYING TIPS
PROPER TECHNIQUE FOR PLAYING THE BASS VIOLiN
Left Hand and Arm Positions
The left arm is almost In thumb position never
parallel to the ground, rest the left arm on the

allowing the left hand to shoulder of the bass.
be placed properly over Only the 1st, 2nd, & 3rd
the fingerboard. fingers of the left hand are
used in thumb position.
Position of the thumb

behind the fingerboard.
Right Hand Technique
To execute the rhythmic techniques in this book the use

of the 1st and 2nd fingers on the right hand is necessary.
They are alternated on the same string and adjacent
strings.
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SKIPS
The skip is the sixteenth note of the dotted-eighth six-

teenth note figure and hasthe feeling of a person 5'<ipping
from onestep to the next.

The skip should be played clearly and perfectly in meter,
v vith a slight accent. When playing skips it is important
to remember that they should add to the groove and give
momentum to the line. The skip should never be rushed
which would result in rushing the tempo.
~
As already mentioned, the figure ns played J 3)I
to create a triplet swinging motion.
The following examples demonstrate alternate fingerings

for the 1stand 2nd fingers of the right hand. Note that the
same finger on the right hand is used when the skip
approachesthe following note from the string above.
l.H. 4 4 0 4 2
9: 8 II
R.H.
1 J
2 &J
L.H. 4 4 0 4 2
~: ~
R.H. 2 2 1 J ~J
2 2 II
L.H. 4 4 0 4 2
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When the skip precedesa note from the string below, the
1st and 2nd fingers of the right hand can be used to play
the skip and the following note.
,. t
L.H. 4
b.
1 2
r bg I
0 0
p==J
R.H. 2 2 2 2
When a skip stays on the same string different combina-

tions of the 1st and 2nd fingers of the right hand are
used.
L.H. 0 2 4
0 1 4
r I•
L.H.
'0 . r # •.
1
,: F
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d II ME' 3 ~
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GH()ST SKIPS
Ghost skips are rhythmically played like skips but do not

have a definite pitch. They have a very crisp sound of a
snap or a click, creating a very percussive effect.
When the ghost skip is played on the same string or on the

string above the following note, the left hand applies
slight pressure (tl"">'3
eft hand does not press the string
completely to the fingerboard) to the open (ghost) string
with the same finger to be used on the followi'-'d note.
The ghost skip is marked with an "X" on the staff for

the open string that is ghosted. In the following
examples the left hand fingering for the ghost skip is
marked inside a circle. Right hand fingerings for the
ghost skip are the same asfor the skip.
This example demonstrates the ghost skip on the same

string as the following note.
The 2nd finger of the left hand applies slight pressure to

the 0 string before fingering the E on the same string.
L.H. 4 0 (3 ) 2
~~ ~
R.H. 2 r -El1 2
r
1
II
The 4th finger of the left hand applies slight pressure to

the G string at the first joint. This allows the 4th finger
to be in position to finger the F on the 0 string without
excessmovementfrom the ghosted string.
L.H. 0 (3 ) 4 2 0
f): -. g
R.H.
d r il-
2
r II
This example demonstratesthe ghost skip on the string

below the following note.
L.H. 2 0 0 2 4
,: r Qr r I
-r
II
R.H. 2 1 2
The 2ndfinger of the right In the same motion, the

hand picks the open side of the 1st finger on
D (ghost)string. the right hand immedi-
ate/y applies pressure to
the 0 string, cutting
off the tone as it picks the
following open G string.
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PULL-OFF SKIPS; SLURRED SKIPS; SYNCOPATED RHYTIIM
PULL-OFF SKIPS
A pull-off skip is a note picked with the left hand only.

One way to execute a pull-off is by picking the sixteenth
note (open string) after fingering the dotted eighth note
on the s a m e string. After the pull-off, the following note
(the sameopen string) is pickedwith the right hand.
1
In the following example 0 indicates the 1st finger of
the left hand picking the open G string.
L.H. 4 2 1 6 0
,: t ~~
r ~f 4 • I F II
R.H. 2 2 0 2
The following sequence of pictures demonstrates the

movements required to execute a pull-off, and should be
thought of asonefluid motion.
The tst finger of the left hand fingers the Ab on the G

suing as the 1st finger of the right hand picks the G
string.
,~
~-"'''''''''-i
.H. : 1: 6 0
'~ I
»
!!
:
~ ,
. II
R.H. 1
I 2
I
I I 0
& .. _ . .. . _ . .. .. . 1
The 1st finger of the left hand picks the G string as the
right hand lifts off the G string.
:----,--:
,;
L.H. 1 ! 0:
b E ' I £· :: I r
0
II
R.H.
. 0 2
,--_ .. _ -
26
The pull-off is completed with the 1st finger of the
right hand picking the open G string .
,~
.... _ _ .....
.H. 1 1 ·· 0
0
·
~f
,
•
I !F I II
R.H. ·
L . .1 _ _!
27
The puff-oft is most commonly used on the G string but

it is also possible on the 0 and A strings. Pull-ofts are not
used on the E string because it is difficult to achieve the
proper clarity due to the thickness of the string.
The l st, 2nd, and 4th fingers of the left hand are used for
pull-ofts, but only the tips of the fingers are used on the
D and A strings to avoid hitting the adjacent strings.
Pull-efts from the 0 and A strings are executed with the

same left and right hand movements as the pull-oft on
the G string.
The following pictures demonstrate other positions of the

left hand when pulling-off on the same string.
Pull-off skips are also played from the D string to the

G string. They are executed with the left hand picking
the G string after fingering a note on the D string.
In this example, the left hand fingers the F#on the D

string with the 4th finger, then picks the G string with
the same finger.
L.H. 0 2 4 4 0
0
9: f"
R.H.
r
2 r r
2 E I
0
I F1 II
The following sequence of pictures demonstrates the
movements required to execute this type of pull-off.
The 4th finger on the left hand fingers the F# on the
o string as the 1st f inger on the right picks the 0 string.
, ,
L.H.:, 4: , 40 0
'; t l ,
2: 1 * [ " 1 1
,
I r II
R .H .: , o 1
31
After fingering the F# on the 0 string, the 4th finger on
the left hand picks the G string as it slides across, with
the right hand lifting ofi the D string in the same motion .
.------.
: 4 ~
L.H. 4: 0 : 0
,:trill I : 0 :
~ II
R.H. ,, '
.-- .. --~'
::-:i
This type of pull-off is completed with the 1st finger of

the right hand picking the open G string following the
skip. As it picks the G string it also presses against the
open D sl:ing to deaden it.
i-- ........."',
4
L.H. 4
o : 0 :
d Ii . F ! . II
R.H. o .
: 1
!. . . . . . . .. . . . _ J
.:
33
The 1st and 2nd fingers of the left hand are also used
to pull-off from the D string.
SLURRED SKlPS
A slur indicates when tones are connected srnoothlv

without a break. A slurred skip is a skip that is slurred
to the following note.
When the same finger on the left hand is marked over

notes connected by a slur, they are played by picking
the sixteenth note with the right hand and then sliding
the sixteenth note with the left hand to the following
note without picking it with the right hand.
In this examp e, the 2nd finger of the left hand slides

from the Bb tc the Be. The right hand does not pick the
B q. ' .
L.H. 2 1 2 2 2
b e [fs
fJ:
r r II
R.H. 2 2 2 0
SYNCOPATED RHYTHMS
The figures }I J
and nJ
are common rhythmic
alterations which suspend the time briefly. These syn-
copated rhythms give the feeling of anticipation and
create tension which is resolved when the walking line
is continued.
L.H. 4 0 2
,: J'
l
II
~. J #J
R .H. 2
I ;p J . J * ; I J ~ J @
C '1 " ~-7 A'
b . 0
It r r Ct I r r r i?gg
P -7 &' -1 I I Aa ' D ·' & '7
I ,~ rr
0
r r r r Ir r r r I r p rJ J &.
j
pr
C "1 I I I I b ()
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F' c ."
,
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7
C '1 A' 'T'I.'
)I Z Z
G 0o
o
. ,_
IrLt~L
o
I I I
I~f It P ( r '( IrDja

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~~o
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When playing triplets in the walking bass line, slurs can

be used. in this example the right hand does not pick the
second note of the slur as the left hand fingers bOlh notes.
This is also known ashammering a note.
L.H. 2 4 0 2 0
~: ~
R.H. 2 . #J r
2 iaJ
3
0 2
II
PULL-OFFS are used in triplets and can be played over

the bar line.
1
L.H. 0 4 4 0 0
9~ F If r r I
F ~
,
_)
R.H. 2 2 2
E rY
0
3
1
ARPEGGIOS are often incorporated into triplets using

open strings whenever possible.
\.
El
C '1
~-7
La J-.J
E"? A'
r ~r I r P( ~ . c t!i
J
"
. I
~7 C7
, r r 'r I r f r r r !t r
3 1..)-.1
I 4 I
r ~ r g( It f t ift 1 ft r tit f ~fU r

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t bE t I tp J b J J I J J J J Il F- b r J
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r r I r r ,
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~ r C& J
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, br
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c' C ,O } ..7 1>'~ e-"" ~~(J ,~: C'1

o
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r rp r r tr r rwWf
41
The bass lines in this section are composed with the

techniques demonstrated from section (A) to (E).
c"
F7
I r ~tJ~J ~ 3 J
C' ~-1 A7
IJ r (j J Ii ~OJ if)
C7 A7 D -7 G1
I r' r It F r bij I f] 5 3 p;
F1 Fifo C~ 2. i- o f-'~ A~
, r J J r I'a J J r I Q Q ' (f Ld=! r r b~
42
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H r L ! J a d I±r (J r bI r
J J .
I T8' E J'
I
'1 il
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discography of Mike
Richmond.
Mike Richmond:"Dream Waves" -Inner City 1065

Mike Richmond: "For Us" -SteepleChase 1101
Mike Richmond: "Colors of a Dream" -International
Phonograph, Inc. 1003
Mike Richmond: "East Side/West Side" -Owl 024
Stan Getz: "Another World" -Columbia 35513
Stan Getz: "The Best of Stan Getz" - Columbia 36403
Stan Getz & The Bob Brookmeyer Sextet: "Academy of
Jazz" - Poljazz681
Hubert Laws: "Say If with Silence" -Columbia 35022
Hubert Laws: "A Hero Ain't Nothin' but a Sandwich"
-Columbia 35046
Jack DeJohnette: "Untitled" -ECM 1074
Jack DeJohnette: "New Rags" - ECM 1103
Mingus Dynasty: "Live at Montreux" -Atlantic 16031
Ravi Shankar: "Jazzmine" - Polydor 2392-523
George Adams & Dannie Richmond: "Hand To Hand"-Soul Note 1007
George Adams & Dannie Richmond: "Gentleman's Agreement"-Soul Note 105
Dannie Richmond: "Ode to Mingus"-Soul Note 1005
Gil Evans: "Synthetic Evans" - Poljazz636
George Gruntz & Elvin Jones: "GGCJB"-MPS 0979
George Gruntz: "The First 10 Years"-MPS 0068-290
Chico Hamilton: "Live at Montreux" -Stax 5520
Franco Ambrosetti: "Close Encounter" - Enja 3017
Franco Ambrosetti with Phil Woods: "Heartbop"-
Enja 3087
Eric Kloss: "Now" - Muse 5147
Eric Kloss: "Celebration" - Muse 5196
Andy Laverne: "Another World" - SteepleChase1086
Andy Laverne: "Mythology" -International Phonograph,
Inc. 1002
Tom Harrell: "Aurora" -Adamo 9502
Tom Harrell: "Minds Ear" - RCA

Jim McNeely: "Rain's Dance" -SteepleChase 4001
Jim McNeely: "The Plot Thickens" - Gatemouth 1101
Harris Simon: "New York Connection" -Overseas
KUX-143-V
Harris Simon: "Swish" -Overseas KUX-150-V
Buddy DeFranco: "Borinquin"Sonet 724
Bill Watrous: "Tiger of San Pedro" - Columbia 33701
Toshiko & Lew Tabackin: "Salted Gingko Nuts"-
RCA 6031
Ted Curson: "I Hear Mingus" - Interplay 7729
Richie Havens: "The American Game"-cArista 5724 79/80
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5/10/2018 WalkingBassTechnic-slidepdf.

About the Author v

On reading this book .i

Proper technique for playing the bass violin .1

Left hand and ann positions .1

Right hand technique. .1 1

Chapter I - Key of C .... .1

Chapter III - Key o f E~. . . . . . . . . . . . . . . . . . . . 56

Chapter IV - Key of A minor . . . . . . . . . . . . . . . 68

ABOUT THE AUTHOR

Jack DeJohnette, Hubert laws, Pat Metheny, Elvin

Big Band, Glenn Miller Band, Sir Roland Hanna, Woody

"Walking Bass" refers to the quarter note lines played

pulselike.that of & heart beat, pumping renewed life into

In order to make the traditional quarter note walking

must be used at the proper tempos because if played out

As we apply the various rhythmic embellishments to

ON READING rms BOOK

ELECTRIC BASS FINGERINGS

PROPER TECHNIQUE FOR PLAYING THE BASS VIOLiN

Left Hand and Arm Positions

The left arm is almost In thumb position never

parallel to the ground, rest the left arm on the

Position of the thumb

Right Hand Technique

To execute the rhythmic techniques in this book the use

lit ~f tit ift f. f 1 F t ~f t Iff tkr

1 / '" G-' c,'1 & '1

y -7 G o '7 C "7 C #o ~-'7 (}"

p '" G '7 C" ~.'

The skip is the sixteenth note of the dotted-eighth six-

from onestep to the next.

The following examples demonstrate alternate fingerings

When a skip stays on the same string different combina-

c ," F" C' G - '7 C"

, .." t" e- A'

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Ghost skips are rhythmically played like skips but do not

When the ghost skip is played on the same string or on the

The ghost skip is marked with an "X" on the staff for

This example demonstrates the ghost skip on the same

The 2nd finger of the left hand applies slight pressure to

The 4th finger of the left hand applies slight pressure to

This example demonstratesthe ghost skip on the string

The 2ndfinger of the right In the same motion, the

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PULL-OFF SKIPS; SLURRED SKIPS; SYNCOPATED RHYTIIM

A pull-off skip is a note picked with the left hand only.

The following sequence of pictures demonstrates the

The tst finger of the left hand fingers the Ab on the G

The puff-oft is most commonly used on the G string but

Pull-efts from the 0 and A strings are executed with the

The following pictures demonstrate other positions of the

Pull-off skips are also played from the D string to the

In this example, the left hand fingers the F#on the D