Richard Laird Improvising Jazz Bass PDF

 

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Ron Hubbar d whos whosee study tec technology hnology h has as b been een great assistance in the writing of this book.

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Acknowledgements Many thank s to Jason Shulman David Ka Katzenbe tzenberg rg Cameron Camer on Brown and Bi Bill lly y Mintz for valuable id ideas eas and opinions. And to all the many fine musicians it has been my my good fo rtun rtunee to be associat associated ed with a spec special ial thank you. welcomes welco mes any communicatio n regarding this book. Address all correspondence c o the publishers who will in turn forward it to the author.

The author

o 1980 Amsco Publications.

A Division of Musi Musicc Sales Corpo ration . New York All Rights Reserved International Stand ard Book Number: 0.82 0.8256. 56.4091 4091.1 .1 Library of Congress Catalog Ca rd Number: 79-5 79-5436 4366 6

Exclusive Distributors: MusiC Sales orporalion 24 East 22nd Street. New York. NY 10010 USA MusiC Sal Sales es Umiled 78 Newman Street. London WI P 3LA England MusiC Sales Ply. Umlled 27 Clarendon Street. Artarmon. Sydney NSW 2064 Australia Printed in the United States of America by Vicks Lithograph and Printing Corporation

 

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ontentl Preface About the Bass and Bass Bass Players Purchasing Purch asing Equipmen Equi pmentt Fretted or Fretless? Fretless? Strings Amplifiers Equipment Equipm ent Cases Cases Equipment Equipm ent Care Fundamentals of Technique Positioning the Bass Positioning the Left Lef t Hand Positioning the Right Hand Right Hand Techniques Technique s About the Acoustic Bass Bass Buying an Acoustic Bass Acoustic Bass Pickups Amplifiers for Acoustic Acousti c Bass Bass Acoustic Bass Care Abou t Bassists About Bassists Qualities to Aim For About Practicing Tuning Tunin g the Bass The Range of the Ba Bass ss Study Stud y Assignment Assignment Note Reading Scales Chord Scales Chord Chor d Scales Scales:: Definitions Definiti ons Chord Scale Chart Practice Method for Chord Scales Functions of Lydian Major 7th and Lydian Dominant 7th Chords Chord Progressions Using and Lyciia Lyc iian n Dominant Domi nant 7th 7t h Lydian ChordsMajor 7th Study Assignment Assignment Lydian Chords Altered Alter ed Dominant 7th 7t h Chords Diminished Scales Chord Scales: Scales: Studies in Different Differ ent Keys Pentatonic Pentat onic Scales Scales Pentatonic Pentato nic Scales: Scales: Studies in Different Diffe rent Keys Pentatonic Pentat onic Scales Scales within Chord Scales Scales Examples Us Using ing Pentaton Pent atonic ic Scale Scaless Study Assignm Assignment ent Pentatonics Modal Scales Modess within Mode with in One Octave Establishing Establishin g Modes Modes Study Assignment Assignment Modes Modes Scale Sca le Analysis Analysis and Intervals

4 5 5

Scale Analysis Types of Intervals Intervals and Their Thei r Inversions

58 58 59

6 6 6 6 7 7 7 7 7 7 7 8 8 8

Study Stu dy Assignmen Assignmentt Intervals Abo ut Ba About Bass ss Lines Reading Bass Parts Notation Symbols Counting Rhythms Rhyth ms Making Up a Bass Bass Figure Figur e Exercise in Bass Bass Figures Figur es Study Stu dy Assignment Bass Bass Figures Bass Figures in Odd Time Signatures Time

61 62

9 9 9 9 11 11 11 2

12 12 13 4

17 18 19 20 27 29 45 46 51 53 54 55 56 57 57 58

Time

aTime

IJTime Study Stu dy Assignmen Assignmentt Odd Times Making a Walking Bass Line Open String String Rhythm Rhyt hm Studies Study Stu dy Assignmen Assignmentt Blues Lines Bluess Lines with Embellishments Blue Embellishm ents Study Stu dy Assignme Assignment nt Blues Lines with Embellishments Minor Blues Lines Study Stud y Assignment Minor Blues Lines Harmonic Harm onic Rhythm Rhyth m Chromatic Tones Study Assignmen Assignmentt Harmonic Harmonic Rhythms Atonall Walking Atona Walking Bass Bass Lines Study s s ~ g n m e n t Walking Bass Lines Line s Aboutt Soloing Abou Soloing Developing an Idea Developing an Idea on a Minor Blues Exercisess on Soloing Exercise Study Stu dy Assignment Solos Double Stops Major and Minor Tenths: Tent hs: E and G Strings Bass Lines Using Using Tenth Te nth s Other Intervals Intervals Unaccompanied Bass Bass Guitar Guit ar Solo City and Eastern Blues C o n c l u ~ o n

Bibliography Appendix: Bassist Bassistss to Listen To Acoustic Bassists Other Oth er Bassists Bassists

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65 67 67 7

72 72 73 74 74 75

76 76 ·79

80 81 82 83 84 86 87 93 94 95 95 95 99 101 102 102 106 107 109 1 9 110 111 112 112 112

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The purpose of this book is to provide the aspiring b ssist with data vital to performi performing ng successfully in a wide variety of contemporary musical situations. More specifically, it is designed to help in those situations where a notated bass part is no nott provided, provided, and where where it is the bassist s responsibility to create or improvise a part appropriate to the music at hand. The ability to do this well rests largely on the individual s knowledge of the harmonic material within the musical idiom that he or she wants to play, plus skill in applying this knowledge directly to the instru ment. i n ~ the melodic, harmonic, and rhythmic struc ture of a piece of music relies heavily heavily on the ba bass ss to give it its foundation, the bass player must take his or her role in this responsibility seriously. Just s a build ing built on a weak foundation will soon collapse, a piece of music being performed by a group with an unsure bassist is liable to fall apart. A large percentage of contemporary music both jazz and pop-features the bass more than ever before, and the bassist is required to lay down his part in a positive and forth right manner, with certainty and conviction. These are some of the key ingredients in playing the role of bassist well. One thing is certain-guessing does not work.

The information collected in this book is designed to assist the student who is eager to overcome his confusion, and eliminate whatever guesswork he relies on in attempting to fill this role. There is nothing radically new about this information-it has been around for a long time and is common knowledge among amo ng the majority of skilled musicians. What is new is the presentation of this information in a clear and pre cise form especially for the bassist. Since this book deals with what to play rather than how to play, discussions or explanations of instrumental and musical basics have been avoided. The exercises exer cises and ideas presented here can be easil easily y applied by the student who has some knowledge of the bass and the rudiments of music. An excellent book to use s a guide to obtaining basic music skills is Elementary Training for Musicians by Paul Hindemith. This or a similar book on the subject should be kept handy while studying so that any misunderstandings that arise can be cleared up. To be a creative, well-rounded bassist is a worthy goal, and if this book serves in some small way to aid the student on his or her journey, my purpose will be fulfilled.

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Bass guitar first appeared on the music scene in the ear1950s. s. The most popular model model at that th at time was the ly 1950

wide open. There are absolutely no limitations save the ones that th at y you ou create for yourself With With faith, persis persist t

As rock Fender created Leogradually Fender. began music began toBass develop, bass by guitar to replace

ence work game,and enjoy it you will achieve your goal. It's a great

its predecessor, the acoustic bass. This was largely due to the volume of the music and the difficulty at that time of amplifying the acoustic. By the late 1950s it became evident that bass guitar was well on its way to becoming a bona fide musical instrument in its own right, and with the advent of 1960s rock music it was clear that it had arrived to stay. Since then, it has become an integral part of virtually every rock and pop group and its sound is heard on the majority records made today. However, its use in jazz is relatively recent. Since the mid-sixties many acoustic players began to double on bass guitar as acoustic the demands of the music changed. Som Some e abandoned entirely. There are many different points of view about the use of bass guitar in jazz, both pro and con. The most prevalent point of view (and the one with which I agree), is that nothing will ever replace the quality, texture, and beauty of the acoustic bass. In the hands of a skilled player, it is a magnificent sound to behold. compare are the quality of the two instruments is rather To comp pointless. It's a little like comparing a horse to a don key: They are different animals, although they can have similar form and function. What, then, is the posi tion of bass guitar in jazz? Wide open With With the arrival arrival on the music scene of players such as Jaco Pastorius with Weather and Stanley souls, Clarkeit with Return to Forever andReport other adventurous clear ar that is cle possibili possi bilitie tiess exist to t o play beyond the endlessly endlessly repeated root-fifth "vamps" syndrome most commonly associated with the instrument. As more and more young players emerge from rock/pop groups, eager to expand their musical horizons, it is only a matter of time until there will be many fine players making meaningful contributions to the ever expanding field of contempo rary jazz. Since the concept of jazz bass evolved from a long line of acoustic bassists, it would be folly for the earnest student to ignore the work of these fine artists who

Purchasing ass Equipment The Fender bass has long been considered the norm in bass guitar. However, there are now so many different models that it would be difficult to list them all. Basically, cal ly, your yo ur choice of instrument is a matter of personal taste and budget. Prices vary greatly. The early model Fenders (pre-CBS) can cost three or four times that of a new bass. Generally, the most expensive basses are the custom designed models, such as Alembic, Carl Thompson, etc. One does not, however, need to spend a large amount of money for an instrument that plays and sounds good. A $2, $2,500 500 bas basss in in the hands of aan n inept player will not sound better than a $200 bass played by an inspired musician. The qualities to look for when buying an instru ment are as follows: Sound Quality for an evenness of tone up and down the neck on each string. N o t e the type of pickup or pickups u used sed.. Liste n

Check

variations.

The re

of distortion. distortion.

for a good range of treble and bass tone should be an overall clarity of sound free

Neck and Fingerboard the straightness of the neck and mark the type of truss rod used to adjust it. N o t e the thickness of the neck: Does it suit the size of your hand? F i n d out what type of wood is used on the fingerboard. Generally rosewood or other hardwood is preferable because its density gives a better quality Ex ami n e

paved the way. To this end I have included at the end

of this book a list of key figures who have had, and continue to t o have, have, a major influence on the development of a creative bass style. I strongly urge the student to track down recordings of these artists as the music speaks far more eloquently on the subject than any textbook could hope to. Finally, to repeat what I said earlier, the possibili ties for creating meaningful music on bass guitar are

sound. Action feel easy, stiff, too high, or too low? There should be no string noise or rattle on any fret for all four strings. strings. Most basses have adjustment controls to raise or lower the strings set on the tailpiece. Are these controls easily accessible? D oe s it

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General Intonation -Always check to see how true the pitch is es-

pecially at the top of the neck. neck . -Most basses have ways of adjusting the intona tion of individual strings down by the bridge. Check the accuracy and design of these controls. -Examine the design of the machine heads. Are they sturdy, or prone to slip? Once a note is brought up to pitch, it should stay in pitch-if it slips, it may be a faulty machine head. Overall Reliability - I s the instrument built to last, and will it sur sur vive under rigorous conditions? A pretty bass will be a liability if the neck is prone to warpi warping ng,, snapping, or other disasters.

These are the main things to look for when buy ing an instrument. t is wise to try several before you decide. Don't be duped by high pressure salesmen into buying a bass that you 're not totally happy with. f you're unsure, bring someone with you who knows what to look for . Your personal sound is by far your biggest asset, and a good instrument can give you pleasure for many years.

retted

or Fretless

The majority of bassists use fretted instruments. instruments . However, fretless bass is becoming quite popular and offers a wider range of expression than fretted bass. The overall sound quality is different, and one is pro vided with a comparatively better sustain sustain.. The absence of frets allows for a certain amount of creative play with intonation, and gives the musician the option to use various technical devices such as vibrato, or sliding up or down when approaching a note. Fretless bass is for these reasons, more difficult to play and the major ity of recording bassists use a fretted instrument as intonation must be spot-on in the studio. t can be diffi cult to sightread a bass part on fretless bass-one must concentrate on the part plus keep the pitch of each

a certain amount of "finger noise" not too popular with recording engineers. The round wounds do sound very good though, and many players who work in mostly clubs or live concerts use them for their bright ness. The choice of gauge or thickness is a matter of personal taste. While heavy gauge strings sound very good, on some instruments they can cause the neck to warp-making the action higher and throwing the tun ing out. Medium and light gauge strings work well on most basses. It's wise to experiment with several kinds of strings until you find a set that suits your instrument and style of playing. It pays to get the best that you can-strings are a crucial part of the sound quality that you produce.

Amplifiers Again, there are many makes and types of ampli fiers on the market. An amplifier is the termi terminal nal poin t of what you are playing on an instrument; it does, in fact , define your musical voice. Therefore it is impor tant to select one that suits your style of playing and the musical situations that you will be involved with. The things to look for when buying an amplifier are as follows: Sound Quality -Listen for a clear, distortion-free sound sound.. - S ee if it is a tube or transistor type amplifier.

- No t e the range of variations that you can get from the tone control: Is there a good treble, middle, and bass?

Practicality of Size -Make sure that the external workmanship is

good.

-Ask yourself if it looks as though it will keep on working under rigorous conditions. An amplifier that

breaks down frequently is a real liability to you and

note accurate. Personally, I use a fretted bass for recording and a fretless (Fender azz Bass for more adventurous situations where it seems appropriate.

Strings There are dozens of brands of strings on the market-some very good, and some very bad. Basically, there are four kinds: Flat wound, round wound, wound , half round, and nylon tape tape.. These are available in heavy, medium, or light gauge. The majority of studio bassists use flat wound strings as round wounds produce

the group, and can cost money in cancelled engage ments, repairs, etc. Have it thoroughly checked before purchasing, and keep the warranty

Equipment Equip ment Cases Most basses come with a hard case, and for general purposes these will suffice. However, there are soft, form-fitting case casess called "gig ba b ags" which are less bulky for 'round-town use. One can also usually carry them onto planes and save any risk of damage.

6

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For extensive travel situations, a good custom made heavy case lined with foam rubber is the best choice. This will protect the instrument from severe bumps and drops. They are expensive but a good investment in the long run. Similar cases for amplifiers can be found.

A variety of sounds can be created by attacking the strings in different places. Playing close to the end of the fingerboard fingerboard produces a warm warm,, mellow sound; playing above the pickup produces a' bright type of sound; while playing down.by the tailpiece will give you a harder, more percussive sound.

Equipment Care pays to keep pays keep y our equipment in top condition so as to alleviate breakdowns on the job. Have the amplifierr checked amplifie chec ked regularly. Strings should be changed after they become "dead" harmonically. How often differs according to the frequency of use Keep the neck and fingerboard clean-this will aid your playing facility. t

Fundamentals o f Technique PosITioning the Bass In order to be comfortable while playing, it is im-

portant to position the bass next to the body in such a way as to have easy access to the entire fingerboard. fingerboard. Ideally it should remain at a 45-degree angle. While it is not the rule, most bass players stand when performing, so it is necessary to adjust the bass strap until a comfortable position is found. A common problem with some basses is that the neck keeps mov mov ing downward and requires continual adjustment. One way to keep the balance between the neck and the body of the instrument in proper proportion, is to move the strap lug below the tailpiece a few inches to the left, when facin facing g th e fro nt of the th e bass. A good sturdy strap is a good asset and make sure that it is secure on the lugs. I had one slip off once dur ing a concert the neck hit the floor and snapped in half

PosITioning the Left Hand

Right Hand Techniques There are two basic right-hand techniques that can be used used for producing a sound from th e st strings rings:: u o ing the first and second fingers, or using a pick. For either alternative, aim to keep the right hand very relaxed laxe d a t th e wrist. This wil willl increase increase you r dexter ity and ability to play for long periods of time without tiring. While the majority of players seem to favor the two-finger style, the use of a pick is quite common among studio bass players as it produces a clear; bright sound which records well. Mastering this style is a study on its own, and is markedly different from the variety of tech technique niquess available from using the th e fingers fingers alone. The following is a list of different approaches to using the two-finger style: Alternating between the first and second finger fingerss and plucking the strings upwards. Striking downward with the thumb whOe resting ing the othe o the r finger fingerss on the body below the strings strings.. Plucking two or more notes with the thumb, first, and second fingers-in the style of a classical guitarist. Using the thumb and first finger to puD a string off the fingerboard, fingerboard, and creating a percussive, percussive, snapping snapping sound.

The student is urged to experiment with the various methods in order to find the one or more sounds that wlll suit (a) his style of playin playing, g, (b) the particular instrument being played, (c) the amplifier, amplifier, and (d) (d ) indi vidual taste.

A common error in faulty technique can be found in the manner in which the bassist uses his left hand. Many beginners use the "bunch-of-bananas" met hod- with the finge fingers rs cramped cramped together and the thumb wrapped around the neck onto the fingerboard. u s i c

While suff ice for emore forms it can this be amay be real realsuffice hindrance hindranc in simple developing a of fluid and and articulate technique.

PosITioning the Right Hand The right hand is positioned in such a way as to provide easy access to the area area of attac k; i.e., i.e., the man man ner in which the strings are struck.

bout the coustic Bass Acoustic bass is the largest instrument in the string family. Its use in jazz began with the first Dixieland bands when it began to repla replace ce the tuba. The first bassist to emerge as a real "voice" on the instrument was Jimmy Blanton who performed in the early Duke El· lington orchestras. The study of acoustic bass is a subject in its own right. Since there are many excellent books covering this, the technical aspects o f playing acoustic bass wiD not be dealt with here in order to concent concentrate rate on the improvisational aspects of the instrument.

 

develop op a correct technique By far the best way to devel on acoustic bass is to find a good classical player who teaches. The fingering and bowing of the instrument are subjects that need to be carefully tutored in order to avoid forming incorrect playing habits at the early stage of development. The use of acoustic bass in con

an ad in your local newspaper. This can sometimes produce good results as someone may have an old bass in the attic which can be bought for a bargain price. Usually these need major repair work, which is expensiv expe nsive: e: bu butt considering the savin savings gs on the purchase price, pric e, it can turn tu rn out to be a very good investment. For

temporary popular music has declined somewhat since the mid-sixties, when Fender bass began to emerge. However, with the advent of bet better ter pickups and ampl ampli i fiers for the instrument, the initial problem of produc ing a sufficient volume has largely been overcome and it is possible for an acoustic bassist to be heard clearly in a relatively loud group. The leading jazz bassists in the field today generally have prodigious techniques. Many play solo lines equal to the best jazz guitarists. Eddie Gomez, Stanley Clarke, Mike Richmond, or Chuck Dominico are good examples of this new trend. While the bass guitar lends itself very well to percussive/rhythmic music; the acoustic bass definitel defi nitely y has has the edge edge in in

example, I bought my cur curren rentt bass in Lond London, on, Engl England, and, for 100. t was in disastrous condition. I have spent to date about 800 on it and and now have have an eexcelle xcellent nt instrument worth much more than I invested.

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terms ofrall its blend with tone, depth sound, and overall ove othe o the r sustain, instruments instrument s in' inof ' the jazz idiom. As a solo instrument, it can be used for a wider range ran ge of musical musical expression in that th at it can be bowed. While it is fine to specialize in either electric or acoustic bass, the ideal for many players is to play both, and play them well. Acoustic bass is by far the ,most demanding of the two in that one must practice and play it constantly in order to keep up one's tech nique and maintain the physical stamina needed to produce a sound.

Buying an coustic Bass The best advice I can offer for a new student interested in finding a good acoustic bass is to have a bass player or bass teacher help you. Music instru ment stores generally do not carry acoustic basses and when they do they are usually of an inferior quality. Acoustic basses are not mass produced as are Fender

Place

Regardless of the way you intend to look for a bass, it is a good idea to have the opinion of a profes sional player or teacher before making the sale final. There are many pitfalls, and they can be costly. A more seasoned player can also advise you as to your choice of bow (French or German), the best type of strings, etc.

Acoustic Bass Pickups There are several bass pickups available on the market at this time. The most popular brands are Un derwood Barcus-Berry and Poly tone. Having tested all three, I personally like the Underwood bass pickup the best as it produces the most natural sound. However, many bassists bassists get good results with the oth other er two listed listed.. Underwood pickups are available from Underwood Bass Pickups, P O Box 303, Carmel Valley, CA 93924. They cost at this time around one hundred dollars, and they need to be fitted to the bridge of the instrument by a bass repair craftsman.

Amplifiers for coustic Bass The same principles that apply for electric bass amplifiers ampli fiers als also o apply here. The actual situa situation tion one is

basses. The majority of good sounding basses are at least fifty to one hundred years old and come from Italy, Germany, France, and England. Good American made acoustic basses are rare. Most basses come in two sizes: 3/4 size and full size, with either a flat or a round back. Since each acoustic bass is unique in itself it is difficult to gento

as have eralize whicha type sounds best. bassesand do not always bigger sound or Full-size a better tone, they can be a hassle to transport. The following is a list of ways ways to find a good acoustic bass Check

Get

with violin/bass repair shops.

in touch with some professional bassists; they

could be either jazz or symphony players. They often havee severa hav severall instruments, instru ments, or they the y may know of a good one for f or sal sale. e.

going to play in determines the type of amplifier needed. The Ampeg B 15 is small, and works well for most 'round-town gigs For concert and touring situa tions, where high volume is required, a larger amplfier may be needed. There are often problems with feed back: The tolerance for extremes in volume in all of the pickups that I listed is fairly low. t is best, when a lot of volume is required, to stand off to the side of the amplifier. This will cut down on t he chance chance of feed back. I currently use, in combination with the Under wood pickup, tthe he Poly tone Mini-Brute. t comes with either a 12-inch or a 15-inch speaker. I find the 12-inch model ideal: It has sufficient power and volume for most playing situation situationss plus it is very small, small, lightweight, and easy to transport. They are available from most large musical instrument stores and are reasonably priced.

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Acoustic Bass

Care

Acoustic basses are rather fragile creatures and do not respond well to carele careless ss handling; handl ing; like being kicked, dropped, or bumped against. Bass repairs are very cost ly, so pay close attention when transporting it to see that it doesn't get bumped or otherwise abused. Also, like humans, they do not like to be left alone for too long and thrive on affection. Treat your bass well and play it a lot, especially with the bow. This will help to keep ke ep the sound "alive "alive." ." When touring, it is best to take the bass on the plane and put it on the seat next to you where you can keep your eye on it. ever put it in baggage unless it's in a custom made fiberglass case. ever allow anyone to move it or carry it who is not experienced in han dling basses Most airlines charge full fare for the extra seat, but it is worth i t for the peace of mind. In genera general, l, treat your bass well and it will trea treatt you well well for a long

time.

bout Bassists Qualities to Aim For Having listened to and observed many fine acous tic and electric bassists in the field of contemporary music, it comes to my attention that they have many qualities in common. The following list will give you some ideas of what to aim for. Presence The "thereness" and ability to project to an audience. Quality and Clarity of Sound

Flexibility The willingness to try something in different differen t ways ways and be open to new ideas. Lack of Seriousness Have fun onstage, laugh at oneself and with others. Make light of things and generally be joyful while performing.

bout Practicing One of the most important and potentially rewarding areas in being a musician is the ability to prac tice correctly. In the course o f teaching bass students over the past few years, it became clear to me that very few of these students knew how to practice, what to practice, or how to apply what they practiced to their professional situations. This chapter is devoted to tak ing a look at some approaches to practicing and how to get the most benefit from this activity. Of all the musicians you will listen to in you r life life (assuming that you have decided or are deciding deciding if you should be a full-time musician), there is no one musi cian's playing that you will be more familiar with than your own. This being the case, it follows that if you don' t like what you'r e hearing hearing in your own playin playing, g, it's going to be pretty difficult to project a positive, confi dent attitude to those that you are playing with. Remember that a large part of being a bassist is interact ing with others. So, the thing to do about this is to take a look at your playing in an objective way: Fi nd out what your strong points are. What are the things that come naturally for you without much effort? Fi nd out what your weak points are. What are the things that you struggle with and put a lot of effort into?

Rhythmic Certainty The ability to play with the group and hold it together while maintaining a steady and swinging flow or pulse. Harmonic Skill The capacity to create musical and interesting bass lines behind behin d a soloi s oloist st o r ensem ble. This inventiveness should be present in bass solos. Technique Adequate technical skill to convey the music precisely. Reading Skills A way to realize realize the composer's intentions intent ions quickly and accurately. Inspiration The ability to perform with "fire" and in an uplifting way to insp inspire ire both the group and the audience. audience. Listening The ability to "hear" and duplicate what's going on in the music and to act in a way that complements it.

Make two lists on a sheet of paper. On one list, write out what you consider to be your strong points. On the second list, write out what you consider your weak wea k points. Be very specific in this Here is a mocked up example: Strong Points

Weak Points

Good sound

Insufficient knowledge of

Sufficient technique Good ideas Flexibility with others in group Good "ears"

harmony and correct notes to play on chords Poor reading skills Poor rhythmic concept Confusion with fingering when playing certain scales

. and so on. Your lists, of course, will be based based on your you r own insights insights.. Only you yo u can really know you r strong and weak we ak points and only you can be responsible responsible for them. 9

 

Bear in mind that even the very best players have weak points-I have yet to encounter the absolutely "perfect" bassist. The idea is to take what you do well well naturally and add to it by practicing those things that are difficult for you. No one is born with the ability to

where you can be most effective within the field of music by learning from or imitating the ways of others who have already found their place. Considering the vast scope of music that a contempoary bassist must be familiar with, it is important to define one's on e's own place

read music well. t is a developed skill and the way to get to be a good reader is simply to do it The way to begin is at the beginning. Learn the rudiments of music from a book or a teacher. Take it slowly, step by step, and go systematically to more dif ficult types of reading problems. Don't skip over things you don t understand thoroughly: Go back to the point where you did understand and find out specifically where the misconception occurred. Clear thatt up first. tha It is important at this point to take a look at things objectively and find answers to the following questions:

early on in one's development. Of course these considerations can cha change nge in time as one learns and expands, and indeed it s good to remain flexible and flow with the changes that occur in music and your own life. Surviving as a musician is tough, and much can be learned by observing those who have survived and continue to survive artistically, financially, physically, mentally, and spiritually. Basically the purpose of playing music is to bring somee joy, fun, enlightment, som enlightme nt, and pleasure pleasure to people. people. Considering the present condition of humanity, there could be no finer purpose than this. Now we will proceed to outline a method of prac ticing designed to give the most benefit for the time you invest. invest.

-What is the existing condition of your musical abili

ties?

-What is your ideal condition for your musical abili

ties? -What are your actual purposes and goals in this

activity?

-What are your plans to achieve these goals? -What can you actually do on a day-to-day basis to

reach your ideal condition?

It is very important to answer these questions for your self as it is very difficult to move towards a goal unless

that goal is clearly defined. It is a good idea to keep a record of your progress and the actions taken day by day so as to know th at you are reaching reaching your goal. goal.

1. Decide on a specific time span to be used One hour of concentrated work is far superior to sever several al hours of scattered scatt ered attent ion. Decide ide on a specific specific problem Look Loo k at your list of 2 Dec weak we ak points. How can you improve them? Take one at a time and work on it. 3 Don't take on more than you can handle handle within within the chosen time span Set a goal-one page or one exercise, for example-and meet it. f you meet me et your yo ur goal goal before the time is up, set another goal. Rest before beginning again.

4. Do n't n' t wa waste ste time practicing your strong stron g points Save Save this for when you're performing. Remember, practic

ing is to add to you yourr strong po points ints by b y overcoming overcoming wea weak k ones.

It is helpful in determining the goals that you aspire to, to inspect the work of those bassists who have already made their mark and who continue to

5. f something comes up which is confusing to you, don 't pass pass over over it Stop and go go back to the point where it wasn't confusing and find out where the confusion arose and clear it up before continuing. This is very important.

grow and expand in their field. In observing these players, try to define for yourself the various qualities they have acquired which keep them at the top of their field.

6 Have fun Practicing Practicing need not no t be drudgery. drudgery. Keep it light, challenge challenge yourself, make a game out of it and win

-Does listening and/or watching them perform excite

you? Does it make you feel inspired, expansive, joyful?

-What quality in the way they communicate their

music do you admire most? -Does the sound they create have a good effect on

you?

-What can you learn about the technical aspects of playing by watching and/or listening to them? -What can you learn from their improvisations?

- D o they present themselves well and with dignity?

Do they have a pleasant demeanor?

The idea here is to have you discover for yourself

10

 

Tuning the

ass

The Range of the ass

The bass is tuned in fourths from the lowest note upwards. upwards. E

A

D

9:

G

e o

The best way to tune is with harmonics. These can be found on the twelfth, seventh, and fifth frets. Harmon ics are sounded by placing the finger on the note (right over the fret) without pressing it down, and bowing, plucking, or picking that note.

II I I I

~

iSl2i V

The range of the bass is two octaves and a major seventh. Acoustic basses go higher, as do some custom made electric basses. The actual pitch of the notes sound one octave lower than they are written. The most frequently used range is:

-

I

VII

The lines show the unison relationships between har monics mon ics on adjacent strings. strings.

The available notes within the written range are as follows: Natural notes (No sharps or flats)

5: <

Name:E Fret: 0

0

e

F 1

G 3

e A 0

B

2

e

e 3

D 0

0

e

E 2

F 3

~

G 0

A 2

B

4

&

.n

e 5

D 7

• E 9

0

F 10

0&

G 12

0

•

0

-&

A

B

e

D

14

16

17

19

Sharp notes

9:

e

~ 2

G

4

0 A 1

Do e#

4

Ie

Ie

D 1

F 4

~ D G 1

Ue A 3

Flat notes

J:

~ e G ~

2

b

Ab 4

~ e

Bb 1

~ e

Db 4

Il

Eb 1

hD Gb

4

~ e

Ab 1

#& D 8

e#

6

b

Bb

3

Db 6

#0.

F 11

G

A

13

Gb 11

Eb 8

~

Ab 13

#&

~

18

D 20

be-

bQ

Db

Eb 20

e#

15

ba

b :

be

ba

0.

~

Bb 15

18

Assignment-N nment-Note ote Read Readin ing g Study Assig Since a professional bassist is expected to be able to read any note within the written range of the bass, the first study assignment is to learn and commit to memory all of the natural, sharp, and flat notes and play them on the instrument. In addition to looking at the charts, anot a nother her good way to become. familiar with the notes is to write them out yourself on some music manuscript.

This is one of the most important assignments in this book. Complete it thorou hly before proceeding. Use the following as a check list to help y our concen concen tration: the names of the notes. -Le a rn their position on the music staff. --Learn their position on the bass. -Le a rn

11

 

Scalw hord Scales

hord hor d Scales Scales A· common problem for many stud ent bassis bassists ts is an uncertainty as to the correct notes to play through the chords found in jazz and contemporary music. In order to create a musically correct and appro priate bass line through a given chord, it is necessary to know the scale from which the chord is made. Basical ly, scales exist to allow the composer or player a

choice of notes related to a given chord. These serve to create melodies or bass lines with some kind of logical sequence that can express a particular emotion or idea. Chord scales represent to the improvising improvising musician what colors'represent to a painter. Before a painter can create an exciting or meaningful image he must acquire skill in using the materials of his craft. He must have a thorough knowledge of colors and how to combine them in a composition. It is similar for a musician musician who improvises-the chord scales are his colors. Some are bright ; some are dark. (There is an explanation of this in the section o n modes.) A knowledge of the chord scales and how they

Definitions

Chord: A combination of three or more notes or tones, sounded together at the same time.

f

C Major chord

It

This is a vertic l (straight up and down) arrangement of notes. Scale: A series of notes or tones arranged in a sequence of rising or fal falling ling pitches within withi n one o ne octave. C Major scale

•

a - - -_ _ _ _

This is a

o r i z o n t

~

or

octave

line r

e

a

.. .1

arrangement of notes.

function is a good starting point

to

the end

of

impro

vising bass parts and solos in a free flowing style, and it can be p p l i ~ d equally well in a number of styles. When playing through the scales, begin to note the dif dif ferences in each one and how they feel to you. Find areas in your own sphere of musical activity where you could apply them. Before you begin, read the d ~ f i n i tion of chord scales and be clear on them. f you wish to know more about the theoretical construction of scales, scal es, refer to the chapte c hapte r on intervals. intervals.

follows that a chord scale is a series of notes arranged in horizontal or linear form that contains within it all the notes of a given given chord. chord . t

C Major

i

I I

[

e

a

2  

Chord Scale Symbols:

b.

Chart

=Maj =M ajor, or,

- =Minor =Minor,,

+ =Augmented,

C b. (Ioni an) Bas Basic ic Major scale

:

e

e

o

Q

(

0

=Diminished,

C-

o

(Altered)

I,,,

(Melodic) Basic Minor scale ba

e

d

Ie

a

Ie

C7 (Lydian)

:

b

= Half Diminished

C b. (Lydian) t

C7 (Mixolydian)

7

fl

D

ba

G

bQ

C7+ (Whole Tone)

C-

(Harmonic)

ho

e

D

(

II

C-7

o

C-7

C-7 (Phrygian)

(Dorian)

b

e

~ e

(Aeolian)

C-7( b5) (Locrian)

(

a

e

a

h

b

co

:

C-7 (

ho

e

b5)

~

ba

e

~

n

( )

can also use Half Diminished 1lJ) scale.

For example:

C-7( b5) (Half Diminished) leo

Z

n

b

b

be

u

L

p

bet

( .. II

ogo

13

 

There are many other po possib ssiblle scal sca les. T he ones given above repr represe esent nt the most co commonly mmonly use d o ne ness.

fluency of tec hnique and fa mili miliar ar it y with each of the scalles on the ch or sca ord d -sca -scalle ch c h art.

Some of the chords given may be be un fa miliar to the stu dent,, so an explanation of certa dent certain in chord s-Ly di an Major Seventh, Lydian Domin an t Seventh, Dominant Seventh,, Dimini Seventh Diminished shed chords-and their practical f unc tions-is offered at a furth furt her point poin t in t his book. Since it is b eyon eyond d t he scope of thi t hiss book to cover cove r the su subje bject of basic harmony a nd jazz h armony, it would help t he student who h as not covered t hi s sub ub jecc t to have so je som me instruction either through a teacher or with a textbook. An excellent book on the s ubjec t roviising zz by Jerry Coker. is mp rov

They ca can n be played on both aco acou ust stiic and electric bass, with a bow, fingers, or pick. This is a large assign  ment. Don 't attempt to do it in a hurry. Take one step at a t ime until yo u fe el completely comfortable with the scal sca le in question. Use a metronome This will great1y develop your abil ab ilii ty to maintain an even tempo and accu racy in placement of notes. Work up to t he speed yo u want to ac hiev hieve: e: 1. Set it at slow tempo te mpo 2. Set it at medium tempo 3 . Set it at fast tempo

Practice Method for Chord Scales

Take yo your ur t im e, do it right, and yo u ' ll h ave remarkable gains in ab abil ilii ty

The following sect sectiio n deals with a way to gai n C , Ionian

Basic Major scale o

( ..

II Step 1 :

C F rJ E F r

f):

CF E r r [ c

):

rr rf

r

t):

E€ t F

fe

CF

E

r [ FF EF F 5

Fr

e

5

F

A[

r

r

6

r

5

6

5

6

E

I

6

II

5

5

flo

f

etc

l   r FEFt f F 6

etc

6

Step 5 :

e CfCErFFFFrrrrcQrI

,rurrvfFr;Ugr I arF CCFfrkrFraCj

Prac t ice: Slo Slow w - Med Medium ium - Fast

14  

•

Lydian

Drr e rf 9

Step

t):

Major scale

1

9: e

I

etc

f

I

C[rrrFffrrprcr l rSFfFfiEfrpFCr l rfFffFtfrffF[rl

):e

  ~

l

r

rFr

EF FFFFr Fr ; I Err ri

Step 4:

::

F

F e l f t Ff F

E FF T [F Fr } I rS r r F f FFF -

r

r r I r FAt t € f r

f

Step 3:

): e

l cE

r FEr F r i CF r t

r r Ir r f

Step 2:

fy

r

U

a

with

raised 4th >

:

E

E

Il

...

II

/

r F F r ECJ i b F F; ErE J I

'E

r F r r FEll r F r Er Fr I E r r r r

C

ro

fOr

r;

I

r I E r f €E r r I r f f r t f F r I

Ef [

t1:

f Tfff

I6

Step 2:

I' Err Fl CF

t):

6

C• :t

F f E f fiE t f Ff

I E F r FF Fu I 5

etc

~

5

r r:t EF F1 I

5

Step 3:

C fr fr:r :rfifi(Ecrull (Ecrullcc qrFffFQFE qrFffFQ FE:r :r1 1

9:1,

Step 4:

~ e E r r

C7 Mixolydian

:

e

Q

Step

etc

~ E r J C t L E f c r U I ~

etc

I Er CprrrC[FfFr-;1 c Frffr±[rrprEfI

Basic Domi nant nan t 7th e

5

. ..

.

f r J [ r R ~ r j J

II

bQ

..

/

e

:

,: f' CE r ; E Eel I E CF r FEE; I E F F ; CF [1 I 15

 

f):

v 5

E F [hE F [

r[

I F [bE f E r [

I

I Ce

r r r f f r r r I r r F AAFr r I r

b

fA U H Ste p 2:

U

r r rr

fAt

I

r

t AFr I

,ufHHf ,cfHH b

e tc

e E T E FIE F fIT I C F [ Er f FFF I E [ f f t EF

V

5

5

5

5

Step 3:

V Ii

EFFF i [ FFF T I r FFF 6

St ep

f : Ii

4:

r

7

7

ET f

ft

7

Dominant 7th with

f f FFFF I EFEJ r r r 6

( ..)

Vr r IT ric

E r bE r [ r

etc.

Fr I

6

j

b.

frFF FI E f r 7

7

etc.

Tt

r

0- 1

7

raised 4th /

bQ

.. S tep 1 :

b

b

CFF F f k FF T r i cF Ef f

V:

V Il

b

6

•

C7 Lydian

j):

6

5

f [J I

I

F tc f f [

I r [bE;

r [ I Etc

rr[ r

Er [J I

f

i Ce r t

c

I

r

16

 

  Step 2:

:

e

CEE U 6

E Fr I ECf FF FFr EJ I of FF;= ErE [} I

C elF -

6

6

:t

Step 3:

9:

etc.

~

ErE

6

cr

5

b

Ire'

6

FF FEr c; I 6

5

b

6

E

etc.

. ..

T

FF I 6

r r fF bier ff r

Step 4:

c

tl:

r

tt r rt f

r rrr FrEE I e eEr fEkcEffr u b

cC"Ef

b

etc

Functions th Lydian Major LydianofDominant th Chords arid In the chord-scale chart there are two chords which are often misunderstood. Basically, the Lydian Major 7th chord scale is the familiar familiar major scale scale except excep t that the fourth note of the scale is raised by one half half step. The Lydian Dominant 7th chord scale is the

familiar Dominant Mixolydian scale, except that the fourth note is also raised one half-step. The most common use of these two chords is as substi ute chords* to aid in producing smooth voice leadingthe manner in which the inner parts of a chord move to another chord and smooth ba bass ss motion.

Key of C Major

b I 7 D b 7 Lydian

b 17 Db 7 Lydian

e

p

b

be b

7 E b 7 Lydian

bo II

b 117 E b7 Lydian

ho

IV 7

t:

F67

Lydian

.a) e

Q

Q

e

IV F7 Lydian

(.a.)

·Substitute chor chord: d: a chord used in place added interest and harmonic taste.

of the

usual

chord

for

17  

bVI7

bVI ta 7 Abta 7 Lydian

Ii

a

e

b

o

bVIIta 7 Bbta 7 Lydian

>:

e (less common)

C

0

Ab 7 Lydian

D

0

6.)

e

I ,

"

0

bVII7 B 7 Lydian e

0

EI

be

(b.)

IA7 eta et a 7 Lydian

,:

1

c

0

{ }

g

0

I;::

 

17 Lydian

.

"

bV ta 7 Gbta 7 Lydian

1

be

0

i3

0

0

{2 II

bV7 Gb 7 Lydian

11_)

o

~

I,,,

~

~

D

This applies in major and minor keys, although VII 7 and VII7 are both rare in minor keys. 6

Chord Progressions Using Lydian Major th and Lydian Dominant th Chords / K e y o f C MaJor

Ionian

?

CA7

,:

b II A 7 Lydian

,

I

[bts7

I

t

Dorian

I

I

bII A 7 Lydian

Mixolydian

I

7

I

I

I

, I

I

I

j

t

Key o f F Major

bVl7 Lydian I Ob7 I

Ionian I

I

I

,

bVII7 Lydian

,

I

I

I

Eb7

I

bII7 Lydian I Gb7

,

I

Key o f B b Major Ionian /

,:

  j

Bbts

b II ta7 Lydian

Dorian

~

e7

i

I

Dbts

t

,

I

I

I

C7

I

bIlta 7 Lydian

Mixolydian

Dorian I

j

F7

I

I

Bts

,

I

:

ey o f G Major

9:

e

Ionian SA7

I

IV7 Lydian C /

bVII7 Lydian Aeolian I E7 I F7

Dorian A 7

Mixolydian

I

9

I

bVIta 7 Lydian

Ebn7

I

I

I

18

 

Aeolian

Dorian

E7

A7

t

bVII7 Lydian b z

F7

117

ab7

Lydian

Dorian

Mixolydian

t

A7

97

t

b117 Lydian Ab7

t

Key o f C Minor

/ 9:

Melodic

c

bVI A 7 Lydian Abb7

b IA 7 Lydian bb7

l

Melodic

c

i

j

Key of A Minor

/

;l:

1

IV7 Lydian Altered

b l l 7 Lydian

Melodic A

j

J

C7

J

7

J

[7

Melodic

A

l

Key o f Eb Minor

/ ;1:

e

Harmonic

IV7 Lydian

Eb-

Ab7

 

bVIA 7 Lydian bll7 Lydian BA7

Z

1

Harmonic Eb

E7

Z

Key o f F Major

9:

e

Aeolian

97

tonic point

bV7

Lydian

Ab7

t

j

Dorian G 7

b IA 7 Lydian bVIA 7 Lydian bVII7 Lydian Aeolian Ebb7

8 b7

97

C7

Study Assignment-Lydian Chords

/1.

Write out on some music paper the Lydian Major 7th and Lydian Dominant 7th chord-scales and their corresponding chord cho rd sym boIs in the places they can occur. Do this for each of the following keys: ~ m a j o r V Fminor/

D major Y ~ m i n o r

-yI'

~ m a j o r

/

/2. Write out seve several ral chor d progressions progressions that incorporate Lydian chords.

/3. Play the Lydian scales in the six different keys from exercise 1.

/4.

Figure out the correct modal scales for the chord progressions you wrote out in exercise 2.

G minor'

19

 

Altered

Dominant 7th Chords

On C7 Mixolydian (basic dominant 7th scale) the intervals intervals above the octave are: C7 Mixolydian ~ :

bo

{

..

Q

e

Q

Q

Q

b7

3

Root

8)

9

10

be be--

9

11

II

'13

On C7 Altered the intervals above the octave are: C7 Altered

:

bo

( .. )

b.Q

b7

8)

b9

3

Root

be

b5

b.a.

b13

Employ the usual practice method for these Altered Dominant 7th chords. Dominant 7th with altered notes.

C7 Altered

;t:

6.

~

a Root

(b9

~

9 ) 3rd

b. b . b5

bo

b13) b7

Step 1 :

f:

lie 1 [ ~ r be

be

Jc

[ J I be

~

bE ;

be bE

r E eEl

be

e bE

r E ere TE

I

be

E rI r r L I r f f 1 Er I : 1 f E E F f bE I f { bE EE t f I e be J E

,:

r

f

II

20

 

C7 +

Whole Tone

~ :

Ie

e

Step 1:

nEe r t : ;1:

E

u

c

ErE

: f

IT

U

Q

ErE rr

I r r tc r r Er

r

f Er

I

rn

c E

rIrt

ff T tf

I

f

r F

I Ct r:

t Err J

CF r r I t F rEF r r

i

f tf

EI

tf

EJ I E f 6 8

f ef E f I 61

E

2

 

c- Me lo d ic

Bas ic Mi Basi Min n o r scale

I

a

~

(

r1E r r I r

rr

Step

e

r

Step

e

:

rTF

e

5

5

3:

Cflr F t

~

I'

6

5

6

. ~

6

-

Eir FFar fr 7

II

r I [Ir

7

;> :  l

'

  ~ ~ ~

r rr 7

a

Basic Bas ic Mino Minorr scale with l owe r ed 6th

I  ,

a

Step 1 :

 

I

I 1'[

rf 5

e tc

Err f }

F

5

r r; I be f r f y

~ ~ ~

6

6

r 6

~ ~ § ~

I

rr I etc

e tc

I efr F ; r rr* f frU 7

7

7

i?.-

cr cf Fe crFe rFrrEg I dr§frrvOJr;ug I Er E bdWrrrfwc  l I J ' -. ~ 1 . () 0)

C- H armon ic

-51: 51:

5

r • • F r Fr I fir r r F r

Step 5:

22

r Ce r r

I Ej

FEr r I r l e t f e r

r [ r r Fr I cl F F r r r FE;

Ir

Step 4:

~:

I

Ff f FF f

~

;> :

0

a

r r f r r I r r r ; Err r

Err 51:

a

IJ

rr

II

I

J

.,

~ a

rrr r

0

(

I r h.I

II

1

11

iL

r r Fr r

(&

I

I e

r rj

E

IT

rrI

f):

Cr

e

r r E r;

r c ~

: c r r ~ E r E r

~ : r E f U U f

r r E Ft 5

E F f t 1 j IiF

§ E ir Ff r

i

5

Step 3:

Il

6

Step 4:

2:

e

EFt F bE 7

Step 1 :

f): tr

E (I.E

l

¥J

f U

r

b ~

~

5

6

f

L r rr 11 [ •

5

F0 1 jlr r Er

b • ~

6

r

7

7

r r Err ; 1

1 [b

er t b •

5

* Fe O r 1 r r E bY 6

EbE 7

E

r

5

rF

6

6

~ r f F ~ F r

r F F r Er 11 [ r F

r f be J

~

•

7

1

r ~ f f f f f r

r Frr FE F1I m r Ebrrff r rrFrr 1E

e 0 r be r r e

e f r r

e f t

Step 2:

Il

r r F r E r 1 e r r r r r r1

1 F bE

7

EF

e F Fi r be r r r

etc

F1 etc

E1

rci

f 1

E

1

r e I E er r 1 r C E A fer 1 r bE f t F F r

I EFE H Ef I H

1

tl H FE I HI U

II 3

 

Step 2:

V

C

e

F EFEr

5

5

Irr

6

r Err ErE r I  C r r r FF ErE I

5

5

r hE r Fr Ff r fJ I [bE rEf k b.

Step 3:

;):

e

6

6

Step 4:

b

etc

6

§ .

b.

5

.5

r r rr 6

r f f rrr f l· r r I b

e

e tc

6

6

•

b.

crtfrf f [efru l [ tfrft I VfCFrr l Er r ftl) I I frrr i

~): j

7

7

7

7

,4

, 4

7

~

etc

7

Step 5:

etc

c 7 Phrygian

Step

V

V

5):

c

(j

:

rr be

h

; FEr r I

; Err I· I b[

be

r b e ere; I

r be b Ee E e l r be b [ fEe r I e

b

[ F f [ Ee l

r b

r r Er I r

~ b f e f H [ f F

24

(j

ct r FF7Ef r r f 6

6

r be

, ffE1HU

Step 3:

V

r r  ErE ; I he r r T Er r r

h

I

,ftfH 6f

b..

FF Vkr r FEr II'S r r F t 6

6

6

r Et I etc   etc

6

 

Step 5:

C ?

;):

etc

Aeolian

Natural Minor sc al e

...

~

I ,

Fr [

t1:

hE

br h. •

E

~

~

Step 2:

err

C

5

Step 3:

}e

E

[

6

Step 4 :

V: e

F :

~

E

FEr F r b. ~

j b

~

F •f r~

it ~

I L

r

F F Err r I ~

h.

f'- ~

~

CL [ [ [

.

C rI [ fEr r I r [ t t t E r

I

effUfU If f H e

t U •

b

F } EF r r I r E r F E r E; I 1 ( F r 5

5

5

5

r

etc

Err r F 5

6 §§ b6 ~ . ~ . F f F r I [hE FF k f F r 11 ( F Ff L k FEfl 6

crl [ F }

b [ ~ ~

7

( .. )

r r I [hr

E r I' r r r rI f r r I r

~ I r f _

bo

6

FfFEr I [I.E FE 7

7

6

F

bb ~ ~ ~ ~

6

6

FEFer I E r r f f

bh § ~ ~ § .

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etc

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kfr[f I etc

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nt

CbE 6

A En

[1 ET E Elrl

[r

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f 1

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Err

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t

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Root

II

r 6 r E b r ~ e F f f [ t E F C; 1 6 E E l r t , k G f i E f E T r ~ 1

Tonic Minor chord

J

F

0 ctThEf E ~ F9 I

Diminished scales can work well with a number of chords other than Diminished Diminished chords.

_

r; I

etc

Diminished Scales

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Natural Natur al Minor scale scale with lowered 5th

1m

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e£

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F f trf I

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8

 

Chord Scales Studies in Different Keys In the practice method section, the fourteen chord scales were shown from the tonic (starting note) of C.

The following studies are designed to have have the stude nt become familiar with these scales in all keys. Contemporary bass parts can be written with key signatures or without. When a key signature is not given, accidentals (sharps or flats) are used where they are needed. Examples of both notation methods are used EA Ionian (Basic Major)

~ : . t eJ FA

9:b 1

J

~

i

as this will greatly increase the student's reading skill in all keys.

In addition, fingering has deliberately been omitted as the student will gain insight and proficiency by out

working each study himself. to keep a steady Once again, use afor metronome tempo while playing these studies. Start slowly then gradually increase speed.

J 3 J 01 J JJJ j J J I j J J J is J J J J I fJ

JJ JJJ JJ J J J J JJ I

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r [; Em Or I Lf r Er U I

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th )

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Minor 7th with natural 6th

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variation)

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variation)

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variation)

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r

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2:

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variation)

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variation)

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variation)

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II

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Aeolian Minor Minor 7th with lowered lowered 6th)

t): C

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Locrian Loc rian Minor 7th with lowered 5th and and 6t h)

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0 7

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variation)

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variation)

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abo (variation)

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f):

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r I E CbC r

Pr

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r PrJ I

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Gb-7(b5)

f):

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L1 I thE

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IrE r r E ~ F l l

b

II

II

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B-7 b5)

:n

Jt

EF r F E F r c Fc I

Fr F r Fr I

 

Pentatonic Scales The word pentatonic is derived from penta mean ing five, and tonic referring to tones. Thus, a penta tonic scale is a five-note scale. The use of pentatonic scales is quite common in all forms o f contemporary music, and especially so in improvisation, for example, John Coltrane's solo on Giant Step s from the album Giant Steps. Pentatonic scales can be used in both bass lines

Diatonic D

e

Pelog

(

b

abe

II

Q ~ e

and solo material. Although they are diatonic, there is an inherent tonal ambiguity due to their incomplete ness as compared to a seven-note chord-scale. There are many possible pentatonic scales. Some of the most common ones are: diatonic peiog ir joshi and kumoi. These last three are derived from Japanese music, much of which is based on the notes of these scales. scales.

Hirajoshi

(

II

D

e

, , ~ e

(

Kumoi

... II

e h

U < ~

9

(

II

Each scales has its own inversions.

Diatonic

:

e

a

e

Root position

e

II ~

be

a

1st inversion

Pelog

tJ:

-eo

  o

II ~ e

, , ~ e

h

D

r

II

e

3rd

II 4th

e-

II

Hirajoshi

~ e

2nd

e

e-.Q.

~

II

a

Kumoi _1

e Io

Play each scale and its inversions.

e··

, (1

II

45

 

Pentatonic Scales: Studies in Different Keys E Diatonic

: ( ana ] J iJ JiJ   J Iw

F

J (r

r¥

iJ J JJJU I fJ 3J Er

2: b

2: e b

d ~ O JEW

Jd I

~ r b r t r

liE

I

I

rlr} E[ rr

I

FE

cr be b  [brl 0r I

G variation)

c J J j J J J J s JJ I R [ c r J r[ r 9 : e t fl.c r J Jd J ~ JJ L cbIT I bpr r ~ :

I

Jj

y

II

a

e

I .u

J

e

II

I

b

A

2: e Bb

:>:

r f c1rnJ J J J J

  n

W

J il

Jd JIG

r' I rr Ind J JJ

I

variation)

ee

Crn E C ;

;: I/ect rr Pm C variation)

I Cbe r br CJ I r be U EE 1 I

pc f E er

It

E EPrJ I

be

e

6

 

 

G variation)

): ~ b E

E

£

E £

r rt

E

bj :

rj

~

I

Pc

fr

rt I

7

 

variation)

 

:

e ef

rE

tf It F rEt Ffr I en' rE

lo

E Hirajoshi

,: e

E r rI f Pi I JJ3J ( r FI I cr EM r F 1 I

D

A

r

variation)

,:

j

j ~

F F rEr J j

J is J1 C

Fi I

e

48

 

B

:n

rt rr Ef m t I f Cf deE

;

Db variation)

1 r IF

':I/fbrbf b[ r ; *'

f

E~r

fp J J J #J JuUJtetr I r : ~ r Ef fJ I is

]

E~r

c£

Q

I-

 

I b

f ~ F I ~ P C E i j F ~ J ~ J J l i j E b E ~ c r b r l t Ib

r F J I rF FFiJ dJ I F rEt C E E

A

Eb

E Kumoi

tl F

Gb

Ij

J#j

JJ fJ

~ I iJ

3

] EE F I tC F·ff C

r

-

 

G variation)

49  

 A

variation)

: f .

f r E F} I J J J J fJ JJ I

PrJ E

ee

I

e

II

i

D variation)

:. fA r f r e; I e

err r r; I rr

CF r I

e

50  

  entatonicScales within

Chord Scales

These pentatonics within the chord scales are some of the more practical ones for general use. Play each chord scale, then play the pentatonics within it. e l i Ionian

,:

e

9

a

e

II

Cli Lydian

,:

e

"

la

C7 Mixolydian

: " "

a

"

D

a

"

Q

Ie

C7 Altered

:

b.

b. q"

Q

E

"

b. b.

D

e

II

D

a

a Diatonic

D

II

ba

IB::

2:

"

60

D

e

a

(

II

e

: :

II

e

a

"

g

Q

Q

Q

II

Diatonic

P

bQ

0

II

Diatonic (Key o f B b

e

inversion)

1st

bo

.Q

II

Kumoi

In:

~ e

bQ

II be 6t'

Diatonic (Key of G b 3rd inversion) C- MelOdic

.Q.

Diatonic

a

Diatonic

Q

9

a

II

e

(

II

9

Q

bQ

hQ

D

i =t

II

Diatonic

bQ (

II

a

Diatonic

{ }

II

C7 Lydian

2:

Q (

60

D

qn

bQ

~ e

II

Kumoi

e

II

a

"

E

a

-&

II

" C- Harmonic

:

Diatonic (Key of F 4th inversion)

Kumoi

ba

e

a

e

C-7 Dorian

2:

e

/z"

e

qa

~

E

II

bo

t

:

~

e

II

~

E:

II

Hirajoshi

Q

a

h

bo

D

II

Diatonic (Key o f E b 4th inversion)

bo (

e

u

b

e

"

(

II

C-7 Phrygian

I,t'

( )

a

6t'

j,,,

e

D

II

" Diatonic

(Key o f Eb 4 t h inversion)

II

Kumoi

bQ

E:

a

~ : I

::

~ e

~ g

II

Pelog

51  

C-7

; :

C-7

~

Aeolian t

~ ~

e

~ e

D

(

b

II

Locrian i::I

C-7 ( b5)

t:

~ e

e

be

bg

bD

qe

b

~ D

;2

(

bo

~ e

II

::

e

bt

::

~ e

II

Hirajoshi

b ~

e

~

II

b ~

bQ

Diatonic (Key of Eb 4th inversion)

be

Half Diminished

e

D

e

bQ

II

Kumoi

( )

e

bn

II

bliol

bo

II

Kumoi

One pentatonic scale, or its inversions, can work through many different chord scales:

t:

C7

1

II Mixolydian

G7 Mixolydian

gb

(

C7

Lydian

~

.

G-7 Dorian

,

Co Lydian

Co Ionian

Diatonic

ba

t f i #9 f j

Q

(...

II

F 0 Lydian

(. .

D-7 Dorian

J

II

t

I

t

9

t

i?

j

r

~

D-7 Aeolian

A-7 Dorian

G b7 Altered

E -7 Phrygian

I A -7 Phrygian

D7 Mixolydian

i T

t t:t:--

~

e

J L)

-

I

l

r

II G-

1

Melodic

e

F

II

ill Ie

~

52

 

Of all of these scales, the diatonic pentatonic is the most common.

Note that in a C major scale, the two notes which are omitted are a n d F, thus avoiding the ambiguous sound soun d of the tritone.

Diatonic

f:

a

1

a

II

9:

d

~ . J

*

"

I

tr

*

.)

e

For example, example, take this melody from from Aut umn in New York : Diatonic (Key

of

F, 3rd inversion)

J

J J

xamples Using Pentatonic Scales In the following examples, we will look at some ways to use the diatonic pentatonic scale in an actual playing situation. Rock A

-

J J

f :e

::>

l

l

IJ J ::>

Diatonic (4th inversion) ~ :

1

c

e

u

l

::>

IF F

1

.0

J

J

:

II

Rock C

0

9:e J

0 r EE S

J

Diatonic (Root position)

9:

An example using it as a solo

teE

f

1

1

:

a melodic line is:

r fit F

A

;>:

or

J

Jl

(

a

"

e

"

J

J

Fr ;

r f r r rEF ITt E ft L Fib r Fi f T Frre

II

5

 

Here is the same solo/melodic line using different chords: B bA 7 Lydian

f

:e

D7sus4 Mixolydian

r

:C A-

 

~ C F

Fj

2:]

BbA 7

f r e

r

rr

F 7 Ionian

~

BeA 7 Y d i a n

rlcrEtElerl"

C7

f r

J

.

It::

The following IS an example of combining two pentatonic scales on the same chord:

t

F e

G7sus4 Mixolydian

....

Lydian

t rr

I

F 11 7 Ionian

>.....

§±t;rt

Aeolian

r

C E r

Mixolydian

C7

rr

I ~

~

r

F E1

Aeolian :

C7

Mixolydian

:

e

e

Z:..

e

Diatonic (Key of Bb t 1st inversion)

Diatonic

Study

i g n m e n t

1,0

o

e

P e n t a t o n i c s

Select a chord scale, find the pentatonic(s) that work with it, and make up a roc k bass line.

1.

2.

Select a chord scale, find the pentatonic(s) that or

work withmany it, anddifferent make upchords a solo youmelodic Then see how can useline. with the solo or melodic line. 3. How many chord scales can you find for the followin ing g pentatonics? pentatonics ?

t;l:

CD <

~ e

I

t

® "

~ e

e

I

a

~ e

® 0

b

e

@

e

b

E

54

 

  odalScales Scales Of the fourteen chord scales listed in the chord-scale

chart, seven stand apart because of their whole-step/ half-step relationship. These are called modes. A piece of music can be based around one tone with all the chords (harmonies) gravitating towards this tone, or tonic. This central tone establishes the modality of the piece. To further a study of modes, refer to Twentieth Century Harmony by Vincent Persichetti. Modal music is quite common in jazz. A good example is the tune So What recorded by Miles Davis on the album Kind o Blue. The seven modal scales are s follows (arrows in dicate the characteristic tone of each mode): Mixolydian (Basic Major scale with lowered 7th e A

Ionian (Basic Major scale) o

Dorian (Natural Minor scale with raised 6th)

a

1

raised 6th

Aeolian (Natural Minor scale

lowered 7th -eo

.

lowered 6th

~ )

bo

.a)

a

e

D

Locrian (Natural Minor scale with lowered 2nd and lowered 5th

Phrygian Phryg ian (Natural Minor scale scale with wit h lowered 2nd) 2nd )

tJ

f (lowered

e

.a.

~

2nd)

a

o

e

lowered 5th

lowered 2nd

Lydian (Basic Major scale. scale. with raised 4th)

raised 4t 4th h 08 -

00

a

09-

Q

-'1.

(.a.)

55

 

The chord symbols which correspond to each mode are: C 7 Ionian (Basic Major)

e

G7 Mixolydian e

e

II

D -7 Dorian

o ./

l:

e

o

-

II

A-7 Aeolian

(1)

1

e

II

E -7 Phrygian

II

B-7( b5) Locrian

o

II

t):

e

n

e

II

F 7 Lydian

....

(1)

II

in

Mo des with One Octave The seven modes can be transposed

to the same starting point to assist in distinguishing the difference. C

C7 Mixolydian

Ionian o

:9:

>:

e

C-7 Dorian

:>:

u

e

C-7 Phrygian

;:

n

b"

be

,,,

:>:

b

e

( )

II

t:

(

.. II

C-7 Locrian

..

b.,

I

IB t

,1

b

~

,.

II

The darkest modes have the most number of flats. The brightest modes have the least number of flats.

C 7 Lydian

:J:

II

C-7 Aeolian

o

e

b...

j

#

e

( I

0

.

n

Darkest

Dark

Bright

Brightest

Locrian

Phrygian Aeolian

Dorian Mixollydian Mixo

Ionian Lydian

56

 

Establishing Modes A mode can be established by using chords that gravitate around a central point and cadence defini tion: arrive at a point of rest) to this central point. For example: A7

Aeolian

D 7

,

I

, I

I

Dorian I

F67 Lydian E-7 Phrygian r

Thus, the mode of this chord sequence would be Aeolian. One mode can be used for an entire section: D 7

Dorian

,

1

, j

,

1

I

1

,

1

A7

, I

Aeolian r

f

I

:

.

1

.

.

.

1

:

Another way to establish modality s to have the characteristic tone of the central m ode emphasize emphasized d in the melody:

In the second example, the bassist, the chordal in struments, and the soloist would all improvise parts ba base sed d on t he Dorian scale. scale. F 6 7 Lydian characteristic to ne ne:: raised 4th

r 3

IL However, Howeve r, the th e bassist, bassist, in accompanying a melody instru ment playing the above line, would probably.do best to emphasize the root of the chord so that the raised

----

e

4th does not obscure the tonal center.

The application o f modes to walking bass lines and soloing will be covered in a later chapter.

Study Assignment Modes Write out on some music paper the notes and cor responding chord symbols of the seven modes in the following key centers:

1.

~

E

a. b.

d. e.

f.

3. In key center of E Major which mode mo de would be a. darkest? b. brightest?

G 2.

the Phrygian Phrygian mode the Mixolydian Mixolydian mod e the Aeolian mode the Locrian mod e

c.

Name the characteristic tone of: the Lydian Lydian mode the Dorian Dorian mode

4. Write out a chord progression-about four barsthat gravitates to the key center o f E-7 Dorian.

57

 

Scale Anal Analysi ysis sa an n d Intervals

The purpose of this chapter is to have the student get famili fam iliar ar with the various components compon ents of each scale and learn to apply them when improvising bass parts and solos. Melodic lines and bass lines are comprised of a se quence of notes based on the chord scale of the mo ment. A good line, in order to have interest and impact, needs to have a balance of tension and release. If one were to play just up and down the basic chord scale, it would get pretty monotonous. The idea here is to examine each scale and see which intervals (definition: the space between each pair of notes) are consonant (definition: in harmonic agreement with each other) and dissonant (definition:

The triads o f a C major scale, CA

9:

Ionian (Basic Major scale)

a

e

e

0

e

E

.)

are as follows:

:

§

I

§

CA

D-

E-

Types of Intervals

FA

i

I

GA

A-

3 BO

not in harmonic agreement with each other). A good line then, is a balance balance between consonant cons onant and dissonant intervals: Whatever tension is caused by dissonance is released by consonance.

CA (Ionian)

a

Q

e

o

e

.)

Scale Analysis Each scale contains within it the material used for the melody, harmony, and bass part. The best way to find out what is available in a scale is to examine the components. For example: The first step is to find the triads within a scale. A triad is a three-note chord-it can be major, minor, aug mented, or' diminished-in anyone of its three inver sions. For example:

The second step is to categorize the intervals with in the scale. The following is a list of the types of inter vals arranged according to their harmonic quality Consonant Intervals

Dissonant Intervals

Octave Perfect 5th Major Maj or 3rd Minor 3rd Major 6th

Minor 2nd Major 7th Major Maj or 2nd Minor 7th Tritone (augmented 4th or diminished 5th Perfect 4th

Perfect 4th (can also be dissonant)

In this list, the qualities of the intervals are: octave, perfect 5th - open consonance majorr and minor 3rd majo 3r d and 6th - soft consonance minor 2nd, major 7th - sharp dissonance major 2nd, minor 7th - mild dissonance

First Position Second Position Thin:i position 0 3rd Root • Root

perfect 4th - consonance or dissonance tritone - ambiguous (can be neutral or restless The most consonant intervals are the perfect 5th and the octave.

C Major

8

bS D

C Minor

Perfect 5th

tl: g

Octave eo

The most dissonant intervals are the minor 2nd and the major 7th. Minor 2nd

C Augmented

58

f ): 2

C Diminished

 

Intervals and Their Inversions The reversal of the tones in an interval by raising the lower tone one octave will give you the inversion of that interval. For example: Ml\ior 3rd

when inverted becomes

Minor 6th

Below is a chart of all the intervals related to C and their inversions.

b

:

~ o r

7th

.

""...

..-

.

"" ... -

 -

Maj.7th

Min.7th

,..

Dim.5th

.

L

,

I.. ,. /

~

.

,,, ,,,. /

r

J

11

n

U ILJ

...

l

...

Dim.4th

Perf.4th

Dim.5th

Min. 7th

Maj.7th

no

bo

ILJ

I

ILJ

J b

J..jl

Min.3Id

MI\i.3Id

'-

fIf-

Perf. 5th

- '-

~

0&

-

J

~

fIf-

-

 

J.._

-

L:Y

uo@o l

..

fIf_

J

Maj.6

L_

Aug.4th

--

Min.6th

J

L·

Aug. 4th

I

Min.6th

~

U

~

L

' ~

Maj.6th

~

ILJ

~

·

.. J

Perf.4th

D

J

Aug. 5th

Perf. 5th

Maj.3rd

I J ' ~ ~

~

-

J

ecomes ,

ILJ

J

when inverted

Min.3rd

 -

-

I

I .. . .

Maj.2nd

Min. 2nd

J

~

JtCf&

Maj.2nd

Min.2nd

The intervals in a C major scale, scale, CA (Ionian)

e

I:

0

0

e

t'

Q

II

are:

,:

Min.2nds ne

M ~

Min.6ths

~

II

3 r d s

Min.3rds

Maj.2nds de

II

" M ~

.a.

II ~

II

"

II

.eo

.a.

e

"

S-

II

~ Maj.7ths

Min.7ths

6 t h s

s

Perf.5ths

Aug.4ths

Perf.4ths

s

s

0 Q

§;,' 9

e

ea

Q

II 59

 

The example exampl e below uses various various intervals and and their inversions to make a bass bass line wal k. (Refer (Refe r al also so to the chapter, Making a Walking ass Line. Play through this bass line slowly, and name each interval as you sound it on the instrument. C Major

:

e

a

Q

C67

~

~ I

Octave

Maj.6

~ JI

P5

-I

Maj.7

3

tl

r _.oJ

Min.2

II

F

Maj.3

Min.7

II

F tI

II

Maj.2

P4

Min.a

r Maj.6

II

Po

p.4

F I

Maj.2

r II

Min.2

~ II

Maj.2

~ Maj.2

P5

~ Maj.2

I

~

~

~

Min

P5

r

II

I Min.2

~

Min.2

~ II

II

Min.a

Min.6

~

~ Maj.2

II

I

1

Aug.4

F Maj.3

II

If P5

60

 

Below is an example of a melodic solo line using the

available intervals in a scale. Once again, play through this solo s ow y and name each interval as you sound it on the instrument. CA7

C Major t): 2

o 1

e

..

tl:

eJ 1 -I

.......

P.4

Maj.2

f:

¥ P.5

E

e,

IL.....-...J

F t [

-.JL--J

II

r

IL- ...- .J

P.5

Min. 2

.

I

,

L--.....J L - - . . . J

II

M i n . ~ I M i n . 2

Min.a'Maj.2 Maj.a

~

IJ

II

L --..J L.

r

Maj.2 Maj.aIMaj.2 Maj.aI Maj.2 Maj.6, Maj.6, Min.2 P.5 Min.2

Min.a Maj.a Maj.2

:::>

Maj.7 Maj.6 Maj.2 Min.6

Maj.2 Min.a Min.2 Aug.4

P.4

P.5

J

~

f·

Ie

--I' L---..JL....---J

1

Maj.2

P.5

rr

~ Maj.7

Maj.2

II

$ 10

P.4

Il..

E :t

.J

P.5:   Maj.2

Obviously, in an actual playing situ Obviously, situatio ation n one would not be able to sit down and figure out the various various inter.·· vals of all the chords and scales in a piece of music. Im· provisation is an art, and the art of it is in the quality of communication. There are many aspects of improvi . sation which are difficult to verbalize, as it is a highly aesthetic art form and each individual artist has his or her own unique way of expressing musical feelings and ideas.

Analyzing scales and and intervals is an a somewhat intellectual, drychord kind of process end in it· is not self. Music of quality in any idiom is a balance of all

the qualities of the individual artist-if it were all in· tellectual it would tend to alienate an audience. How· ever, this is a subjective viewpiont; what is meaningful music to one person may leave another totally unaf· fected. The purpose of the preceding material is to ha have ve you aassim ssimilat ilatee into your m musi usical cal com puter pu ter the information on intervals with the end of being able to draw on this information freely. Remember the com· parison to the way a painter draws on his knowledge of colors and the various ways they can be mixed d u ~ an effect.

to

pro·

Study fossignment-Intervals 1

outt on paper the th e various various intervals intervals contained in Work ou

each of the fourteen chord scales.

2. Select some chord scales at random and make: a. short examples of walking bass lines using various

intervalss from the chosen chord interval cho rd scale. b. melodic bass solo from a selected chord scale. Play through your examples.

3. Take some written melodies and figure out the in·

terval from each note

to

the next.

61  

AbouIlkvI Lift.,

Reading Bass Parts The overall skill o being able to read contemporary bass parts can be subdivided into three c o m p o ~ e n t s One should be able to recogni recognize ze and play immediately (sightread) the notes in the bass clef, the rhythms in which whi ch these notes are set, and t he chord symbols and to

scales related

them.

Notation Symbols

Reading music is actually the ability to duplicate or interpret the composer's or arranger's ideas as close ly as possible and reproduce them clearly on the in strument. We have already covered the notes in the bass clef, and the chord symbols and related scales, therefore the next component to examine is that of reading rhythms. Before doing this, the rudiments of music are offered. The student is urged to learn these rudiments thoroughly as any misunderstandings can cause cau se confusion confusion and uncertainty un certainty further f urther on.

Rhythmic Values Values Notes

,

./

T

I

Rests -

-

.

./

-

,..

IIII II l

Eighth

Quarter

Half

Whole

-

-

''''',.

Sixteenth

.

T

.

L

A dot do t after aft er a note n ote or rest increases increases its value value by one-half one-half..

II quarter-notes quarter -notes

I

F

3 eighth-notes 3 sixteenth-notes

Attack Marks

I

:>

II

~

~

II

F mp

II

long

short shor t

II=F

slide· up

accent

.,

~

'

slide

II

o

Dynamic Markings Markings

:

F p

II

m zzo piano medium medium soft

piano soft

r

II

m m zzo forte medium loud

F

II

fort loud

j

II

fortissimo very loud

Time Signatures The terms tim signature and m t r refer to the pattern of musical pulsations, or beats

..

Cut Time

Common Time

,.

 /

.• r

I

62  

Two quarters per bar

double duple meter

duple meter

l t

duple meter

double duple meter I

Four quarters per bar

-

... I

-

r

I

-

r

I

I

....

,...

I

I

  .

-

- ...- ...-

...

.

I

I

I

I

-

.I

-

r

I

I

Three quarters per bar

Six eighths per bar

Six quarters per bar

n

ra

...

I

n

T.

./

J

double triple meter

triple meter

,-

,

16,:

- -

-

,..

..

/

1

-

-

 

..

.

I

I

1

I

double triple meter

-

-  

-I

rI

r

- - - -

.-

 ..

r-

..

..

I

 

Clefs Treble,

or

G, clef

tl:

II

Bass,

or F

.)

clef

II

indicates F

Repeat Signs Da Capo From the beginning; return to the top of the music (abbreviated D.C.). Dal Begno Go back to the section marked with the sign (abbreviated D.S. . D.S. sign:

*

Coda A short passage which formally ends a piece. Coda sign: •

Other Signs and Terms Ottava Up or down n octave (abbreviated 8va .

played:

written:

F J

va

J

II

Jd J

j23

J

l

II

A Tempo Return to the original tempo. Accelerando Gradually becoming faster (abbreviated accel. . Fermata Hold the note longer than its written value, often at the discretion discretion of the t he conductor. Fermata sign:

: ~ I

--J

t: \

J

t: \

b:l

E F

IJ

t: \

J

l

l

II

Segue Move immediately to the ne xt section or piece without a pause. To play the part in a key other than the Transpose one in which it is written. Tacit Rest; layout.

63

 

Below is an example of a bass part using the sym bols that we have discussed. Bass

C7

Intro

walk)

:1 ,

I

,

I

+

2

I

I

I

:

Chorus

f:

II:

C7

, I

I

I

I

I

I

I

2

2

2nd time through 7

,

:9:

I

I

I

I

,.

,

J

I

D C. al

: Coda

2

el

2

>. D.S.

to D.C. a l + Coda t \

F7

t

II

The above example would run as follows:

8 bars 16 b ar s

Intro

Chorus Interlude D.S. (repeat Chorus)

D.C. (repeat Intro) Coda

8 bars 16 bars 8 bars

Letters may also be used to mark the sections of a

piece. For example:

t;l:

II:

C7

I

2 I

I

r

Bass

Intro C7

2: 1

I

I

walk) r

I

,

2

,

if

I

2

+:

2

:

* 64

 

 

G7

2

i :

Ii

L

;;

I

2

2

*

+ Coda F7

to(Al,

ntro and

+

f :\

This example would run as follows: 8 bars 16 bars 8 bars 16 bars 8 bars

Intro

A B A

Intro Coda

Counting Rhythms

1,

In a bar of there are eight eighth-notes. Divid ing the bar into two equal parts, with an imaginary middle midd le line, assists assists in accurat a ccurately ely locati l ocating ng the down beats and upbeats. For example:

t>:t

1

3

2

r r r r ;Er r

Count: 1

and

and

2

An exception to this would be the t he following figure figure::

4

and

3

F

4

and

I :1 F 1

2 F

So, the following rhythmic figure

:>:

-

Count: 1 and 2

4 eighths + 4 eighths

~

and

~

3

~

and

and 4 .

r 4

In addition, the notat ion used in this exampl examplee

r

L. .

3,

9:

F

C r

i E:J F

II

J

should not be written like this:

:1 r Count: and 2 1

is bett er than this:

5 eighths + 3 eighths

r

and 3 L

.....J

iF

and 4

L....

.....I

~

and

:1 F

r r ;r r F

beam/

By not putting beams across the middle of the bar, the main beat is more apparent.

65

 

Tied notes are another way of making a rhythmic idea better understood. z:

tie

F

not

S

F

C F

F

Dotted rhythms can be better understood by tak ing a comparable, more easily comprehendible, larger rhythm and reducing reducing it. Fo r example: example:

;I:

F-

F 4

23

:1 r-

divided in half becomes

---

:1

r  

1 and 2

I

c

:1

divided in half becomes

f

I

 

and

1 and 2, ,

I

 

i

1 e and

and

a

Sixteenth notes are counted like this:

9:1

1

r

C

r

and

e

Count: 1

3

2

a

2

C

r

e

and

a

So the following rhythmic figure would be counted like this: 1 2

t;l:t

C

::}-

 

F

s

wi

ount: 1 e and

L

>

e and

2

a

.J

r r

a

e

3

4

C

C

C

C

C

r

and

a

4

e

and

a

I

4

3

>

?r

C e

3

C

and

r

e

4

a

;

e and a

A tripl t sign indicates that the designated group of three notes is to be played within· the same time value normally taken up by a group of two of the same type o note. The following are quarter-note triplets.

J

:,

i

J

~

a

r

Count: 1

These are eighth-note triplets. a

v:,

a

a

F

and

f

a

3

F

2

F r I

and

a

j

:1

66

 

Note that eighth notes in rock are fe lt -a nd thus played-differently than they are in jazz. The following example would be played as it is written in a rock roc k situation.

In other words, the difference between rock and jazz performances of straight eighth-notes eighth-notes is:

J

J

I•

L.....-.1

However, in a jazz situation it would be played like this:

fI

V

- - - .J

I

yncopation is the shift of accent from the nor mally accented beat to the normally unaccented offbe t ( and beats). The go goal al of tension and release in rhythmic improvisation can best be achieved by main taining a balance of syncopation versus normal accent patterns.

9:t

r

Count: 1 and

, ,

Syncopated

Unsyncopated

p

Fand 2

4

and

1

>

>

F and

......

2

~

and

~

3

------J

r

and 4

:::>

P

and

------J

Syncopated

Unsyncopated

9:1 j

F

Count: 1

and

r 2

MI

q

f

a

1

and

r >

e and

>

......

wi

a

rt r :>

2

e and

..~ a

Making Up a Bass Figure Frequently, the bassist in a group is asked to make up a bass riff or ostinato (definition: a short melodic ph phrase rase or fig figure ure persistently repeated rep eated by the same in in strument). Usually this is done spontaneously and is based on the feel of the music in question. This section deals with a practical way to gain ability in this area. Since it's usually not possible to sit

down and figure out a bass riff on a piece of paper in a playing situation, this exercise provides a good oppor tunity to explore this process on your own. It is a use ful way to come up with interesting rhythmic lines for bass figures and can be used in all styles and in various time signatures. signatures.

Exercise in Bass Figures Notice that there are sixteen eighth-notes in two measures of t +

4

9:1

•

+

4

A

r r r r r r r

+

4 •

Ir r c F C

F

= 16

4

.

r r

j

:11

67

 

By adding up combinations of numbers 1, 2 and 3, to equal 16, some interesting syncopated rhythms can occur. Select the numbers at random and put them in various combinations. Avoid using all equal numbers as no syncopation will occur.

+ 2

1

+

1 + 1

+

2

+ 2

+

1 + 3

r r

Using the above rhythmic line in combination with the following followi ng chord ch ord scale D7 Mixolydian

9:

e

j

a

 

e

1

+

1 + 1 + 1 =

r

r

r r

r

6 :

.a)

Q

a bass line could be made as follows: D7

>.... ......

;1:1

ie

E

f

figure, aim to When choosing the melodic shape of the figure,

outline the important notes of the chord; i e., the root, third, fifth, and seventh. They need not necessarily be in that order. Strive for a good balance of intervals and a logical, stepwise motion. The last tone used should lead smoothly back to the beginning of the figure. In the example given above, the notes in relation scale and chord symbol) are: are: to the scale D7

scale degrees: root

t

r

6

7

t

3

t

4

F 5

t

1

L

chord tones

Here is an example of the same rhythmic line and chord scale, but using wider intervals.

• I 6

r

(Cit r 7

t

root

t

:

c r 5

t

6

r

D7

scale degrees: root

r

7

t

t

3

5

10)

t

t

ErIC

F

6

29)

root

t

root

3

t

t

chord tones

r

F

4

5

:

t

t

To put in rests, select numbers at random and circle them. Fo r example: example:

,: I

CD + I

r 2

+

+

2

1 + 1 + 2

Fe

1 +@

+

l

f= FC

1 + 1

+

+ 1 = 16

r

68

 

A new bass bass figure figure could cou ld be as follows:

':1

D7

y

i-p

r :>

r F fl7e

r it

:J

:11

You can get additional rhythmic figures by taking your original idea and writing it out backwards. For example:

/

 

Original:

. ,.

..,...

...

.

. ..

r-

I

r

I

.. Backwards: ... .....IIf

-

..-

r-

rI

r-

.....

,-

-

- - ,

_r-

-

r-

.-

.-.

r-

r-

I

.-

---.

.-

.

-

-\

I

....

.-

r-

I

..-

.-

I

- - -.

r-

r-

··

.-

.-

..-

r-

.

r-

I

 \

I

··

These can be strung together to make one four-bar figure.

Applying this numbers Applying numbe rs game to sixteenth notes increases rhythmic activity since there are thirty-two sixteenth notes in two measures. 4

4

4

4

4

4

4

4

= 32

r--- ----...

t , j r r j , , F , , F , , F1, j C r , , , F 5 F , j F The numbers 1, 2, 3, 4, and 5, can be used to cr.eate syncopation.

:

3

+

5

2

2

3

4

3

1

1 1

1 1

2

2

1 =32

By putting the above above rhythmic fig figure ure together with the scale below ~

C-7 Dorian e E1

e

I ~ E

9

i:.1

..

(

be

one gets the following figure: Fast rock -7

2:1 u;>

ti

r

::>

I'

be

II

:>,...---....

erl 1*

r·

tr

rr

> ~

>

r r QE

1

11

69

 

Here is the same basic pattern, but with the insertion of rests. 5 ,.......-

®

4

3

2

2

3

g-

e

F

C-

-{C4

be

It c-

f 1C

1+1+1+1+1

---....

,: F

;

,

r r F iJi

Fast rock C7

:

®+®+( )=32

I j.

>

i'

i

@ cbr

:

r

:11

By using sixteenth notes, you can create exercises that flow melodically and use more than one chord scale. Here is an example of two chords within one figure.

D

I

Mixolydian

t1 e l L r B

t7==-=-

rt

Four chords within one figure: G7

d I- E Three chords within one figure: Medium rock

~

-r

:11

E7

~

:

e e

C

----=

C§

A7

fftCElH r

 >

-

IT

t

i t:>

:11

To get familiar with the numbers game, write out several sever al rhythmic rhyt hmic lines using various combinatio combi nations ns of numbers and apply them to chord scales. Start with eighth-notes and as you become fluent, move to six teenth of notes. each example andhow see ithow your choice notesPlay in the figure feels, and might be improved. The aim is to create a musically interesting bass figure for any type of musical situation, and ulti mately to have the ability to do this spontaneously. This exercise can be a lot of fun and will greatly increase your reading skills as well as deve develop lop your you r ear for putting pu tting together notes that sound good. good. It's It' s a great g a m e ~ n j o y it

70  

Study Assignment-Bass Figures Using the music on the preceding pages as an ex ample, make up three different bass figures based on the following rhythms; then write them out and play them. D7 Mixolydian, Medium Tempo

?: C

r

~

7 Lydian, E-7 Aeolian

C

0 7 Whole Tone, Db-7

Fast

i

:

P

r r r r -

r

.

t

r r :>

l

D 7 Dorian, CA 7 Lydian, A 7 Lydian Fast

:I

F , :>

r

r

j

r

P

r

-

.

Dorian, F7 Altered

A-7,Phrygian, EbA 7 Ionian, Gb7 Mixolydian Medium

. F

E E

:>

.

r .

r

:11

r r :

B 7 Aeolian, EA 7 Lydian Bb 7 Altered Slo1V :>

?J j r r j j j

:>

r r r r

r j e

:

t

C 7 Phrygian, G b7 Whole Tone, AA 7 Ionian

Medium

:

:>

RC

r

r

G 7 Aeolian, Db 7 Lydian, E Diminished Slow :>

':2 E l

r

nEE

r

r

=11

:>

rF

REEF II

CA 7 Lydian, G7 Mixolydian, G b Diminished

Fast

:>

:>

: SE

rejjRj

j r

rr

:

71  

  assFigures in Odd Time Signatures The majority of pop and jazz composition are written in or common time and the bulk of the music that a bassist encounters is in this meter. Fo r this reason many musicians seem to resist the fun and challenge that can be found in playing with odd od d time t ime signatur signatures. es. While it s unlikely tha t music music written in unusual unusual rhythms will ever become popular, it is well worth the time and effort to experiment with it, if only for the benefits gained by going against deeply ingrained mechanical habits of thought, and allowing oneself to realize a new way of looking at things.

1

in odd time signatures has been in existence for a very long time. Indian classical musicians come immediately to mind as being the most proficient and skilled when dealing with these meters. By listening to recordings of Indian master musicians, one can gain a good insight into their ingenious handling of unusual rhythms. These recordings can be found in most large record stores. The Inner Mounting Flame by the Mahavishnu Orchestra contains many examples of odd time signatures signatures within the contex con textt of jazz/fu jazz/fusion sion music. Music

Below is the bas basic ic eighth-note count cou nt in 1

:1 r

Count: 1

2

r

and

4

3

5

r

E

r

and

2

3

6

r

and

7

8

r

r

and

4

9

1

E 5

and

r

However, the measure can be subdivided in several other oth er ways.

,

6 A

+

4 A

4

+

4

A

+

2

r EE Er r r

:1

1 and

2

and

and

3

1

and

r 2

t jCEE +

and

3

and

4

in the previous chapter, the use offers many othe o the r variations variations..

As

2:

r r r

Count: 1

e

and

a

e 2

of

r

:1

and 5 and

4

7

E

and

f7 j f f

2Elil

r

etc.

3

Rl

5

and

sixteenth notes

c r

r

(

C

r

e

a

3

e

and

and

Go through the following examples of creating bass figures in various time signatures step by step.

C a

« 4

r

C

e

and

r a

F

5

c c e

and

r a

~ T 1 m e Step One-Write count it out. Medium

out

a rhythm. Carefully tap, and

,:; r

r

I

Count: 1

and

2

72

>

a

F

and

3

and

4

P and

r

r

5

and

:

 

Step Two-Select a scale. G-7 Dorian

e

a

~ e

D

D

Step Three-Take the notes found in the scale that you have selected and put them into your basic rhythmic figure (Step One). Medium

:1

G

~

Q

J= I

b

CJ•

Step Four-Play this figure on the bass, aiming for rhythmic accuracy and an even tone.

7 TIme 4 Step One >

D

:

Rrrrrr:11 Step Two E-7 Diatonic Pentaton Pent atonic ic (G: 4t 4th h invel invel Sion) Sion) .a.

~ )

Step Three Slow

r

E-7

,:

77 f

Play through the above figure (Step Four). Listen to the contrast in sound when a different chord scale is plugged into the same same rhythm. Bb 7 Lydian D

Medium Bb7

,: I ~

~

J p

r r F FC; : 73

 

~

i m e

Step One-

,:x

r

 >

r

f

r r r r >

Step TwoD-7 Diatonic Pentatonic

i m e

r

r r

:11

FFe f j:: CU E

:11

E

C

F: 3rd inversi inversion) on) .)

==============::1111

Fast

D-7

:I

>

:

(r U

m

~

F

:>

St Step ep Thr ee-

9

: : : : : ~ a =====1£9======9=====

r

C

>

>

c

~

:>

~

~

>

Step Two-

Step One-

F7 Altered ~

b. root

~ o 3

b9

i . &u

.

b7

b13

b

I I

Notice in the following examples how the rhythmic activity is increased by using sixteenth notes. Medium rock

~ r i a n

t

f

2:1

1

t 2

4

3

Slow rock B-7 Pentatonic

:1 C 1

IT

ew 2

~J

f

5

>

:::>

~ 3

6

,

,.

7

~

---

5

4

74

 

F

rock Medium F Mixolydian

9

~

.,.. J

· 1

4

3

2

5

r

6

8

7

r

r

:

9

Fast rock

C7 Altered

be br bE

,: I 1

Fast

f):

1 q

2

r r r

br ~ r

3

If t

r

7

5

4

r

F1

r

8

ER >

9

10

c j C C

11

C

r.

:

Slow

:I . Medium

l -ro

tl

 

t

~

r

E E

=

-

o

r

r

Medium

t):

p

r

iF

r

E

~

:

F >

E E

Fr

E

r

:

Study Assignment Odd Times 1. Foll Followin owing g the example of the preceding pages, write three figures using each of the following rhythms. Try three different scales for each one, then play them. Medium

:j

r r r p :~ ;:.

Slow

: ~

C·

i

-----

:;:.

own choice and add chord scales. You may want to try the numbers game to come up with ideas.

A >

F

r

2. Make up some odd-time-signature rhythms o f your

ge >

E

E E >

r

Medium

:1 -

r i

E

r

:

r

r

:

::>

e

r r r  

t

r r r

~

r

p

j

r

: 75

 

Making a Walking Bass Line The function of the bass in rock and fusion music is for the most part based on repeated figures of percus sive riffs. In jazz the role is somewhat different as the principal function consists of providing a walking bass line. This style of playing evolved over the years and developed ed by b y many man y fine acoustic bassists bassists.. was develop To gain a good insight into this concept, the stu dent is urged to listen closely to some of the bassists listed at the end of this book and find out the various ways a walking bass line can be approached. The walking bass line is a constant melodic line that is played through the composition and provides an out

Although the function of the walking bass line is traditionally the territory of the acoustic bass, it is quite common currently for the electric bass guitar to also fill this role. Here are some points to observe when playing a walking line on the electric bass:

1. Set the volume lower than it is usually used when playing rock. Try to match the volume of the other instruments in the rhythm section. sound without too much much 2. Set the tone for a nice fat sound treble.

3. Pl Play ay quarter notes longer, longer, striving striving for a continuous flow of sound from note to note.

line of the chord changes. It is over this line that the soloists or ensemble perform. The main qualities to strivee for are a) a stable and flowing rhythm, striv rhyt hm, b)· b) · a good goo d sound, c) smooth smoot h lines lines th that at also also connect with the chords, chords, and d) a solid solid support of the soloist or group by being flexible and listening constantly.

4. Be physically comfortable when you are playing. Jazz pieces can go on for a long time and the bassist must play throughout. Sitting on a stool or comfortable chair can help you to be relaxed.

Open-String Rhythm Studies Play through the following exercises using a met ronome. You are aiming for a stable and flowing rhythm. The exercises progress from one to two, and finally to three and four strings. One String Slow-Medium-Fast

1.

tJ

:1

::>

a

I

r r ::>

r

:>

>

IF F

r r r r r r r r I r r r r r r rr r rr r ::>

::::

: > : > : : : :

3

Slow-MediuM-Fast

2.9:1

3

? r

3

:

i

I

>

j

j

::>

::>

IJ J ::>

F

r r r r r r r r r r r rr r rr r--3 - - -

~ 3 - - - -

IrFFFFr

Slow-MediuM-Fast 3.

r

:: > : > : : > : >

r

Ir

-3---

>

F IF F F F

: : : :

3

.-3----.

::::

....--3

- - 3 ----

--

J I J J J J J J I :>

::>

::>

76

 

_I

-

Slow-Medium-Fast

4

:1 •

I

J

J

IJ

J J

r---3--

J I J

J

J

~

T19

I

Two Strings

1.

:1

I

>

r

I

>

,: f r f r [ r f r

>

I

>

>

>

EdIDWili 3

3

3

IF

>

rEr

>

>

>

3

2

4

>

l

>

>

FjQrFjFrQrfrFjFr: ~

3

-

-

~

3

IF J F J

F

J

>

4

3

- - -

-

-

r

3

J

 

I

- -

2 J J 4 J ~

77

 

Three and Four Strings

r--3

--3 --.

I

2

V

'

I

J

I

Ir

I

8

 

Study Assignment Blues Lines Play through the following blues bass line set to a relatively standard progression. Once you have mas

FJ

rlfrJ r

;

r f

r

r---3 ---

I

r

If

J

3

--

r J

rl

r--3 - - -

J

r

J I

r--3 - - -

4J

r I

it, make up your own chord progression and create a walking line t go with it. tered

G7

,:1

roe

,:1

r r

J

4

J

C7

,:ur

j

r

Db7

~

i ~

)

r

ijr

~

Db7

Ab-7

=gtk 121J

~ r

F

r Eb·7

~ ~ K i

hE I;

r 7

Gb7

r

J Ab7

r r

br

A7

hr

F

I

r

b

Db7

4

d

I

J I F

J .J

GO

J

F F I Bb7

F-7

1

B7

~

r

IJ

r

.J

r

br

J

I

J

br •

F

1

~ r

lib ~ ~ ~ .

r

ijr

F J

r r

A7 1

F

F

Eb 7

J Bb7

be

Ab7

r r r

I

Gb7  

J

IJ

Gb7

r

r

r

Bb7

F F

r

A 7

F F ,J

G7

I

r r r

I DJ

E7

IJ

r r r r

j

F

m

B-7

D7

,:1

F

I

C O

Ir

G7

F

r

C7

F F r

~

r

IJ

G7

qE

r

Ab7

r

T

hr

lI ij~h_1 DC

79

 

  lues Lineswith Embellishments The following bass line uses the same chord pro gression as above, only it has been embellished rhyth mically and melodically to add interest. G7

C7

r

,:1., iJ J

r

plJ ~

gr::a r Ir r OJ

G7

r V 5

C7

tt

G7

:1 qr- •

D7

r

r

G7

r

E

I

:WIJ\

r

Db7

~ : ~

b:: 61

~

Db7

F

r

ro J• W

I

r r ~

3

I

ro F-7

r B7

r F J I J> F

80

3

---,

c:p

gJ

r ~

GO

r

J

Bb7 r

qr I t1 3

--,

Bb7

Pge

r

----

r F

j

F

Db7

I

3

Ab

b

d J 9r I

b

J r

c· :I I r

Gb7

Gb7

Ab7

r

A7

r

QJ

I J

nJ

Gb7

ijr Ab-7

E i ~ r

F

A 7

r

Bb7

r r b

J I BJ

E7

F

3

,--- 3-- 1

,:1

F

#r

;

f

r

c#o

r--3-----,

B-7

r rr J

I ~ r

J

I I · ~

• I

kr

r ijr

bJ

~ r

Eb7

r r

q(

~

3

==

DC

I

 

Study Assignment Blues Lines with

mbellishments

When playing blues, the following scales can be used on any Dominant 7th chord: Lydian, Mixolydian, Altered, and Whole Tone.

1. Make a walki walking ng bass bass line withou wit houtt embellishments) through the chords in the following following 12-bar blues. blues. with out embellishments) Basic 12 bar blues without

G7

C 7

C7

G7

G7

A7

D7

G7

C7

Bb

B7

A7

E7

D7 :

Once you have written out the line and played it, ask yourself i eac each h bar flows flows smoothly into i nto t he next.

2 Tak Takee the line that you wrote out above and add emem bellishments. Do not add too many, or they will inter fere with the flow.

G7

C7

C7

A7

G7

G7

D7

G7

C7

Bb

B7

E7

A7

D7 :

81  

Minor Blues Lines The following example is of a walking bass line in a minor key.

, : ~

"

r r r

D7 Alt. : ~

r

hr

r

r

r

Db7 Lyd.

12

F IJ

J

gJ

r

F

Bb-7 Dor.

:b

J

r T e hr

F r

G-7(b5 ) _

C7 Alt.

r

If

r

bE

Lyd.

J

IJ

~

,J

tt B

Ii.

r

F

IF

J

II: ~

r

. J

r

D7 Alt.

f

~

F7 Alt.

f

B ~

I

I ;.

J

Ab-7 Dor.

7

Db7 Mixo.

.J br Db7 Lyd.

~

C7 Alt.

j

I

&r

ijl

C7 Alt.

J

J

I

br

h ~

F

A7 Alt.

Bb-7 Dor.

F- Melodic

F-7 Aeo.

A7 Alt.

G-7 Dor.

Ab67 Ion.

I

r

u I

h

F I T SF

Eb Eb7 7 Mixo.

J J ,J

E7 Alt.

F7 Mixo.

C-7 b5).e-

~ r

I

D-

lit

C7Alt.

F-

 :  :b b

r r IF r r C-7 Dor.

r r

F

.

C riFa

G-7 Dor.

C

J .J Ei1

A7 Alt.   : ~

I

G7 Mixo.

D-7 Dor.

:b

:J

D-

A7 Alt.

E7 Alt.

D- Harm.

,

Dor.

~

r r

b

Gb67 Lyd.

Ie B ~ 7

r

Lyd.

~

hr F

Ir

r

r

bJ

Ir F

J I

:

I

82

 

Study ssign m n t

Minor Blues Lines

Write ut a walking bass ine through these minor blues changes.

~ /

.....

E- Hann.

B7 Alt.

5 )

Loc.

E7

.

•

D7 Mixo.

•• ••

GA7 Ion.

•

I

A-7 Dor.

A ~ .

M

...

E-

•• •

~

B-7( ~ ~

A-7 Dor.

• • •

•• •

CA7 Lyd.

•

F

Loc.

- 7 ( ~ 5 )

•• •

.M

/

••

• B7 Alt.

...

E-7 Aeo.

/

/

lm D- Harm.

A7 Al1.

A7 Alt.

II

I

••

••

G-7 Dor.

D7 Alt.

o

••

•

G-7 Dor. ~ o

/

~ , ...

f2

D~

I

i1 T

•

E-7 b5) 9

.

B7 Alt.

• ••

. .M

~

.

F

C7 MiXo.

•• • I

-7 Dor. B7 Mixo.

•

F-7 Dor.

E-7 b5 RS

Bb7 Mixo.

•• •

•

• •I

•

A7 Alt .

D-7 Aeo.

E7 Alt.

F7 Mixo.

Eb7 Lyd.

D:11

83

 

Harmonic Rhythm rhythm refers to the duration of a given chord. Look at the following series of examples. armonic

1.

Bb7

F7 ~

':f

4 chords per bar

2.

F7

':1 3.

':1 4.

':1

5.

':1 6.

':1

7.

':1

D7

A7

A7

I

t

D7

or

l

II

3 chords per bar

F7

F7

A7

D7

or l

II

F7

,

7

Bb7

A7

,

l

II

Bb7 7

2 chords per

l

l

bar

F7

·

It

1 chord per bar F7

.

tl

1 chord for 2 bars F7

,

,.

Y

1 chord for 4 bars F7

,

(4)

t

l

l

1 chord for 8 bars

e7

b

There are many other variations. The last example is the most challenging because the bassist must create an interesting and flowing flowing line on only one o ne chord scale. scale.

q

. .

..

II

(8)

,

-. .

In the following example, we will take a look at this type of harmonic rhythm in the context of a 32-bar form A A B A . [ J

Dorian

0 7

lm

8

':1

Eb-7 Dorian

~

8

D-7 Dorian

±If-

:11

8

84  

In order to approach the chart given given above you must first determine the chord scales for both the A and B sections.

IJ

D-7 Dorian Lj

t: e

(.a)

o

a

rm

Eb-7 Dorian

e

e

eo

be

b.)

b

You can now create a bass line. Play through the follow ing to get a good feel of this particular kind of harmonic rhythm. Continue by making up your own line from the correct chord scales. Medium

[AJ D-7

r r

r

t:

IF

F F r

F

J

J J Ir

F r

1 Eb-7

~

r

~

,: t· b r

~ r

r

I

~

b

IF

Pla ya walking walking bass bass line through throug h these th ese changes: Fast

[ ]

C-7 Dorian

r

I

b ~

I ~

b ~

I' F

r r

r

g~

b1

b

r

~

F

-3

r r

I

I ~ r

I

r ~

6

Fr

F

g

r r

11

~ E

b

F

D. C. Back

r I J) t

,. 1

:11

I:Bl Db -7 Dorian

:

I

I

r

r

85

 

,. lAl

.

.

1

C-7 Dorian I

I

, I

,:

I

I

,.

I

I

,..

.

..

. DC

Chromatic Tones hromatic tones are the notes found within the

octave not included in the chord scale. For example, in C Major, the notes with an asterisk are chromatics:

,:

10

a

Ie

0

Ie

e

a

n

10

#

&3

-)

Chromatic tones that are not in the chord scale of the moment may be used as passing tones in walking bass lines, or solos. In the following following example they are again again indicated by an asterisk. Bb

':& i ft· D-7 : ~

G-7

• :J

F

C-7 ~

E ;

E' -=

G7

C-7

J

J

F7

J

F7

•

r

b*

3

r

~ Bb

bJ

J

ijr

Sf

r

I

.J

~ r

Eb

Ab.7

J I

b G7

0 7

C-7

b

r

ijr

':WT

r

I

r

r

hr

I

~ r

·r

~ r

F7

J

~

bJ

J

86

 

ignmen  armonic Rhythms

Study

1. Pl ay through the following exa example mple as it is wr writt e n, then begin to mak m akee up your ow o wn li nes usin using g t he sa me cho horrd pr p rogression. Eb , 7

:1

:

T-

1

Eb 7

 

.

F

~ r

~ r

F7

be

F

•

I

Eb   ,7

9: r

r

r r b

F

r

r d

r

F

r

r r

Al t .

IJ

r

Eb , 7

A b-7

br

I br C7

B b7

9:

be br I

Ir

F

r ijr

r

r

b.

I

I

I

E7

q.

II

'I.

I

F

=r

F

~ r

r

F -7

r

B b-7

I br

'r

E b7

be

F

b.

I

Gb , 7

Db 7

hF

I 'r

b.

gJ

b.

be

:11

r

r

Ir

~ B b7

F -7

r r r b

: br C-7

•

r r

I

b

J

1/2.

=11

r r

r r r

hF

r

j

C7

Id

F

j

G7

Ir

~ r

F#07

r

Ir

I

~ r

D-7 D7

G-7

Bb7

Id

r

F-7

F7

F -7

:

r

G-7

r

Ir F-7

F

r C7

J

r

ijr I r r

j

Ij_

I

B b7

br

be D   C  87

 

2. Make a walking bass line through these chords: chords: Key o f A b Major Majo r Bright IAJ F-7 Aeo. : ~ ; ~

7

Eb7 Mixo.

Dor.

A ~ A

7 Ion.

.

DbA 7 Ion.

DD-7 7 Dor.

C 7 Aeo.

F-7 Dor.

AbA 7 Ion.

Dor.. A 7 Dor

[ ] A 7 Dor. : ~ ~ P

B ~

D7 Mixo.

G7 Mixo.

CA7 Ion.

Bb7 Mixo.

D7 Mixo.

GA 7 Ion.

GA7 Ion Ion..

EbA7 Ion.

Dor.

B7 Mixo

EA7 Ion.

E7+ Whole Tone

F-7 Aeo.

Bb·7 Bb· 7 Dor.

Eb7 Mixo.

AbA 7 Ion.

DbA 7 Ion.

Gb 7

FI 7

I J : ~

Bb·7 Dor.

Eb7

C 7 Phryg.

Lyd.

Mixo.

O

I

urnarou nd G-7 b5)Loc.C7 Alt.

AbA 7 Ion.

Dim.

Final ending AbA 7 IOD.

:11 Tumaround:

Chords leading back to the beginning.

88  

3. Play the following line as written, then begin to make up your own lines. Be aware of the notes that lead from bar to bar, and respect the th e overal overalll harmonic flo flow. w. Fast

E-7

:1

r F

r

J

r

r r

C-7

,: J

b

EbA7 ~

be

I.r

F I

r

gJ

1

r

~ r

G7

r

~

r

r

r Db7

r

b

r

br

GbA7

I br

r r

D-7

F F IT F

b

~ r

~

Db7

b

I

AbA7

Db7

Ab 7

r

~ r

T r br

I

Eb7

~ r

Ab 7

DbA7

J

Bb 7

hr

br

Ab7

I br

I

r

b

F

Eb 7

G7

EbA7

Bb7

I

ftJ

~

D-7

:

F-7

A7

b

Bb 7

F 7

br b

r

I

r

IF

F

b r

:

89

 

4. Make a walking bass line through these chords:

Key

o

Eb Major

[N C-7 Aeo. Gb7 Lyd.

Mixo.. F-7 Dor. Bb7 Mixo

Eb67 Eb6 7 Ion.

Ab7 Lyd.

G-7 b5)Loc. b5)L oc. C7 b9) Alt.

:WS f F-7 Dor.

Il.G7+ Whole Tone

Bb7 Mixo.

Eb67 Ion.

G- Harm.

C-7 Dor.

D7 b9) Alt. G-7 Aeo.

F-7 Dor.

D-7 b5) Loc.

:Wh [ ] 12. A-7 b5) Loc. D7 Alt.

:fs

C-7 Dor.

F7 Lyd.

I

G7+ Whole Tone

G-7(b 5) Loc.

C7 b9) Alt.

IAJ C-7 Aeo. Gb7 Lyd.

F-7 Dor.

F-7 Dor. Bb 7 Mixo.

E b6 7 Ion.

A b7 Lyd.

Bb7 Mixo.

II

9

 

5. Play through this line as it s written wr itten a few times, then begin making your own on these changes:

[AI

E-7 b6)S

f):g C flU

(

--3--1

A7 Alt.

Err I r

F-7 Dor.

':r r F r

B b 7

l

b ~

, : ~

r

7 Ion.

J

r r

J ~ 9 ) 13

'1

ir

.J

E-7( b6) g

C-7 Dor.

EIJ

DJ Dim.

E b ~ 7 Ion.

r Ir

A7 b9)

r

F7 Mixo.

F EI r-3--,

3

Ah

Lyd.

J r J J I J J 1.1 OG I

0-7 Aeo.

l c/r nJ t I r

r F r EJ I

r r

Bb-7 Dor.

J IJ J

Eb7

~ r

Lyd.

F I

FA 7 Ion. , : ~

r rr r

OOJ G7

tJ=jb

(ti3) Alt.

[IF

r

A b7 Lyd.

2 : ~

r

E - 7

f):J

F r

r

o b-7

;>i

r

r

t

I jr

rE

Ibr

F

F I Gtr

r r

~ r

a Ir F

Dor.

Gb7 Mixo.

ijw

F

C-7(b5)RJ

r

6 9

h ~

It

r

I

r

r

J IW J

F. F I

Loc.

0-7

r

E

F

r

F

II

Alt.

ijJ

F F

II

G7 Alt.

F IF J J J IJ

F7 b9)

Etr r

J IJ

r r r

Ilb F

D7 Alt.

C-7 Dor.

r

~ r

7 Lyd.

E b ~

r - - 3 ~

A7 Alt

~ 6 ) f l I

~ .

F

E-7(b6 )..e1

r .J

F

BbA7

I J. ~ r F Q I r r F r I DC

91  

s

Make a walking bass line through these chords:

Bright G 7

~ 5 ) ~

G 7

Dor.

G - 7

~ 5 ) _

C 7

C7

~ 9 )

Mixo.

C7 Alt.

Alt.

F67 Ion.

F67 Ion.

B ~ 6

7 Lyd.

A 7

Phryg.

D7 Mixo. Mixo.

D7 Alt.

B 7

Dor.

E7 Mixo.

A67 Ion.

G 7

Dor.

A-7 b

5

Loc.

B 7

Dor.

C7

Mixo.

D 7

~

G-7 b5)16

C7

G7 Lyd.

G 7

9

E7 Mixo.

A67 Ion.

Alt.

G7

Lyd.

Alt.

A - 7

~ 5 )

Dor.

C7

Loc.

C7

Mixo.

D 7

~ 9 )

Alt.

Mixo.

DC

92

 

  tonalWalking Bass Lines

Up to this point we have been dealing with ton l applications of chord scales when ,creating a walking line. Howeve However, r, there th ere are certain styles st yles of music music bass line. where the bassist must improvise bass lines that are atonal; i.e., not related to any common chords or tonic center.

A tone row is made from the twelve tones o the chromatic scale:

This is a very challenging area as the object here is to not outline recognizable harmonies and at the same time to remain musical. In this next section we will take a look at a way way to approach this. The following tone row will be used as the basis for an atonal line:

Q

1

4

3

2

5

8

7

6

11

10

9

12

There are several possible permutations o the row. One is through inversion the reversal o the direction o the intervals. 2.

2:

bQ

ho

e

bD

e

o

Here is the original row in retrograde (backwards);

3.

Ie

a

:

bo

and the retrograde inversion:

b.a.

4.

u

:

be

The following example is o a walking line using the original row and its permutations in sequence with an interesting rhythm added. Play it through as it's written, then make up some of your own lines based on the tone row and its permutations. Medium

:I

b ~ .

C

•

r

r

F

r

F

I F

q

fF

=

I 93

 

t:

t

: Ir

W

r r

l zFr

ar

r

•

d

r

3 ~

Ir

~

~

r qr

IF br

r

F

bo :11

Below is an example of the row used as an ostinato line.

Rhythmic outline:

:1

at .FjjF?=tE

>

>

i ~

.

p sFCpjjCFsr·: >

Study AssignmentWalking ass Lines 1. Find some standar standard d or jazz composition. Write Write out the chord progressions and figure out the correct corr ect chord scale for each chord. Make up some walking lines through these changes. 2. Select a recording by one of the bassists listed at the end of this book and write out the bass line to a composition that he plays on. Then play along with the record while reading the written line. This will give you a good insight into the way a line relates to the music of the group. t is also very good ear training. Pick something simple simple at first something that tha t you can can handle easily.

3. Make up some chord progressions of your own and walk a line through them. 94

 

  boutSoloing Soloing One of the traditional functions of the acoustic bassist in jazz is the ability to improvise a solo on the chords or modes of a composition. This is the area in which a bassist can really distinguish himself. Indeed, it is a most challenging task, for it is wher wheree one s total musi-

with very little. On the other hand, a different approach to soloing can be found in the work of the late saxophonist, John Coltrane, who developed a remarkable technique and used it most beautifully to express himself.

 

cal wares are on display. Soloing on the electric bass is a relatively recent phenomenon and only a handful of players have risen to the challenge. t is largely a matter o f concept. By

In the following chapter, we will take a look at some ways to approach a solo. This is where all of the preceding concepts and information-chord scales, intervals, triads, pentatonics, etc. will be drawn upon.

openi opening ng one on imagination t o ll types of music-es pecially thee ssolos of guitarists, tenor saxophonists, pianists, etc. a n d listening to their melodic interpre tations and phrasing ideas, one can begin to duplicate and develop a true improvisational style. Think of a solo as a conversation; or a statement about thoughts and feeling feelings. s. Don Do n t limit yourself to t o thinking t hinking within the confines of the bass but rather imagine you are singing a song. It can be be pretty, happy, happy, sad, sad, na sty -an y emotion you want it to be at tha t particular time. time. The main thing is to communicate, and to do so through your music. music. By listening closely to all types of music-jazz, pop, classical, Indian, Brazilian, country, Latin, e t c . -

Regardless of the style o f music that one intends to improvise, the substance or content of a well-made solo is based on ideas and their development. A musical idea can be a short phrase, or a long one based on the scale of the moment. t can even be an abstraction outside of the scale. For our purposes here, we will stick to phrases based on the scale of the moment, as one must first learn the basics before breaking the rules. The well-developed jazz soloist has usually done his homework in these basics, and has reached a level of creativity that is spontaneous; with ideas flowing

you can begin to see that the scope of musical ideas is infinite and that you can draw your inspiration and concept from many sources. A primary characteristic of the skilled soloist is the ability to develop an idea and logically build it until it reaches its conclusion. While a facile technique is admirable, speed in and of itself is not the only criterion of skill for a soloist. A good example of a soloist who uses an economy of notes is Miles Davis. Following a solo of his, note by note from the beginning, is a good way to gain insight into saying a lot

freel freely y one to another. . Running up and down scales, no matter how facile and correct it may does not a solo make. The soloist must be able to communicate to the listener, to sing through the instrument, and to make a statement that can be understood and possibly duplicated by others. Listen to solos on all instru ments in all types of music and observe how ideas are developed. It is really very simple: Learn the material (scales, intervals, rhythms, etc.), apply them, and keep on doing it until it sounds good.

Developing an

eveloping an dea

deo

on a Minor Blues

 :fr=r, Basic idea

E7

~ - - - - - - - - - - - - - - - - -

T

l

Below are some examples o f how this basic idea can be explored and developed. The soloist is offered a number of options in his approach. E-7 Dor. Fast basic idea

~ : · I

~

r

pq

r

Dor.

A 7

r

~

I

d

~

~

E-7 basic bas ic id idea ea diff eren t accent

j

Cr

EJ

I

B

i

~

l Te

~

95

 

E7 Alt.

A·7 basic idea up a

~

If rC

th

~

Et

i

C7 Lyd. basic idea new ne w scale

E·7 basic idea modified

,:, F t

14·

I'I?

E

E·7

D7 basic idea

E

I l.

,

r

b·

1 ~

B7 Alt.

Fn·7 b5) motif

r Ff Further developments can grow out of change,

~ = J C

;,

-

l

:11

1mic

7

f

f r r 3

:>

f

II

; ZJ

II

II

7

11

II

  \

-

EB 3

etc.

II

an inversion of the basic idea, Basic idea

-, /

,

.. ... ......

..

/

~

r

Inversion r

.

backwards

.

.....

I

,

\

..

.

----

---

---

-

.

....

I

•

I

aring it down to motifs,

:II

,.....--. -C j

~

,

f

C r

I

,,--....

-I I

backwards ...:.

 

-

-.-

....

....

I

-

  ....

- - - -

I

t7)

I

-

using usin g sequences, sequence s,

: 1 f I e erG r r I r r r r r L r I E m

96  

or altering the th e original original melodic concept. conce pt.

\ f

---..... .

=11

- I

II

or

:11

or

: 1 or

r ..----

r

f

~

r

r

c:

 

i

•

J

f

E1 r

C)

:1

fI r

c J-

9:1

or

or

Ilod):

i

l

or

t

or

r f)

r

,:11 .--

1E

1

il1l

--•.

r cJ

r

F •

d)

i

etc

6

:1 ej c

II

i

Below is an example of the use o f pentatonics in developing an i d e ~ E·7 Dorian

G Diatonic 4th inversion) a

e

Fast rock E-7 Dorian

;:°0

e1iIfl 1

r t ·

Kumoi

.a. a

Ie

fl re eerr ccitt·

a

Ue

,

=1

97

 

The following is an example of soloing on blues

changes chang es using using subst itute chords.

··

Medium C7 Mixo

.

-

Scale

/L

-

....

,

_ b.

-

intervals: 6

C7 Mixo

.

::>...........

.... I

7

3

 

./

-

.  

'"

-= ....

1..

-

.

1 .

-

b5

-

b

_

~

f

[

J

~

\

I

. . .

_

_

L

-,,-

--L l

D-

·c

Bb7 Lyd

~

~

J

~

~

-

,-, ,- _

~

~

.

Rt.

3--.

»~ -

1_\

»-=

.

... ....

~

' -

I

1

I

J ~

-

-

-

· . .

'

-

b.

.,,

I

11 _

.

I

b.

.......

--

-

1..,...

 

bI I

I

b ~

~

·· , ,  ....

1

~

-

-=

10

9

I

~

-

~ . )

::>,---..

7

~

,,'

-

~

. 3

-

v

I I .....

5

6

IL._\

I

-

_'1Ioc'JI

 

-

5--

G7 Mixo.

( )

-

-

~

-

_

,

I_I

--

~

......

~

~ ;

..

5

7

13-

G7 Mixo.

I

_

J

J

Ab7 Lyd.

L_tb.\

-

o.

~

~

I

A7 Lyd.

il_\

··

»

1'000.....

# ~ ~ . r

I

---.

-

.......

~ ~ .

9 Bb7 Lyd.

-r' W'

5

Rt.

_ 1 I o c ... .

......

I

a) =

Pentatonic

-

-.........

r

0.7 Dor.

bn

L _

~

L_

a b .)

.,-

.......

... -

D-

U

Ab7 Lyd.

L._bn ~

I

e b ~

L_

_

b5

[

~

~

.

~

J

Eb-7 Dar.

11.

J

-

...

•

5

t

II

r

-

Rt. 6

.

-

_nBe.Q. ( :)

I

I

.)

b ~

.

-

...

7 - - - - ..

....

DbA 7 Ion.

98

1

F-7 Dor

9

*

\.

. b ~

- 5 Rt.

2

--

 

/

~

_

-

~

I

A7 Lyd.

·· ~

~

.

1

I

  3 E-7 Dar.

I [ J

~

Pentatonl

~

C7 Mixo

-

-..

U

.

~ - .....

F7 Lyd

,..

I'

-

I

F7 Lyd

(.

b ~

u

...

olo

~

-

~

I

·

./

--

~

Pentatonic ~ ; :

-

..

13

13--+

ntervals above the octave: .

,:

zz (1

~

17

I

,.

A

8)

9

~

A

10

it

..

A

18

7

··

 

Exercises on Soloing 1. Before making a solo on these blues changes, playa walking line on the chord cho rd scales scales until y ou are complete. Iy familiar with the overall harmonic flow. Key of F Major

-

Medium  

....

 

...

 

-

.a.)

- -

..

~

~

--

v

FA7 Ion.

~

-

~

E·7 b5) Loc.

,.

~

,-,

1_\

~

M

I

lI

~

A7 Alt.

·

.. L.;

+ ... 'v qo

, ,.  

./

-

...

 

-

~

~

_n·

-

-

~

_

...

r

, J

--

~

1.._ ~

~

-

...

~ ~

Db7 ·Lyd.

D-7 Aeo.

-

~

_

-

~

a

..

-

0

C-7 Dor.

-

~

,

_

-..

~

r

.

J

~

I \

_\ 1

F7 Mixo.

.

I ..

L.

,/

· I

T.,

~

.

~

~

I

--

~

.

·

-

  .

~

- -

~

I

  '

~

_

l

i

J

P

~

-

~

L_ l . ) ..

-

n

~

  -

Eb 7 Mixo.

Bb -7 Dor.

BbA 7 Ion.

--

~

L_

L:JIP

'

v

_

I

I

J

--

~

,.,

~

IL_\ v

_

,

AbA 7 Ion.

...

...

/

v

L_ ~

I

-

· DbA 7 Ion. --nrw-

v

~

G-7 Dor.

~

-

~

-

~

-

C7 Mixo.

-

~

-

-

-

n

(.,.)

 

-

~  

-

~

~

-

Bb7 Lyd.

...

.

./... .

-

~

~

·

/

I

-

 

I_I

.

~

._ _

It

l

A7 Lyd.

M_

~

'

-

~

M

M_

~

1_\

-I

  _

11

... _

~

M

lL:JI

n

D7 Lyd.

_

'_1lL:JI L:JI.. I'

G7 Lyd.

-

-

..

_1_1

-

'L

_

~

--

C7 Lyd.

M

M _

~

~

L_l.)

99 •  

2. Play through this exercise as written; then make up your ow n solo. solo. Medium E-7 Aeo.

IA1

~

I

pf >

FA7 Lyd.

~

B7+

r r >r , r

~

A-7 Dor.

CA7 Lyd.

FA 7 Lyd.

>.....--....

UrFEr,

ECCJCffElf E-7 Aeo.

IIlI A-7 Aeo.

EFE

: FA7 Lyd.

:f f

A-7 Aeo.

LEr

C

D-7 Dor.

n F ril r Err f FA7 Lyd.

r r

ir

C

fit

~

G7

3. Play Play through t his solo as writte n; then make up your own solo on these modal changes.

\ 1 A-7 Dorian :

I

[N

A-7 Dorian

8

o

A-7 Dorian

8

1m o

Solo Fast

[ } D A 7 Lydian

D A 7 Lydian

a

9

[J

A-7

o r i a n ~

 

..--

1

9

~ a

o

8

-eo

.a.)

(J

tJ:

II:

F

r

if

100

 

I

-

 : r r r r r r rip:  

~ repeat

:11

AJ)

lr >..... .........

k :f

study Assignment

S ol os

1. Find some standard jazz compositions and write out out the the chord the changes; chord scales. First walking lineFigure through then p l y progressions. begin to make up a solo based on these chords.

2. Make up some chord progressions of your own and use them to solo on. 3. Write a number of short melodic ideas and develop them into a full length bass solo. Use some of the various idea development su suggesti ggestions: ons: inversion rhythmic changes etc.

to

first time only)

101

 

  oubleStops Intervals such as major and minor tenths give a very full sound, as do parallel fifths. Sixths and thirds also sound very good. Dissonant intervals such as major sevenths and diminished fifths (augmented fourths) are generally best used in the upper range. By experi menting, you can begin to see for yourself which intervals sound best. This chapter will deal with some of the more functional double stops.

It is possible to sound two or more notes on the bass guitar simultaneously. This is achieved by plucking the strings with the thumb and first (or second) finger; or by strumming strumming with with t he thumb or a pick. Certain intervals lend themselves well to use as double or triple stops Because of the low frequency of the bass s sound, wider intervals tend to sound best. This is especi especially ally true in the higher rang rangee of o f the instru instru ment.

Major and Minor Tenths: Eand G Strings GA Ionian u

a

Min.

M ~

. .••

') Ie

e

I I I I

I

/

 

Maj

M·

Min.

f :J

II

~

e

le

.

It

.

':J

•

I-"

fl

·

I

Maj. t

I

I I

.-

Min.

Min.

':J

••

II II

11

-..

Pluck with thumb and first finger GA

Lydian

e

.... -,.

/

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102

I i

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that the

Whole- Tone

Whole

G7

;1:

scale yields major tenths

Tone

0

we

a·

it

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ft

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Note that the Diminished scale yields minor tenths only:

,:

G piminished

e

~ e

j'

~

104

 

The following following is an exercise in playing tenths with the fifth added. G1

Goe.

Finger:

1

:. J E

String:

3

2

F A

~

3

G

b

r

b

~

r

CA

~

Doe.

:

F

I

r

r

b

etc

F A

G

I&J etc

er f f

r

I

J

r

r

F r

F

IF

o

r

F

~

FF

b

I

t

r

F

I J 'e t-

f r I br

I¥ Eb.e.

F

Db-

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e

B-

I j 'e

c

D-

F I

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bE

F I J F1

r

r

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~

Bb-

l: ~ j

~

3

Aoe.

Bb.e.

,:

1

IJ F F E A A

Ab -

t:

3

Ab.e.

b

r r

[

~

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b

r Ir I

[

f

r r ~

:

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F

t

r

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e

$

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r

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F#-

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bE

r

G.e.

r

~

r

r F r Ir r F-

Foe.

I

~

~

E

105

 

Bass Lines Using Tenths The sambo along with the boSS novo is one of the Brazilian rhythms which has become a standard

The best way to familiarize yourself with this music is to listen to records of artists who feature it.

part of the repertoire of o f many jazz jazz group groups. s. It is a great rhythm to play, play, and t he most important part of a bas sist s role in this music is the groove he gets into with the percussion section. It is best felt time (¢ or cut time) as the tempo is usually fairly brIght.

Milton Nascimento, Airto, or Chick Corea on Light t S o Feother are some good examples. Listening to and playing along with their music will give you a good in in sight as to what a bassist needs to do in order to func func tion best within these rhythms.

Bright samba

,:, ,: ,:

--...

~ Q

G6 l

-

J

r· p

~

......

P I

p

 r

Gb l

F PI

b

J

fj) A7

~

r

-

pIJ b:: --

~

r·

~

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I

b ~

F

~

~

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F P IJ ~

J.

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:

D

,: -

r

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]

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7

p I ~# ~

f

r

. . . - - . .

~

I

~

~

r

~

Gb7

~

G

7

F

p

~

r

-

r·

~ ~ g

~

I

~

~ ~

~

, r IJ

~

I

~ r

...--.....

B7

h ~ ~

~ r

~ j

I

p p

11

pIJ

~

D 7 Alt.

9: '

:

,

r

2

F

B7

~

:

106  

~

Slow rock

¥ B7

:1

.

 . .

[ Pr rE E·7 n

•

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~

r (r rf reF L

I

Medium funk

F·

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r

Db7

f

f

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r

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J II

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rr Eb7

15

>

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.

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. -, • -•

E·7

H

,

II

~

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•

•

--

 

•• •••

.

rr t r ~

.

rf1

:11

1: Other Intervals The following are examples of different intervals combined. tenths and sevenths:

f

F67

:

~

~ ~ A 7

:

~

:: ::--

F

F; 7

~

:

D·7

E ~ 7

b ~

F

D ~

~ ~

~

::

CA7 .

p

107  

Bb7

F ~

b

j7

E ~

e1

thirds and

F ~

~

Ab7

Db6

be

:el 2:

E b ~

Gb7

F ~

e

I

Db 7

f

1 B7

~

Bb7

< j

f

Eb67

E7

1

~ ~

-

1

6

sixths: Bb6

b ~

E b ~

b ~

D b ~

I bp

B6

Gb6

~~

I