Rufus Reid - The Evolving Bassist

The Evolvi ng Bassist by

Rufus Reid A Comprehesive Method ln Developing A Total Musical Concept For The Aspiring Jazz Bass Player

Millennlum Edition 2000 lsBN 0-9676015-0-9 O Copyright 1974 by MYRIAD LIMITED P.0. BOX 757 , Teaneck, New Jersey 07666 http ://www.tana reid. com

lnternational Copyright Secured

.

Made in U.S.A.

.

All Rights Reserved

U'

F

z

IJJ

o o uJ IJJ =

J

o = z Y

C)

thank Mr. Eddie Harrls Íor encouraging and givlng me the initial force in the writing of this book I

Many thanks to al! who helped me compile some of the ideas for the book

Thank you to Adam Linz Íor his great help in

transcribing some oÍ my solos from recordings

Thank you to Rick Sigler for creating The Jazz Font Set Cover Design & Photography: Howard Simmons Photos By: Joann Krivin and Howard Simmons PreÍace Photo By: John Abbott

To my wife Doris, for her dedication and support

Book design by RuÍus Reid using Finale 2000 & QuarkXPress

This EVOLVING BASSIST is the

ul

o

t lJJ

É,

o-

edition entering into the new millennium, the year 2000. This edition will mark twenty-six years in publication, establishing "the standard" in bass method books. This new edition will include more transcriptions, original compositions, new etudes and additional ways to concéive better bass lines. Additional helpÍul information dealing with practical, "real liÍe'' situations Íor traveling as a professional player is given to assist the aspiring bassist. Lists oÍ ampliÍication equipment, electronic pickups, microphones are also included.

Mingus, Sam Jones, Ron Carter, Scott LaFaro, Charlie Haden, Richard Davis, Red Mitchell, Eddie Gomez, Dave Holland, George Mraz, Gary Peacock, Buster Williams, Cecil McBee, Ray Drummond, Niels-Henning Orsted Pederson, John Clayton, John Patitucci, Christian McBride, and Jaco Pastorius, to name only a few. The standard has been set. lÍ one Wishes to be included in the lineage that the Masters have set, one must be serious and work diligently.

A great jazz improvisor does not really "need" anyone to help clariÍy what they are playing' Their f unc_ tional knowledge oÍ the jazz vocabulary, harmony, As I continue to travel over the United States and and rhythm which has become "one" in their other parts oÍ the world, more and more people, thought process is all that is needed. Bass players especially young people are being introduced to are the foundation of any group. Bass players are jazz music. The study of this music, informally and expected to have a big "swinging sound," know the in schools, is excelling at a rapid rate all over the "blues,''''Íhythm changes,'' "standard repertoire,'' world. The bass has progressed technically more "jazz standards," play in "any key," and always be than any other instrument in the last sixty years "consistent." ln a real creative sense, we are because of technological advances with string man- thought of as "someone home always minding the uÍacturing and electronic pickups. These advance- store." lt is quite a task, but it is part of our job ments have allowed the bass players technique and description. Bass players also have the unique abilmusic to excel and really be heard more clearly, ity to sabotage any and all ensembles if their conparticularly in the live setting. Virtuoso playing has centration oÍ rhythm or harmony Íails to be where advanced incredibly in all forms of music. The con- and what it should be. As a bassist, one should temporary jazz bassist has been very instrumental develop the "mind set" that you are the only harWhen in maniÍesting many of these advances. HoWeVer, monic and rhythmic substance there with all of the advances and inÍormation available to doing so, one does not lean on anyone else to claÍ_ us because oÍ the age We now live in' the task is still iÍy what you are attempting to play' lf you learn to always be clear in your playing, your confidence will on the individual to créate the music' grow and so will your reputation. The challenge has always been on the player to make the music. You, the improvising player must THE EVOLVING BASSIST is designed to take you be able to THINK and PLAY at the same time. through a process to help you reach these goals to Consistent hard work is needed to develop the skills become that consummate bass player. lt is also dedicated to the student who has difficulty finding and vocabulary to improvise well. and/or being able to afford a regular teacher. You There is still a need Íor a bass book; one that really will have this tool to help you help yourself along the explains how to physically play the bass, one lhat way. I use all of lhese concepts with my students teaches in a simple and concise manner how to and it has proven extremely successÍul. As you and construct good sounding bass lines from chord pro- your playing mature through the years, you will disgressions, one that explains how to get a smooth cover that there is always something more to learn sound, one that discusses how to listen, what to about being a better bass player in this music we listen for, and who to listen to. Without being too call jazz. stylized, this method book will stimulate the player to learn how to play what is expected Írom him/her Musically Yours, as a bass player. When you say you are a "jazz bass player," you must be able to show by doing what that truly means. People in the know have high expectations because oí their listening to the great Masters, i.e., Jimmy Blanton, Slam Stewart, lsrael Crosby, Milt Hinton, George Duvivier, Ray Brown, Oscar Pettiford, Paul Chambers, Charles

is.

kP-/

É,

o ! I

F 3

IJJ I

!

F F 3

o m Potn February 10, 1944, in Atlanta, GA, Rufus lJReid was raised in Sacramento, California

where he played the trumpet through junior and

senior high school. Upon graduation

from Sacrarfiento High School, Mr. Reid entered the United States Air Force as a musician. Along with the trumpet he began to take an interest in the bass. By the time he had been discharged from the military Rufus had decided the bass was the direction his career was going to take. He moved to Seattle, Washington, where he began serious study with James Harnett of the Seattle Symphony. Rufus Reid received his Associate Arts Degree from

Concerto for Solo Double Bass and Jazz Trio, composed by Benny Golson for Rufus with the Wayne Chamber Orchestra. lt's debut was at William Paterson University and it's New York premiere was at Alice Tully Hall at Lincoln Center.

flufus

Reid has made over two hundred and fifty I lrecordings. Under his own leadership he has three recordings: PERPETUAL STROLL, SEVEN MINDS, and CORRIDOR TO THE LlMlTS. Rufus

is also

co-leading the group, TANAREID, with drummer, Akira Tana since 1990. The group has six recordings; YOURS AND MINE, RUMOUR, PASSING THOUGHTS, BLUE MOTION, LOOKING FORWARD and BACK TO FRONT. TANAREID

continues to travel, performing and teaching around the world. Rufus also has two unique duo recordings with master bassist Michael Moore, the critically acclaimed DOUBLE BASS DELIGHTS, and THE INTIMACY OF THE BASS on Double-Time Records. Warner Bros. Publications collaborated with the BASS COLLECTIVE and BASS PLAYER

MAGAZINE to produce BASS DAY '97 NEW

YORK.

A

live perÍormance video of Rufus Reid and Michael Moore is now available from that day.

Reid's extensive jazz background and I ldiscography reads literally like the Who's Who in jazz. Parallelling his performing reputation is his exceptional teaching reputation. His book, THE EVOLVING BASSIST, published in 1974 is recognized in the industry as the definitive bass

flufus

Olympic College in Bremerton, Washington, in 1969. He continued his education at Northwestern method publication. He has been doing clinics since University in Evanston, lllinois, where he studied 197'l associated with the Jamey Aebersold with Warren BenÍield and Joseph Guastefeste, both Summer Jazz Workshops, the Stanford University of the Chicago Symphony. He graduated in 1971 Jazz Workshop, and the Lake Placid lnstitute, to year concludes twenty years on with a Bachelor of Music Degree as a Performance name a few. This Major on the Double Bass.

is major professional career began in Chicago and continues since 1976 in New York City. He has traveled, performed and recorded with many of the great Jazz Masters. He was privileged to share many musical moments with some that have passed on: Gene Ammons, Kenny Dorham, Eddie Harris, Sonny Stitt, Don Byas, Philly Joe Jones, Kenny Dorham, Thad Jones, Mel Lewis, Dexter Gordon, Bill Evans, Stan Getz, Dizzy Gillespie, and Art Farmer.

pufus

performed and recorded with Andre I lPrevin, Kathleen Battle and the St. Lukes Chamber Orchestra in 1992. Also in 1992 Rufus gave two performances of "Two Faces", a

the Íaculty of William Paterson University in Wayne, New Jersey, as Professor and Director of the Jazz Studies and Performance Program. All of Mr. Reid's presentations around the world, whether in the nightclub, on the concert stage, or in the classroom, are cherished, memorable events.

n January, 1997, The lnternatlonal Association of Educators awarded Rufus with the Humanitarian Award. DOWN BEAT magazine, May issue, awards Rufus the 1998 Jazz Educator Achievement Award. BASS PLAYER magazine, March, 1999, has a feature story on Rufus Reid as a legendary thirty year veteran who is truly continuing to be THE EVOLVING BASSIST.

lJazz !

U'

F

z F zo IJJ

o lr o IJJ

J

o É

GLOSSARY OF TERMS

6-7

FREOUENTLY ASKED OUESTIONS..........

8-12

CHAPTER

1

2 ETUDE 1 CHAPTER 3 ETUDE 2 ETUDE 3 ETUDE 4 ETUDE 5 ETUDE 6 ETUDE 7 CHAPTER 4 ETUDE I ETUDE I

CHAPTER

ETUDE ETUDE ETUDE ETUDE ETUDE ETUDE ETUDE

CHAPTER ETUDE ETUDE ETUDE ETUDE ETUDE

13-17

PHYSICAL POSITIONS...

DEVELOPING A GREAT SOUND..................... 18 - 23

Exercises.............

24

' 38

GETTING TO KNOW THE FINGERBOARO..... 39

.65

Open String

Know Your Fingerboard...................................... Basic Scales You Must Know............................. More Scales Belated To Altered Chords............ Approaching The Transition Area....................... Moving Through The Fingerboard......................

oné string only,

Please......'.

43 - 45 46 - 57 58 59 - 61 62 63 _ 65

WALKING BASS LINE CONSTBUCTION.....,.. 66 . 115

Getting Friendly Wilh The Piano........................ 67 Good Functional Lines in a'Two Feeling".......... 68 - 76 1O Simple Walking Bass 1ines................................ 77 - 82 11 Simple Rhythmic Lines....................................... 83 - 87 88'95 12 More Complex 13 Blues Lines - Simple To Comp|ex...................... 96 - 101 14 Lines On "Rhythm ...1O2"lO7 15 Walking Lines on "standard'' Progressions....... í08 ' 113 16 Developing Latin Bass Concepts....................... 114 ' 115

Lines.................... Changes

s

DEVELOPTNG

DEXTER|TY.........

17 18 19 20 21

Harmonic Patterns............................................. cycle oí ........'........ Dexterity in .. Finger ................. Letl Arm Pivot

FiÍths'..... Octaves............ Dexterity.... Exercises............. EÍUDE22Thumblndependence....................... ETUDE 23 The sound oÍ Tenths.............. ETUDE 24 Thumb Workout... ETUDE 25 Speed Patterns ln F0urths............ ETUDE 26 Advanced Augmented Patterns....... CHApTER 6 SOLO;ST;C CONCEpTS.........

116 -

1ss

117

118 119 - 137

138 139 - 141

142"l44 145 149 151 153

-

148 150 152 155

1s6 - 1s9 157 157 158 158 158 159

CHApTER CHAPTER

7 8

BASS

DUETS................

....... 160

-'t7z

THANscRlPTloNs oí RECoRDED soLos... 173-187

SELECTED BASS DISCOGRAPHY..-.

188 - 189

RUFUS REID DISCOGRAPHY

191

O ÍE EI

F lr

o

G cleÍ or Treble cleÍ F cleí or Bass cleÍ

ABCDEFGABC

ÍE

a a o J o

TIME SIGNATURES

4l,b?,bb5!!1 4 4 4?,8 4I I

4

The top number means how many beats per measure and the bottom is the type oÍ note'

Whole HalÍ Note Note

Eighth Note

Quarter Note

Whole Half Quarter Eighth

Sixteenth Note

Ouarter

Note

Triplet

Key of

G

Key

of

D

Key oÍ A

Eb

Key of

Eighth Note Triplet

Sixteenth Note Sextuplet

Dotted Notes: The dot equals halÍ the value oÍ any note it is placed with and added to that note length.

Sixteenth

KEY SIGNATUBES

6

9

Ab

Key oÍ Db

GLOSSARY OF TERMS

BASIC CHORD SYMBOLS

0o

or

t-

Qrix

Qr

C*r? I

Malor 7th - A maior triad with the 7th scals note added. The tÍiangle eguals the same as the major seventh.

-

Dominanl Sevenih - A major lriad with the major seventh lowered one halí tone.

-

A Major

Minor triad

Minor Seventh

A maior triad

-

Diminished triad

-

A Maior

triad with the ÍiÍth note raised oné lÍiad With the third and tone. hatí tone and the lowered seventh notes lowered one half 'iÍth nole added.

loné.

Maioí Ninth - A Maior seventh

chord with ninth scale note added.

A Minor triad

added.

no7

HalÍ-Dimished

-

Diminished Seventh

A Diminshed

-

A Maior

triad with the lowered seventh note sixth chord with the third and íifth noies lowered one half tone added. This is idenlical to Minor seventh with the lowered Íiíth.

clt

0xr9

-

with the lowered seventh note

with the third lowered one halÍ

aÍ or

n0

0lí#l

Augmented Sevenlh

0r{?

c'flJó

Dominant Ninlh - A Dominant Domiilant Thirleenih - A Dominant Dominant Nine Suspended seventh choÍd Wilh the ninth Seventh chord with the ninth and A Dominant nine chord with the lhird tone omitted thirteenth scale iones added. scale tone added. and the íoUrlh tone added'

Pizzicalo - Pulling the strings with the Íirst, the second' or both ÍingeÍs oÍ lhe right hand. Arco - To play using the French or German style bow. ARROW DEFINITIONS D string

Do not liÍt Íinger.

\

\

and skip shift in direction oÍ two strings above or below.

Shift in direction oÍ arrow and skip two strings above or below.

shift in direction oÍ'arrow and skip

two strings above or below.

---)

D stÍing

-

Gliss upward - Sliding on one string

Gliss downwaÍd - Sliding on one string

,/ habove. Down Bow

- At the ÍÍogoÍ lhe

which is at the righl hand.

A long downward stroke using the thumb

on the E string and index Íinger on the G string oÍ the right hand.

below.

,aL

A strinq

shiÍt ÍoMard to adjacent string

shiÍt backward to

shift íorward to adjacent string below.

bow

Using the righl thumb strumming

across the strings.

Shitt backward to adjacent string above.

Up Bow - At the tip oÍ the bow

A plucking motion using the right thumb and Íirst Íinger outwaíd Írom the bass.

7

a zo F -

O IJJ

= o

o IJJ Y

O

F =

zUJ

D

o IJJ

É,

II

o l-

C'

É,

ltJ

z

Ín =

What kind oÍ strings do you use? I prefer, after many years of experimenting, for my personal use, the G & D Pirastro "OLIV" and on the A & E, the D'Addario-Helicoreheavy gauge strings. I find that they work exceptionally well both with the bow and pizzicato playing. The "OLIV" string is a gut string with a chromesteel wrapping. They will take a few weeks to really settle down for pitch, but it is worth it, in my opinion, for the sound they produce. The all steel strings will last a much longer time before losing their tone. Keeping them clean is easy. Keep a small cloth in your case and clean them after you play for a long period oÍ time. lt will help keep the life of the string. lf possible, keep one extra set of strings Íor emergencies. Do not be caught on a gig without a replacement!

How do you position the bridge on the double bass?

The bridge position is extremely important on the double bass. There are notches on each of the 'F" holes that help line up the feet of the bridge. The distance between the "F" holes and the feet oÍ the bridge varies Írom bass to bass. It is approximately two inches. The E string side of the bridge should go over the sounding board.

The soundpost is on the G string side of the bridge lined up in the same manner as the sounding board. It is placed one to two inches below that foot. Look inside your bass so you can clearly understand. However, it is recommended that a qualified luthier do this work. Watch him, and eventually you may be able to do this yourself. Setting the soundpost correctly determines how your bass will sound.

What is a good height Íor strings on the dou_ ble bass?

The string height is very important as it determines how much sound you get from your instrument. Strings too low will make an annoying slapping noise while playing and not very much acoustic sound. Strings that are too high will produce a louder sound. However, this can inhibit your agility and take a physical toll just to press down the strings. There is a point where the strings are high enough to give a good full sound, but still low enough to press down comfortably. There is a great deal of tension on the instrument, especially with steel strings. ThereÍore, it is important to find the right height for you and for the response of the instrument. Acoustic instruments are very sensitive to climate changes and sometimes make it difficult to play.

Most wood basses expand in size in the summer. lt may be very little, but it is enough that your hands will notice. lf you are in an extremely humid locality it will be more noticeable. ln cold weather the bass contracts and the strings get lower. Most orchestral players remedy this by having a summer and a winter bridge. Having two bridges is ideal but sometimes impractical for the traveling musician who might be in Texas one week and North Dakota the next. I remedy this by use of an adjustable bridge. This enables you to adjust the height of the bridge and the strings in a matter of minutes. Having a consistent string height for your instrument will help you develop a consistent sound. The height of the string from the fingerboard at the nut, which is near the tuning pegs, is also very important. I discuss this in more detail under Setting Up Your lnstrument. lt will make your hand positions in the lower areas of the fingerboard more comfortable. What kind of cords do you use?

I use cords that can be repaired. There are always times when they pull loose from the plug. Naturally it is cheaper to solder them than to replace the cord. Curl cords are used by most people. However, I have been told that double insulated straight cords make less static noise. Make sure that your cord is not a speaker cord. Whirlwind and Monster cables are top quality.

I

Bridge placement

FREOUENTLY ASKED OUESTIONS

How do you take caÍe oÍ your bow and what kind oÍ rosin do you use? The German and French bow use the same kind oÍ hair. There is a white hair, which is most common, and a black hair. The hair comes Írom horses, and there is also a nylon hair. l preÍer the real hair. The white hair is not as coarse and gives a smoother sound than the black hair. You can get a mixture haired Íor your bow. lt is up to you to take care of the bow Íor it to last. lf you leave it taut for long periods of time, the hair will stretch and it will be difiicult for you to tighten the bow. lf it stretches to this point, all you can do is have it rehaired. This means you have wasted money that could have been avoided. Always loosen it after you finish playing.

There are several types oÍ bass rosin. Most of it comes in grades, from soft to hard. Use a medium grade for average climates. Let me caution you about leaving your rosin around the house. Left near heaters or where the sun can get it leaves you with a melted blob. lf you can reshape it, put it into the reÍrigerator to regain the original consistency. Keep it wrapped in a small plastic bag or cloth when not in use.

How do you keep your bass clean?

will streak the Íinish. Use Linseed oil on the fingerboard to keep sweat and dirt from collecting so quickly.

How do you take care oÍ your hands to develop good calluses?

As you begin to play you will develop

blisters. Everyone's skin reacts difÍerently. lf you are troubled with constantly recurring blisters, I suggest you consult a physician. Usually after the initial blister has healed, the skin underneath will become callused. Do not peel the blister off, as the skin beneath needs to toughen. To keep your fingers Írom getting too hard and too callused, l suggest using lotion daily. Do not let your calluses become so hard that they crack open. That will truly be painÍul and will take a very long time to heal. l hate pain. Don't you?

My Íingers are quite callused' but they do

not you were appear to be. Years ago, people could tell a bass player by your tenible looking hands. Perhaps it was Írom neglect, but remember that there was little or no amplification and they played much harder lust to be heard. Much of the time they still did not succeed. lfeel that a great deal oÍ the sound that you produce depends on how developed your calluses are. lÍ you have a hard callus' your pizzicato sound may tend to be more percussive. lf your calluses are developed, but soft, you will be able to produce a smooth meaty sound.

The instrument should be wiped off each time you Íinish playing especially after using the bow. Rosin will Ílake ofi the bow and make a Íilm on the instrument. lf you let it build up it is much more difficult to Why do you use a volume pedal? remove. l watched a violin maker clean my Íiddle and his method really worked, so now l, too, employ Dynamics are difficult to control using electronics. this method' Use some Íine oil, like "3 in 1'' oil, and use the volume pedal because it gives me complete the Íinest steel Wool. Work in an area about two control without having to stop playing for even an inches in diameter. Put a little oil on the bass and instant to adjust the volume control on my amp. lt work lightly in a circular motion. Be careÍul not to is strictly a convenlence and something extra to work in a larger area as the oil will sit too long and carry around, but I feel it has allowed me to adjust begin to soak beneath the Íinish. After you finish more dynamically with the music at hand. I

that area, wipe it completely clean with a clean, soft cloth. Continue this process until you have completed the front of the bass. lt is a slow process, but it Will not harm the finish oÍ the instrument iÍ done properly. Remember not to rub hard or to use much oil or you may harm the finish of your bass.

How do you carry your bass when you fly?

There are two ways. You can put your bass in a big Íiberglass trunk and ship it as baggage or you can carry it onto the plane with you and place it in a To clean the fingerboard you can use steel wool and seat. There are several excellent trunks that can be alcohol. The alcohol will enable you to wipe up the obtained. They are extremely well designed. I have excess steel wool Íibers' Alcohol dries very quickly personally used a few types and I felt secure in the and will not harm the wood on the fingerboard. Do saÍety of my instrument. These trunks can be hannot put alcohol on the body of the bass because it dled by one person, and quite easily by two. The

FREOUENTLY ASKED OUESTIONS

one I use is called the Kolstein Bass Carrier. lf you use the trunk and send it through as baggage, you have to pay for oversize and overweight. You may also send it as air freight, but it will not necessarily fly the same plane you do even if you pay extra. To avoid potential problems, be sure to be at the airport at least two hours before departure. You still may encounter a clerk who has not ever processed a bass before and need more time. Stay calm and do not lose you composure iÍ a problem arises.

To carry the bass on the plane with you requires that you purchase a ticket for it. As of this printing, it is very rare that you can put the bass in a seat any more. The airlines will now ask Íor full First Class fare for you and the bass. lf you do decide to put the bass in a seat, there two ways. The bass can be placed in an upside down position in any of the larger planes. lt may sepm awkward to do it in this manner but it is actually safe enough because the neck is the strongest part of the bass. Obviously, you don't drop it on the neck. Place it gently on top of one of the pillows and strap it in using a seat belt extension. ln most planes the seats in the coach section are relatively close. lf you put the bass in the upright position your bridge will probably be jammed against the seat in front oÍ you. That is dangerous

if someone is sitting in the seat in front of you and chooses to lean the seat back. This part of the bass really needs protection. The best place for this position, if you get there early enough to request it, is the bulkhead seat. ln some planes this seat is next to the emergency window, and you will not be allowed to place your bass there. The photo shows

how well it can Íit. This is a perfectly acceptable procedure and has been used for many years, although all airline personnel are not as aware as they should be. ln many cases you will be allowed to board before the other passengers and to secure your instrument without delaying boarding procedures.

What kind of bass pickup do you use?

I use the BARBERA TRANSDUCER SYSTEM bass pickup. This pickup has eight transducers

embedded in the bridge with four dedicated to the arco sound and four for the pizzicato sound. lt is much more sophisticated in its design and requires you to change your entire bridge. lt reproduces a great, even, clear, and natural sound. I also use the FISHMAN BASS BLENDER to blend the sound oÍ the pickup and the microphone. The blender is not absolutely necessary, but I do feel that it controls the blending of the pickup and microphone extremely well. The blender allows me to have more control of my sound in live performance situations. You should always have as much control of your sound before giving it to the sound man as possible.

The microphone I use is made by APPLTED

MICROPHONE TECHNOLOGY. This microphone is exceptional. lt attaches to the side of the instrument and has a long goose neck for various placements. Every bass has a different "sweet spot," so this is a great feature. lt produces an exceptional low end frequency response and you can play at a higher volume before feedback than other microphones I have used. AMT makes two bass microphones. One is dedicated to the live performance which is more focused directionally and helps block out the drums and surrounding instruments. The other one is for use in a more controlled setting such as a recording studio. They both have the quality of a fine studio microphone. Barbera TÍansducer system,21 Loul3 stÍeet, staten lsland, NY 1o3(N www.baÍbeÍatÍansducar3.com

Flshman

Transduc€rs,'*.,.i*.k|ffjl3T"ld.,

wilmlngton' lÚA 0í 8E7

Applled Microphone Technology, lnc., P o Box &t, LlvlngstoÍ\ NJ 07039

lnverted seat placement

10

walteÍ wood.

A'*, x&".Bl|ffi,l'Íj,T"'.

De.e.t' cA 922Íí

FHEOUENTLY ASKED OUESTIONS

How much power should an ampliÍier have to produce a good, rich sound? Power in ampliÍiers is not used iust to make things louder, but to produce a clear sound in the entire Írequency of that instrument. Small amps with 'l50 watts of output seem to be sufficient in most jazz situations. However, I suggest an amp that will produce at least 300-500 watts. I use a small, but powerful custom 500 watt amp made by WALTER WooDs' I use difÍerent speaker cabinets Íor different situations. I own the BOSE 802, SWR 2-10" Goliath ll and the GLOCKENKLANG 2-10" component. I am prepared for all situations. Some people feel that you get better efficiency with two 12 inch speakers' Remember, it is the power oÍ the amp that Íeally makes the difference. l feel speaker choice is a personal preference. How do you Íind a concept?

want to play well immediately, but it just doesn't happen like that. Some catch on Íast, while others have to work very hard. ln order to play your instrument well, everyone should pass through these f undamental steps. Many students waste time playing things they can already play, and never take time to break down the problems that inhibit them from progressing.

The primary role of a jazz bassist in a group is to support harmonically and rhythmically, and most importantly, to "swing." So, there is no question. You must practice "walking" all the time so that your rhythmic pulse is consistently strong. The group you play with depend on you to do this. They assume you can do it, even iÍ you haven't been playing for very long. ( Not terribly fair, but true.) ln addition to your pulse and great time feeling, the notes you choose should be from the chord progression oÍ the composition you happen to be playing. Now you must learn the chord progression sound as quickly as possible. This is your priority. No matter what level oÍ proÍiciency you acquire there will always be some sort oÍ problem you must struggle with. lf you can isolate your problems by taking them out oÍ context and working on them in slow motion you will be able to progress at a more consistent pace. Do not waste time playing things you already can play.

music, learn as possibly can, whether much aboul the bass as you it be the double bass or the electric bass. lf you choose to play some classical music, find someone who can teach you and become involved with that. lÍ you want to play rock, Íind someone Who is involved and you become involved. lf you want to play iazz, Íind someone involved in |azz and become involved yourself . You have to reach a certain level oÍ technical ability to play any style well' Then branch out to suit youÍ own taste' concept can be aüained by listening to records, by listening to live performances, by listening to the radio and When you practice really depends on when you are television, and by asking questions. None oÍ these the most productive. For me, it is when I first wake concepts will sink in unless you work at it. lt is quite up in the morning' lÍ you practice a half hour every demanding to leaÍn something new. However, the morning before you shower, you will be amazed at music you grew up with will probably come easy to the results. lt is quality time, not necessarily quanyou. At least the concept will be there. lÍ you tity. First, make up a weekly calendar outlining what choose to play difierent styles or if you choose to you wish to accomplish that week. You, alone, can play only one padicular style, the only way to suc- decide this. Second, choose what scales? What key? What tempo? What tune? What register? lf ceed is to learn the concept of that style. you play any scale or chord pattern consistently for Íive minutes every day (five minutes is a very long How do you practice? time doing only one thing), you will be amazed how lf anyone had problems learning how to practice, it quickly il will improve your playing and connection was me. Most people are lazy. The disciplines with your instrument. Being truly connected to your needed to concentrate on basic Íundamental tech_ instrument is the ultimate goal and it will allow you niques need stimulation of some kind. There is so to concentÍate more on your immediate surroundmuch to pract|ce, it seems diÍÍicult to get started. ings. Take advanlage oÍ this time. Break up your l think the best Way is to have some idea oÍ how you practice time so that you don't become frustrated or would like to sound and what you would like to play. bored. I try to warm up with the bow playing long This is not always easy, especially if you haven't tones and scales. The long tones are the best to been playing very long. Scales and exercises are develop bow control. Then I move on to some reading material. After that I will practice the same not the most stimulating mateÍials to play. We all lÍ you are Iust beginning to get into

11

material without the bow Next I may try to transcribe a bass solo from a record and attempt to play it the way it is being played on the record. This is the real ear training. Get friendly with the piano!! I usually spend some time at the piano trying to play the chords to some tunes. The piano or keyboard is an absolute must to learn more intimately lhe sound oÍ chords in general and the chords of tunes that you are working on. Being knowledgeable of keyboard harmony will make your bass lines and the learning of the tunes come togelher faster. As you and your playing mature, you will find that the players Who you admiÍe usually have Íunctional knowledgeable oÍ keyboard harmony. As bass players, this knowledge is our liÍe line. As you see, there are many ways to utilize your practice time. Good luck! How Do You Becord The Bass ln A Studio?

FREOUENTLY ASKED OUESTIONS

What Basic Things Should A Bassist Rémember?

1. Have good rhythmic feeling. You are the pulse oÍ any ensemble.

2. Have

3.

good constructed bass lines based on the chord progressions. a. use chordal approach b. use scalar approach c. use chromatic or passing nole ápproach d. use rhythmic variation complimentary to the musical style Listen and connecl with; a. the piano or whatever chordal instrument is used. b. lo the drums and/or percussion instruments c. to the horns, if any Watch the piano players lett hand. Know the keyboard well visually.

Becording a good bass sound requires two basic 4. elemenls. The first being your sound, and the ability oÍ the engineer to capture that sound with a microphone. The acoustic propertiés oí the bass is 5. Keep eye conlact with all the musicians at all what the recording engineer is looking for. The times. sound of the bass is very diÍferent a few feel away Írom the instrument than the Way We hear playing it 6. Be sensitive to all dynamics. Learn to adjust up close. Your bass should not have any extraneinstantly Without losing the eneÍgy or the ous sounds, such as buzzes from open seams, tempo. squeaks from endpins, rattles from bow holders, etc. (Duct tape does wonders here!) The micro- 7. Be Authoritative. Be Deliberate. phones pick up any and all sounds produced by you a. be precise, intonation is very important and your bass' The more Íocused your left and right b. be very pliable. hand technique is, the more focused sound will be heard. Two microphones are generally used to cap- 8. Be alert at all times. ture the bass sound. One is low at the level of the bridge, but NOT at or n6ar the "F holes," which will 9. Do not jusl play anything' HaVe a r€ason not be clear. The second one should be higher and for everything you play. directed toward the fingerboard to capture the higher Írequency that is being produced' lÍ the

recording is a live two track recording, the two microphones aÍe mixed and cannot be changed aÍter being recorded if you don't like it. lf the record_ ing is a multi-track recording, all the sounds can be mixed again if needed. The pickup, which couldbe a thlrd track should only be used as back up informalion. The ultimate control would be to have the bass isolated from the other instruments. lvlany greal recordings have been made with no isolation Íor the bass at all. The studio onvironment and knowledge and abiIity oÍ the engineer is What Will make the difference' lÍ possible, always be eaÍly in the studio to have adequate time to set up and acclimate you and your bass to lhis environment. 12

'10. Always be on time to all playing situations. You always will need extra time to s6t up your equipment and warm up. '11. Listen to as much live music as possible.

12. Liston to the recordings of lhe gÍeat players. 13. Join the lnternational society oÍ Bassists. 4020 McEwen, #105, Dallas, TX 75244 fel 972-233-9107 ext. 2O4, Fax:972-49O-4219 www.

14.

15.

jmu.edu/orgs/bassists/isb.html

Try to always play with people who are more advanced than yourselÍ or at least on your level.

Always havg Íun and keép swingingl

HAPTER PHYSICAL POSITIONS

Being physically comfortable with your bass,

whether it be the double bass or the electric bass is, in my opinion, one of the most overlooked aspects in learning about playing the bass. lÍ you heed some of my comments on this matter, it may help you delete bad habits that should have been avoided in your early stages of development.

Your stance should be as relaxed as possible. Stand with your feet almost in an "L" shape. See a

side view photograph. Notice that the bass is slightly tilted toward the body and the side of the bass is not touching the stomach area. ln order to keep this position while playing, you must now lean into the instrument. DO NOT accommodate the instrument by turning the side flush against you. ln pizzicato playing you will project less volume on all strings and even less on the lower strings if the side of the bass is flush against your stomach. ln addition, the bow will be impossible to play on the lower strings without moving the body or bass to accommodate the bow. The proper angle of the bass can be achieved by drawing the bow on the E string so that the arm just passes the body without moving the

Side View Stance

body or the bass. Now, when playing on the upper strings in this position you must lean into the instrument. Notice the left shoulder in the photo of the rear view. Move into the instrument so that you can see what you are doing. Practice moving up and down the fingerboard. Slide the left hand up and down. Don't worry about playing any particular notes at this time. The reason for this exercise is to synchronize the left arm and hand motion with the body motion in playing up and down the bass. As you slide up the fingerboard, gradually shift more of your weight onto the right leg by leaning fonruard and pushing your right hip backward. lf you are doing this properly, the neck of the bass should be leaning toward you so as to make your slide toward the bridge much easier. As you slide back toward the scroll of the bass, synchronize your hip motion with the left arm by pushing the bass back in its original position. As you slide up and down the Íingerboard, do not let your arm rest on the shoulder of the bass. This can develop into a very bad habit and will inhibit your facility in the higher register as your playing matures.

Front View Stance - Pizzicato

Rear View Stance

It may seem insignificant, but if you can balance your bass with a relaxed body, you have begun to overcome the awkwardness oÍ manipulating the instrument. The bass is leaning slightly into the

Front View - Balancing The Bass

14

Rear View Stance - Thumb PosÍtion

body with the inside of the left knee against the bass back acting as one of the balancing points. The other balancing point is angled against the lower abdomen where it joins the leg.

Rear View - Balancing The Bass

PHYSICAL POSITIONS

How To Get Comfortable With The Bow There are two types of bows. There is a German and a French bow. I encourage you to experience both before choosing because only then will you know the real differences. The one that you adapt to the quickest will no doubt be the one that you will play. The one that enables you to produce the best sound is the one you should PlaY. ln holding any bow you must learn to relax the muscles of the bow hand and arm. The French bow is held with the right hand perpendicular to the stick of the bow. Place your hand on top of the bow so that the stick fits into the break of the middle fingers at the knuckles.

Try to relax as much as possible. DO NOT grab or grip the bow. Just hold it enough to keep from dropping it. The weight of your arm and the rosin on the bow is all you need to start the string to vibrate. Too much pressure will keep the string from vibrating freely which is necessary for a good full sound.

The German bow is held quite differently than the French bow. See photographs. The frog is much wider than the French bow and is held in the palm of your right hand. There are three areas of the palm that the bow can be held. The first area is close to the thumb. Place the butt of the frog snugly into the fleshy section. The end of the bow is extended over this fleshy section. Arch the rest of the fingers keeping them together and position them on the side of the bow and let the thumb lay

naturally over the stick extending toward the first finger. The second area is pretty much the same, only that you shift the butt of the frog into the middle of the palm where the hand bends. Keep the other fingers the same. Notice how the hand is not as tense as in the first area.

French bow hand position preparation

Now, keeping your wrist level, bring the thumb under the hand and place it at the edge of the frog. This will place your thumb approximately under your second or longest Íinger. Now wrap the fingers over the stick.

German Bow Palm View

The third area is again similar, only that you shift the butt of the frog toward the fingers. Open your hand and place the butt end so that the side of the frog away from you Íits exactly where the fingers bend from the palm. The stick of the bow should be laying across the first knuckle bone of the hand. Close the hand, keeping the fingers together and somewhat curved. DO NOT tense up and don't grip the bow. Just hold it. This position, lfeel, will gain you the best control. However, experiment with allthree and choose the position that is the most comfortable for you. French bow hand Position

15

German Bow At Frog

Whichever bow you choose to work with, practice holding it and getting it comfortable in your hand before you pick up your bass. Extend both arms directly out in front oÍ you at the same level, letting the tip of the bow rest on the first Íinger oÍ the leÍt hand. This simulates the string. Do not lock your elbows. Relax the right hand as much as possible without dropping the bow, but still keeping the fingers in the same position as previously discussed. See photographs. Slowly lower your arms approximately one and one half feet keeping them level with each other. Remember, do not lock your elbows, and relax. You should be fairly close to the

Bow At Frog - Palm View

German Bow Drawn Toward Tip

position you would be in if you were holding the bass. BeÍore picking up the bass practice bowing up and down strokes by keeping the left hand stationary to simulate the string. Relax and try to achieve a flowing type of arm motion. lf you are doing this properly, the right hand should feel no strain - almost to the point that the bow isn't even in your hand. lf it feels like this to you, you are on the right track. By doing this you can walk around the room and still be learning to be comfortable with your bow. A relaxed hand is oÍ utmost importance. Practicing in Íront of a mirror is an excellent way to see iÍ you are doing things correctly.

Bow

At

Frog - Front View

PHYSICAL POSITIONS

HOW TO GET TONE WITH THE BOW

Pick up your bass and put the bow on the D string near the frog. The correct height for bowing is determined by extending your arm without locking the elbow and placing it comfortably midway between the end of the fingerboard and the bridge. lf you have to drop your shoulders to put the bow in this position, the bass is not high enough.

ls your elbow locked? ls your wrist level? Are you relaxed? Close your eyes and completely relax so

that you can concentrate on just the weight of your arm. Do not press down hard on the string. The weight of your arm and the rosin on the bow is all you need to produce a good sound. Relax and draw the bow toward the tip of the bow in one complete motion with a pulling sensation. Stop. Don't tense up. Relax. Now with a pushing feeling move

Bow At Frog

the bow toward the frog in one complete motion. You should have noticed that it was a little more difÍicult to produce a tone at the tip of the bow. This is because the distribution of weight is ofÍ balance at that point. To compensate you must apply more weight of the arm so that you can get enough leverage to start the bow moving. AÍter starting the string to vibrate, release that extra weight you needed to get started and let the rest of the bow continue as before. The object is to obtain the same sound, up and down bow. Continue this process on all the strings. Each string is a different size which will require you to learn the sensitiveness needed to produce a good tone from each string. lf you are getting a scratchy, squawky sound, you are pressing too hard. Keep the bow level and perpendicular to the string at all times. lt is most helpÍul to practice in front of a mirror if possible.

Bow At Mid Poinl

Bow At Tip

17

CHAPTER TWO DEVELOPING A GREAT SOUND

DEVELOPING A GOOD SOUND

The distancé betwoen strings should be uniform.

What constitutes a good sound is very subjeclive and perhaps there is no absolute answer. l pÍopose that producing a desirable sound is one thal projects clarity, has énergy, and is warm and Íull bodied. Most importantly, we wish to capture the listener's ear. To achieve this requires a Íocused approach. First of all, I would like to mention that I choose to use the traditional term, pizzicato, Íor lack of a betteÍ term. l do not care for the term, pluck, as I do not pluck the string. I pull the string. You must pull the string to produce a big fal sound. TheÍe are only two types oÍ bass pizzicalo sounds' Íhere is the "thumpy" style, and the smooth" style. The thumpy player sounds like a doo-doo-doo-doosound. The smooth player sounds like a doomdoom-doom-doom-. Notice that the "m" sounds seems to sustain much longer. The latter approach is the more modern sound. The long sound is desired by most jazz players. To help these techniques work best, your bass should be set up properly to allow your instrument to have a Íree and open sound.

most comfortable. The adjacent photo shows lhe distance on my bass is l-1116 inch from the center of the string lo thg cent€r oÍ the next string' l find this to be a good measurement. String crossing will be more difficult iÍ the spaco is too Wide. lÍ the space is too close, the strings don't allow Íor mobility oÍ the Íingers. Notice the phoio for positioning of the notches in the bridge. Slring height is definitely a personal preÍerence. As your playing dovelops and matuÍes, you Will Íind What works best for you' Just make sure the sound is your priority.

SETTING UP YOUR INSTRUMENT At the top oí the Íingerboard, lhe strings rest upon a notched piece of ebony which is called a nut. lt is extremely important that the string height at the nul

HoWeVer' you should experiment With What Íeels the

The combination of strings and electronic pickups has brought lhe Virtuosity oí and classical string players to the foreground. The pickups avail 'azz able have enabled the players to play wilh the strings extremely low and still be heard. lnsiruments with very low strings have little acousiic sound' The closer the stÍings to the Íingerboard, the less room the strings have to vibrale. Obviously, the higher the string, the more vibration, the louder the bass. Generally, orchesiral play€rs t6nd to play with very high strings to produce the maximum acoustic sound. Obviously the effort needed to press lhe string down would b6 mor6. ldo believe that there is a happy medium for sound and being comÍortable too.

be as comlortable as possible Íor fingering. ll ll is my opinion that the bass should and can ignite should not be too high or loo low lf it is too high, any ensemble with energy, espocially in creative,

obtain a tiny round Íile from a hobby, craÍt oÍ hardWare store and Íile each notch carefully. The lowest that one should go is no lower than lhe thickngss of two business cards. The cards should Íit iusl snug. Any lower and the string will be laying on the Íingerboard and cause an irritating buzz. lÍ this happens, you will probably have to have a new nul put on. Be careÍul when filing. You can easily file a |ittl€ away, but you can't put it back afierwards. lf this is done properly and a buzz still exists on some Íingered notes, you should have your fingerboard dressed by a qualiÍied crattsman.

contemporary music. HoWeVeÍ, lhis energy cannot radiate unless a cortain amounl of engrgy is put in al the outset. Personally, l preÍer to sacriÍice some of my technique Íor energy and sound. l use the ampliÍier to assist me. l am not totally dependent upon it. Remember the lower lhs string, the more technique, the less sound and vice versus. Notice the photo for the measurement of the G string on my bass to be al 'll4 inch above lhe ÍingeÍboard. My D string is 3/8 inch above, myA slring is 3/8 inch abovo and my E string is 7/16 inch above the Íingerboard.

DEVELOPING A GREAT SOUND

Measuring at the Nut

Measuring string distance on bridge

Measuring string height from fingerboard

Notch positions for strings on the bridge

19

DEVELOPING A GREAT SOUND

DEVELOPING A GOOD PIZZICATO SOUND Let us start with the one finger technique using the first finger of the right hand. Place as much of the meat of the finger on the string as possible. See sequence photographs below. Before actually letting the string go, pull it to the point where you can feel the tension. Now, in slow motion, let the string roll off the finger by slowly pulling the arm and finger at the same time. The motion of the arm should be close to the body with a downward stroke. lf you can imagine the arm being a pendulum follow through this stroke down and back. Once you know

20

where that tension point is when pulling the string, you are in complete control. You let the string go at precisely the time you want it to and not before. ln playing on the open strings, pull the G string and the D, A, and E in one complete downward stroke. Notice you must keep close to the board to achieve this. After executing one string let your finger continue onto the next string below. Continue this process all the way across the bass. Do not just pull only with the finger. The finger is weak when used alone. Use the entire arm to gain stamina and control of your sound.

One Finger Pizzicato -

G

String

One Finger Pizzicato -

D

String

One Finger Pizzicato

A

String

One Finger Pizzicato -

E

String

-

DEVELOPING A GREAT SOUND

The two finger pizzicalo technique is pretty much the same with the exception of the position of the hand. Notice in the photo that the hand is almost at a right angle to the fingerboard. To achieve the biggest sound possible with this technique, you must keep the hand and arm close to the bass. Do not pull upward. Pull across with a downward stroke from string to string. Notice the photographs. To obtain dexterity and facility with the two finger walking technique, practice alternating the fingers. The idea is to make both fingers sound exactly the

same. The second finger is not as strong as the first. lt will require concentrated practice to build strength in that finger so it matches the first finger. The execution of this technique is done exactly the same as previously discussed. However, the sound will not be quite as full as the one finger technique. Many jazz players of today employ this two finger walking technique. A phenomenal amount oÍ technique can be achieved iÍ you work at it slowly and deliberately. This technique is used extensively in classical guitar playing. See photographs for hand and finger positions.

Two Finger Pizzicato

G

String

Two Finger Pizzicato

D

String

Two Finger Pizzicato

A

String

Two Finger Pizzicato

E

String

DEVELOPING A GREAT SOUND

To really excel as a bassist, you must like the way you sound. I'm speaking of sound YOU control, not the sound that is controlled by any kind of amplification or electronic devices. !f you are able to produce a good sound based on the variables mentioned above, you will have a good sound with amplification. Too many make the mistake of thinking that the amp will make them sound better. lf you "think" a smooth, pretty, lovely, huge, strong sound, eventually you will be able to play just that. Remember, you must like the way you sound before anyone else does. Use a tape recorder when you practice. They don't lie. When you begin to sound good to yourself Írom the tapes, good things are beginning to happen.

Two Finger Walking Technique

When one speaks of someone who is a great player, they say they love his or her sound. What does that mean? To me, that means many things at the same time; a full-bodied tone, the particular notes that are played, where these notes are placed, the intonation of these notes and the feeling projected. The most important is the consistency of all these things combined that make up that great sound. The creative improviser's greatest asset is the ability to manipulate the harmony. The harmony is what makes people listen constantly to you. !t is the sophistication oÍ your harmonic concept that wi|l keep you always in the game. lt is has been my observation that generally young players are too concerned with displaying a lot of digital technique and not concerned enough about what they play nor how they sound. This is a very common problem. All of us want to be able to move around the bass with the greatest of ease, but you must have some idea of what you would like to sound like in the beginning. lf you like certain things about four or five bassists, listen carefully to them. Listen to and Íor every nuance imaginable and you will begin to understand what is involved to produce that sound. This is truly how you get started pursuing a good sound. Perhaps you like the harmonic concept of one, the intonation of anotheí the energy and creativity of another, the technical dexterity of another. Begin to put these elements together and you have begun to create another great player -you! These ingredients are quite essential. 22

You should also practice with the amp. You must always be in control of what comes out. Assimilate your working conditions with the amp. Try to match the amp sound to your acoustic sound as best as possible. A good pickup will amplify all extraneous noises and finger nciises. Acoustically we don't hear these noises so easily, but they are present and can be eliminated only by practicing with the amp on. Use the bow too. When the bow sound is clean with the amp on, it's really clean. !n order to project a certain amount of energy you still must exert it. The amp can relay that energy, but cannot create it. lt all must come from you.

c 0

0

oN

c e?,Í

$ I

$

0oN0ÉNÍ?AÍloN e

0oNrl0ÉNaÉ 0 T

DEVELOPING A GREAT SOUND

Tri-C Jazz Festival, Cleveland,

OH

1989 Photo

by: Frank W. Hetherington

23

DEVELOPING A GREAT SOUND

Working With Open Strings Practice slowly with a metronome at all times. from string to string,

listen for an evenly balanced Remember, these can be played with or without the sound. Some strings may automatically have a bow, and/or with the electric bass. Concentrate on quicker response than others. Every bass is differyour sound quality. When playing across the bass ent, so make the adjustments when necessary.

llHJ=50 a

n

V

n

V t a

a,

n

V

n

V

I

a,

-4,

n

at

a,

V

a

I

n

V

a,

at

aa

a,

a a

n

V

V

n

a

I

, ta

I

t



*i|Íh'i'Bossa

Nova

0${tel

Alífl

I

Bossa Nova

q!!f

lo o' ,lo

Qr

Calypso

Son Montuno

Aa

Aíro combinations

lu

Af ro

$ui,l

$s

combinations 115

DEVELOPING DEXTERITY These following exercise will take you up and down and across the fingerboard. Notice the fingering patterns. Memorize each pattern. The key of the pattern is the first note of that pattern. Notice where identical patterns occur at different places on the fingerboard.

All etudes can be played with or without the bow. I urge you to practice both. When you tire of one, do the other. Watch yourself in front of a mirror to check your body posture and hand positions. Al! of these can also be played with the electric bass.

Eddie Harris Concert Rehearsal, Chicago Jazz Festival, Chicago, lL, 1981 Eddie Harris - Tenor Sax, Wilbur Campbell - Drums, Rufus Beid - Bass

116

Photo by Milt Hinton

DEVELOPING DEXTEBITY

Etude 17

Harmonic Patterns mm J =96

-

t

-

l^

-=- 9-__ eJrl

r--......-4

e

:-----

r---

2

ETUDE 18

.DEVEI-OPI}IG DEXTERITY

Cycle of Fifths

This is a bass line in the pattem called a Cycle oÍ pattern in songs that you leam. lt is iust another Fifths using the ll7 - V7 progression. Through rep- important sound in your vocabulary that witl help etition, you will learn to recognize the sound of the you function át a higher level.

(1

0ni?

a

Sluit

abt

I

0ni?

11

{h*'t

ob

?W

a

7p

0fuir b

b+t

Qluit

luil

lt

81

ETUDE

í9

DEVELOPING DEXTERITY

Dexterity ln Octaves ln making the shlfts, release just enough pressure strengthen your hands which will give you stamina. to slide to the next note. Notlce it lays quite easy. Work at this diligently. Remember, these can be The Íollowing Etudes are designed to make you played with or without the bow, and on the electric move throughout the Íingerboard. They will bass.

J üüJ

DON'T LOSE CONTACT WITH THE FINGERBOARD Now add the fifth scale tone

DEVELOPING DEXTERITY

Whole Tone Octaves

1.

OCTAVES

2. UPPER BRACE

These are three in one exercises. Pattern number one should be played in the manner of Etude 19. For pattern number two, play only those notes that are connected to the upper brace. For pattern number three, play only those notes that are connected to the lower brace. The Íingerings and the shifting symbols for pattern number one will be placed above the upper brace. They are not the fingerings for the notes of pattern two. The fingerings beneath pattern number three are for that pattern only. The fingerings for pattern number two, can be found in the scales in the front of the book. Go slow at first.

3. LOWER BRACE

lncrease gradually. Follow fingering and shifting symbols explicitly. Keep the Left hand into the fingerboard. When the octaves are played in tune and your shifting is seamless, a wonderful huge sound is created. At times, it may even sound like you are playing another octave lower. Play all your scales using this octave sound. The patterns given are for the Whole Tone scale, Major scale in Thirds, and the Diminished scale and arpeggios.

Bass Ensemble ln Concert, Jazz lt Up! Willowbrook Mall, Wayne, NJ, 1989 Photo by Jo Ann Krivin cecil McBee, Harvie swartz, Jamil Nasser, Rufus Reid, Jay Leonhart, Ray Drummond -Basses

Dick Katz - Piano, Ben Riley - Drums

120

DEVELOPING DEXTERIW

Whole Tone Octaves

JJ t

4

fio