20845BCD Manuscript.qxd - Clyde

MEL BAY PRESENTS

MB20845BCD

R

MEL BAY PUBLICATIONS, PUBLICATIONS, INC. • #4 INDUSTRIAL DRIVE • PACIFIC, MO 63069

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MEL BAY PRESENTS

CD contents 1

Tuning

17

Rhythm Changes, Comping, Measures 1-8

2

Open and Closed G7 Chords

18


3

Seventh Chords with G as Root

19


4

Seventh Chords with C as Root

20


5

Ex. 1 - Funky Blues in G

21


6

Ex. 2 - Funk Line in F

22


7

Ex. 3 - Slap Line in G

23


8

Ex. 4 - “Birdland” Excerpt

24


9

Ex. 5 - “Wild Nights” Nights” Excerpt Excerpt

25

Rhythm Changes, Comping, 2 Choruses

10

Ex. 6 - “Wild Side” Excerpt

26

“Amazing “Amazing Grace” Solo

11

“Lizard” “Lizard” Excerpt Excerpt

27

“Over the Rainbow” Rainbow” Solo

12

“Take Five” Comping

28

“Shadow of Your Smile” Solo

13

Blues in F, Ex. 1, Comping Style

29

“Sugar” Solo

14


30

“How High the the Moon” Solo

15


31

“There are no Accidents”, Looped Arrangement

16

“Sugar”, “Sugar”, Comping Style & Solo















Table of Contents About the Author.......... Author ...................... ....................... ....................... ....................... ....................... ....................... ....................... ....................... ...................... ....................... ....................... ....................... ............3 3 About the Book ...................... ................................. ....................... ....................... ....................... ....................... ....................... ....................... ...................... ....................... ....................... ....................... ..............4 ..4 How to Use this Book ....................... ................................... ....................... ....................... ....................... ....................... ....................... ....................... ....................... ...................... ....................... ..............4 ..4 Convent Conventions ions ...................... .................................. ....................... ...................... ....................... ....................... ....................... ....................... ....................... ....................... ...................... ....................... ....................5 ........5 Other Notes ...................... .................................. ....................... ....................... ....................... ....................... ....................... ...................... ....................... ....................... ....................... ....................... ...................5 ........5 Part I Introductio Introduction n ...................... .................................. ....................... ....................... ....................... ....................... ....................... ...................... ....................... ....................... ....................... ....................... ...................6 ........6 Diminished d and Half Half Diminished Diminished Chords Chords ..............6 ..............6 Lesson 1: Playing Major 7, Minor 7, Dominant 7, 6 th, and Diminishe Lesson 2: Using Chords to Create Hip Basslines Basslines ...................... ................................. ....................... ....................... ....................... ....................... ...................... ...................8 ........8 Part II Introductio Introduction n ...................... .................................. ....................... ....................... ....................... ....................... ....................... ....................... ....................... ...................... ....................... ....................... .................12 ......12 Lesson 3: Playing Playing in a “Comping” “Comping” Style—“Lizard” Style—“Lizard” ...................... ................................. ....................... ....................... ....................... ....................... ...................... ...........12 12 Lesson 4: Playing in a “Comping” Style—“Take Style—“Take Five” ........................ ........... ......................... ......................... .......................... ......................... ........................13 ............13 Lesson 5: Playing in a “Comping” Style—The Style—The Blues, Part 1 ....................... .................................. ....................... ....................... ....................... ...................16 .......16 Lesson 6: Playing in a “Comping” Style—The Style—The Blues, Part 2 ....................... .................................. ....................... ....................... ....................... ...................17 .......17 Lesson 7: Playing in a “Comping” Style—The Style—The Blues, Part 3 ....................... .................................. ....................... ....................... ....................... ...................19 .......19 Lesson 8: Playing Playing in a “Comping” “Comping” Style—“Suga Style—“Sugar” r” ..................... ................................. ....................... ...................... ....................... ....................... ....................... ..............21 ..21 Lesson 9: Playing in a “Comping” Style—“Rhythm Changes” ......................... ............ ......................... ......................... .......................... ........................24 ...........24 Part III Lesson 10: Chord Melody Arrangement—“Amazing Grace”..............................................................................37 Lesson 11: Chord Melody Arrangement Arrangement—“Ove —“Overr the Rainbow” Rainbow” ....................... .................................. ....................... ....................... ....................... ...............42 ...42 Lesson 12: Chord Melody Arrangement—“The Shadow Shadow of Your Smile” ......................... ............ .......................... ......................... ....................47 ........47 Lesson 13: Chord Melody Arrangement—“Su Arrangement—“Sugar” gar” ..................... ................................. ....................... ...................... ....................... ....................... ....................... ..............51 ..51 Lesson 14: Chord Melody Arrangement—“ Arrangement—“How How High the Moon” ...................... .................................. ....................... ....................... ....................... ...........55 55 Lesson 15: Looping Arrangement—“There are No Accidents” ........................ ........... .......................... ......................... ......................... .........................59 ............59 Conclusion Conclusion ...................... .................................. ....................... ....................... ....................... ....................... ....................... ...................... ....................... ....................... ....................... ....................... ...................62 ........62















About the Author

Photo by Timothy Raab

Dedicated to my wife, Julie, My children, Hunter and Thea and to the memory of my Mom, Harriet Dimin Originally fom the New York City area, Michael Dimin has been a professional bassist bas sist for over 30 years. He is an endorsing artist and clinician for Zon Guitars and Euphonic Audio Amplifiers. Mike also endorses Thomastik-Infeld Strings, Boomerang Musical Products and Encore Music Software. Mike has played all over the world with different artists and his solo bas s work has been featured in Bass B ass Events throughout the US. Mike attended the Berklee College of Music, which inspired the chordal approach he has taken to the bass. Mike’s lesson column, “Bass Alone” appears regularly in Bassics Magazine. He has been a lesson columnist and editor for Bass Frontiers Magazine. He has also penned lessons for Bass Player Magazine, Mel Bay’s www.basssessions.com, www.bassically.net, and www.talkbass.com. His work has been featured in Bassics Magazine, Bass Player Magazine, Global Bass and more. Mike lives, performs and teaches in upstate New York with his wife Julie where their most important gig is that of being parents to Hunter and Thea. Mike would like to thank a few people: Joe and Mark at Zon Guitars, Larry Ullman, John Dong and Gary Gibilisco at Euphonic Audio, Jake, Chris, Kevin and Eliza at Connolly & Co., Lucille Wurtz at GVOX, GVOX, Mike Nelson at Boomerang Musical M usical Products, Ron Garant at Bassics Magazine, Dave Sinclair for the push to arrange “Amazing Grace”, John Chiara at SOS Recording, Michael Manring, Dave Tuckman at www.bassbooks.com, Brian Melick, John Neves, Greg Mooter, Tom Lanahan, Terry Dunlap, Rob Fisch, all my students and the rest of the adventurous spirits who book solo bass performances.















About the Book It was 1979 when I started on my quest to develop a technique to express the voice of my bass in a solo context. At that time there was no widespread use of 5 or 6 string basses, Digital Audio Workstations were only a dream and the ability to create multitrack recordings at home was in its infancy. Along with the many technical limitations, the role of the bass player was fairly set in stone. Although Jaco Pastorius’ groundbreaking, self titled debut album had been out a few years, there were still many who derided his work and the e mergence of the bass as a solo voice. With the emergence of Jaco and Stanley Clarke also came a revolution, a revolution that would change the way that the bass would be looked at forever. The bass is no longer the direct descendent of the Tuba. It is not just a smaller, more convenient upright bass. Although it has taken nearly 50 years, the electric bass has finally gotten its due as an instrument capable and suited for any role in the musical spectrum – including the role of soloist. For me, it started out as a challenge. I had heard rumors of a bassist who could play “Misty” in a chordmelody style. I took it upon myself to do it as well. For nearly 25 years, I developed the techniques that I present here. From the day I took up the “Misty” challenge to now, the bass landscape has changed dramatically. Although solo bass is still somewhat rare, bassists all over the world have realized that the role of the bassist has forever changed. The full range of the instrument and, more importantly, the bassist has finally been realized. Bassists still are called upon to support the band and, as my friend Andy Cichon says, “serve the song,” but we have also been afforded the solo spotlight and the leader’s role. The solo work of players like Stanley Clarke, Michael Manring and Victor Wooten have forever changed the way we look at bass. The role of these players and countless others have given each of us the inspiration to create new techniques, sounds and a vision for the bass.

How to Use this Book The Art of Solo Bass is about the use of chords in performance, arranging, composing and the development and exploration of new techniques. The Art of Solo Bass is a jumping off point for you, a place to glimpse the possibilities of your instrument. The Art of Solo Bass will investigate using chords to enhance and embellish bass lines, develop a “comping” style to perform in an ensemble situation and finally to create solo arrangements for practice and performance. The Art of Solo Bass is divided into three sections. The first section of The Art of Solo Bass looks at using chords to further develop your existing bass lines. Part II of The Art of Solo Bass investigates using chords as an accompaniment to a soloist (“comping style”). Finally, The Art of Solo Bass will present to you some solo arrangements for bass. Performance notes and tablature will accompany each arrangement.

















Conventions “Chord Charts”, a graphical representation of the harmony of a tune, will accompany the arrangements in this book. In popular music, and especially jazz, there is no universal way to notate a chord chart. For example a C major 7 chord (C, E, G, B) can be notated as follows:

“CM7 “CM7”, ”, “CM “CMaj aj7” 7” or “C 7”

For the purposes of this book a C major 7 chord will be written as CMaj7. The following presents commonly seen forms of many chords and the conventions used in this book.

Chord

Convention

Example

Major7 Dominant 7 Minor7

maj7 7 m7

Cmaj7 G7 D m7

Half Diminished

m7( 5)

Bm7( 5)

Additionally, there are some other chord conventions to be noted. 6/9 chords are often substituted for a Maj7 (C6/9 for CMaj7) when the root is in the melody. The substitution of the 6/9 for the Maj7 is used to avoid the clash of the 1/2 step interval between the 7 th (B) and root (C). The 4th and the 11th of a chord are the same note an octave apart. The same is true of the 6th and the 13th. The 4th of a chord (as in a Csus4 (C, F, and G) and the 6th of a chord (as in a C6 (C, E, G, A)) are reserved for major chords. The 11th and 13th will be used for dominant 7th chords. For example a C11 would include the notes C, E, G, B , D, F while the Csus4 would include C, F, G. An 11th or 13th in the chord implies that the 7th and 9th are part of the chord. Dominant 7th chords with a ( 9), ( 9), ( 11), ( 13) or ( 13) can also be written as an “altered” chord. For

















Part I Lesson 1: Playing Major 7, Minor 7, Dominant 7, 6 th , and Diminished and Half Diminished Chords. In this lesson we will look at playing many of the different chords that comprise the harmony of a tune. Playing chords on bass is accomplished by using a triple stop, the plucking of three notes simultaneously, or as an arpeggio (one at a time). The technique is similar to that used by fingerpicking or classical guitar players. The side of the thumb is used to pluck the bass note while the index and middle finger play the upper structure of the chord. The most important aspects of playing chords, on bass, are the choice of notes and their voicing. When choosing notes we strive for clarity and definition while trying to faithfully represent the chord’s unique sound and function within the piece. The root, third and seventh of the chord are the most important for most major, minor and dominant 7 th chords. The root is obviously important. The third and s eventh, the “guide tones”, give the chord its major, minor or dominant quality. When determining voicing or how we play those notes, we need to look at clarity as our number one priority. Because of the low frequency of the bass , a chord voiced in a “closed” position (root, third, fifth, seventh) will sound muddy. Chords voiced in an “open” position will have clarity and definition. In choosing the voicing for a chord, remember to strive for clarity and definition while faithfully representing the chord and its function. Spreading the voicing of the chord tones will lend clarity and definition to the sound. Listen to the two examples of the G7 chord. The first is in closed position, the second is voiced in open position. Listen to the added clarity of the open voicing. Please note that the 5 th has been omitted from each chord. We will investigate this a bit later on.

#2

T A B

04 03 04

T A B

05 04 04

















We will look at each chord in open and closed position. As chords get higher on the neck or are played on upper strings, the ability to play chords in closed voicings becomes more of a reality as the sound becomes clearer. For the purpose of this example we will use chords based on the root note G for chords with an open voicing and the root note C for chords played with a closed voicing. Remember, since bass is a symmetrical instrument, we can move these forms around to create a chord based on any root note. Performance note: Our first inclination is to fret the lowest note of the chord with our index finger. As a general rule use the middle finger for the lowest note. This will make playing the examples and arrangements considerably easier and more efficient. Your index finger will play the notes on frets below the position of the middle finger, while the ring finger and pinky will play the notes of the same fret or above the position of the middle finger. You will see, however, in Part III that we will alter from this rule, at times, to get certain chord voicings or melodic notes. Here are some possible voicings of the chords based on the root G. Remember to keep the middle finger on the lowest note of the chord, in these instances the G. #3

T A B

GMaj7

Gm7

G7

G6

Gdim7

G m7 5

05 05

04 04

05 04

05 03

04 03

04 04

04

04

04

04

04

04

Here are some possible voicings of the chords based on the root C. Remember to keep the middle finger on the lowest note of the chord, in these instances the C. #4 CMaj7

C m7

C7

C6

Cdim7

C m7 5

















Lesson 2: Using Chords to Create Hip Basslines

Introduction This lesson will deal with embellishing your really groovin’ groovin’ bass line. Listening to the work of legendary legendary bassists Jaco Pastorius or Chuck Rainey, we hear examples of double stops (2 notes played together) or chords (3 or more notes played together) to create interest and variation in their bass lines. The following examples will give you some examples of using double stops and chords to develop this kind of interest and variation in your own lines. Example 1 shows measures 9 and 10 of a funky Blues in G. G. Measures 9 and 10 of a blues are often times the V chord moving to the IV chord. In this example, we see descending, chromatic, dominant 7 th chords moving from the V chord (D7) to the IV c hord (C7). Each chord is comprised of the Root, Third and Seventh of their respective chords. Each chord is played in the closed position. We can use the closed position here due to the fact that the root is fairly high and the voices are clean and clear. Example 2 is two bars of a funk line in F. The chord tones (F, E , A) of the F7 chord are arpeggiated (played one note at a time), and held to give that chordal quality. Note that the Third of the F7 chord (A) is played up an octave (the tenth) to spread the voicing and make the chord clearer. Example 3 is a bit of a slap example in the key of G. We use the chromatic idea from example 1, only this time the chords ascend. We see ascending dominant 7th chords moving from F7 to G7. As in example 2 the third of each chord is played up the octave for clarity.

















#5

Example 1

C7

D7

T A B

G7

17 16 17

10 11

12

12

16 15 16

15 14 15

3 4

5

5

3 5

10

3

#6

Example 2 F7

F7

14

T A B

3

1 1

3

13

3

1

3

3

1

13

#7

Example 3 G7

T A B

G7

3 5

5

3 3

3

3

3

3

3

5

4 3

5

5

5

14 13

15 14

16 15

13

14

15

5 3

3

3

3

3



















The following three examples come from actual bass lines to songs. Example 4 makes use of a double stop to imply a G7 chord. This is from the Weather Report song, “Birdland.” At 1:46 into the tune (Measure 55) Jaco walks up from an E to a G and then ends the line by sliding up to the third and seventh of the G7 chord, played a double stop. Example 5 is another double stop example that helps define the chord. In this instance it is just the root and the fifth. As in example 2, they are arpeggiated and held to give that chordal quality. This is from Meshell Ndegeocello’s bass line on John Mellancamp’s “Wild Nights”. Example 6 is another double stop example that helps define the chord. In this instance it is the root and the tenth (third up an octave). It is from the rock classic “Walk on the Wild Side” by Lou Reed.

Conclusion Adding double stops or chords to your existing bass lines adds both interest and variation. Chords and double stops can outline or define the harmony. This is especially useful when there is no other instrument playing harmony or behind a soloist. Using chords and double stops sparingly will add interest without being overpowering, will help define the harmony and provide a solid harmonic foundation to the song.



















#8

Example 4 G7

G7

0

T A B

2

3 0

5

1

2

2

16 15

3

#9

Example 5 Em7

Em7

G

G

12

T A B

5

2

5 5

0

2

5

2 5

2

12

5

0

3

#10

Example 6 C

12 12

F

3



















Part II Introduction In this section we will learn to play in a “comping” style. A comping style refers to a style that accompanies a soloist. This is particularly effective when playing without another chording instrument or when the chording instrument is taking a solo. Writing, arranging and playing in this style will open new horizons for you: You will become a better musician and therefore a better bass player. You will have a greater understanding of the way each chord functions in a song (functional harmony). You will be able to play in non-standard combo situations, due to your ability to cover more parts. You will have a better “trained” ear.

We will examine five pieces in this section. We will begin with a simple but funky harmony based on a II-V progression. The II-V refers to chords built on the 2 nd and 5th degrees of the major scale. You will find II-V’s often in jazz.

Lesson 3: Playing in a “Comping” Style—“Lizard” Style—“Lizard” The II-V is based on the 2nd and 5th scale degrees of the major scale. In this case, the chords are B m7 to E 7. The recording begins with the tune’s actual bass line. Secondly, the chords are faded in. Finally, the bass line fades out and we are left with just the harmony. The B m7 chord is voiced Root, 7 th and 10th (open position) while the E 7 chord is voiced Root, 3rd and 7th (closed position). The rhythm is simple and straightforward. Remember to play the root of each chord with the middle finger. If you start this way, you will see just how easily the chords “fit” under your fingers. Please note that the upper staff is played an octave high-



















Lesson 4: Playing in a “Comping” Style—“T Style—“Take Five” Five” In “Take Five” two challenges present themselves: The time signature of 5/4 is unusual. Although the song should be familiar, listen to it closely to hear the 3+2 nature of the time. Finally, the key signature of 6 flats (E Minor) can be difficult but every chord except for the Fm7 to B 7 in Measure 16 is diatonic (in the key). In the performance both the harmony and rhythm are reflected. In order to develop the rhythmic feel, perform this by alternating the bass note (plucked with the thumb) with the guide tones that are plucked with the index and middle fingers. Here is the first measure. There are 3 beats on the E m7 and 2 on the B m7.

E m7

B m7

Although the eighth notes played on the E m7 are written as standard eighth notes, the feel is more of the “swing” or “jazz” eighth. Let’s take a moment to look at the “jazz eighth.” The jazz eighth is notated just like any other eighth note. The difference is in the interpretation. Although the jazz eighth is a “feel” thing, it can best be approximated as three eighth note triplets, the first two being tied. The jazz eighth could be the single biggest factor in making any piece swing!



















Take Five

#12

Paul Desmond

E m7

B m7

18 16

T A B

18

18 18

B m7

18 16

18

18 16

18

B m7

18 16 18

18 16

E m7

18 16

18 16

18

B m7

18 16 18

18

18 18

B m7

18 16

18

E m7

18 18

18

B m7

18 16 18

18

18 18

18

18

18 18

18

E m7

18

18

E m7

T A B

18 16

E m7

18 16

18 18

18 18





















C Maj7

T A B

A Maj7

15 13 14

F m7

15 13

B m7

16 16

E m7

18 18

18 18

14

A m7

18 16

D7

16 16

16 16

18 16

18

B7

E m7

18

16

B m7

16 15 16

E m7

16

B m7





















Lesson 5: Playing in a “Comping” Style—The Blues, Part Part 1 The next three lessons will look at The Blues in the key of F. We will start simply. Each additional chorus will add interest and variation through rhythmic variations, chord substitutions and reharmonization techniques. The first chorus is performed in a simple “comping” style with a swing feel. The swing feel comes from the “syncopation” or accents on the weak beats. In this arrangement accents or “hits” alternately come on the upbeat of beat 2 or the upbeat of beat 1. #13

Example 1 Play 1 octave higher than written F7

B7

F7





















Lesson 6: Playing in a “Comping” Style—The Style—The Blues, Part 2 In this example we will add harmonic interest through reharmonization techniques. Reharmonization is a technique by which we add or substitute chords to the harmony for interest and surprise. Reharmonziation is a powerful tool. As we delve further into these techniques, we can easily loose sight of the importance of the harmony and its function within the tune. Use reharmonization techniques judiciously and remember that your ears are always the best judge. Reharmonization or chord substitutions are jazz techniques that add interest to the harmony. In The Blues, Part 2, we will look at three examples of reharmonization and the theories behind them. Play this chorus and learn the sound of these reharmonizations. You might be surprised how often you hear them being used. The three reharmonization techniques in this chorus are the “II-V”, the “Substitute Dominant” or “Sub V”, and Root Motion. In the “II-V” substitution, any chord can be preceded by a chord progression made up of chords based on the and 5th scale degree of that chord’s scale. Alternatively, you can precede a chord by just it’s “V” chord. In this example: 2nd

Measure 11: the F7 is preceded by its “II”, a Gm7 in measure 9 and its “V”, a C7 in Measure 10.





















#14


T A B

B7

B7

14 13

14 13

13

13

13 12 13

Bdim7

F7

13 12 13

F 7

F7

14 13

14 13

15 14

15 14

14 13

13

13

14

13

13

F7

G m7

A m7 5

B7

14 13 14

D7 9





















Lesson 7: Playing in a “Comping” Style—The Blues, Part Part 3 So far, we have looked at 2 choruses of a 12 measures, blues in F. The first was played in a simple “comping” style. Then we added some interesting harmonic variations through reharmonization and chord substitutions. Now let’s add a walking bass line and rhythmic variation. When creating a walking bass line, the goal is to connect one chord to the next in a smooth linear motion. A walking bass line makes the piece swing. There are two features to a good walking bass line, rhythm and note choice. A quarter note feel with “jazz eighth” embellishments characterizes the rhythm of a walking bass line. We have already investigated the “jazz eighth” in the lesson on “Take Five.” In building this walking bass line, three rhythmic techniques will be used: Measures 1, 2, 9 and 10: the bass notes are played on the down beat and a double stop, of the guide tones, are played on the subsequent eighth note. Measure 3: chords are played on each of the four beats of the measure. Measures 7 and 8: chords are played on the downbeat while a walking bass line connects to the next chord























#15


B7

F7

F 7























Lesson 8: Playing in a “Comping” Style—“Sugar” Style—“Sugar” Example 13 is the changes to the tune “Sugar” in a “comping” style. Sugar is a minor blues. This example combines all of the previously mentioned techniques, including chords, rhythmic variations, reharmonizations and walking bass lines. Give it a try. try. In the Part III of the book, we will look at this same tune in a chord melody style. On the CD, there are two choruses of the tune. The first chorus is just the accompaniment, the second chorus has a solo overdubbed. This is to see how the “comp” works behind the soloist. As some of these arrangements get a bit more complicated, we will break it into sections or focus on individual measures of interest. Let’s start by taking a look at the original chord progression. No melody or reharmonizations are present. Following























Let us take a look at “Sugar” in a comping style, complete with reharmonizations and rhythmic variation. To To start, let’s look at an overview of the rhythm. The swing feel of this tune is driven by two distinct techniques, both of which can be found in Measure 5. The first is playing the chord as two eighth notes, the first eighth note is the root and the second eighth note is the chord’s upper structure. The root is held throughout the entire value of the chord. We saw this earlier in our “comping” style of “Take Five.” The second technique is the use of a walking bass line in be tween chords. This walking is comprised of either single notes or of descending chromatic chords that lead to a target chord.























C m7

15 13 15

T A B

C m7

A m7 5

D Maj7

15 13 15

17 15 16

D m7 5

C m7

15 13 15

G+7

C m7

D Maj7

15 13 15

17 15 16

A m7 A 7 G +7

D m7 5 D 7 9























Lesson 9: Playing in a “Comping” Style—“Rhythm Style—“Rhythm Changes” Next to the Blues, “Rhythm Changes” is probably the most often quoted set of chord changes in Jazz. “Rhythm Changes” is based on the chord changes to George Gershwin’s “I’ve Got Rhythm”. Numerous jazz standards have been based on these these changes. The most famous of these are probably probably Sonny Rollins’ “Oleo”, Thelonius Monk’s “Rhythm-A-Ning”, “Anthropology” by Charlie Parker and of course the theme from the “Flintstones.” “Rhythm Changes” is a 32 bar song s ong in an “AABA” form. In a 32 bar “AABA” “AABA” form the song is divided into four, 8-measure sections. The first 8 bars, the “A” section is stated and then restated before moving to the “B”



























































































































































































































































































































































































































































































































There are No Accidents

#31

Michael Dimin E 7sus4 7sus4

F m7

Intro

E7sus4

F m7

E 7sus4 7sus4















F m7

E 7sus4 7sus4

D add9

F m7

A















Conclusion I hope you have enjoyed this excursion into the realm of chordal playing, solo bass arranging and looping. More than anything, I hope that it has shown you a new way to approach your instrument and a new way to look at a song. Although it is great that you learn these arrangements, it is more important to remember the theories and techniques behind them so you can compose your own pieces and develop your own arrangements. Finally, I hope that you spread the word that the potential of the bass and the musicians that play the bass are limitless.

20845BCD Manuscript.qxd - Clyde

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