TABLE OF CONTENTS CHAPTER
PagP I.
CHAPTER
II.
CHAPTER
III.
CHORDS
4
OUIZ...
CHABT READING: ASTABTING GUTDE STYLES ENCOUNTERED
.......... t0 .. ........ tl ........ 14
.
swtNc.
Leamingto Play ín theSwingstyle..
Blues...
... THEJAZZWALTZ..... ROCK .. LATIN.. Bocsa Nova Samba . Beggre.. SOLOS . BASS LTNES GETTINGA"NATURAL''SOUND. MORE ON CHORDS 9ü, llth and t3th Chords . TheTuo Beat
CHAPTER IV. CHAPTER V. CHAPTER VI.
Divising Formulas for Determining Chord
Non€hordal
Tones
CHAPTER VIII.
CHAPTEB IX. CHAPTER X.
..
. Diminished Scales MTSCELLANEOUS ..... SamplingoÍa chan... CleÍs. '. Give the Chart a Chance A Word on Major/Minor ln Addition DTSCoGRAPHY RAY BRoWN REFERENCE Scales and Chords
CHAPTER VII.
'
BASS CHARTS
.... ...
....
14
....... t6 ..,... 1l ....... 21 .....24 .......... 25 ...........27 .,.. 2t ....... 29 ...... 29 ...... 3() ....... 32 ........33 ..... u ........... 34
Memberc..........
3g
...... . 39 ..........,10 .
........... 42 ......... 43 ...'...43 ........... 44 ...... 45 ...... .[6 ........46 ........ 48 '.. '.. 5í ...,., , ,, , 52 (From the album "Hate To See You Go") ........ 53
ABOUT THE AUTHOR.
..
.
JOHN CLAYTON, born August 20,1952, has made great musical strides in the past years.
A list of the professionals with whom He has studied
he has worked would be too extensive to list here.
with Ray Siegel, Ray Brown, Carol Kaye, Abe Luboff, Murray Grodner
and Eugene Levinson. ln 1975, he received his Bachelorof Music in Double Bass from
lndiana University. At age 19, he was the bassist for Henry Mancini on the television series,
"The Mancini Generation." He worked for two years with the Monty Alexander Trio. John has played in many professional big bands and now tours with the Count Basie Orchestra.
3
PROSPECTUS The things that one learns and retains come, mainly, from experience. The purpose of
this book is to present some of the more common situations with which a bassist will -have to cope when reading Big Band music (of course, much
will apply to other musical
styles and situations encountered). The purpose is to also persuade the bassist to do his
own research, especially in regards to stylistic influences and aural development (too many bassists know only how to read and have underdeveloped ears). t wllt talk about certain approaches to solving problems most often
of the solutions at your disposal. as are available to
I
encounterd.
These
will be SOME
strongly advise you to learn from as many souroes
you.
DEDICATION This book is dedicated, first and foremost, to my firct musical inspiration. This person was feeding music into my soul while
I
was nestling in the womb.
.
Thanks, Mom. secondly, this book is dedicated to those who have given me inspiration in my post-womb days. To name a few: Jeffery, Janine, Joseph, Jerome, Jennifer, Joy,
John Sr., Ray & cil and
rineke. And to
those not mentioned (you know who you
are).
Many thanks to all of those who contributed the bits and pieces that make up thas
book. Your aid was immeasurable.
pnvrisht @.ts78 by STUDlo 224,- clo CPP/BELWlN, tNC., Miamí, Florida 33014 lnternational Copyright Secured ú.a!-r" Ü.c.Á. All Rights Rererved
4
CHAPTER
I
CHORDS This is probably the most important section of the book. Many (and I mean MANY) bassists don't have the understanding of the basic chords that they must know.
Learn this section. Listen to what each chord sounds like while playing
it. The
purpose of learning this is to condition your Íef|exes to play the notes of a chord when
you see and/or hear the chord. For the sake oÍ creativity in bass Iine construction, later you won't need to play ONLY the notes (chordal tones) of a given chord. However, by that time, when you see a QJ, you'll "hear" what it should sound like.
l have vertically categorized the chord types' Please make special notice of the diÍferent ways that these chords will appear (example:
Q
is also written as
left it up to you to complete the section on diminished chords.
us hear the chordal tones
$!gf
). Also,
I have
(, (
Me,Í^R
&009
c-
cp
(r,,nt
7b
eb
, __ ebnwoe
eb
Ub-
ítbb
ebb
rrteíoR ol*fl
neful áaE^ffi
MNú. réií,NG
fuaj1
ruN2R
bbn^tb
6tífl
,í\]€^)fl c+il?O
Atlarat"al(o 6et€^)il
?mtilÉlIé?
fik6)
úr^nl
óv'rha
?*afi
Qarpe
as ut)
Eb1 eoe,
éo1 (ane e9 ctl (01
Qana Aq oo1)
rh
Qarae aq oIü+ co1)
Cb1
dq
Parl
01
Ag e,hl+ r.1)
ílbPl kene Po
?01 +
?1)
eÜEs
+6
í1hJ0R rnAfuR 06]uJ41
Cn,tMefl
*mra/or(
oélail\| fuArGo ltftA
ffiL-
gbr,1tnaí1)
Obr,r11na,1)
?br,16
rk-ot
8bM,N1?5)
ے1u1)
(,-1óá
G mw(m1)
*
A|JDN; C"tÉl-Kó rnAYífuk(, ft c'?u uru*tl"+lYt(, o ( uxít l^k A1 l, No( Íní;AN( l#t(.
*
eL?p RéíaReé?ft A6 |4Alt
üatÚp,lao
-
í0
CHORDS
outz 1. Fill in
the notes belonging to each chord. The root should always be on the down beat.
flt+á 2. Construct
a bass line using only chordal
bbPl
bb
tones. Use roots on the down beat only when it
helps in constructinq smooth bass lines.
e*,Artpí-(,
c
bbol
(ol
fuű
20
MEMOBIZE THE BLUES PROGRESSION. IT IS A MUST FOR THE BASSIST. Using the knowledge that we now have about blues progressions, we are able to put together
the pieces of our puzzle.
1. our key signature is 1 flat. We are in the key oÍ F majqr.(if of D minoi, "D minor" would be written above the staff).
2.
We were in the key
Our time signature indicates that the piece is tn 414.
3. "Walk"
tells us that the style is Swing.
4. "Blues"
tells us what the chord changes will be Íor 1 chorus.
5. "2 choruses" indicates that
we should play the blues progrcssion twice
(i.e., there are24 measures between Letter
A and Letter B).
í9
yl
wb1)
Í.1!b1)
Many, many variations exist. These, in Íact, are variations on earlier blues progressions. There may be times when the blues progressions you play may be extended (16 measures instead of
l2
measures, for example); or, it may contain only 3 chords----the 17, lV7 and
V7, as illustrated in the following example. 1 chorus
of 12 bar blues in the k34j.1p..1pgig
t8
Perhaps illustrating the above this way helps you in memorizing it:
T1
tr7
T,I
E1
You may also be required to play 1
a
M!g!
blues:
chq!'$ of 12 bar blues in the key of C minor:
oln
T1
17
BLUES There will be occasions when you get a chart that reads something like:
E
hlÍrlwau<'
Beíore you can walk the blues, you must learn the most often used chord progressions. They are being found more and more in bass books these days (not to mention other instruments. . . . . .guitar, piano, et.al.).
|chorus oÍ 12 bar blues in the key oÍ C major:
r6
It is generally
god
practice to "lay down" the time (play quarter notes)
@@
adding
"drops," triplets, etc', so that the band has an understanding oÍ exactly wherc the time Íeel is. You are preparing a foundation upon which the rest oÍ the band plays, After you sense that the band is sure oÍ where the time feel is,
it is generally o,K. to throw in other
rhythmic figures (with some bands, the bassist may have to play quarter notes Íor the duration of the song. With other bands, it may take only one measure). Also, unless a special efÍect is desired, play quarter notes more on the legato (long} side than on the
staccato (short) side.
LEARNING TO PLAY IN THE SWING STYLE There are diÍÍerent methods oÍ learninq how to play this
style. Here
is one that is taught:
Find a recording of a blues (or a song that you know the chords to) that is in the swing feel. The tempo should range Írom medium to slow. Ascertain the key. Listen carefully to what the bassist is doing. lf you wish, write out the chords being used. After MANY listenings (at least 10), play along with the recording. You may be required to re-tune your instrument to the recording. The volume oÍ the recording should be such that you can hear what you are doing AND What the rhythm section on the recording is doing. lí they don't physically get in the way oÍ your playing, headphones can be helpful. When playing, listen for the choice oÍ notes that the original bassist is using; if you like them, play them along with him whenever possible. lf you have some ideas that you think go well with what is being done, try them. All oÍ this should be done
WlTH THE REcoRDlNG' lf done properly, you'll notice immediately ií you are a Íraction of a beat ahead or behind what was done on the recording' Double bassists and fretless electric bassists should make left hand adiustments when needed to retain good intonation (play your instrument with your ear as well as with your technique). Concentrate on lockino in to what has been done. When you are in a similar environment, you will be able to play this style with little or no problem. Perhaps you'll notice mistakes made by the bassist on the recording. Ear-mark them and avoid making the same mistakes. This method is suggested for learning the feel for any style oí music.
ln the chapter on SOLOS (Chapter lV), I have explained and outlined the above technique for learning solos and transcribing bass lines.
t5
ftI a uÍÍLér)rr?péas 6nss
by austin and s apaug arr. by gary pot te r
taro /ur4,9a47/o't/ I
I
as opposed to something
l^
va-
lr
not in the swing style:
a4ár
-r
@^ffi?
By Jim Edison
-'-
h
14
CHAPTER
III
STYLES ENCOUNTERED SWING ln order to capture the swing feel, you must familiarize yourself with
it.
This is done
by listening; absorbing this feel into your ear and conscience. Playing along with records is the second important step to
truly understanding this and other styles
as
well (and, of
course, it is important to eventually get some experience working with other musicians). I won',t
attempt to define swing.
I
will, instead, try to explain what is expected of a bassist
who must play in this style. The quarter note
(
J) I
is the
important metric unit here. You create a bass line within
the chords by playing, basically, quarter notes.
TechnicallY,
it is simple. ln glancing at a piece of music, if you mainly see quarter notes, you can usually assume that it is in the swing style.
Swing style:
FAST 4
?oo?Le hrb Qun a.t 422. : ?03E2 ?eu
EArotl
r3
S!
6
F" s
\
ouö a< o
$q,
H
H*'
I
;l r
:t
\
a'.
:4.
al
l'^ o: O,O5
r'3.
:-a
OOo
g
l
sgq
6'l to L
J
..,
sb s x
$
S
$ ts
b
cs{ l..
s
t2
TRY USING THE PRECEDING GUIDE ON THESE TWO EX
LES:
öl
ffi-ffi
ffiffiffi Fj s
ffi
z
2?
6
;(]) @, ..-r ol
B 9
Br
i
+
-
c
::9 ;io
ffi-
-9-
ar!
"!'j *
:a
'!. ;j j-
U,
o zo
q z ffi
sg D
o cr = o
11
CHAPTER
II
CHART READING: A STARTING GUIDE The situation: You're a beginner when it comes to reading big band charts (bass parts). What do you
do?
How do you beginT Basic Things to Check For
LEFT HAND CORNER (top) Feast your eyes on the left hand corner. Make sure that you haven't accidentally been given a guitar part, for instance.
A quick glance at the clef will also help
determine this.
Look at the key signature. Take note of the time signature. Note the instructions given (style, tempo).
GLANCING THROUGH Now, as you glance quickly over the music, make a mental note of repeats, 2nd endings, fermatas (holds), cut-offs (pauses, railroad t
""krr//l,key
lst
and
and time
signature changes, instrument changes, D.C.'s and D.S.'s, arco and pizzicato indications.
RIGHT HAND CORNER (bottom) Finally, take note of what's happening at the end of the music. D.C.'s, D.S.'s, Codas,
etc. Also, watch out for tricky or deceptive endings (perhaps you'll have to play 2 bar ending in unison with the rest of the band, for instance). Use this guide and
1. 2. 3.
you'll experience fewer surprises:
Left Hand Corner Glance Through
Right Hand Corner
a
2l
The 2 Beat ln the swing style, the bassist often has to play ,,in 2,.,with a,,2Íeel,,,or a,,2 beal,,
pattern. These terms all reÍer to the same thing: the bassist plays, basically, on beats
1
and 3 (in the 4/4 meter). lnterpretation varies. Some bassists play half notes when playing
in 2:
Some play dotted quarters:
Mo6t often, you'll get a part written this way:
Or, this way:
22
Use your musical intuition to determine iÍ the above should be interpreted as is or as
half notes or dotted quarters.
ln many situations, you'll have to go from a 2 beat to a Swing feel.
'}.
ft€L
Here, the zbgg!sections have notated bass lines that you are to line starting in the sth rneasure and go back to
play. You walk an improvised
thezbge! feel in the gth measure'
It is not uncommon to see the term SWING used in place of
WALK.
It should be pointed out that the 2 beat style is not always a strict 2 beat; i.e., there are times When the 2nd and 4th beats are
played. This is done in a way that preserves the 2 beat Íeel
but allows the bass part to remain interesting, giving it a lift, keeping it unpredictable. Here is an example of what may be encountered:
23
by Tillman Buggs
AAe!
fy-Í
@
'
!-,tzt
At-
co9yíjllí . l s72 !' sluolo 22,l'
rí'Míqdcoc'Íllrr s.o'€d
16333
N'w
l/b.b h
5/{h
A.nü' tlabin'
U's'A
^!
Fb.
&p14
Rcht! ll6.6Md
21
Note that beats 2 and 4 arc generally left unplayed. When given a bass part that is in the 2 beat feel and
containsgl'
the rhythm
) ! ) t ,ro,
unoften take musical liberties
to make the part more interesting by expanding upon what has been given you (as in the example above). lt is the occasional additional rhythms (that include playing on beats other than |ust beats 1 and 3) that he|p to make the 2 beat Íeel more interesting.
THE
JAzz wALÍz
Here are four basic rhythmic patteÍns often played for Jazz Waltzes:
t.
When there are two different chord changes per measure, Example
No 3
is probably the
best to use. Here is a bass line to illustrate what you might play iÍ given only the chords:
brtleil bb1
ba
AN
?,r1
play a SWlNG Example No. 4 is usually p|ayed when a chan calls Íor a bassist to WALK or feel in 3/4.
81
25
ROCK This has turned into a general term throughout the years. lt is hard to be specific about what elements are oommon to all rock and roll because of its divercity. There is Acid rock,
Funk, Bossa rock, Boogaloo feels, Punk rock, Gospel rock, Reggae rock and who knows how many other kinds that cropped up while you and Generally, when you see
I were
"Rock" indicated m a style
sleeping last night.
in which you are to play, the eighth
notes are played even or "straight."
Rock:
as opposed
to
Swing:
=9-+
sometimes a performance instruction of sTRAIGHT EIGHTHS_will be indicated on your part:
TIhE Bnss
NIEW
OArS
,$\tlErDW
By Russell Peck and Kurt Carpenter
Fagr Q=III
26
Quite often you'll be given an example oÍ a rock pattern and will be instructed to improvise your own rock pattern, similar to the example given to you.
hv)Üíű) fuM)a1 uű?)
The Íeel will not be swing when you see the perÍormance instruction
JAZZ ROCK.
The eighth not6 are sti[ prayed "straight" and shourd not be prayed in the swing styre:
únr
F:a:."-El.r.ta gb
Abl
€b7
Rock is so readily accessible today that l leeve it to you to do the Íinding and listening to of the rccordings available.
Ca7
27
LATIN A few styles encountered that take their roots from south America and the west lndies (via Africa) are the Bossa Nova, the Samba and Beggae.
Bosa Nova The
baic
Bossa Nova beat
is
), il,
) . ,n.
eighth notes are ,,straight.,, you can
expect to occasionally see a chart like this:
Ouite often Bossa Nova lines consist of, basically, roots and fifths in this sort of rhythmic pattern (this is also a probable bass line for the chord changes given above):
you can usualty assume that if you see the pattern
), )'r). )o. J, )J
)that
style will be bossa nova:
lla.hsn
_-
the
28
fleb.Sw zsse kte
This rhythmic Íigure is also used for the,,Soft Rock,'style:
--
E
Samba
For those that are unfamiliar with the Samba, it is usually best to start off by thinking
of it as a fast Bossa Nova. This is a good starting concept. As your experience wíth Latin music grows, your knowledge of bass parts and how they work in this style will grow also. Here is an excerpt oÍ a typical Bossa chart that goes into a Samba feel toward the middle.
A suggested bass line has been included:
el,
@;ffi d'J 22o
(ril
A1
Reggae
At this writing, there are few big band bass parts written in the Reggae style. With its growing popularity, I imagine that there will be more and more written. Below you will
find a few examples of some Reggae bass lines. Note that the emphasis is on beat 2, primarily, and that the lst beat is generally left unplayed.
ELat)C
rfréae,
n
Recorded examples of this style can be heard by such artists as Slinger Francisco ("The Mighty Sparrow") and Lord Kitchener.
4AnbA-
30
CHAPTER IV
soLos It takes a long time to be able to play mature-sounding bass
another
day' one
solos. Let's not put it off
oÍ the main reasons that many bassists don't know what to do when
given the chance to solo is because they are not afforded the opportunity to do so as
often, say, as a trumpeter or saxophonist. ln order to build this weak point in our playing, we have to consult those who are more adept at it than we are: back to the record player. My suggestion for building a repertoire of solo ideas is to "Steal,"
"Borrow," whatever (solos, that is). First, you must íind records of bassists playin9 solos that appeal to you and are not too far advanced for you, technically. Do not be
afraid of being a "carbon copy" of someone. Nine times out of ten, the musician that you are admiring did the same thing' Besides, ií it works, Why not? Your future alterations to their ideas will be the things that dlstinguish your voice from theirs.
Your rejection oÍ the things that do not excite you enough to borrow help in developing your voice.
After finding
a
solo that you would like to learn, here is a guide that I recommend using
to help learn the solo:
1.
Listen to the solo 'l0 to 20 times (you may Íind that you need to listen to your eai is well devéloped, you may not need listen even 10 times). This must be done with the utmost concentration. You must absorb every slide, glis, gíace note and other nuances used.
ffi
2.
Sino the solo in unison to the recordinq 10 to 20 times. lt will probably be ÍrustratingatTi'st béóáuse you'll think that after listening to it 20 times that you have it memorized (incidently, don't be concerned about voice quality, lack oÍ a good range, etc. Just strive to sing fairly in tune). Hang in there after you Íind that you aÍen't able to sing it the way you thought you would be able to. By singing along with the Íecording, you are physically exercising your conscious and aural reÍlexes. Eventually, anything that you sing you will be able to play. We are attempting to make our instruments extensions oÍ our musical minds'
3.
Plav the solo in unison to the recordino (while sinqinq). Again, this will be a setback. Be prepared to do this 10 to 20 times.
4.
áí bettei
Plav the solo in unison to the recordinq without sinqinq. This is so that you hear what you are doing. lt is possible to get wrapped up in your singing and drown out any mistakes that you might be making, especially in regards to intonation.
40
SCALES AND CHORDS l have not taken a scalar approach in my presentation oÍ chords because l Íind it to b€ an approach that often conÍuses bassists' l will
nor point out a thing or two about
scales
and their reíationship to chords, but will leave much of the discovery up to you. Here is a way of deteÍmining what the notes are that make up the scale to a given chord.
Consider the followinq 4 bars:
('ű
en
bb,í1
After taking the chord in question (Gmin7):
1. 2.
Write out the chord members, extending
ittoa
13th chord
(C ab
oFACE).
Arrange the notes so that they form a major scale. (We can see that there is only one flat among our chord members. lt is saÍe to asqume that the scale will be D El. ihe scale contáining one flat, F Maior---F G A Bb
c
3' I
You now know the scale to be used Íor that particular chord---Gmin7 F Malor scale.
=
will use the above formula to determine the scales for the chords that remain in our 4 bar
progression.
c7 = C E G Bb D F c7 = F maior scale
A
= (one ftat) F maior (F
=gb Db r nb C eb G = min.7 =Ab major scale
Bb min.7 Bb
pb7 = Eb Eb
7 = ab
C
Ab Ob
major scale
F nr C =
(4
G A Bb C D
Ílats) Ab maior (Ab ab
(4ftats) Ab maior
E)
c
ob Eb F Gl
(Al Al C Ot Eb F
G)
39
NON.CHORDAL TONES When a bassist plays bass lines, to help in constructing a linear or smooth bass line, he/she
will play notes that don't necessarily belong to the chord (or scale of the chord).
They are acceptable passing tones and alterations that are usually played instinctively. Consider the following example:
e,
í1
u
(,
fl
ln analyzing the notes that
I have chosen
to play here, we see that there are, in each
measure, notes that don't belong to the chord. , . but they sound good.
I
was not
thinking írom a scalar approach When l constructed this line. Nor was l thinking about chordal tones and non-chordal tones. I HEARD a bass line in my head that would fit
wellwith the chords l was confronted with. ln order to do this, you must Íind records with interesting bass lines on them. . .thingo that you really like. Play these same lines yourselÍ (write them out or memorize them). DoN'T
ANALYZE THE BAss LlNE
UNLESS YOU REALLY WANT TO. The important thing is to get a flow of good bass lines surging through your veins. When you feel the need to analyze, go ahead. Analyze
your head
off. lt's Íun. Holding
of bass lines.
precedence over
qlyglg
oÍ bass lines is construction
38
DEVISING FORMULAS FOR DETERMINING CHORD MEMBERS When finding it diííicult to
fill
in chord members oÍ a given chord, dissect an example
and make a Íormula.
E G gb ' e Cvvv\,/ A) M3 m3 m3
Examole: C^=
or or or B) 4 3 3
A)
The The The The
distance distance distance distance
D
M3 or 4 (half-steps)
from C to E is a maior 3rd. Írom E to G is a minor 3rd. from G toBb is a minor 3rd. Írom Bb to D is a maior 3rd.
OR
B)
From From From From
C to E there are 4 halÍ-steps. E to G there are 3 halí-steps. G to Bb there are 3 half-steps. Bb to D there are 4 halÍ-steps.
Formula for a gth chord:
A) B}
M3-m3-m3-M3
4-3-34
(halÍ-stepe)
lf this section is too hard for you, you probably haven't gotten a Íull understanding oÍ Chapter
l.
lf this is the case, you should go back and review Chapter l.
37
Qblx^nt9
(eb
st1
36
6bt)
Gb-1
gt,
bnwl
í0
(nt,l1
e,, OI, -
I
fl-1
D-1
35
34
CHAPTER VI MORE ON CHORDS 9TH, 1lTH and 13TH CHORDS Here is a reference guide that you can complete for determining the chord members of
gth, llthandl3thchords. All areoftheTthchordfamily. lleaveittoyoutodiscover the
thinp that you will when pursuing and analyzing this.
ln the beginning, three examples will be given to you. The remaining 9 should be filled in by you. Starting in the Minor 9th section, only one example is given. You are to fill in the remaining
1
1.
By the time you reach the example of a C Mai. 13, you should have grasped the pattern in my examples. When comparing the chord types, we can see that the 9th is an extension
of the 7th, the 11th is an extension of the 9th, and so on. By the time you reach the Major 13th column, you should not find it necessary to complete columns on the Maior 9th and Major 11th chords. They are both contained in the Maior 13th chords.
3it
CHAPTER V GETTING A "NATURAL" SOUND (Íor Double Bassists)
Your sound is soÍnething personal' lt often helps the rest oÍ the band if you strive for a "punch" or a bit oÍ "edge'' in your sound. Some people add a bit more treble on their amplifier setting to help in getting the edge. Be careÍul, though, not to lose the ,,bottom,, rcund when doing this. Here is a system that you can use in setting your ampliÍier to help obtain and retain the sound that you want:
. 2. 3. 4. 5. 1
6. 7. 8. 9.
Turn volume completely down. Play a scale or line covering 2 octaves, ascending and descending.
Turn volume up to
Yz.
Repeat step 2.
Make tÍeble and/or bass ad|ustments on the ampliÍier so that you are able to retain the sound you were getting beíore the ampliÍier volume w6 turned up. When satisíied, turn volume up
to t.
Repear step 2.
Repeat step 5.
Continue process until you have reached the volume at which you normally play.
stuÍÍing towels in F_Holes helps cut down on feed-back (for those oÍ you that must play
Íairly loud).
A FEW CONTRIBUTING FACTOBS TO YOUR SOUND:
1, 2. 3. 4, 5. 6.
Your amplifier settings. Your instrument. How hard you pizzicato. Where you pizzicato (how you adjust your hand regarding vertical height). Where your strings are
"set" (how far away from the fingerboard they arel.
Your pick-up.
At this wÍiting, the tvr,o mo6t popular pick-ups Íor double bass are the Polvtone and
@@_b.and
pick-ups. Others are available, but these seem to be the most popular.
32
This has proven to be a useful technique for aural development for students that l've
had. The good thing about this is that the solo becomes a part oÍ you. . . . . .not notes on paper that are often easily Íorgotten and sometimes never really HEARD by us (that is to say, we'll sometimes be a
bit lazy and iust PLAY the notes instead oÍ really hearing
what we are doing). Bass Lines
Learning bass lines Írom records is recommended also. However, it is harder (but not impoesible) to memorize a chorus oÍ bass lines, usually, than it is to memorize a solo. I recommend
writing out bass lines that you find interesting by using a condensed version
oÍ the Íormula given Íor solos.
BASS
LI
NE TRANSCRIPTION
(Note: lt
1.
:
is best to use a tape recorder at its fastest speed')
AÍter listening to the song in its entirety a few times, figure out how much of the arrangement you are going to transcribe.
2. 3.
Listen to the Íirst 2 - 4 notes of the bass line. Write down what you hear (if unsure of yourself at first, take time out to play what you have written down.
4. 5.
)
Rewind to beginning oÍ the notes that you'Ve transcribed.
Start playing the recording again. Check to see that the notes that You've written down are correct and transcribe 2 - 4 additional notes
Continue this process until your goal has been reached. lf you have a hard time distinguishing some notes, listen to the notes in question a Íew times' sing them, if necessary. Play them on your instrument, iÍ necessary' Doing this should enable you to write them.
31
5.
Plav the solo without the recordino. Now you can really hear yourself. Check yourselí to see iÍ you're pleased with the type of sound that you're getting. Double check orr the inflections in the solo (perhaps, for instance, your gliss is too Íast)' Now, too, is the time to make changes that you might want to make. Perhaps a note or two on the recording was out of tune oi missed. Take the libertíeli to correct the intonation and play the note that the other bassist did not.
Review:
. 2. 3. 4. 5. 1
Listen to the solo
numtpr of times.
sing the solo in unison - With the recording Play the solo in unison with the recording Play the solo in unison with the recording
number oÍ times'
- number of times. -without singing.
Play the solo without the recording.
Keep these things in mind:
--
Always keep the volume of the recording at a level that enables you to hear the recording and yourself (whether you are singing or playing or both).
---
Use headphones
oNLY
if theY do not physically get in the way oÍ your playing.
Be prepared to retune your bass to the recording (recordings are usually about a 1/4-tone sharp) unless you have a pitch control device on your recorder or
turntable.
--
Find solos that you like and work at your own pace. lt should be an enjoyable experience and not a chore.
The more solos that you absorb, the better prepared you will be to deal with the musical
situation that requires you to play one. Don't be Írustrated if, after five solos or so, you
still are Íreezing up when it comes time to solo or your solos don't sound as ,,good., or "proÍessional" as the ones on records. lt iust takes time' YoU'll notice quite a bit oÍ selÍ_improvement With the increasing amounts oÍ solos that you learn.
4l
From the preceding analysis,
lrv€
are able to see that there are 2 sca]es used for the progression:
When tryang to utilize the preceding Íormula for a chord that has alterations, proceed as
usual. However, reverse the alteration so that there are no alterations in the chord and it remains a seventh or minorseventh chord.
Example: cr{bs) =
c,
After the scale has been determined, add the alteration (to the note from which it
wc
removed) to the scale. This will give you the @rrect scale for that particular chord.
Example:
1.
c7(bs) =
c E cb
gb o
FA c7=cEGBbDFA
2. (with alteration removed) 3. CT=CEGBbDFA = (one flat) F maior (F G A 4. C7 = F maior scale 5. c7(b5) = F Gb A Bb c D E (alteration added)
gb
Co
e)
42
DIMINISHED SCALES Here are the three Diminished Scales that should be committed to memory. The larger
note heads indicate the chordal tones of the diminished chords that they represent. The scales can be played starting from any one oÍ the chordal tones (large note heads).
For co7, Ebo7, GboT and Ao7, the scale is:
For Dbo7, Eo7, Go7 and Bbo7, the scale is:
For Do7, Fo7 ,
*o7
and Bo7, the scale is:
43
CHAPTER VII MISCELLANEOUS SAMPLING OF A CHART You will find an example of a chart below,......an honest-to-goodness chart. The arrangement has been charted out Íor you.
lt
is not that
difficult to figure out. however:
You have been given a key signature (Bb) and time sign ature (4/41. Notice, too, that the key and clef appear only once. They apply the duration of the song unless otherwise indicated. You've been told what the style is ("WALK" = Swing style). You've been given the chord changes (BLUES). Being told that it is a also tells you that one chorus willequal 12 measures.
BLUES
You have been told how many choruses to play.
At letter "A" you
are cued in as to when to expect a trumpet solo.
At letteí "B" there is an ENSEMBLE which is played Íorte'
At letter "c" you are instructed to walk the first t0 oÍ the t2 bars of the blues. Now comes the work: you play the written notes (such torture!) of the last 2 measu res.
44
-E[E'
The signs used to indicáte a certain amount oÍ measures or choruses vary.
They can also be used to indicate rests' This is not
The above illustrate a few that ar€'used. the case at Letter
"C," however. When presented with
a numeral above it, it indicates measures.
so, at Letter "C,'' we have 10 meirsures oÍ walking the blues. lf WALKhad not been indicated,
tne
ff
wouto have represented 10 measures of rest. Use your good judgment in these
ambiguous situations to determinrs what the copyist wants,
GIVE THE CHART A CHANCE Until you become more familiar With
a chart oÍ know what the composer/arranger wants
you'll play' you'll have Írom you, it is important to play what is written. on many charts
theopportunityto,,improve,'uponwhatiswritten.However,Íirstgivethechartachance' your ideas This is also a good way to show the band and band director how much better
oí the arranger's
may be when compaÍed to thos€
(as Íar as a bass part may be concerned)'
you to reinforce, harmonize' Be careÍul, though. The arranger may have in mind for
etc"
he/she another part. After reading through a chart as is, l'll often ask the conductor if Wants me to play exactly what
i!;
written. lÍ not, l've got a bit more Íreedom'
lt maY also help to keep charts Ínore interesting for all if, after you have thoroughly learned your better the chart.and Íind that you have a bit oÍ freedom, to try difÍerent thingE' Use
iudgmenttodetermineiÍthechartisthesortofthingthatyoucen,,stretchout,,with. to learn Let the chart act as a quide; a vehicle for your creativity' Again, it is important to sens€ when to play what is written'
45
CLEFS Here is a chart which may help you wlren you encounter the other cleÍs that bassists are often required to read; the Treble Clef and the Tenor
CleÍ' The notes
have been
arranged so that when viewed vertically you can determine what a particular note is in the various clefs.
Example: lf you read this note in the Tenor cleí
but are not sur€ of What
it is, by looking directly below it on the bass clef line, you can see that it is the same thing
astheBassCleÍ',C,'.lÍyoureadthisnoteinTreblec|"f#
"=-a-but are not suíe
oÍ what it is, by looking directly below it (2 staves} on the Bass cleÍ line, you can see that
it is the same thing
(é^Jo? cÉ(
6
the Bais CleÍ "E", and so on'
.lc
AWOBD ON MAIOR/MINOR Thg indication oÍ Minor (min., mi., m,
-}
after tho len.r naÍno oí t chord
(Example: C min'l always reíerc to altering th€ third. making its distance írom the
rmt
a minor third (3 halÍ*tepe}. So, you can see a chord with more than one
alteration (Example:
cr|!t
uut ií u!!gl does not immediately íollow tlre letter
name of the chord, the distance Írom the root to the thiÍd will be maior (4 halí-stepsl.
The indication oí Ma|or (Mai.,
M,A
)
after the letteÍ name oí a chord (Example: C Mai.l
always reíerc to a Maior sarcnth (one halÍ-step away Írom the
rootl. lf you
see C Maj.9,
it trÉaÍrsthat the seventh oÍ the chord is Major and there is alrc a ninth in the ciord
(CEGBD). A combination oí the 2 is poBsible. Example: Cmin.Ma|.9
=
c
eb
c a
o
You will na'er see CMai.min.7. ln order for the !D!!.' in the preceding example to eÍíect the thiÍd, it must appaar
!l!EElE!4y
after the chord's letter name (C4!q.Ma|.7l. ln
traditional theory, the phrase "Major Minor Seventh'' is used to reíer to a Sanenth chord. So, a C"Malor Minor Sanenth" = C7. IN ADDITION Suspended, Srs. 4. Sus' or 4 (appearing after the letter name oÍ a chordl all mean that the
third oÍ the chord is replaced by a Íourth. Example: C7 Sus. = c
!g!9! or-Pgl (appearing after the letter narn€ oÍ a chordl should be played
a
! c al
rneans that that
panicular note
a pedal tone (either to be played entirely or receive much emph*is).
chords with speciÍic bass notes. There will b€ tim6 when a bassist runs acrocs rcmething like this:
FrlC.
The F, above the slash (/) tells us what the chord is. The note below
the slash (Cl tells us the note that is to be played in the bass.
47
An example of items discussed in "lN ADDITION:"
01('{)
48
CHAPTER VIII DISCOGRAPHY The suggested recordings and discographies are Íor those who don't know where to start. The Ray Brown recordings were picked for their clarity in order to make it easy for the bassist to hear and analyze. lt is not mandatorv to acquire thes€ particular recordings, especially if the studeni has other rec6TdTnnTTFat he/she enioys more that illustrate what is being discussed.
The following discography is from "THE EVoLVlNG BAsslsT" by RuÍus Reid. "ln each category I have listed significant bass players that you should know or at least know their existence. These players represent only a small portion oÍ the many excellent bassists on recordings and also those who have not been as fortunate to record, The sole purpose oÍ this discography is to stimulate interest and broaden your total bass concept." BuÍus Beid, Author. "THE EVOLVlIvO BAsstsT" Duke Ellington - lN A MELLOTONE
RCA LPM 1364 Columbia 35322
Stewart - BOWIN' SINGIN' SLAM
LIONEL HAMPTON ALL STARS
Decca DL74194 Savoy MGl2067
Oscar Pettiford
ESSEN JAZZ FESTIVAL ALL STARS Pettiford - STARDUST PettiÍord _ MEMoRlAL ALBUM Pettiford - MY LITTLE CE LLO
Fantasy 8601 5 Bethlehem BCP-33 Prestige P87813 Fantasy 86010
Charles Mingus
Mingus - MY FAVORITE OUINTET Mingus - LET MY CHILDREN HEAR MUSIC Mingus - OUARTET AND MAX ROACH
Fantasy JWS5 Columbia KC-31039 Fantasy 86009 Fantasy JWS9
RAY BROWN ALLSTAR BIG BAND RAY BROWN AND MILTJACKSON Oscar Peterson - AF FIN ITY Oscar Peterson - WEST SIDE STORY Ouincy Jones - WALKING lN SPACE RAY BROWN AND LAURINDO ALMEIDA
Verve Verve Verve Verve
Modern Jazz Ouartet - LIVE AT THE LIGHTHOUSE Modern Jazz Ouartet - FONTESSA
Atlantic S-1486
The Three Sounds - MOODS
Blue Note 84O44 Blue Note 84057
Jimmy Blanton Slam Stewart
DUKE ELLINGTON AND ORCHESTRA
Minsus - TOWN HALL CONCERT Ray
Brown
Percy
Heath
Andrew
Simpkins
STANLEY TURRENTINE WITH THE THREE SOUNDS OUARTESCENCE
V&8444
V6-861 5 68516 68454 A&M SP3023 Century City 80102
Atlantic S-1231
Van-Los Music V LM3608
Chambers - BASS ON TOP Chambers - WHIMS OF CHAMBERS
Blue Note 81569 Blue Note 81534 Columbia CLl812 Columbia CS816Íl
Scott La Faro
Bill Evans - SUNOAY AT THE VILLAGE VANGUARD
Riverside 376
Gary Peacock
Bill Evans - TRIO '64
Verve V68578
Paul Chambers
MILES DAVIS AT CARNEGIE HALL Miles Davis - KIND OF BLUE
49
Richard Davis
MUSES FOR RICHARD DAVIS Eric Dolphy Memorial Album - ALONE TOGETHER Richard Davis & Elvin Jones - HEAVY SOUNDS Thad Jones & Mel Lewis - CENTRAL PARK NORTH Joe Zawinul - RISE AND FALL OF THE THIRD STREAM
BASF 20725 Veelay 2503 lmpulse A9160 Solid State 18058
vortex s2002
THE BILL EVANS ALBUM BILL EVANS AT THE MONTREUX JAZZ FESTIVAL Bill Evans - SIMPLE MATTER
Columbia 30855 Verve V68762
Bob Cranshaw
Lee Morgan - SIDEWINDE R Sonny Rollins- NEXT ALBUM Sonny Rollins & Co. - THE BRIDGE
Blue Note 84157 Milestone 9(X2 RCA LST2527
Ron Carter
Eddie Harris - lN SOUN D Carter - UPTOWN CONVE RSATIONS CArtEr . B LUES FARM Carter - ALL BLUES Miles Davis - MY FUNNY VALENTINE Miles Davis - FOU R AND MORE
Atlantic S1448 Embryo SD521 cTr 6027 cTr 6037 Columbia CS9106 Columbia CS9253 Blue Note 4195 Milestone 9045
Dave Holland
Hal Galper - INNE R JOU RNEY Holland - MUSIC FOR TWO BASSES
Mainstream 398
Buster Williams
Herbie Hancock - FAT ALBERT ROTUNDA Herbie Hancock - PRISONER Jazz Crusaders - POWE RHOUSE
Warner Bros. S1834 Blue Note ST8432l
Miroslav Vitous
Chick Corea - NOW HE SINGS, NOW HE SOBS Vitous - INFINITE SEARCH Weather Report - I SING THE BODY ELECTRIC
Solid State 18039 Embryo 524 Columbia KC31352
Stan Clarke
Clarke - CHILDREN OF FOREVER Chick Corea - RETURN TO FOBEVER Joe Henderson- lN PURSUIT OF BLACKNESS Dexter Gordon - CA'PU RANGE Joe Farrell - MOON GE RMS
Polydor PD553l ECM 1022 Milestone 9034
Wilbur Ware
Sonny Rollins - NIGHT AT VILLAGE
Blue Note 81581
Cecil McBee
Pharoh Sanders - THEMBI Charles Tolliver & Stanley Cowell - MUSIC, lNC.
lmpulse S-9206 Strata-East
Eddie Gomez
Herbie Hancock - MAIDEN VOYAGE Jim Hall & Ron Carter - ALONE TOGETHER
VANGUARD
Charles Lloyd - FOREST Sam Jones
F
I
ECM
101
lST
World Pacific 20136
Prestige 1005
cTr 6023
1
463 West Street New York, NY 10014
LOWE R
WES MONTGOMEBY AND FRIENDS Cedar Walton Trio - A NIGHT AT BOOMERS,
VOL,
Verve 68675
Milestone 47013 Muse 5010
50
ELECTR IC BASS DISCOG RAPHY Monk Montgomery
(First rccorded jazz electric bassist.) M. Montgpmery - BASS ODYSSEY M. Montgomery - lT'S NEVE R TOO LATE M. Montgomery - REALITY
Chuck Rainey
Roberta Flack - OUIET FIRE CHUCK RAINEY COALITION Ouincy Jones - WALKING lN SPACE
Atlantic S1594 Cobblestone 9008 A&M 3023
Jam6 Jameson
Marvin Gaye - WHAT'S GOIN' ON?
Tamila 5310
Richard Evans
Evans - DEALING WITH HARD TIMES
Atlantic SO1604
Wilton Felder
The Crusaders
-
2ND CRUSADE
Chisa CS806 Chisa Philadelphia I nternational distributed by Columbia
Blue Thumb BTS7000
CLASSICAL DISCOGRAPHY Gary
Karr
Bertram
CONCERTO FOR DOUBLE BASS Karr - BASS VIRTUROSO (Suite and Sonata for double bas and piano and lor double bass and guitar) Serge Koussevitzky -
Turetzky
Barry Green
Turetzky - THE VIRTUOSO DOUBLE BASS THE NEWSOUND OF BERTRAM TURETZKY
NEW MUSIC FOR THE DOUBLE BASS ROMANTIC MUSIC FOR THE DOUBLE BASS BAROOUE MUSIC FOR THE DOUBLE BASS
cRt s-248 Golden Crest 8E7031
Medea Records
ARS-NOVA RECORDS
606 Raleigh Pl. S.E. Washington, D.C. 20032 These may be ordered Piper Records
:
P. O. Box 1713 Cincinnati, OH 45201
ALBUMS ON WHICH RUFUS REID CAN BE HEARD ls lt ln - Eddie Harris Charlie Parker Memorial Concert The Chase! Gene Ammons and Dexter Gordon Kaleidoscope - Nancy Wilson lnstant Death - Eddie Harris Eddie Harris Sings the Blues Excurcion - Eddie Harris Mirage - The Awakening lncantation - The ForeÍront
Atlantic SD 1659 cadet 60002 Prestige I ff)l0 Capitol ST852
Atlantic 161 1 Atlantic 1625 Atlantic SD231
1
Black Jazz BJOD/! 5 ForeÍront Publications 1945 Wilmette Avenue wilmette, lL 6(x)91
5t
RAY BROWN There are so many bassists to listen to and learn from that l've found many bassists to be conÍused as to where to start lin regards to jazz solos). At first, l thought it unwise to single out any one bassist for fear oí tampering With stylistic iniluences] However, for the. sake of those who.just don't know where to start; l'll single oneout: Ray Brówn. He is almost always recorded well and clearly, thereby making it iairly easy to di;ttngJish
what he is doing. His rhythmic time is good. His intónation is consisiently good. His P-Lo:9!9 99!elen1{d usually approactred from a melodic stand_point. TÉls ls NoT TO IMPLY THAT THERE ARE NOT OTHER GOOD BASSISTS THAT YOU OR i CAN CHOOSE TO LEARN FROM. This is A start (not THE start) for those who need a point of departure. I have
listed some albums upon which Ray Brown can be heard:
Milt Jackson - THAT'S THE WAY lT tS Herb Ellis/Ray Brown - HOT TRACKS Oscar Peterson - NIGHT TRAIN, VOL. 2 (Note: The above 3 contain solos of medium difficulty.) Herb Ellis/Freddie Green - RHYTHM WtLLtE Oscar Peterson - WE GET REOUESTS Oscar Peterson - THE SOUND OF THE TRIO Oscar Peterson - NIGHT TRAIN Oscar Peterson " SOMETHING WARM Oscar Peterson - OSCAR PETERSON TBtO + 1 (Ctark Terry) Oscar Peterson - THE TRIO Add to this the Ray Brown examples in Rufus Reid's discography.
lmpulse 9189 Concord CJ-12 Verve 68740
Concord CJ-10 Verve 68606 Verve 8480 Verve 68538 Verve 68631 Mercury 60975 Verve 68420
52
CHAPTER IX REFERENCE l would like to mention a Íew reÍerence guides that may be helpful:
COMPREHENSIVE CATALOG OF AVAILABLE LITERATURE FOR THE DOUBLE BASS by'This Murray Grodner calalog presents literature available Íor the Double Bass. lt includes all works under the headinó METHoDs, ETUDEs & oRcHESTRAL sTUDlEs, soLo LITERAT_URE' cHAMBEá MUSlC and coNTEMPoRARY BooKs ABoUT THE DoUBLE BAss. AISO iNCIUdEd iS A IiSt Of AVAILABLE RECORDINGS OF SOLO WORKS FOR THE DOUBLE BASS. lt lists publishers, prices, level of difficulty and other essential, useful information.
Available
through:
LEMUR MUSICAL RESEARCH Box 71 Bloomington, lndiana 47401
THE EVoLVlNG BAsslsT by RuÍus Reid
As the author puts it, this is "an aid in developing a total musical concept'" Arco and pizzicato playing are discussed. Etudes, Chords, Blues, Rock Patterns and Scales are just a FEW it'emi explored. One of the most complete method books available.
MYRIAD
P. O. Box
Teaneck,
Available through:
LIMITED or 757 New Jersey 07666
STUDIO P/R, INC. 224 s. Lebanon Street Lebanon, lndiana 46052
UNDERSTANDING LATIN RHYTHMS, Volume 1 presented by Martin Cohen Although geared toward percussionists, this record and instruction booklet affords the bassist it-h an invaluable guide Íor learning to play AUTHENTlc Latin styles. lt features Jme of the best Latin per-cussionists and should be considered one oÍ the best aides on the market today. Musical examples for the bassist are included in the instruction booklet. Available through: LATIN PERCUSSION, INC' P. O. Box 88 Palisades Park, New JerseY 07650
RAY BROWN BASS METHOD bY RaY Brown
lncludes scales, chords, arpeggios, interesting blues bass lines and jazz etudes. Perhaps the fiÉtsubstantial book geared toward lazz bass basics. Available through: RAY BROWN MUSIC P. O. Box 1254 Hollywood, CaliÍornia 90028
HOW TO PLAY THE ELECTRIC BASS ANd No. 2, 3, 4, and 5) by Carol KaYe
ELECTRIC BASS LINES, NO. 1
(AISO AVAIIAbIC:
An'eiceilent displáv of commonly used electric bass lines. HoW To PLAY THE ELE6TRlc BASS is not a m'ettr'oa book but discusses and gives examples oÍ styles played by electric bassists.
-
Availablethrough: GWYNPUBLISHING P. O. Box 84043
Los Angeles, Caliíornia 90073
has a large line oÍ PLAY ALoNG records. They include '|azz selections played by some oÍ the top musicians in the business today. lnÍormation/Catalog Available through : STUDIO P/R, INC. JAMEY AEBERSOLD 224 S. Lebanon Street 121 1 Aebersold Drive Lebanon, lndiana 46052 New Albany, lndiana
JAMEY AEBERSoLD
or 47150
53
CHAPTER X BASS CHARTS ln order to allow you to use many of the techniques displayed in this book, I have included this chapter. This will allow you to see bas charts as they will often appear. This was the way the music appeared before me. My interpretation of the following charts can be heard on the record,
"HATE TO SEE YOU GO," by Al Cobine. lt can
be ordered through STUDIO P/R, lNC., the publisher of this book.
This is a guide for those who don't have the funds to purchase some of the many recordings mentioned in the discography. I hope that you'll enjoy playing these charts along with the record and that learning these styles will be a pleasant challenge.
JOHN CLAYTON
54
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55
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fRocl,ocl
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ffi
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.
58
áve t,ftrcr
T
4
59
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2
'.-
60
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7
Za',
2
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62
64
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65
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