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

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Made in U.S.A.

.

All Rights Reserved

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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

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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

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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.

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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

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THANscRlPTloNs oí RECoRDED soLos... 173-187

SELECTED BASS DISCOGRAPHY..-.

188 - 189

RUFUS REID DISCOGRAPHY

191

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G cleÍ or Treble cleÍ F cleí or Bass cleÍ

ABCDEFGABC

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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

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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.

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with the lowered seventh note

with the third lowered one halÍ

aÍ or

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Augmented Sevenlh

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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.

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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.

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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


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

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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?


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 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


D

String

One Finger Pizzicato

A

String


E

String

-


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


D

String


A

String


E

String


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.

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by: Frank W. Hetherington

23


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.

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Watch your right arm motion to create the correöt pulse while pulling the string. When reading, move your eye to the next measure as quickly as possible to be able to react to the proper rhythm before you

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play the rhythm. Pay close aüention to these open string etudes as they will increase your sound and reading abillty. When you add the left hand, you will be able to get into the music much sooner.

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DEVELOPING A GREAT 9OUND

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Two eighth notes played in the time given for one quarter note. Do not continue until you can honestly play the rhythms perfectly. Start slow and be precise.


Play slowly and concentrate on your sound. Be very accurate when counting time.

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Be as precise as possible crossing over two strings. This can only be achieved by watching very closely what the right hand or the bow has to do. 27


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You must now play four sixteenth notes in the same amount of time as one quafter note or two eighth notes.


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Count out loud to yourself if you are having problems staying in time with the different rhythms.

29

DEVELOPING A GHEAT SOUND

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30

OEVELOPING A GREAT SOUND

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DEVELOPTNG A GREAT SOUND

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These two measures sound the same, but are just written differently.

This measure shows syncopated rhythm. The symbol "&" illustrates the second half of the main beat pattern where these notes are to be played. 33


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-

Moving lJpward

HAPTE Getting To Know The Fingerboard THE CLAW think this concept is the key to developing good left hand technique that is capable of covering the full range of the fingerboard. The idea is that you control your fingers to do what you want them to do at any given time. Concentrate on not letting your fingers and knuckles collapse as illustrated below. Practice this Íeeling on a tab]e or any flat surface. Keep the wrist as straight as possible. Freeze the fingers and move the entire arm. Concentrate! I

Collapsed Claw

Everyone's fingers will collapse to

a

degree. However, it can be minimal if your concentration is on the weight of the arm, not just the fingers alone. Probably the most common of the left hand problems would be the collapsing oÍ the knuckles at the palm of the hand which will break the flow of stability needed from the entire forearm.

Correct Claw Position

39

GETTING TO KNOW THE FINGERBOARD

After the practice and application of the claw technique as suggested, move to a sltting position with your bass and concentrate on gettlng that same feeling in the hand. Press down the G string without uslng the thumb as shown below. Keep your wrist straight and watch the Íorm in your fingers. You should Íeel the energy coming from the shoulder. Remember the entire arm and shoulder are working together as one. Practice sliding up and down the Íingerboard as illustrated in the sequence photos, but this time without your thumb. Move in slow motion at first to make sure you keep the form and proper motion at the transition area as shown in Frames 3, 4, 5. As you move up the Íingerboard, imagine a pushing feeling and a pulling back feeling when moving back to the lower position. Practice slowly and precisely until you are able to move the full length of the fingerboard with one complete, TRANSITIoN

--.+!

Continue this process now with the thumb, but only use it Íor stability. Do not apply any dlrect pressure. ln the sitting position, the thumb is less lmportant but necessary nevertheless. However, in the standing position, the thumb is absolutely necessary in the lower positions to keep the bass stable. You will notice that wlth a combinatlon of the angle of the bass and the proper balance, the thumb need only be there to help produce good tone. Too much pressure between the fingers and the thumb will result in a cramped hand and the abllity to move about freely ls stifled.

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TRANSí7tON

conÍr,{.Íí'ÚsGúss

Use your metronome to practice this glissando

exercise in a smooth,slow, steady tempo. Use first finger, then second Íinger, then all four fingers up to the transition. The thumb and the third finger is then employed as you continue up to the end of the fin-

Claw without thumb

40

smooth motion. Remember to lean into the bass as you move slowly up and back. Notlce my visual contact with my left arm. Become totally into what you are doing.

gerboard. Reverse the fingering sequence when

glissing down. Watch in a mirror to adjust hand and body posture. Practice both pizzicato and arco on all of the strings. Do not be impatient with this. Only through repetition will this motion Íee! comfortable.


1.

2.

-i

ffi

3.

4.

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Sequence Photos Moving Through The Fingerboard

41


THUMB TRANSTTION POSITIONS The sequence photos illustrate playing a chromatic scale in two octaves beginning with "open G'. Frames 3, 4, 5 illustrate the crucial part of the transition' Study it carefully' ln Frame 4' the third Íinger extended is G, an octave higher than the open G string. Notice the thumb is still back on the neck. As you shift your arm, release the second and third Íingers and keep your first finger down and slide it quickly to A with no resistance from the thumb. Concentrate iust moving the arm into position. Don't worry about the thumb at this point. lt will obediently Íollow the hand. lt should, however, be touching the string as in Frame 5. Continue this process to the next octave. Practice slowly the entire Íingerboard. Use a mirror if possible to watch the Íorm oÍ your fingers and position of your arm as it moves up the board. Study these photos carefully. Practice until you can do it accurately with your eyes closed. A tactile feeling is very important to develop on any Íretless, stringed instrument. Use the bow to clean up intonation. Remember to keep your elbow up and concentrate on the "claw" feeling.

tones across the Íingerboard. ConÍirm pitch with the piano or tuning fork. Play the open G string and

press down the string approximately one inch from the top of the Íingerboard with the Íirst finger of the left hand. On the fretted instruments, it would be the first Íret or G sharp or A Ílat. Adjust the Íinger if it doesn't sound correct, and remember that spot. The second finger depressed approximately an inch away Írom the first is playing the note A or the second Íret. Keeping the hand stationary, stretch the hand and place the fourth Íinger down approximately one and one halÍ inches from the second Íinger or on the third Íret' Place the third finger down also. lt should move together with the Íourth'

Repeal this process on the lower strings keeping the hand stationary and only moving across the fingerboard in a straight line. With a step by step process up the fingerboard, shift the hand up slightly so that the ÍiÍstfinger is now where the second finger was. Continue this process across the strings and up the fingerboard until you reach the octave of the string.

lt is very important that you read Etude 2 careÍully Unlike most traditional bass method books, I have and slowly so that you can begin to associate the chosen not to use speciÍied hand positions to learn sound of a note to its position on the board. BeÍore the notes and their locations on the Íingerboard. lÍ putting both hands together in this etude, practice you play chromatically up and down the finger- with the left hand alone so that you can keep the board, you will eventually play all the notes present form oÍ the hand constant. This is important. See on the bass. lÍ you play a piano starting on any photographs of left hand positions on page 44. note and play each key as it comes until you come Practice in Íront of a full length mirror to ob'serve to the same note an octave above or below you will stance, arm and hand formations. Notice that the have played a chromatic scale. A chromatic scale distance between notes become smaller as the is made up oÍ semi tones or tones with an interval notes become higher. As you gradually get highof an halÍ step. There are thirteen notes in a chro_ er on the Íingerboard you must adjust the span oÍ matic scale. On all fretted guitars, the interval the hand accordingly and truly listen Íor clarity oÍ between a fret is a halÍ step. Learn the sound' on pitch. the double bass, the same notes are present, even though the frets are not. The notes are much wider lf you work carefully, you will notice where the same apart and you must be able to hear whether or not note appears on another string. Repeat this exeryou are pressing in the right place. lf you are not, cise many times observing the posture of your left adjust accordingly. To learn to read and know the hand. The Íingering sequence is very easy to noles is an easy process. Etude 2 is for that pur remember, but do not go on automatic pilot. Begin pose. Be patient and be consistent. That is the key to really listen to the sound that you are producing. to success. Remember that your left hand is your sound, the right hand is the sound producer. lf your strings are tuned properly to G D A E respectively, then you will hear the proper relationships of

42

ETUDE 2

KNOW YOUR FINGERBOARD

E

G str.

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Astr'J

J

JJ

J J,J,

42

1242

J J J J ü üJJJ D str.

124?

1242

JJ üJ JJ JJJJ JJJJ E str.

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t-

You must listen carefully to what you aro playing. beginning again.

lÍ you

get disoriented, start the process Írom the

43

GETTING TO KNOW YOUR FINGERBOARD

Left hand Position

44

Transition To Thumb Position

Thumb Position sitting on the string


The ÍingeÍing pallem and the photo illustratg the lasl four notes oÍ lhB c scale. You wi|l notice that tha íirsl íinger plays thg note A aÍler placing lhe thumb on the G, which is the exacl sama place as the G haÍmonic. Look at lhe dislance of the thumb to lhe Íirst finger. lt is appÍoximately 1 1/2 inches. Use ths G harmonic as your Íocal point. All oí the nátural harmonics are located in the sams place on each string. Trust that this will never change, and that "A' will also not change, and on up respectively. A visual and tactile sense oÍ this focal point is essential. Try playing the sequence with your eyes closed. You'll Íind that this will give an open door Íeeling into thumb positions. Honco, your confi-

to keep thé exact Íorm in the hand as on the "G'' slring. Now press the string down keeping contact With all íingers except thg little Íinger. Tryio distribute the weight oí lhe aím evenly through thumb and fingers. Keep the Íorm and try to not let the Íingers collapse. Í done properly, lhe weight oÍ your arm should be suÍíicient lo press down the string íor a good sound. Practice sliding up and down on all lhe strings in one smooth slow molion so you can concentrats on sxactly what the hand and arm are

along on the top keeping contacl with all the Íingers. Repeat lhis up and down motion many times to get a smooth liquid Íeeling. continue this process on all the strings. You will nolice as you move oveÍ to thé lower strings, you must lean the leÍt shoulder more inlo the bass and pivot on the thumb in order

navigale the tingerboard beÍore playing any notes, it will be easier when one must concentrate on the sound and the notes being played later. Your coníidence will grow as you aÍe more consistent With these concepts. I cannot stress this enough. Now, let's go to work on those scales.

doing.

Next, we praclice the chromatic scales in one octave linking up these pattems. The chromatic dence Will become more solidiÍied while playing in scalé is made up of all semitones, sometimes called halÍ sleps. on the piano, a halÍ step is alterall oÍ the uppeÍ positions. nating a white key with a black key. The only As the photo suggests, position the thumb and tirst éxception is between B and c and E and F. These three Íingors on the string. Do not pÍess down. are halÍ steps. You literally play all of the notes on Do not buckle fingera. Relax and let the control the Íingerboard when you play chromatically on all come from your arm. NoW, Without letting the stÍing of the strings. touch the Íingerboard, bounce the string up and down. lÍ you are doing this propeíy, you should feel It is my beliefthat a novice on the acoustic bass can the suspended control írom your shoulder. Néxt, qqickly undeÍstand what the body must do to be slide slowly up and down on the string. Do not comfortable wilh ihis large instrument. lt you are press down and touch the Íingerboard. Just ride immediately taught how to stand and physically

45

ETUDE 3

GETTING To KNow ÍHE FII{GERBoARD

Basic Scales You Must Know

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57

ETUDE 4

GETTING TO KNOW THE FINGEBBOARO

More Scales Related To Basic and Altered Chord Sounds

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dorian scale

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diminished scale

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diminished -- whole tone

Remember, you can forget what you memorize if it isn't kept in your mind and under your fingers. The next etude is a fool-proof approach in constructing a good, strong bass line. lt is my opinion that there aren't enough THINKING bassists. My concept is that we as bassists should be able to play completely alone and relay the essence of a song by the construction of our bass line alone. We don't need the keyboard to clarify the kind of chord. We don't 58

need the drummer to clarify the rhythm. You should be able to swing and radiate energy all alone. When we add a pianist and drummer, who are not dependent on you, it should be easy. Our basic iob description is to embrace the ensemble with the clearest harmony and rhythm possible and not lose our role as the foundation. Good choice of notes and their placement and pitch will really make the entire group swing and feel good.

ETUDE 5


Approachlng The Transltion Area

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ttr

elbow at this point. Just as you shift 'intoPrepare position, do the same in the upper posilower

a

part is over. Be sure to practice on all of the strings, as each string will require a slightly different physi-

tions. Move the enlire arm to put the hand into the cal requirement. When playing on the A and E position needed. Keep your fingers arched. Do strings, be sure to pivot the entire arm so that you not move the fingers aimlessly around searching can keep the arched posture in the Left hand. for the notes. Get that arm there and the difficult 59


ln The Transition

Completing The Transition

60


Play slowly untilyou are able to make the transition smoothly and accurately. Practice and concentrate on the positioning of each and every Íeeling. Remember to keep your elbow up and concentrate on the "claw'' Íeeling. The notes in the brackets are played in one position. You should not have to move or shlft your arm. The only movement ls done with

a a aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa a a a a

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D

string

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your wrist very slightly and the individual finger designated by the fingering given. Notice how many notes can be played just in this one area. Practice on all Íour strlngs. The dexterity obtained will defi_ nltely increase your confidence and facility in the thumb positions. Now practice connecting with the transitlon by playing two octave scales.

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61

GETTING TO KNOW THE FINGERBOABD

Moving Through The Fingerboard

Thé notes inside the brackets are played in one lnternalize all oÍ these sounds. Soon you will be position. You need only to be concemed with the able to use these Íingerings starting on different last note oÍ one bracket to the Íirst note of the next notes chromatically' which will put you in diÍferent bracket. lt will occur on the same string. Practice keys. The only difference as you move into the slowly at Íirst. Watch and ligten to Íind exactly thumb positions, is the thumb replaces the little íinwhere you are shifting to. Use the metronome and ger. Keep your fingers arched and glide smoothly concentrate on your pitch. Memorize these scale and swittly on the strings when shifting. patterns based upon speciÍic chord sounds.

q*i#?

62

-


One String Only, Please Double bass players tend to play in little "Íingering boxes'' in the lower area and then Írequently only on the G string as they go into thumb position. Bass guitarists ténd to play in those "boxes'' also, but all the way up the fingerboard, because it is iust easier to execute. Let's try to liberate you to be free to use the entire fingerboard. lÍ you wish to be more agile in the upper positions, these one strings etudes will help you immensely. Do not play a sloppy glissando when shifting. Concentrate on the symmetry of sound throughout the fingerboard.

n

Play slowly at Íirst and keep those tingers arched. Remember the smooth fluid motion on all of the strings. Practice playing slowly and then speed up the shift. Your glissando now becomes louder. Try playing difierent dynamics in this etude. Always pivot the left arm over to help the hand stay well into the Íingerboard. The combined weight of your arm and hand is what keeps those notes Íocused with pitch. Remember, the Left hand is your sound. The Right hand is the sound producer.

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ft,

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63


Play at slow tempo at Íirst to let your body understand what it must do. This page is Íor the D string only, please.

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alY

64

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Now that you have become all loosened up playing the glissandos, try playing all your scales on one string. Pick one scale type to practice each and every day for only 5 minutes. Never just start playing. Always have a specific tempo in mind. Decide how you are going the scales. What key? Decide whether to play in one or two octaves, using quarte1 eighth, or sixteenth notes. What will be the dynamic? Will you use the bow or pizzicato? ln other words, make a calendar of practice events ahead of time. Believe me, you will become more productive and successful in your efforts. Five minutes is a very long time when doing one specific thing, but great strides can be made if you develop a good practice habit.

EA

DG

EA

DG

D

G

should not be able to detect one from the other.

Below are various routings for you to try when practicing your scales utilizing only one string.

EA

DG

EA

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A

D

A

G

D

A

G

G

A

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A

G

11.

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D

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A

DG

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Now, start playing your walking bass lines on one string. After you have been successful in playing the various bass lines I have written for you, start alternating with your own creations on one string only, please. Next, staft alternating your lines with my lines, first on one string, then using all of the strings. The ultimate goal is to sound good with connected articulate bass lines in all three circumstances. Listen intently to make your lines satisfy the progression and the execution is smooth from the one string technique to all strings. The listener

D

G

12.

A

D

G

{

I I I { 65

Walking Bass Line Construction

ALWAYS ASSUME THAT YOU ARE THE ONLY HARMONIC AND RHYTHMIC SUBSTANCE

Develop Your

a CONCEPT! CONCENTRATE

CONFIDENCE

will help you develop

75"/o

CONSISTENCY OF TONE PRODUCTION

. PULSE

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CONSISTENCY.

AF YOUR CONCENTHA$ON

ls

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on that concept.

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THIS WILL DEVELOP YOUR "PERIPHERAL HEARING"

TIME FEELTNG)

.INTONATION

.

HAHMoNlc AlívARENEss . REPERTOTRE

. SENSE OF PHRASE AND DYNAMICS . ASSESSMEHT OF YOUR

YOU

PERCUSSION INSTRUMENTS

MUSICAL SETTING

CHORDAL INSTRUMENTS P!ANO

FRONT LINE ANY HORN

COMBINATION

A MATURE MUSICIAN IS ONE WHO HAS TAKEN THE TIME TO STUDY THE TRADITION OF ANY MUSICAL IDIOM BEFORE HE / SHE CAN TRULY CONCEPTUALIZE THAT MUSIC!

66

ETUDE 8

WALKING BASS LINE CONSTRUCTION

GETTING FRIENDLY WITH THE PIANO We now begin a step-by-step process in constructing strong functional bass lines from simple to complex. ln order to achieve a good sounding line, it must have a good foundation. We begin with the simplest; roots and octaves, roots and fifths, and roots, thirds, fifths, and octaves.

Members of your ensemble depend on you to always "be there," no matter what happens. That

be able to function within chords of tunes you do not know fust by hearing the relationships of one chord to another. lf you always assume you are the only harmonic and rhythmic substance present, you project a conÍidence that is infectious to others.

exploring and feeding ofÍ and listening to one another for new ideas as much as possible. When this happens properly, the resulting music and feeling is absolutely wonderful.

doesn't seem fair sometimes, but, neveftheless, it is

true. We bass players are not allowed to make a mistake. Bassists have the unique ability to sabotage any and all ensembles if they are not truly focused on their primary role. Your primary role is found in most to keep good time with good swinging bass lines. ln The following chord relationships are songs. lf you know these relationships you should a truly creative environment, everyone should be

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You must now learn the sound of each of the chords above and particularly the significant notes shown by the arrows that make each a different chord.

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Go to the piano and play these chords and memorize their sounds.

67

ETUDE 9


Constructing Good and Functional Bass Lines ln A "TWO" Feeling While reading this exercise, remember to keep fingers arched while also watching and listening to close watch of your left hand posture. Keep your the sound the right hand is producing. Roots only

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This progression, commonly called a minor ll - V Play on the piano and on your instrument to interprogression, is one of the most important sounds nalize its sound so that these two chords become you will encounter literally in every kind oÍ song. "one" sound.

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When no chord symbol is shown for the second one sound by using more notes Írom the scalés that measure, it is generally accepted to be the same represent that particular sound. sound continued. Think oÍ the two measures as

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We now explore the important ll - V - | progression. Play these chords on the piano. Play the respective scales and arpeggios for each chord on your 70

bass and internalize the sound so that these three chords become "one" sound, an entity itself.

WALKING BASS LINE CONSTFUCTION

Notice how this sequence takes you through many different keys, or tonal centeÍs. When you begin to be more experienced playing tunes, you will notice that they all go through various harmonic tonal cen-

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Íunctions the same, but has a gth and 13th scale tones added íor more color to the sound.

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Here are three eight measure phrases using three minor modes; Dorian, Aeolian, and Melodic Minor. Play these chords. Listen to the different qualities that each scale gives as they move diatonically. Notice that each of the eight measures are all one sound. Don't think of it as eight separate measures oÍ Dm7. Notice the linear use of the bass line. The line should depict motion even though the sound

Mark Levine

Dorian Mode

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appears to be static. Playing on "one" sound requires close attention when constructing your bass lines. Use the identical approach when you play in a Major mode as well. Satisfy the sound! For a closer look at the modes and their functions, please check out THE JAZZ THEORY BOOK, by

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Ghord Sound AlteÍations These are alterations of the basic chords. Notice that in these Íirst Íour measures the progressions are labeled diÍferently. Howeve1 they mean and sound exactly the same. Sometimes this fact is misunderstood. ln the Íirst measure, the notes Bb and E are not iust passing notes. They are Íunctional notes of the chord. They also could be implying passing chords that don't actually exist here, but sometimes could be played. Remember that you are not always obligated to play every chordal note

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that the chord suggests, unless you can do it in such a way that it does not jeopardize the Ílow of your line. As you become more proficient with your keyboard harmony and on the bass, eventually your lines will become more sophisticated. I cannot stress enough Íor you to become Íunctionally Íriendly with the piano and jazz harmony. Functional knowledge oÍ the iazz vocabulary and grammar is essential Íor your continued growth as a jazz musician.

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ln the two staves above and beloq the letter under the slash designates that note to be played in the bass. ln walking a bass line on these chord types, you should adhere to the bass tone and the chord above. They aré essentially the same, but are just written differently. lf you don't play the bass note,

A-i?

0

oÍ

g-i?

0t o.l

(

N

the sound oÍ the suspension eÍÍectis destroyed' These particular chords are used a great deal in the writing of contemporary music. Play these, listen to them, and become familiar with them. I am sure you have heard these sounds before.

M "'

or llo*

eb

0Í

lr* ,"-

rt

,bo a,

?b.

q'íill

L- b?

t-

Inir

Cxibll

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b+

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t't

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Qbt

y.,

I

----o

o+!'L

7

7+

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t I

76

a

I

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l-

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l-


Simple Walking Bass Lines , &'12 illustrate a gradual sequence Írom simple to complex bass lines' lt is not always necessary that you play the root note oÍ a chord on the first beat of every measure, but it works great every time. Remember, be as clear as possible at the outset as We are building a Íoundation for the listener to hang on to. This process will work. I want you to be concerned about what notes you choose to play Íor a particular phrase. You should always have a reason Íor playing any given note or pattern. When you have conviction in your playing, you will project that image which is quickly noticed by others. Prolection of your intent is very powerful.

Etude 10,

11

The bass lines I have written are to give you ideas to create your own. This will be the only time in your playing career that you will have the opportunity to ponder and change anything you don't like or want. ln a real playing situation, you cannot stop. You get what you get and move on, like it or not. Play through all of the lines several times to digest each sound. lf you haven't written much and are a slow reader, eventually you will become better at both. There is no such thing as a perÍect bass line. lt must, however satisÍy the sound at all times. This process has six steps and will work on any kind oÍ song or composition that is giving you problems. The ultimate goal is to help you truly listen and hear critically what is coming out oÍ your bass. The end product will consistently build your confidence in what you do. Here is the process.

chord symbols above the stafí lines with the structure oÍ the song on blank manuscript papé?. start With two choruses through the progression, but four is better. ln a real playing sit1. Write the

uation, you may have to play it many times.

2. Write down a simple quarter note bass line with no embellishments away ÍÍomthe bass' When Íinished' check Íor careless errors. bass. Stop and change and/or correct whatever does not 3. Next play the line on your

please you or sound good to

Chordal - Chromatic

&

lt is very

important not to be cavalier or in a hurry to finish. You must be totally satisfied and feel good about what you have created. 4 . Play lhis draft With authoÍity and conviction.

5. Play

at various tempos and dynamics. Use the second chorus to include rhythm embellishments.

6. RecoÍd the bass line and ]isten back and be critical oÍ the sound, Íeeling' and content.

This process really does work, but you must work diligently in the process. lf you do not like your sound, all oÍ your sound, why should anyone else like it? As your playing matures, you will be able to employ various other patterns that will be functional in outlining the chord sound.

Chromatic

Chordal & Scalar

you.

Scalar combined

Scalar & chordal combined

Scalar & Chordal

-b--.

ChromatÍc &

Scalar & Rhlnhm

Chordal - Rhythmic variations & Scalar

77


Below are examples of how you can start a strong you give it some thought. Practice at various tema chord symbol. pos. You will notice the line will change color. Note Remember these following lines are only a few of that your shifts must be fast and precise. Stay close hundreds of combinations that can be applied once to the Íingerboard and keep those Íingers arched.

walking bass line based on

1.

c

sh

c

sb

hbr

sby 4

017

0'n

12

sb\

b^,

2

aoZ b

78

nol b


Concentrate on your sound and intonation. Keep a consistent tempo.

2. 17

sh'

jt

sh,

17

8b'

a

17

17

8b'

17

sb'

sb'

a

sb' ,

a

jz

sb'

s7

r

sb'

ffi

79


t

á|uiy

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a

F*xir

8t

WALKING BASS LINE CONSTBUCTION

4. Continued

Fri'l

$t

élo

Fni?

$t

íbo

éui1

Ar

0o

e,uil

lr

0o

0xi?

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0txir

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lt

0ni?

$o

g\

a

-------7

ü*l

0ni?

rh

lt

8o

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l

CI

8ui1

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Ao

8ui1

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Abo

üyi1

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Ao

Abo

t,

81

WALKING BASS LINE CONSTHUCTIOIII

Avi? a

7tl l)L7 -----1l----_-..-...--

-t

ltoq

0ni? a

lt

7t

'_---!LaI

Ah I

Ua

laz

tt,

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I I

at-l .------.-------.--.--------4..

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82

I

$t

ETUDE


11

7t

lt

ü1

(t

lt

I

úl

al,

lt

-

I

$lt

$t

lt

lt

fit

ílbt

83


----

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_-f_-i----J-------j+----.|---


3.

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85


-----r--'

86


lll'

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)

Remember, always think oÍ the entire phrase as When you phrase in this mannel you are projecting one complete sound. By doing this you are able to symmetry, which will help the musical development. spread the scalar patterns in many different config- Use dynamics as well as rhythmic variations to achieve continuity in your lines. Even though there urations. is only one chord sound, there are many chord Notice on measures 2 & 4 of this C minor bass line, implications that can be made. the rhythm is written as a triplet pattern instead oÍ the dotted eighth and sixteenth pattern which Notice in measures 4 & 15, I am implying a G7, occurs in thé other measure$. The end result which is the five chord to C minor. ln measures 6, sounds the same' lt is very difÍicult to actually Write 7, and 8, notice the use of the partial scale in thirds. out a feeling to a pattern. The slower the tempo, Measures 10 and 11 illustrate the use of the Dorian scale and the Harmonic Minor scale in measures the more these patterns will sound truly ditferent. 13, 14, and 15. Experiment with all of lhese various I think you should think in four or eight measure possibilities when writing out your lines. phrases when playing modally or on one sound.

87

ETUDE

12


More Complex Lines Practice slovr/ly at first until you can get the shifts rhythmic embellishments. Use dynamics, especialand the rhythmic variations undér your fingers. ly at the beginnings and endings of the eight meas_ once you can play it well slowly, gradually increase ure phrases to aid in producing a sense of Íorward

the tempo. Be very definite and accurate with

ül

the

motion in your walking bass lines.

ü1

$t

$t

$t

$t

fii

$t

ül

ül

$t

ül

$t

$t il8

$t


2'

é|uil

lir

áui1 -

laatau

Ah

t,

Ah

- I--"-"---a


e,o

90


3. Con't.

0ni?

0|Ál

?bt

Abo

fiui1

(Jt

Abo

9l

WALKING BASS LINE CONSTHUCTION

4.

Ani?

!r

Qa

a

92


Jt

)

alt

93


(q')

Notice the total sound oÍ this modal line in Cm is exemplified throughout. The chord symbols in parentheses illustrate the implication oÍ other harmonic possibilities. These also aid in the clarity and resolution of the phrase. When you honostly can play all of these bass lines in ETUDE 12, go back and repeat each one and alternate with your own 94

lines based on the chords given. I also suggest that you tape record yourself and list€n critically to your selÍ. Are you able lo hear clearly What you think you are playing? Do you want to pat your Íoot to what

you are hearing? Are your rhythmic embellishments clearly executed? When the answers are yes, you are definitely on the right track!


You have now finished my concept and thought The rhythmic variations you play should enhance process in constructing good, solid bass lines. your bass lines. lt is my opinion that if they do not, These bass lines are just some of hundreds of vari- you should omit them. Too often your technical ations that you can create if you put some thought to it. Take any tune and use this process until you are able to do it spontaneously. Write your bass lines down, away Írom your bass if you can. Now play them. Do they sound good? Are you able to execute them and simultaneously make the time feeling feel good? lf not, change any and all aspects until they are satisfying to you. The lines written down can be academically correct and still not sound good or be satisfying.

facility interferes in creating good flowing bass lines. Your playing experience will teach you to use more discretion. lf you think of your bass line as a solo you will always sound good, whether alone or within a group. This concept does work. As you play better you will attract better musicians. Always strive to play with people oÍ your caliber and higher.

The first sound heard is the feeling or groove you project. How you hook up with the drummer or rhythmically with everyone is second. lntonation, This is an extremely contrived process, but believe tone quality, and musical content is next. Generally, me, if you work at it, the definition of your lines will these aspects you bring to the music will confirm be stronger than you realize. This definition coming you being asked to continue being part of the out oÍ your bass will be quite apparent to your ensemble or not. Work hard and be patient, it does peers. Be deliberate. Be as precise as possible. not happen immediately.

J.J. Johnson Quintet, Estoril Jazz Festival, Cascais, Portugal, 1993 Renee Rosnes - Piano, J.J. Johnson - Trombone, Rufus Reid - Bass, Balph Moore -Tenor Sax, Billy Drummond - Drums

95


Blues Lines - Simple To Complex harmonically. lt is recommended that you listen to

We now get involved with one of the most common and most important sounds in Jazz, and that is the BLUES. The basic Blues form is 12 measures. There are derivatives of the form in I and 16 measures. lt can be played in a Major sound and the Minor sound. The following lines are in many different keys and various ways to approach the lines

q?

1.

recordings from the early Louis Armstrong period of Rhythm & Blues artists to the contemporary Jazz artists of today playing the Blues to truly understand the breadth that this form has. Listening to the Blues is fun, but playing it is more fun.

c$

q7

0ni?

q?

I

cÍ9

c1 I

8ui1

-

A?

Aui?

07

q?

e1

Aui?

0?

-a

Play all of these blues progressions slowly and make every note as clear as possible.

Notice in #2, the first two measures make use of the E flat scale in thirds to create fonruard motion.

Sluit

ab1 b

Ab1 I

Qui?

-

l-I

luil

96

gb1

eb1

0?

WALKING BASS LINE CONSTRUCTTON

gb1

sb

ob

0ni?

sb

Notice in the tenth measure of #3, how quickly we are able to link up the higher register by the use of the octave F. To help this proiect better, use a crescendo as you play these higher notes. Also notice in the eleventh bar the immediate drop. This is quite acceptable because the emphasis is on the third of the chord from the root tone. Accent the drop dynamically. The syncopation draws attention to the figure.

4. Qa

Aho

Axi?

sb,

Gradually increase your speed, but don't try to play any faster than your technique will allow. Always think of the phrase as one complete entity. measures illustrate the use of the diminished chord. The chromatic motion of the chords make a very smooth flowing sound. Be extremely deliberate with the triplets. Make sure they are clearly stated. In #4, the first four

6ni?

0r

!r.ri?

q?

,

0ni?

0?

07

97

WALKTNG BASS LINE CONSTRUCTION

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(tt9

-

q'íil

c$

0$

Qui?

,

q'íl{ c$

$---,

gbo,-q---- An

2fiil

07

Blues line #5 utilizes the great sound oÍ tenths. lf you will hear a sound that you can't quite identify. you do not know how to play them refer to Etude 23. This may be it. lÍ you are not sure you understand this, omit the grace notes. Always remember, if the The grace notes on the D string in measures nine embellishments do not enhance your lines, don't and ten of line #6 are actually dead tones which are play them' They actually will hurt your time Íeeling percussive sounds. They can be played with the if they are not executed properly. Take the trouble second finger of the right hand. At the same time spots out of context and make up an exercise playthe string is being deadened by the upper part of ing only these troublesome figures. Eventually, your forefinger of the same hand touching the after adequate repetition, insert them back into the string. This effect is used a great deal by experi- line. enced players. Perhaps when you listen to records

6.

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q?

98

Qxi?

8b1

gb1

c?

?1

0?

Axi?

11

0?

0?

51)

c?


Oxi?

gb1

Sluit

eb1

l.bo

0b1

Qui?

Afuil

(1

0b1

Qho

Notice the different Ílavor in line #8, the Minor Notice how the use of the C altered dominant chord in measure four sets up the lV chord, Fm. The use of syncopation at that spot highlights

Blues.

o

CD.

the harmonic change and accentuates the fonruard motion. Concentrate on your tone and the time feeling of all oÍ the lines.

0.ni

c?(+')

n'í|ll

AIuí*ttl

q'{"ll

99


0?

0?.

3b1

-

tb1

eFb

gbt

slnÍist

gb1

2

2_, 2___L__\__L_,

11

Bass lines #9, #10, #11 and #12 are designed to notes that you play, nor will they use the exact fincover more of the fingerboard giving a more open gerings. You must, however, at Íirst become linear sound. I suggest that you diligently practice absolutely comfortable playing using one certain your scales on one string to help you develop the fingering. Then you wil! be able to confidently try continuity of sound as you expand your lines in the other Ways. ln reality, in the heat oÍ the moment upper register of the bass. As you become more the important thlng is to play. When you are able agile in the thumb position, try different fingerings to think simultaneously while you are playing and Íor these lines. There are severa! fingerings for creating, that is the ultimate mind set. everything. No one person wil! play the exact 100


12 0*i

qrry

0ri?

Sltt 1 3

ab1

3 2

lo

Afrir

o

Ob,

3 _?__I__1_ 2r3

Now that you have played all these Blues bass your vocabulary when playing with an advanced lines, try adding your own lines by altemating every pianist or guitarist. Often, your credentials as a other chorus. lf you have a friend who plays piano, Jazz player will be assessed by how well you are have him play the chords while you play the lines. able to negotiate the Blues form. As you mature Record yourselÍ playing these progressions. The and gain more experience, you will notice elements Blues will always be a part oÍ the required repertoire of the Jazz musician. Practice playing through various alterations, as you will need to have them in

of the Blues Íinds its way into other forms of music. The Blues is an inÍectious sound! Do not neglect it.

101

ETUDE 14


Llnes On Rhythm Changes - Simple To Complex Rhythm Changes Rhythm Changes, in addition to the Blues, is also a very important form for the jazz musician for improvisation. This form is the same as the chord progression in the popular George Gershwin song, I Got Rhythm, hence the name Rhythm Changes. The typical song form length is 32 measures with four eight measures phrases. Letter A repeats, Letter B is called the "bridge," or middle section bridging the A sections. lt is commonly called an AABA form. Not all songs are AABA, but there are thousands of examples. I suggest that you begin noticing the form that yrou are playing each and every time. Understanding the form will help you learn tunes faster, which ultimately will get you deeper into the music faster.

! purposely put little or no rhythmic variations in these rhythm changes. I would like you to attempt

to play them as is and see if you will be able to think of where you might employ your own rhythmic variations. Use the thought process discussed earlier.

Bass line #2 is quite different in that it begins with a !! - V cycle of Fifths starting on the sharp four chord of the key. This progression was originated by the Be-bop player to have an even more interestihg playground to improvise upon. Progressions #3, #4, and #5 are without any chord symbols of any kind. They are definitely still there, but I want you to put them in. Play through them several times to figure out what chords I might have used for the basis of these lines. Go to the piano and see how they work with the choices you come up with. Write them down. Listen to them. Record them. This mental homework will help develop your harmonic awareness. As you study the Blues, Rhythm Changes and the forthcoming Lines on Standard Tunes, you will acquire the harmonic tools that are the integral ingredient of the master creative Jazz musician.

Dexter Gordon Quartet, Estoril Jazz Festival, portugat, lg1g George Cables - piano, Dexter Gordon - Tenor Sax, Eddie Gtadden

1C2

-

drums, Rufus Reid - bass

Photo by Joáo Freire

WALKING BASS L'NE CONSTRUCTION

1.

6

Q? ,o,*t,

Ql

(our17

tc? I

p?

1c"ur

tí1)

103


2.

6

!'

,F{*ir

M 0

éui1

lr

0ri7

Qr

Qbt

Qo

fii

Qo

b t

Qr

It

0r

It

a

ü

0

ltot lt

U'

@Aí

!r

Qttrt

Qr I

Qui?

(trl

0l

0rd?

ltwt

lt a


6' EL

-----f t

-r

@ .-------t

tt

II

6'

t-

a

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4,

6'

a

6'

a

106

7

TIT-

L

---=-1,_-------------|


6'

6', LI

ru

1T

-a=

107

ETUDE

15

Walking Lines On Standard Progressions !t is important to outline the sound of the progression as quickly as possible for the listener to be secure with the information heard. Remember, your first listeners are the members of your ensemble. Each and every song has something very unique about its construction that will stand out. Your job is to identify what it is and remember it. This song has 32 measures. The Íorm is AABG. lt is different and no other song is or sounds quite like it.

The key is G minor, however, minor, the Íirst chord is which is the Four chord oÍ the 1.

Key.

2. Ascertain the

c

l'

know or care what key you are singlng it in. Though, at that moment, you are singing the ísound" of this song. lt will sound the same no matter what key it is in. Exactly!! Practice this process and you will have a higher percentage of retention of songs you wish to leam. Confirm the sound of these tunes you are leaming at the piano. Sing the same notes that you are playing at the piano.

TransÍer that

knowledge to your bass. Sing the the melody song out loud while playing the root tones. Sing in tune and you will play better in tune. Be clear to yourself. Do this very slowly so you can align the top melody and the bass melody.

ori?

of

I

1

structure.

How many similarities? Notice

that the chords for the Íirst eight measures arg the same I aJtne second eigtri.-l -Ü 3. The chord at letter B is one

whole step higher than Key. lt happens to be chord in G minor, rryh'ióh is A Half-diminished.

4. Letter C is almost the same as B, but in the measures 27 oAí and 28, there is a ll - V sequence that occurs Íor the first time, which

sb

Íbo

wil! help you sustain and survive on the bandstand. Sing out loud when you are out walking or driving.

o?fi9l

the final

ln this 32 measure song, you must remember these four significant things. They are keys to open the song up to you. lf you think of them as specific entities, they will help you when you get lost, instead of overloading, trying to remember every single chord in every single measure. To make this process truly be successful, you should also learn to sing the actual melody of the song. Then you must learn the sound of the bass melody, which is the movement of the BIG LET-

This is truly the ear training that

There is no short cut to learning tunes except in real playing situations. lf you play tunes daily, repeatedly, you will make great strides in tune retention. The bi-product oÍ aIl of this singing, writ-

ing,transcribing, etc., is that you will have the ability to hear and identify chord sounds, chord progressións, harmonic sequences and rhythmic similarities. Get friendly with that piano and you will become more connected to your bass. This functional knowledge will travel with you.

TERS or the root tones of the chords. Sing them as Study these next few bass lines and then compose well. Think of the chord tones as the major routing you own, alternating every other chorus. When you or boundaries of this playground you wish to play in. are having trouble retaining a song you like and It may seem a bit elementary at first, but it willwork. want to !eam, identify its unique elements and Take note that when you sing a song, you may not

108

these songs wil! stay with you.

WALKING BASS L]NE CONSTRUCTION

This is a bass line to a very old French folk song upper positions. Be sure to pull the sound out called Autumn Leaves, by Joseph Kosma. This dynamically by using more weight Írom the right song is loved all over the world and should be arm and hand. Use similar weight when in the included in your list of tunes to know. Practice this lower notes from the open A on downward to the line to keep tho sound Íull throughout the lower and

í.

low

E.

(1

0ui? t-

obo

Ai at

tr-

Qxi?

O?({el t-

ébo

|a-

t.

7-----T

Listen closely to create a balanced line.

I

ta

(1

ebo

?bo

t-I|.

trrL

o?fie)

^í

Qni?

t-

o?ffil

0ri?

(1

3bo

bc

t-

o?fiel

ebo at^

AÍt

o?Íb')

o?fiel

, -r--.---.------r

g*i1

L)--

?(15)

t

oful

'109

WALKING BASS LINE CONSTRUCNON

Bass line #2 is an upper position workout. Keep your shifting precise and close to the fingerboard. Remember to use the weight of the right arm to pull the upper notes out of the bass.

As you become more proficient with these lines,

start adding your own rhythm embellishments to enhance the line.

2.

6

cui?

o?(lt

o?íltl

o?ffi)

.bo

110

AÍ

Qxi?

o?íill

Qrl?

c?0$l

írri7

8blÍi51


This walking line is based on the popular song by Rodgers and Harl, Have You Met Miss Jones?' The structure is basically A A B A. Notice the two measures before Letter B' the ll-V in the key oÍ Bb' which is different than measures 7 & 8, which is in the key oÍ F' Letter B starls on the Four chord oí the

3.

(n

6

key. Also notice the similarities of the harmonic

movement in letter B. Finally, the song arrives at "home'' at m€asures 3'l & 32' on the repeat, try inserting notes to depict the altered changes in parentheses for a harmonic surprise.

r#'

i..Qui?

Ani?

í#'

6'ro

Q?

14rr-r

1o*i*l

c?

QriT

i)

@

0b^

go

oo*n wr,or"

st"i$ni?

uern-rone

i. Afri?

0h1

0b1,

j;*n

"n".

Sii,.:':"*

"*llq-n

Qil?

6'Fo AniT

gbo

07

Qil?

c?

íi

c,".; ;,;.' ,;.': 111

WALKNG aÁss r.lNE coMlTRlrcTiöt{

These next two pages illustrate anotheÍ excellent This structure is A A B C and ls 36 measures. chord progression from Jerome Kern's, All The ldentiÍy the of:particular significance. This will "'"69 popular you Things You Are. lt is very because it has help to retain thé form. Notice lhé (home" a wonderful harmonic playground for improvisation. areas circled for each éight measure phrase.

4.

6

0ni?

@'

Fri?

ül

úbri?

ébl

F*uil

0*'ril

0il{el


Version #5 has some harmonic surprises in meas- well wilh the correct melody. Jazz players are ures 3, 11, 27 and 34. Th€se changes slip out and always altering things harmonically, but the correct back into the key quickly to add color to the line. melody should always be prevalent without any The changes have been altered, but also work very harmonic clashes or undesirable dissonances.

5.

6

6t

lr

luil

0ril

Qr

Ani?

Qr

Ab^)

0o

oil?

Ab

0r0r)

Qo

fiMt

Qo

Cxil

o**r

fi$ü

6Á1

'I

13

ETUDE 16

Developing Latin Bass Concepts Bass lines and bass patterns in a Latin concept

require indepth study as in any other form oÍ music to execute it correctly. Correctly means when you are able to not only understand, but can function playing in a truly authentic setting. lf you are asked to join in again, you must be doing it well.

Duke Ellington introduced flavors of the music of many of the countries he visited in much of his music. Dizzy Gillespie was one of the most notables to embrace and incorporate the music from Africa and Cuba with the Be-bop style. All of this new music has a deep history. To play it well you must study from the source. The best way is to play with people who live and breathe the style to get inside of it. World music is very interesting to the creative player. American Jazz players are paying much more attention to the details of these different Íorms, which enables them to meld it into their own style. These next few examples are to get you started in the numerous Latin styles. I list some books

on this subject in the back of the book. To listen to the real thing, check out the recordings of Master

musicians such as lsrael "Cachao'' Lőpez, Carlos Del Puerto, Andy Gonzales, Tito Puente, Eddie Palmieri, Clare Fischer, Ray Barretto and "Chucho" Valdez.

The music from Brazil also has given

palette to the jazz player. Saxophonist Stan Getz became even more popular by introducing the Bossa Nova style to his music. Master musician and composer Wayne Shorter collaborated with

Milton Nascimento. Antonio Carlos Jobim, Joáo Gilberto, Sergio Mendes, and lvan Lins, to name a feq have beautiful compositions that iazz players gravitate to.

There is no real excuse for any of us to play these styles poorly. ! suggest that you add these techniques to your arsenal. You will definitely have fun.

Dizzy Giltespie Atl Stars, Umbria Jazz Festival, Perugia, ltaly, 1989 Photo by Pieroni Carlo Dizzy Gillespie - Trumpet, Phil Woods - Alto Sax, Bobby Hutcherson - Vibes Cedar Walton -Piano, Steve Turre - Trombone, Mickey Roker' drums, Rufus Reid - bass

114

another


Simple Basic Bossa Nova

lo>

*i|Íh'i'Bossa

Nova

0${tel

Alífl

I

Bossa Nova

q!!f

lo o' ,lo

Qr

Calypso

Son Montuno

Aa

Aíro combinations

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Af ro

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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

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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.

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


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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

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Thumb Independence

This exercise will help you use and develop the mobility of your thumb. The two chord types used are minor and major. only triads are used, but an implication could be thought of as a ll-V progression. When moving to the C, pivot on the lhumb and

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THUMB POSITION SCALES & CHORDS ln playing these scales, you do not have to move or shift your arm. The only movement is the individual Íinger designated by the fingering notation. Practice slowly and deliberately. Once you learn and memorize the Íingerings and the harmonic sound they produce, move chromatically or any increment you choose. No matter where you play the scale it will always have the same identical sound. The dexterity obtained will deÍinitely begin to liberate you from the mental shackles that is usually presenl when addressing the upper positions on the double bass. Your agility will increase and your bass lines will soar with this increased stability in the thumb positions.

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Practice slowly so that the muscles in your limbs, your left shoulder particularly, learn that there is something new that must be remembered. Keep the posture in the left hand. Remember, move the

entire arm and the hand and fingers go along Íor the ride. The weight oÍ the entire arm is what is keeping the string pressed down on the string, NOT the fingers!

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The Sound oÍ Tenths

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The sound of Tenths is very beautiful on the bass. !t functions beautifully because of the Root tone and the Third tone played an octave above. When played in tune, Tenths produce a very satisfying

quality to the music, any music, whether it is incorporated in a bass Iine or played independently during a solo. Practice slowly and concentrate on the pitch and the total sound that is produced.

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Practice the top fingering Íor dexterity so that you can control your fingers. The bottom fingering notation will be more useful for practical use. Practice these slowly. Play them without the slur !n the beginning until you begin to hear allthe notes clear-

ly. These are easier to play on the electric bass, but do require some dexterity to move about them freely. I think you will like the sound of these and perhaps when you get them under your Íingers you will be able to employ them in your lines and solos.

Notice the third finger ls employed. Use it and begin to develop strength in it. Rernember to keep contact with the string and fingerboard at all times. Your

recovery to the F is important to keep the line Ílowing. Practice it slowly and watch your hand carefully so it can learn what it must do.

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Use the middle, (3rd ) finger and thumb of the right hand to get a balanced attack on both strings. Use a downward stroke horizontal to the fingerboard to make the strings move more rapidly for a longer

sustained sound. lf you choose to play a short, plucked sound, use the same fingers with an outward stroke perpendicular to the fingerboard. The thumb and the third Íinger gives you power.

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Speed Patterns in Fourths This exercise is designed to help develop playing quickly across the strings using the interuals of Fouilhs. lt will give both hands a good workout while getting acquainted with the sound that it can produce. There are many ways to utilize this sound

playing through diatonic harmony. Master musician, saxophonist, Eddie Harris, developed his style utilizing fourths combined with diatonic harmony. His composition, Freedom Jazz Dance, is a great example of how to use fourths in a melodic manner.

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Jack DeJohnette Special Edition, ltaly 1986 photo by LuigiTazzari Jack DeJohnette - Drums, Howard Johnson - Tuba & Baritone Sax, John Purcell - Tenor Sax, Greg Osby - Alto Sax, Rufus Reid - Bass

155

solorsilc coNcEPTs ln popular music the bass evolved from the tuba in Dixieland music. lt was basically a rhythm instrument with an oom-pah type of sound. lt did function harmonically, but it was very basic. As music progressed through the years, it began to become more harmonically complex. People began to play melodies on the bass. Jimmy Blanton was one of the first to be recorded playing melodic solos, with the Duke Ellington Orchestra. lt seems to me this was the real beginning of a bassist moving toward the front line projecting melodies like a horn player.

The technical skills used to improvise is something that can be taught to almost everyone. However, the elements that make the listener be moved and captivated are intangibles. ln recent years books have been written to guide you, such as this one. You will actually be able to learn the most by association. Getting out and applying these techniques in a real playing situation is the most important thing you can do. I encourage you to listen with an open mind to everyone. Even those people you do not particularly care for. There is always something you can learn, even if it be what not to do. ln most instances we don't like what we don't understand. Your musical preferences will most likely change as you become older.

suggest listening to horn players as well as other bass players for ideas. This definitely will stimulate fresh ideas for you. Again, ! feel the more knowledge you have of the keyboard, the better off you will be as a bassist and in your development as a soloist. Remember that first of all you are a bass player. You are the soul and heart of an ensemble. It has been my experience that when your bass playing alone can satisfy whoever you are working with, then your soloistic efforts will be accepted. honestly feel that if you begin to think with this concept always at the forefront of your consciousness, you will project it to others. I

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This next brieÍ section is another concept for those players who have already begun to search in these areas. We all want to be able to solo and all the time. The various styles of soloing should compliment the style of the music being played. The walking bass line could be thought oÍ as soloing all the time. lf you transpose your bass lines into treble clef and have a flute or trumpet play lt, it should be the same beautiful melodic phrase. Bass players

have the unique distinction oÍ having a dual personality and get away with it. ! do think that when your bass lines are truly sounding melodic, so will your solo playing.

! feel if you begin to play through these simple

etudes wlth some facility you will be able to connect some of your melodic thoughts so that your solos will begin to have symmetry and form. Going through calisthenics on the bass is just not enough. 156

Dexter Gordon - Tenor Saxophone Keystone Corner, San Francisco, CA 1979

Rufus Reid - Bass

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City Slicker Elegy Almost But Maybe Perpetual Stroll No PIace ls The End oÍ The World Waltz For Doris It's The Nights I Like These tunes work well for two basses. Work on balancing the sound so that both players can be heard equally. Take turns soloing and being the bass player on the progressions. Be creative,

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Rufus Reid and Milt Photo by Jo Ann Krivin New Jersey Network Television Studio, 1987

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make up your own introductlons and endings after you have spent some time with them. ! hope you enjoy them.

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NIGHT CAP

NO PLACE IS THE END OF THE WORLD TR!CROTISM

EMBRACEABLE YOU BAT'S BLUES YOU'RE MY EVERYTHING This chapter ofÍers a few transcriptions of my solos on some recordings that ! have made over the years. I hope you enjoy reading through them. To get the full enrichment from them, obtain the recording. You will hear a great deal more than what I am able to put down on paper. Transcribing solos has always been an integral part of getting close to a persons playing. The best way to transcribe is to listen enough times to learn it

completely aurally, singing or whistling out loud. !n doing it this way first, you get totally involved before employing the academic side of transcribing. Next try to play what you have been singing with all of the dynamics and nuances. Once you have successÍully achieved playing, now you may try to write it down so that it can be archived. !f you are a slow reader and/or writer of muslc manuscript, you will eventually get better through this process.

Stan Getz Quartet, Umbria Jazz Festival, Perugia, ltaly, 1987 Photo by Pieroni Carlo Stan Getz - Tenor Sax, Kenny Barron - Piano, Victor Lewis - Drums, Rufus Reid - Bass

173

TRANSCRIPTIONS OF RECORDED SOLOS

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by Eddie Harris

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174

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TBANSCRIPTIONS OF RECORDED SOLOS

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175

TRANSCRIPTIONS OF RECORDED SOLOS Bass Solo by Rufus Reld

No PulaÉl3 Í*e ÉHooÍ ÍTÉtlocuo Recorded By RuÍua ReldTrio on "PERPETuAL sTRoLL" Sunnyslde Communicatlon$ SSC-íO27-D

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Just a bit oÍ trivial The word lricrotism comes Írom the medical term tricrotic. lt's deÍinition is: Having three sphygmographic waves or elevations to one beat oÍ the pulse.

179


Oouet{rN $teeet ""=f."'$,T9Ptií"?'3}t?E''o_" by Bronlslau

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Kaper Transcrlbed By Adam Llnz

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TRANSCHIPTIONS OF RECORDED SOLOS

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183

TRANSCRIPTIONS OF HECORDED SOLOS Íian3crlbed byA'Lm Llnz

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Soto By RuÍus

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Transcrlbed By Adam Linz

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187

ln each category l have listed signiíicant bass players that you should know or at least know of their exis_ tence. These players represent only a small portion of the many excellent bassists on recordings' They also represent many different styles and concepts of this music we call Jazz. For further inquiry, try searching the internet ( http:www.allmusic.com ) in the Jazz category by a specific name: Jimmy Blanton & Duke Ellington IN A MELLOTONE HCA LPM 1364 DUKE ELLINGTON & ORCH

colUMBtA 35322 Slam Stewart

LIONEL HAMPTON ALL STARS Oecca DL 74194 BOWIN' SINGIN' SLAM Savoy MG l2067

lsrael Crosby

Ahmad JamalBUT NOT FOR

ME

MCAg'IO8

oscaÍ PettiÍord ESSEN JMZ FESTIVAL ALL

STABS

Fantasy 86015 STAHDUST Belhlehem BCP-33 MEMOFIIAL ALBUM

Prestige PR 7813 MY LITTLE CELLO

chaÍles Mlngus

MY FAVOFIITE OUINTET Fantasy JWSS LET MY CHILDREN HEAR MUSIC ColumbiaKC-31039 OUAHTET AND MAX ROACH Fantasy 86009

TOWN HALL CONCERT Fantasy JWS9 Ray BrovÍn ALL STAR BIG BAND Verve V6-8444 Verve V6-8615

Oscar Peterson - AFFINITY Verve 68516 oscaÍ Peterson WEST SIDE STOHY Verve 68454 Oscar Pelerson -

WE GET REQUEST

VeÍve V68606 oscaÍ Peterson THE SOUNO OF THE TRIO Verve UMV 2078 Ouincy Jones -

WALKING IN SPACE A & M SP3o23 AND LAURINDO ALMEIDA Ceniury City 80102

BILL EVANS AT THE

oJc-1s8 TALKIN' Capri 74016 oJccD-318-2 Gary Péacock

MONTREUX

Bob Cranshaw LEE MOBGAN - SIDEWINDER

Percy Healh Modern Jazz QuaÍtet LIVE AT THE LIGHTHOUSE

Note 84157 rollins & Co. -

_

Embryo SD521

Blue Note 84044

STANLEY TUHHENTINE WITH THE THFlEÉ souNDs Blue Note 84057

OUARTESCENCE

Van-Los Music VLM3608

Paul Chambers CHAMBERS - BASS ON TOP

Charlle Haden

Prestige7142

cTt 6037

FUNNY VALENTINE

csgt06

Miles Davis - FOUR AND MORE Columbia CS9253 HeÍbie Hancock MAIDEN VOYAGE Blue Note 4195 Hall & Ron Carter -

ECM 1663

BEYOND THE MISSOURI Verve 314-537- 130 HanK Jones . STEAL AWAY 314-527-249 Ornetle Coleman

THE SHAPE OF

COME

Capri 74018 THIS ONE'S FOR BLANTON

Pablo 2310-721 Geoíge ouvivieÍ

Bénny caÍler 'L|VE AND WELL IN OJC - 736 Oliver Nelson STRAIGHTAHEAD OJC.Ogg

JAPAN

OJC.325

Hal Galpsr - INNER JOURNEY Mainslream 398

Buglé] Wlliams

Herbie Hancock -

FAT ALBERT ROTUNDA

JMZTO

Alantic 1317 RichaÍd Dav|8 Eric Dolphy memorial Album -

ALONE TOGETHEB

Bichard Davis & Elvin Jones

lmpulse 49160 Thad Jones & Mel Lewis-

WaÍner BÍos. s'l834 HeÍbie Hancock -

-

CENTRAL PAHK NORTH solid stats 18058 Scott La Faro Bill Evans - SUNDAY AT THE VILLAGE VANGUARD

PRISONER

Blue Note ST84321 Crusaders -

Milestoné 9034

DexteÍ Gordon -

Prestige í0051

cAPUFANGE

Blue Note 81581

Cecll McBee UNSPOKEN

PALMETTO 2023 Pharoh Sanders lmpulse S-9206 chaÍles Lloyd -

-

THEMBI

FOREST FLOWER GEONGE MRAZ DUKE'S PLACE

Milestone 9292 Archie Shapp- BLUE BALLADS Venus TKCV-79307

Michael Moorc

Michaél MooÍe & Bill charlap Concord CCD 4678

OOUBLE BASS DELIGHTS Doub|e-Timé DTBco -117 THE INTIMACY OF THE BASS Double-Time DTRC-158 Ray Drummond CONTINUUM

Arabsque AJol

l1

IDRIS MUHAMMAD

NOW

Concord CCD-4806-2

ONE MORE ANGEL

NIELS-HENNING ORSTED PEOENSON OOKING AT BIRD

scs

LAGE VANGUARD

John Palltucci

Wor|d PaciÍic 20136

MlÍoslav vltous

OF BLACKNESS

Theresa RecoÍds TR 110 Tom Harrell - SAIL AWAY c-14054 Contsmporary

POWERHOUSE

HEAVY SOUNDS

Hivérsido 376

1011

POINTS OF VEIW

dPat Metheny

ECM1022

Sonny Rollins - NIGHT AT VIL-

Davis -

ECM

Note 46638

stanley claÍke CHILDBEN OF FOREVER

wilbuÍ ware

BLUES FARM cTt 6027 ALL BLUES

Blue Note 81569 WHIMS OF CHAMBEBS Blue Note 81534 ALONE TOGETHER MILES DAVIS AT CARNEGIE Milestone 9045 Columbia CL1812 STANLEY TURHENTINEMilos Davis - KIND OF BLUE cTl 8006 Columbia CS8163 Dave Holland BAGS & TRANE Atlantic 1368 FOR TWO BASES

SOULTRANE

Blue

FOREVER

UPTOWN CONVERSATIONS

WALKIN'

SOMETHIN' ELSE

Jog HendeÍson - lN PUHSU|T

Eddie HarÍis - lN soUND

Atlantic S-1231

Cedar Walton Trio A NIGHT AT BOOMERS, VOL.1 Muse 5010 Cannonball Adderly

PolydoÍ PD5531

Ron carleÍ

-

Sam Joneg WES MONTGOMERY AND FHIENDS Milestone4Tol3

chick coÍea - RETUHN To

E BRIDGE HCA LST 2527

FONTESSA Milés Davis oJc 213

JMZ FESTIVAL

Vérvg V68762 B|II Evans - SIMPLE MATTEB VeÍve 68675

Bill Evans - TFIIO 'O4 Verve V68578 Keith Jarrett-STANDARDS ECM 21289

Ailantic S- 1486 Modem Jazz Ouartet

Evidencg 22208

BILL EVANS ALBUM 30855

Veejay 2503

SUPEH BASS

188

THIS IS HAMPTON HAWES

ÍloN

HALL

ANO MILT JACKSON

BATTLE

Eddle Gomez

Andrew Slmpkins The Thíse sounds - MooDs

Fantasy 86010

SOUL

Red illtchell Presenting Fled Mitchell

1149

Chick Coroa - NOW HE SINGS, NOW HE SOBS solid srate 18039 Miroslav Viious - INFINITE SEAHCH Embryo 524 Reporl -

ccD-4753-2

HEART OF THE BASS stretch BecoÍds' lnc. sTD-l101

chÍlstlan McBride FINGEBPAINTING Vervo 856 A FAMILY AFFAIR VeÍve 557 554

NUMBER TWO EXPRESS

Vervs 314 529 585

SELECTED ELECTRIC BASSIST Monk Montgomery (Firsl recorded jazz electÍic bassist) BASS ODYSSEY Chisa CS 806 IT'S NEVEB TOO LATE Philadelphia lnt'l Chuck Rainey Robérta Flack _ oUlET F|RE Allantic S1594 Ouincy Jones - WALKING lN SPACE A&M 3023 James Jameson Marvin Gaye - WHAT'S GOIN'ON? Tamila 5310 Richard Evans DEALING WITH HARD TIMES Atlantic SD 1604 Wilton Felder The Crusaders 2nd CRUSADE Blue Thumb BTS7000 Stanley Clarke STANLEY CLARKE Nemperor Flecords-1 974

Jaco Pastorius JACO PASTORIUS Eberhard Webel THE COLOURS OF CLOE Steve Swallow DECONSTRUCTEO Anthony Jackson Michel Camilo - RENDEZVOUS Victor Wooten A SHOW OF HANDS victor Bailéy Joe Zawinul - WORLD TOUR John Patitucci THE CHICK COREA ELECTRIC

Epic PE33949

ECM 1042 ST

ECM 23209

cBs

53754

Compas 74231

Zebra 44O1o

BAND

GRP 9535

SELECTED CLASSICAL DISCOGRAPHY Gary Karr Serge Koussevitzky - CONCERTO FOR DOUBLE BASS cRt s-248 BASS VIRTUOSO Golden Crest SUITE FOR DOUBLE BASSAND PIANO RE7O31

Francois Rabbath RABBATH PLAYS BACH

Bertram Turetzky THE VIRTUOSO DOUBLE BASS Medea Records THE NEW SOUND OF BERTHAM TURETZKY Ars-Nova Records . 606 Raleigh Pl, S.E. Washington, D.C. 20032 Barry Green NEW MUSIC FOR THE DOUBLE BASS Piper Records ROMANTIC MUSIC FOR THE DOUBLE BASS BAROQUE MUSIC FOR THE DOUBLE BASS Diana Gannett LADY BASS LBDHGgT University oÍ lowa, lowa city, lowa

The New Technique CD-ROM - PCIMAC Label lmage Production 12 rue des blés' 93217 La Plaine sl. Denis cedex

ocA

FRANCOIS RABBATH,

hllp:www.labelimageproduction.ír

Ludwig Streicher STREICHEB

CBS/Sony, lnc 28AC1297

KoNTRABASS-KoNZERTE Eugene Levinson FRANCK SONATA in Edgar Meyer

QUINTET

Daniel Marlier PRESTIGUE de la

RML 8201 Red MaÍUliben Records 6265 Dawes Lane Cincinnati, OH 45230

A

TeleÍunken 642621

Aw

Pro Art Digigal PAD178

Deutsche Grammophon 289-453-506-2

CONTREBASSE

8NL112876

SELECTED CLASSICAL METHOD BOOKS A NEW TECHNIOUE FOR THE CONTRABASS -Vol. 1,2,3 By: Francois Rabbalh Liben Music Publishers.1191 Eversole Road Cincinnati, OH 45230-3546 . www.liben.com Advanced Techniques oí ooublé Bass Playing By Barry Green The Populer Bass Method By Barry Green & Jeff Neighbor Published by Piper company . 7991 Térracq Drive El ceríito, cA 94530

18 studies Ío] string

By KreutzeÍ

.

Bass

Published by lnteÍnational Music company

The Art oí Double Bass Playing By Warren Benfield & James seay Dean, JÍ. Summy-Birchard Company

.

Pulbished by

Methode comPléte íor contrebasse by Edouard Nany . pu51;.6.d by Alphonse Leduc New Method Íor String Bass Part ll by Simandl . Published by lnternalional Music Company

189

SUGGESTED BOOKS Here are a few books that l feel would be helpÍul to you for many years to come. l reÍer to them constantly and recommend them highly Íor your personal library. You will notice many aré from the same publisher. Send Íor a catelog to Íind more oÍ what is available Íor the aspiring Jazz musician. THE BASS TRADITION

Paot.Presont.Futute By Todd Coolman

BOWING TECHNIOUES For The Improvislng BeEtlst By John Goldsby JAZZ PIANO VOICINGS FoÍ Thg Non - Pianlst By Mike Tracy

JERRY COKER'S JAZZ KEYBOARD FoÍ Planl.t and Non - Plenl3t By Jerry Coker JAZZ KEYBOARO HAFMONY A Practical Mothod For All Muslclang

By Phil DeGreg ARCOLOGY

The Muslc oí Paul chamberg - Vol. í - 2 By Jim Stinnett Published By Jamey Aersold 1211 Aeborsold Drive, NewAlbany, lN 47150 http:www.Jajazz.com

BASS LINE The Storles and Photographt oí Mllt Hlnton By Milt Hinton & David G. Berger Publlshed By; Temple Press / Phlladelphia OVER TIME THE JAZZ PHOTOGBAPHS OF MILT }IINTON By Milt Hinton, David G, Berger & Holly Maxson Publlshed By: Pomegranle Artbooks, Box 808022, Petaluma, CA 94975

DEEP DOWN IN MUSIC Thc Art ot tho Grclt Jszz Be.sllt By Leelle Gourse Publlshed By: FRANKLIN WATTS A Dlvlslon oí GÍoli9r Publishing THE ESSENCE OF AFBO.CUBAN PERCUESION & DRUM 8ET By Ed uÍlbt

Publlehed By: Warner Bros. Publications Miami, Florida 33014

190

MELODIC PLAYING IN THE THUMB POSTTION By Michael Moore BRAZILIAN MUSIC WORKSHOP By Antonio AdolÍo Published By; Advance Music VERONIKA GRUBER GmbH Maieráckerstr, 18 D-72108 Rottenburg, Germany RAY BROWN'S BASS METHOD By Ray Brown BUILDING AJAzz, BASS LINE By Ron Carter Hal Leonard / wwuhalleonard.com

THÉJr.Ez P!ANo BooK By Mark Levine THE JAZZ THEORY BOOK By Mark Levlne THE NEw REAL BooK. vol' í-2-3 THE TRUE CUBAN BASS By Carlos Del Puerto & Sllvlo Vergara THE IMPROVISOR'g BASS METHOD By Chuck Sher & Marc Johnson THE SALSA GUIDE BOOK By Bebeca Mauleón SHEB MUS|C CO. P.o. Box 445. P€talume' cA 94953 shermuse @sonlc.net

DICK I{YMAN'S PBOFESgIONAL CHORD c}lANoEg end 9UBST|ÍUTIoN3 FoB í00 TuNE8 EVERY MuglclAN sHouLD KNow Vol, 1&2 By Dlck Hyman Publlshed By: Ekay Muslc, lnc, 223 Katonah Av€' Katonah, NY 110536

ls lt ln _ Edc'ie HaÍíis char|ie PaÍk€Í Memoíial conce(

Íhe chase!

Allántic sDl659 cadet 60002

_

Pr€stlgs 1ool0 Gene Ammons & D€xler Goídon Káleidoscope _ Nancy Wilson capilol sT852 Allanlic 1611 lnslanl Dealh - Eddie Harris Allanlic 1625 Eddi€ Haííissings Tho 8lues Allanlic sD2311 ExcuÍsion - E(|die Haíris Mirage _ The Awak€ning Black Jazz DJoo1s lncanlálion 'Tho Foí€líonl FoíeííonlPub' ln The Foí€íronl _ Thé Forolíonl FoíeÍonl Pub. Sophisticated Giant Dexieí Gordon Columbia JC24989 Manhatlan syínphonie' Dexleí Goídon Columbia JC35608 Lee Konitz Nonel _ PíogíessiveKUX13G Figure And spiril L€e Th€ Thád Jones an(l M6l Lewis ouartet (cD a&R 0830) Anisl House AH3 Arista Novus AN30o6 Rapporl ' Ran Blak€ Muse MRs145 My Molhor's Eyes - Ella Jonos sleeplecháse scs1099 Embarkalion _ John Marlin 2214 Street Wind - Eddie Oaniels Bean Records BWl02 Íes _ Buddy Monloomory The Matteson_Phillips Tubalazz consort A&F Rocoíds Monica zeneílung _ ThaC' Jonés/M€l L6wis orchoslÍa EMl 7c 062-35454 x_75' Vol l ' Henry Thr€adgill AÍista Novus AN3013 Dr6amstreet OR104 Coincidence Harold Audiophile 4P142 Anything goes - Nancy Gíeal Encounters _ Dexler GoÍdon columbia Jc35978 Finesse W2x 37484 M€lTorme Live At Marly's Mel Lewis & The Ja22 orchestra Plays Gíyphon G912 The Music oí Bobby Brookmeyer xanadü 182 oelawd s Blues - Billy Matchellouinl€l Xanadu 181 s€cundum Arl€m - T€d Dunbar lnnor Cily jC1080 chasin'The Biíd - Helsn Morrill Muse MR5264 Lislon To The Dawn _ Kenny Buííoll Sleepl6chaso clean sw€ep ' John McNeil Concord CJ161 Circles (ons lune) - Jim Hall Muse MR5250 Tenor For Th6 Tlmes ' Fliclry Ford Perpelual Slroll 'Bufus neid sunnysde commusicálions ssc ]027_0 Muse MR5256 Texluíes - Alben Daby Xanadu 187 ln The Tradition _ Bob Movél Blue Jay sessions'Mike Metheny Hoadíirsl Becords Miíth song ' sunnyside ssc1oo Haíold Danko/Rulus Reid Too Marvolous FoÍ words _ Empathy Records Joe Two For Thg Blues Frank W€ss 8 Frank Pablo 2310-905 ECM 1244 Jack DeJohnette's Spocial Larry o'Leno sings Billy strayhoín Batlery Becoíds xanadu l94 Things Unséen! _ Bob Bayslale New Jazzl€t - An Farmer & Benny Jack DeJohnotle's ECM 25010 1E Special Edilion Album Hangin' Oul - Joo Wilder & Joe Nswman Co cotd Jazz _ Uptown Flecords FoÍ Thg Momenl Barry Frankly Speaking concord Jazz Frank Wess & FÍank Love ls He.e - Floslyn Burough Sunnysido SSC 1009 Conlessin'- John Soul Nore SN1095 Mus6 Mr5317 A La Carle - Konny Shoner ldeas - Ricky Muse MH5314 Nights Al Th6 Kgystono Dexler Goídon Bluo Note 85112 ÁLjtumn ln New York - Konny Barlon Uptonr UP27.26 You Mako M€ smile - Art Farmeí soul Noté sN1076 N€w Piclure ' Jimmy H6alh Landrnark LLPl506 seven Minds - Ruíus Reicl Tlio Sunnysido SSC101O Claudio! ' Claudlo Flodili Uptown Rocords Píogr6ss Report _ Jame6 walliams s€xt6l Sunnysido 6SC1012 clarion Echoos _ FÍank Go.don soul Not6 sN1096 classic chíis connoí Fantas) C-1 4023 with Án op€n Hgan - sumiTonooka Rádiant RR:'60l Manhattran Burn - Paquilo D' Rivora Columbia - L66 KoniE ld€al sc€n€ soul Note sn lttg Jo€ M6éts Th6 Rhythm soctioo Horace I']nl€le*s sJP 249 Uío Fllghl - Fr€ddig Blu€ tlol6 BÍ'85 139 'Bassie & Elllnglon'- Ray Emarcy Fantiasy som€lhing To Livg For - Ad HaíémB|ués - Donald Landmaík LLP-j516

Konilz

McNeil

Danko Harrow

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caítér

Fosteí Edllion Moveí Go]son Album Harris Fosler Stubblelield Burrell Ford

Paían

Hubba.d Bryanl Farmgr Byrd Nalurally.HalGalpor Bla6*háwkBKHs2$'D nound Trip _ Falph Moore B€s€ívoií RsR104 Shannon Gibbons SoulNoto SN 1163 circle - G€orge cables contempoÍary c14015

Good People

-

Shades.

Jed Levy

Reservoir RSR105

Andrew tl I líiU and ouanel New Oullook -

Bob Schneid6rman Golden Eaílings _ Ray Bryanl Fled Hot and Blues ' Barney Xessel

cruis]n'The'BiÍd

soul Nol€ sNt113 R€servoií RsBcD106 Emarcy 32JD-10161 ContemporaryC'14044

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Bobby HulchaÍson Blame lt On MY Youlh

Thé Fksl Love song Harold Danko

Landmaík LLP-1517 -

ContemporaryC-14042 _

Gerald's People Mike Wotíord Plays Gerald Excuísion ln Blue _ John Handyouaíel

Jazz Cily D28Y0204

Wilson

Waiting ln The Wings -

The Bob RockwellTíio Blue Moods - Ray Bryanl Love You Madly ' Carol Sloane Ph.O. - Arl Farmer El€ína| spiril ' Andíew Hill

Discovery Ds-951 Becords 010O5

Sunnysado SSC 10350 sle€plechase 31242

Emaícy EJD's conlempoíary c14049 conlempoíary c14055 Blu€ Nol6 81 92051

slan Gelz al MontmarlÍs

Emarry EJO-1023 Recoíds 065cD

owl

Lino - DaVe Uébman Blues ln Five Dimgnsions Mickey Tucker Ouartet The Winclmills oí Youí Mind Tools Thielemans Felia - Jeíome Barde Tim€

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Rufus Reid - The Evolving Bassist

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