BASS GUITAR FOREWORD. In the following pages different phases of the bass guitar are covered.

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1 BASS GUITAR by DON COMANDA OREWORD In the following pages diffeent phases of the bass guita ae coveed. This is not a method but athe a lay out, fom which the bass guitaist can incease his knowledge of the instument. It is designed to teach I V and Tiad pattens as simply as possible, so that the bass playe will be able to apply these pattens (ceate a bass line) while eading diectly fom a lead sheet (sheet music) o similaly aanged music. Note names, note spelling of the tiads, key signatues and movable scales ae also coveed. The bassist should study all of these phases caefully. They will help geatly in the ceation of all bass lines. This book is ideal fo those who play six sting guita (o anothe instument) and have a desie to lean a second instument. It may also be used by bass playes who play stand up bass in helping them lean the I V, Tiad, and scale pattens. Copyight 01, Don Comanda, 1197B Rockland Ave Staten Island, NY Intenational Copyight Secued Made in U.S.A. All Rights Reseved Published by Royal iewoks Pess, PO Box 99, 1 ist Avenue, Unionville, NY (8) 7- fax: (8) mail@fwp.com website: fwp.com ISBN: Pinted and bound in Unionville, New Yok, on acid-fee pape using vegetable-based inks at the Royal iewoks facility.

2 Chod Diagam (Explanation). Chod Symbols (Explanation). Counting Time ingeboad Chat oewod Index..... Key Signatues Majo Scales in Diagam and Note om. Movable Scale oms..... Notes by Name and Position.. Note Spelling of I V's and Tiads. One-ive Pattens (I V). Rhythms: () ou-ou Time Six-Eight Time g (g) CONTENTS (l) () I This Page.. I I I I, though 8 (See Index fo Individual Listing),,., 7 Scales In Diagam and Note om II, 1 Signs and Symbols, Abbeviations and Explanations.. 10 Simila Chods with vaied names.. 10 Staff... Tiads. 9 though 0 (See Index fo Individual Listing) Tuning INDEX - TRIADS - I V'S (ONE-IVES) I TRIADS I c Db.C# D Eb(D#) E #-Gb G jab(g# A IBb(A#) MAJOR MINOR LAT IVE (b) AUGMENTED () DIMINISHED (o7) B.Cb II V'sl c Db.C# D Eb(D#) E #-Gb G Ab(G#) A (A#) IV IV# * I Vb B.Cb The I V 's y also be used fo?iminished and diminished 7 chods. The diminished chod is indicated by a small" o" o dim. (Co) (C0 7) (C dim.) etc. Thos wolf be tue of alii vb s each to thei own key.

3 THE STA is made up of lines and spaces.!the STA! THE STA is divided into BARS o MEASURES by ba lines. /BAR LINES-----==== Ba; CA MwuSie I Bd! v Mww e I Ba o Meaw e The spaces between the ba lines ae called BARS o MEASURES CLE / (Bass Clef)!couNTING TIMEI You music will sound bette hythmically if you ae able to count pope time as you play. ollowing, is a beakdown of vaious hythms. Study them caefully. The top numbe of a ti na signatue tells us how many beats (counts) thee ae to each measua. TIME SIGNATURES The bottom numbe of a time signatue tells us how much each beat (count) is woth. i = beats ( counts) to each maasue. each beat (count) is woth one quate. C = COMMON TIME. Common time is the same as i time = beats (counts) to each maasue. Each beat (count) is woth one quate. time = beats (counts) to each meesue. Each beat (count) is woth one quate. time = beata (counts) to each measue. Each beat (count) is woth one eighth. time = beats (counts) to each measue. Each beat (count) is woth one eighth. 9 8 time = 9 beats (counts) to each meeasue. Each beat (count) is woth one eighth

4 NOTES BY NAME AND POSITION 1st STRING nd STRING 1111 I I I Open Open Open 1st inge d inge th inge Open nd inge d inge nd et th et th et nd et d et ': ': I I G A B c D E d STRING g Open I I th STRING I I g Open ': ': I : I Open nd inge d inge Open 1st inge d inge nd et d et 1st et d et A B c E G NOTES BY NAME ONLY E GAB CDEGAB C DE G A B C. DE o a comeiete listing of notes by name and position, on all stings, consult the page in the cente section of this hook contaming the fingeboad chat.

5 !NOTE v ALVEI The hythm value of notes when a is the bottom numbe of the time signatue. i etc. Whole note - made open - counts each. Count: 1 Half note - made open with a stem - counts each. Count: 1 :::... stem Quate note - made closed with a stem- 1 count each. Count: 1 Eighth note- made closed with a stem- notes to 1 beat. Eighth notes ae made in goups of, and alone with stems and flags. Count: 1 :1 E E == E ' Count: 1 stem and Sixteenth notes- made closed with a stem - notes to 1 beat. Made in goups of, and alone with double lines connecting them, o " "double flag". Six Teenth Note 1 1 E E E s EJ T N EJ ""flag"" s T N s T N ', stem and double '"lag'" Count:.Dotted half note - counts Count: 1 :1 v Dotted quate note - 1% counts Count: 1 "1 Count: 1 :1 Syncopation Count: 1 :1 Count: 1 :1

6 (NOTE VALUE continued! ':I ': ':I ':I ': ':I Dotted 8th and 1th a 8 I ;I ;I ;;J 1th and dotted 8th s s s s 8th and two 1ths a a a 8 a 8 Two1thsand one 8th a a a a E E E E 8th note tiplets - Made in goups of -joined togethe o sepaately, with the numbe witten above o below them E E Tip let Tip let Tip let Tip The notes in l!!.the diffeent hythms.!!lll!..mt be the same. The notes may vay M1hiD the goups. - > ( etc. E let Rests - count only - do not play ':I - - J Whole est Half Rest Ouatef Rest Eighth Rest counts counts 1 count %count ' When a C (common time) is shown with a line though it,, it signifita cut time. All of the hythm shown in i o common time would be given one-half its nomal value. A whole note o would get two counts instead of. A half note d would get one count instead of.. A quate note J would get% count instead of 1, etc., etc.

7 INOTE VALUE continued! Tht hythm wlut of notes whtn an 8 is tht bottom numbe of a time signatue. 8 etc. 7 8th nota 1 count 1 '1 8th nota J Quate note counts 1 'B Dotted quate note counts 1,u 8th est 1 count ' 1th nota notes to 1 bait 1 1th notes and 1th ests 1 '0 ' s " ' Ed Dotted 8th note 1% counts 8ths and 1ths 1,:g t J --- p E Ed Syncopation 1 'B s! p Ed. nd notes nc. h!s to 1 beat 1 ta ta ta,:g E p p.. ta E E ta ta Half nota balts :B Dotted half note beats 1 ' ' Remembe: Tht hythm value is the same fo. time. Instead of counting 1 as in time, count 1, 1 etc.

8 8 THE CHORD DIAGRAM The chod diagam is also used fo indicating scales and pattens used in this book. inges Ae Numbeed Cicled numbes show finges, and positions in which they ae placed. t 9 :,, 1 Stings o = open sting (sting is played with no finges on it. I Sting(s) maked X ae not played. I TWO WAYS TO TUNE THE BASS GUITAR THE l RST METHOD IS WITH A PITCHPIPE: Blow the pitchpipe one note at a time, until each sting is the same in sound to the coesponding note on the pitchpipe. The note highest in pitch is tuned to the fist sting {G). The second highest in pitch is tuned to the second sting {D). Continue this. way tuning "A" to the d sting and finally "E" to the th sting. ANOTHER METHOD: i 1 Tune the fist sting to a meduim {clea) pitch, then: V Place you finge in the th fet of the nd sting, ets it should sound like the 1st sting open. If not, aise o lowe the nd sting accodingly, then: '- Place you finge in the th fet of the d sting. It should sound the same as the nd sting open. If not, adjust d sting. 1 Place you finge in the th fet of the th sting. It should sound like the d sting open. If not adjust th sting. Stings

9 EXPLANATION O CHORD SYMBOLS majo chods majo chods with a flatted fifth mino chods G, B, augmented chods Bbo(7), diminished seventh chods C0(7), co, Bbo diminished chods.

9 9 EXPLANATION O CHORD SYMBOLS majo chods majo chods with a flatted fifth mino chods G, B, augmented chods Bbo(7), diminished seventh chods C0(7), co, Bbo diminished chods. Notes may ' be used similaly to those found in the diminished seventh chods., Ab, etc. ae majo sixth chods #, G, Om, Ebm, Gm, Bbm, etc. ae mino sixth chods Cadd9, Abadd9, Eadd9, etc. ae majo chods with an added ninth #add9, CmMaj7, #mmaj7, GmMaj7, etc. ae mino chods with an added majo seventh Abmaj7, Omaj7, etc. ae majo seventh chods C#maj7, Amaj7, Abmaj9, Omaj9, etc. ae majo ninth chods #maj9, Obmaj9 Om(b), Gbm(b), C#m(b), etc. ae mino chods with a flatted fifth Cm7b, Gm7-, Abm7b, etc. ae mino seventh flat five chods Bb7, Ob7, B7, G7, etc. ae dominant seventh chods C7/, Ab7/, etc. ae dominant seventh chods with an G7/, #7/, added sixth 9, 09, Bb9 etc. ae dominant ninth chods #9, 09/, etc. ae majo sixth chods with an Gb9/, B9/, C#9/, added ninth 01, Eb1, A1, Bb1, etc. ae dominant thiteenth chods Bb7b9, E7b9, C7b9, C#7b9, etc. ae dominant seventh flat nine chods Eb7#9, etc. ae dominant seventh shap A7#9. B7#9, #7#9, nine chods All, 011, etc. ae (dominant) augmented eleventh #ll, chods Glb9, Ab1b9, B1b9, etc. ae dominant thiteenth flat nine chods Am7, Gm7, Ebm7, Gbm7, etc. ae mino seventh chods Cm9, Abm9, Gm9, m9, etc. ae mino ninth chods Dm9sus:, m9sus, cbm9sus, Ebm9sus, etc. ae mino ninth chods with the fouth suspended (with the thid) Amll, obmll, Cmll, etc. ae mino eleventh chods #mll, Am7sus,0bm7sus, #m7sus, Cm7sus, etc. ae mino seventh suspended fouth chods Asus, Csus, Bbsus, etc. ae majo chods with a suspended #sus, fouth All, Gll, Bbll, etc. ae dominant eleventh chods C#ll, A7sus, G7sus, C#7sus, Bb7sus, etc. ae dominant seventh chods with a suspended fouth cb9sus, etc. ae dominant ninth chods with a C9sus, G9sus, Ab9sus, suspended fouth (no thid) 7, Ab7, 07, G7, etc. ae dominant seventh augmented fifth chods G7b9, C7b9, etc. ae dominant seventh augmented #7b9, fifth flat nine chods A7#9, Eb7#9, etc. ae dominant seventh augmented 07#9, fifth shap nine chods Gb9, A9, etc. ae dominant ninth augemented fifth #9, chods Bb7b, 07b, etc. ae dominant seventh flatted fifth G7b, C#7b, chods Ob7bb9, A7bb9, C#7bb9, C#7--9, etc. ae dominant seventh flat five flat nine chods Ab7b#9, C7b#9, Gb7b#9, C#7b#9, etc. ae dominant seventh chods with a flatted fith and a aised ninth 09b, Ab9b, C#9b, etc. ae dominant ninth flat five chods B1b, Ob1b, E1b, cb1b, etc. ae dominant thiteenth chods with a flatted fifth Bb1bb9, D1bb9, C#lbb9, etc. ae dominant thiteenth flat five flat nine chods C, Ab(b), em, Ab C#(b), Gbm,, A0(7), AO Bb O(b), Om, Ob, #0(7), #O, G, B(b), m, etc. ae etc. ae etc. ae etc. ae etc. ae etc. ae (C majo) (Ab majo flat fiv e ) (C mino) (G augmented fifth) ( shap diminished seve nth) (A diminished) (A (G (E (C flat majo sixth) mino sixth) majo add nine) mino majo seventh) (0 majo seventh) (D flat majo ninth) (Gbmino flat five) (C mino seven flat five) (B flat dominant seventh) (C dominant seventh add ) ( dominant ninth) (C shap six-nine) (C shap nine-six) (E flat dominant thiteenth) (B flat dominant seven flat nine) (A dominant seven shap nine) (A augmented eleventh) (G dominant thiteen flat nine) (Gb mino seventh) (G mino ninth) (Eb mino nine suspend fou) (0 flat mino eleventh) ( shap mino seventh suspend fou) (C majo suspend fou) (B flat dominant eleventh) (I! flat seven suspend fou) (C dominant ninth suspend fou) (D dominant seven augmented fifth) (G dominant seven augmented fifth flat nine) (A dominant seven augmented fifth shap nine) (G flat nine augmented fifth) (G dominant seven flat five) (D flat dominant seven flat five flat nine) (A flat dominant seven flat five shap nine) (D dominat nine flat five) (B dominant thiteen flat five) (B flat dominant thiteen flat five flat nine)

10 10 Simila Chods which may be shown with vaied names: A majo chod shown as A majo chod with a suspension shown as A mino chod shown as An augmented chod shown as A diminished chod shown as A sixth chod shown as A sixth chod shown as A seventh chod shown as A seventh chod 'shown as A seventh chod shown as A seventh chod shown as A ninth chod shown as A ninth chod shown as A ninth chod shown as An eleventh chod shown as An eleventh chod shown as A thiteenth chod shown as Example Dsus Gm co A Bbm Gmaj7 B7 Abm7 7 Gbmaj9 D9 Dbm9 Ebll cbmll E1 may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten may also be witten.example majo, maj Dsus,DaddG G mino,gmi,aug Ci>7, Cdim, Cdim7 Ama,Amaj Bbmi GM7,Gma7 Bdom7 Abmi7 7,7,aug7 Gbma9,GbM9 Odom9 Dbmi9 E7sus, Eb7susAb, (Eb9sus) cbmill, cbm7sus, (Cbm9sus) Edom1 A mino majo seventh chod may be witten mmaj7, m1maj7, mm7, m7, m#7 A seven flat five chod may be witten C7b,C7- A seven flat nine chod may be witten C7b9, C7-9, C9b A seven shap nine chod may be witten A7#9 A7(9) A seven flat five flat nine chod may be witten 07b9, A seven flat five shap nine chod may be witten B7b#9, B7 -#9 A mino seven flat five chod may be witten Abm7b,Abm7- An augmented seven flat nine chod may be witten 07b9,07b9,D7-9 An augmented seven shap nine chod may be witten C7#9,C7#9,Caug7#9 A nine flat five chod may be witten C#9b, C#9- A nine augmented five chod may be witten A9,A9 An augmented eleventh chod may be witten ll, 7#11, ll A thiteenth flat five, flat nine, flat five flat nine chod may be witten G1b,G1-/G1b9,G1-9/Glbb9,Gl--9 A majo chod with a flat fifth shown as C(b) may also be witten C(-) A majo chod witn an added ninth shown as Abadd9 may also be witten Ab(addBb) A mino chod with a flat five shown as #mb may also be witten #m(-) Explanation of Signs and Symbols (Abbeviations) -=lat b = lat. (Also indicated by a hyphen.) #=Shap = Augmented m o mi = mino Maj o Ma o M = Majo o =Diminished (also indicated by dim.) co7 o Cdim7 = C diminished 7 sus.= suspend (suspension) C7b9 would be ead C seven augmented (fifth) flat nine. D7sus would be ead 07 suspend x = do not play sting maked x.

11 IKEY SIGNATURESI THE MAJOR KEYS AND THEIR RELATIVE MINOR 11 C Majo (A Mino) A (# Mino) Majo,:,,# G (E Mino) Majo D (8 Mino) Majo 1 1 f'mp 1: f1 fi'":!,':et E (C# Mino) Majo B (G# Mino) Majo c.. I'' a 1', ::,G#,C#,A# # (D# Mino) Majo C # (A# Mino) Majo (D Mino) Majo B (G ino) Majo U Majo (C Mino) A ( Mino) Majo : pbfbp :E":b Ab Db D (8 Mino) Majo Gb (E Mino) Majo C (A Mino) Majo : ib',b gc;b Ali oli a& e& ingeing:.,: Note Names:.C # C# MAJOR SCALES IN DIAGRAM AND NOTE ORM ollow fingeing in diagam, sting by sting, aading fom left to ight. Do Not changa stings until fingeing on each sting is completed. Then play in exact evesa ode. Each scale witten in nota fom, coesponds exactly to its espective diagam, both ascending (low to high in note fom, left to ight in the diagam) and descending (high to low in note fom, ight to left in the daigam.) c 'I 0 0 'I l ets # I,,. D E G A B c B A G E D c GAB CD E # G # E D c B D A t o-j 0 0 ll _l HUO, -D ) 7 _.._jil a.... # C# G# G A I. ': # I D E # G A B C# D C# B A G # E D A B C# D E # G# A G# # E D C# B A G 0

12 1 E MAJOR SCALES IN DIAGRAM AND NOTE ORM - Continued 'I 11 B # C# G# #C#G#D# i>#a# ''- I '# # I E # G# A B C# D# E D# C# B A G# # E B C#D# E #G#A#BA#G## E D# C# B :g # a 'I 1 :.. # C# G# #C#G# D#A# E# D#A#E#B# # ': 1##1 # I,, 1##1##1 I # G#A# B C# D# E## E#D# C# B A# G# # C# D# E# # G# A# B#C#B#A#G##E#D# C# B" 'I 'I : B B Eb ': I : I I BbEbAb... G A Bb C D E E D c Bb A G Bb C DEb G A Bb A G Eb D c Bb E A,,- 1 ;I f- f- 1)(() f- f _ BbEbAbDb _.._... ':& I,=,1 I... BbEbAb DbGb It It Eb GAbBbC D Eb D C Bb Ab G Eb AbBb CDb Eb GAbG Eb Db C Bb A b D G li 'I : Bb EbAb cb.._... DbGb ':I I; I,, fi p & t h' '"' Db Eb Qi;AbBb C Db C BbAb Gb Eb Db c ll : BbEbAb Dbob cb b '.PI... I & t cb DbEb bgbab Bb cbbbabgb beb Dbcb GbAb Bb CbDb Eb Gb _ Eb Dbcb BbAb Gb

MOVABLE CHORDS FOR THE GUITAR DON COMANDA

MOVABLE CHORDS FOR THE GUITAR DON COMANDA MOVBLE CHORS FOR THE GUITR ON COMN FOREWOR This book was designed specifically for those chord forms which can be moved up the fingerboard and which originate in the first fret. section showing chords