CONTENTS

Transcription

1 CONENS OU E UOR INRODUCION 4 CPER ONE: Getting Started alf Steps and Whole Steps he Notes of the Fretboard ime Signatures riplets and Swing Eighths6 Reading ass ablature6 Reading Chord Symbols6 CPER WO: he Groove he Power of the Groove he Interpretation of ime Playing with a Metronome he Power of Silence Playing with the Drummer8 CPER REE: he Major Scale 9 Significance of the Major Scale9 Intervals9 Key Signatures 1 he Circle of ths 1 CPER FOUR: Chords 11 riads 11 th Chords 1 Diatonic armony 14 Chord Chart 1 CPER FIVE: Modes and Scales 16 Modes of the Major Scale 16 Minor Scales 18 Pentatonic and lues Scales 19 Diminished and Whole one Scales Scale Chart 1 CPER SIX: he lues he lues Form Major Pentatonic lues 4 ass Patterns for Dominant th lues Minor Pentatonic and lues Scale ass Patterns 6 lues Scale Riffs Slow lues 8 Slow lues in 8 CPER SEVEN: Rockabilly 9 qua Leather oots 9 Jingle, Quake, and Sway uge Spheres of Flame 1 Reeled and Rocked 1 Country ass Lines lues for the Country CPER EIG: Rock ass Lines Classic Rock ard Rock and eavy Metal 8 armonic Metal Minor 4 Progressive Rock 4 CPER NINE: Reggae/Jamaican Music 4 Characteristics of Reggae Music 4 Reggae ass Lines 46 Ska CPER EN: Old School Funk 4 Characteristics of Funk Music 4 Fingerstyle Funk 4 he Slap & Pop Style 64 Various Old-School Grooves 68 CPER ELEVEN: Modern Funk Slap & Pop Modern Funk Slap & Pop Lines Various Lines Using Double humping and Double Plucking 6 CPER WELVE: Jazz Walking ass 8 eginning Walking ass Lines Chord ones 8 Intermediate Walking ass Lines Scale ones 81 dvanced Walking ass Lines pproach Notes, Chromatic ones, and Rhythmic ctivity 8 lue Neighbors 8 CPER IREEN: Latin ass Lines 84 ossa Nova 84 Samba 84 Latin Funk in the Style of Jaco Pastorius 8 CPER FOUREEN: Playing Chords on the ass 86 riads 86 th Chords 8 Chordal Pieces 8 Funk Rock Groove 88 CPER FIFEEN: apping Chords on the ass 89 wo-and apping 89 qua ossa 9 apping a Shuffle lues 91 apping the lues 91 CPER SIXEEN: Licks and Soloing 9 Rock Licks with the Minor Pentatonic Scale 9 lues Scale Licks 9 Dorian Scale Licks 94 ass Solo 9 Conclusion 9 he ass Style Resource

2 1 rack 11 lues Scale Riffs s with the minor pentatonic scale, the blues scale can be used by bass players over minor chords, chords, or in riff-oriented tunes he blues scale is also used extensively for soloing over the blues It is essential for any rock or blues bassist to get the blues scale under their fingers in the early stages of their development, as it will be used extensively in the rock and blues genres elow are one- and two-bar blues scale bass patterns he one-bar riffs are played four times, and the two-bar riffs are played two times lso, notice that examples 1 and 1C make use of the hammer-on technique his means you hammer your rd finger onto the th fret to play the E n, without plucking with your right hand One-ar lues Scale Riffs min Swing 8ths # # # 4 bnn n n b min C Swing 8ths n bn min D b nn min = ammer-on Swing 8ths min F min G min min E # # # n n J bn ( ) n b n b n j J # rack 1 wo-ar lues Scale Riffs Swing 8ths Cmin 4 b # b n b C Cmin b b b b Cmin b b D Cmin b b 1 1 b ( 1) Chapter Six: he lues

3 6 rack Various Old-School Grooves Following are slap & pop lines in the styles of various artists and groups he first one is in the style of rick ouse by he Commodores 4 p p # p p p n 4 ( 4) p p p # P p w 4 ( 4) 1 1 ( ) 1 1 he next example is in the style of Shakey Ground by he emptations 4 # # P # # # P # Πhe ass Style Resource

4 Flea of he Red ot Chili Peppers Flea, the bassist for he Red ot Chili Peppers, took funk and the slap & pop style and crossed over into the rock genre is bass lines are a distinctive part of the group s sound Following is a funk bass line in the style of Flea Note the use of triplets in this line, reminiscent of the Stevie Wonder tune igher Ground 6 rack 4 4 j j j j j P J Πere is another bass line in the style of Flea his groove is in the style of the Chili Peppers tune eroplane 4 4 b b n b b # 1 # he ass Style Resource

5 Intermediate Walking ass Lines Scale ones o take the next step in creating a walking bass line, we will incorporate scale tones Using scale tones provides for smoother motion and allows us to connect the chord tones he bass lines below are based over diatonic chord progressions, meaning all of the chords are within the key he blues progressions we looked at previously are not diatonic progressions, because they used three different dominant th chords In diatonic harmony, there is only one dominant chord per key ere is an example using scale tones to connect chord tones In this example, the connecting scale tones are highlighted Dmin 4 G CMaj min rack here are often several scale choices for a chord, especially dominant th chords Review the scale chart (page 1) he following are scale choices commonly used when creating walking bass lines 1 Major chords Major scale Minor chords Dorian mode Dominant chords Mixolydian mode 4 Minor b chords Locrian mode he list above includes some of the more common choices, but when you study the chord chart, you will discover more options he more familiar you are with these scales, the more effective you will be in creating great sounding walking bass lines Following is a walking bass line using scale tones Notice how the bass line sounds smoother than when we used chord tones exclusively 6 rack 84 min 4 D GMaj CMaj F # min b # b 9 # # Emin # Chapter welve: Jazz Walking ass 81

6 81 rack 9 Latin Funk in the Style of Jaco Pastorius Latin, fro-cuban, and Caribbean styles such as the bossa nova, samba, cha-cha-chá, calypso, and others have found their way into merican mainstream funk Jaco Pastorius, known for his extraordinary bass playing with Weather Report, Pat Metheny, and his own big band, was one of the most influential electric bassists Jaco played incredibly funky bass lines, and often his sixteenth-note funk grooves were influenced by Latin and island music he following examples are all in the style of Jaco Pastorius D 4 # # Œ Ó D 4 # b n # # n # Œ Ó C 4 Œ ŒÓ D 4 # b n # # b n b n # ŒÓ Chapter hirteen: Latin ass Lines 8