eS3an'ld 10 ASNOH SASUNOS) SSva Ole Ce): re te Cele) telek§ om nr COURSE EVERYTHING YOU NEED TO START PLAYING BASS GUITAR Qg 9g 9 9g INCLUDES: Cues 9 Pelee eee td Rae Backing Tracks & Playing erred Peet) @ for Online Lesson Support Dee ey |Presents BASS COURSE BOOK Written & Method By: John McCarthy Adapted By: Jimmy Rutkowski ‘Supervising Editor: Joe Palombo Music Transcribing & Engraving: Jimmy Rutkowski Production Manager: Joe Palombo Layout, Graphics & Design: Jimmy Rutkowski Photography: Jimmy Rutkowski, Rodney Dabney Copy Editors: Cathy McCarthy Cover Art Direction & Design: Jimmy Rutkowski HL102636 ISBN: 978-1-4768-1387-5 Produced by The Rock House Method® © 2012 Fred Russell Publishing, LLC All Rights ReservedTable of Contents Introduction .. How to Use the Lesson Support Site . loon Key csoscnersccuemareormmescan’ Chapter 4 Parts of the Bass d 6 Holding the Bass .......s.00 cement Names of the Open Strings & Tuning 9 Finger Numbers 9 Reading Tablature .......csecsseecsesseeenneee 10 Mating 210 Alternating ..... ce ce Using a Metronome ........ auuaromsacs 11 Types of Notes, 12 Your First Bass Line 13 Counting Along with 2 Beat 14 Body Clock 14 Rhythm - Playing withthe Drums oscso.48 Bass Line #2: Gear Shifter o.oo 18 Blues Progression .......sesscessssessnsesseese 16 Shuffle Feel 7 Blues Shuffle Progression 7 Attaching Your Strap co 1B Bass Line #3: Hit it Hard 18 Chapter 2 Finger Flexing vvesniansarenrsaceecporysce EG Eighth Notes 20 Rests ... . 24 Rhythm - Playing Eighth Notes 21 Open String Bass Progression 22 Riff Challenge 22 The Chromatic Scale ......-seeccseeee 23 Notes in the First Position ......ccsssseeessese 24 sths 25 Applying 5ths: Rock Climbing 25 Single Note Riff: The Mission ..........10..00-26 How to Read a Scale Diagram 26 2 Minor Pentatonic Scale: First Position Key of “A” 27 Chapter 3 Minor Pentatonic Single Note Pattern .....28 Complete Song Progression: Clockwork .. 5s 21:29 Minor Pentatonic Scale: Positions 2 & 3 . 29 Minor Pentatonic Single Note Pattern’ Positions 2.& 3 3t Blues Riff Rhythm 32 Bass Power Chords esmmmunesenttl Applying Power Chords: Double Trouble . - 34 THDICRS sosesscesssseeensssseennnssseneennsseenns 4 Triplet Pattern ....... cen SS Staccato Groove reensneseanr Chapter 4 The Major Scale: Key of 38 Major Triads 39 Major Triad Progression: Cherry Sky ......40 Minor Triads 41 Minor Triad Progression: Unbreakable ....42 Major & Minor Triads: ASpell ON MO ssessssssecersssseeesssesersnene AD Octaves, 44 Octave Rock Progression cose AB Applying Octaves: The Chase .........-0045 Minor Pentatonic Scale: Positions 4&5 - 46 Minor Pentatonic POSIIONS 4 & 5 sssseecssssseessnnsseeerenee AB Finger Flexing #2 48 Using a Pick 49 Muted Picking ......-sccsseeccnssee 49Applying the Mute Technique: Combing Triads with Scales 81 Rockit Center 50 The Mexican Snake Song 81 Basic Slap & Pop Technique ..... 251 The Gallop Rhythm ....... 82 Double Thumb Groove 82 Chapter 5 Slap Bass Pop Melody 83 Slap & Pop Exercise ........ 52 ‘Applying the Slap & Pop Technique .....52 Appendix Warm Up Exercises. 53 Changing a String Heavy Bass Progression 54 Bass Triads .. Single Note Riff Rhythm... ese Word Search ........0 Find Any Note on the Bass 55 Crossword Puzzle Minor Pentatonic Scales Key of 58 About the Author ...... Single Note Patterns Key of ‘E’ 58 The Finger Drag ....... : 59 E Miho? Pefttonie Beale Gineve 60 Hammer On ssersssnsseisurserserorseenverinOT PUI OFS sesseseens sero 62 Hammer Ons ina Bass Line sess 83 Pull Offs in a Bass Line 1 263 Root Notes 64 The Major Scale Formula ....... 65 Major Scale One Octave Patterns 66 Major Scale Four String Patterns 87 Walking Bass Lines .......sseesseseseeen 69 Chapter 6 Exercise ROUTING ......sessssseseeereseseeennneTO Legato oT Hammer Pull Of Single Note Pattern 72 Using Hammer & Pull Offs in a Bass Line .73 Sixteenth NoteS ......0.-ss se 73 Sixteenth Notes in @ Bass Line 74 Slap & Pop Sixteenth Note Grooves ........74 Drop D Toning secxcesweaseaveceveesnunsstee oe Drop D I-IV-V Progression 76 Drop D Bass Line: Mean Street ..... Complete Bass Progression ........ Combining Major and Minor Triads 78 Natural Minor Scales: Key of “G" positions 1, 2&3... 79 Natural Minor Triplet Pattern -80Words From the Author Playing music is a rewarding art form that will last you a lifetime, | discovered that fact shortly after | was given my first instrument. | have spent my career sharing the passion | have for music with others. With my teaching method, | truly believe you too will enjoy years of fun and will pass on the passion you discover. If you follow the method step-by step you will be successful and enjoy playing bass for years to come, When I designed The Rook House Method, my mission was to create the most complete and fun way to learn. | accomplished this by developing and systematically arranging a modern method based on the needs and social demands of today’s players. | not only tell you where to put your fingers, | show you ways to use what you learn so that you can make music right from the start. | know it is hard to imagine, but even the all-time greats started somewhere, there was a time when they too didn't even know what a chord was. As you progress as a bass player, Keep your mind open to all styles of music. Set-up a practice schedule that you can manage, be consistent, challenge yourself and realize everyone learns at a different rate. Be patient, persistent and remember music is supposed to be fun! NOW, GET EXCITED, this is it. YOU are going to play bass! Yalu MeCarthyLesson Support Site Welcome to The Rock House Method® system of learning. You are joining millions of aspiring musicians around the world who use our easy-to-understand method for learning to play music. Every Rock House product offers FREE membership to our interactive Lesson Support site. Use the member number included with your book to register at RockhouseMethod.com. You will find your member number inside the cover of this book, Throughout this book, you'll periodically notice the icons listed below. They indicate when there are additional learning tools available on our support web site for the section you're working on. When you see an icon in the book, visit the Member Section for additional information and learning aids, Backing Track g k Backing track icons are placed on lessons where there is an audio demonstration to let you hear what that lesson should sound like or a backing track to play the lesson over. Use these audio tracks to guide you through the lessons. This is an mp3 CD, it can be played on any computer and all mp3 disc compatible playback devices. Additional Information ‘The question mark icon indicates there is more information for that section available on the Lesson Support site. It can be theory, more playing examples or tips. Metronome a Metronome icons are placed next to the examples that we recommend you practice using a metronome. You can download a free, adjustable metronome from our Lesson Support site. Also found on the web site is a free online tuner that you can use to help tune your instrument. You can download the free online tuner from RockHouseMethod.com.Chapter 1 Parts of the Bass A bass is made up of three main sections: the body, the neck and the headstock. Alllof the other parts of the bass are mounted on these three sections. Body Neck Head The bridge is the assembly that anchors the strings to the body. Pickups are also mounted to the body and work like little microphones that pick up the sound from the strings. A cable is plugged into the bass's input jack to send the signal into the amp. Most bass guitars will also have a pickup selector switch along with volume and tone knobs. A strap can be attached to the strap buttons to play the bass standing up. The metal bars that go across the neck are called frets. The dots between certain frets are called posi- tion markers and help you know where your hand is on the neck while playing. At the end of the neck is the nut which guides the strings onto the headstock and keeps them in place. On the headstock, the strings are wound around the tuning posts, and the tuners (also called machine heads) are used to tune the strings to pitch. Inspirationat Quote. “The biggest room is the room for improvement.” Chinese ProverbMachine Head — Headstock Neck Position Markers Body Volume & Tone Knobs Pick Ups JackHolding the Bass ‘Throughout this book, we will refer to the picking hand as your right hand, and the hand fretting the notes as your left hand. When sitting find a comfortable chair with no arms and make sure you can sit with your feet planted flat on the ground. Hold the bass neck up at a 30 degree angle. Right Hand Position Drape your arm and hand over the strings almost parallel with the bridge. Keep your thumb planted either on top of, the pickup or thumb piate if your bass has one Left Hand Position Hold your left hand out in front of Place the first joint of your you with your wrist straight and thumb against the back of the your fingers curled in to make a Neck. Don't bend or contort *C” shape with your hand. your wrist; only the tips of your fingers should touch the strings.Names of the Open Strings & Tuning bo The fattest string is the 4th string and the thinnest is the ‘st string. A great way to remember the open strings is to use an acronym creating a word for each letter name. The following is an acronym | created: Good — Days — Are — Exciting. Make up you own saying for the open strings. (Thinnest) (rickest) 1st Sting 2ndString 36 String 4th String G DB A ECE Good Days Are Exciting Tune your bass using the machine heads on the headstock Turn the machine heads a little bit at a time while plucking the string and listening to the change in pitch. Tighten the string to raise the pitch. Loosen the string to lower the pitch. The easiest way to tune a bass is to use an electronic tuner. You can download a free tuner from the Lesson Support site RockHouseMethod.com. Finger Numbers As you progress through this book | will be referencing your left hand fingers with numbers. It is very important for you to memorize these now so you can follow along with ease. To the right are the symbols that correspond with your fingers. Fretting hand: Index finger = 1 Middle finger = 2 Ring finger = 3 Pinky finger = 4Reading Tablature Tablature (or tab) is a number system for reading notes on the bass. The four lines of the tablature staff represent each of the strings on the bass. The top line is the thinnest (highest pitched) string. The bottom line is the thickest (lowest pitched) string. The numbers placed directly on these lines are the fret number to play each note. Underneath the staff, is a series of numbers. These numbers tell you which left hand finger to fret the notes with. Fret To Play Note On \ MEASURE First String (Thinnest) se 4 4-32 STAFF | q 567 eat 132]1 Fourth String (Thickest) BAR LINE Muting Muting is a technique that helps you contro! the strings from unwanted notes and string noise. The basic concept is to lightly touch your hand on the strings that you are not playing. You can do this with your left or right hand. Play the next exercise and as you switch strings mute or deaden the other strings 0 only the string you are playing is sounded —| 23 324 Finger To Use Repeat Sign Repeat all measures Brackets 2 between brackets Plucking Symbols Pl = index Finger \/ = Middle Finger 10Alternating Alternating is picking (plucking) with your index and middle fingers repetitively. You can play notes effectively and with speed by using your fingers in this manner. Play through the exercise below using open strings in four note patterns. JIE I] ° o—o|-o—o—e—0 | Counting Beats A beat is the basic unit of time in music. A common way to count beats is to tap your foot. One beat would equal tapping your foot down-up. Tap your foot and count 1 - 2-3 - 4 repetitively, say each number as your foot hits the ground. You will learn different note types that tell you how many beats to let notes ring. Foot Down Foot Up The Metronome ‘A metronome is a device that clicks at an adjustable rate you set. It will help you develop a sense of timing and gauge your progress. By playing along with the clicking sound you get the sense of playing with another musician. Each click represents one beat. | will note the best times to use a metronome throughout this program with a metronome icon. if you don't have a metronome you can download one from the Lesson Support website 1"CD Track Types of Notes 4 oe Whole Notes = © This is @ Whole Note. The head hollow and there is no stem or flag. A Whole Note will receive four beats or counts. Half Notes = 2 Beats r This is a Half Note. The head is hol- =ccec&e-oOoO2O2€--——] low and there is a stem. A Half Note will receive two beats or counts. Quarter Notes = 1 Beat solid and there is a stem. A Quarter This is a Quarter Note. The head is r Note will receive one beat or count. Whole Notes ¢ ; Cont: 1 2 3 4 f 2 3 6 41 23 4 41 23 4 nHalf Notes 7 8 0 0 3 > —_—_4 a 3 coum: 12030 4 234 123 4 123 4 n n n n n n n n Quarter Notes 4 # $—_)-—_8—_ 4-133 —_§—_ 6—+_ 3—3 Count: 1 2 3 4 1 203 4 1 2 304 £ 203 4 ArmA) ArmA AMPA 8 mA Your First Bass Line O Get excited! It's time to learn your first bass line. This bass line is played using alternate picking in steady quarter notes. Follow the tablature below and be sure to use the proper finger for each note. ‘Once you can play this without hesitation play it along with the backing track to create a full band sound. A o——# 0 0 Count: 1 2 3 4 1 2 3 4 Finger: 1 1 1 1 n Vv n Ve ete. 4 5 5 @ €- ¢ 2 7 | 1 2 3 4 1 2 3 4 3 3 3 3 13Counting Along with a Beat Now you will count along with a drum beat, The drum beat used for this lesson is the most common timing 4/4. This means it is divided into four beat sections (or measures). Notice the 4/4 at the beginning of the staff below, this will be on all music that is in this time signature. As the drum beat is playing count 1 - 2 —3 4 and repeat this count. The 1 & 3 are counted when you hear the bass drum which is the big bass toned drum: while 2 & 4 are counted on the snare drum which is the higher pitched drum that has a bit of rattle to its sound, lls ili) Count: 1 2 3 4 1 2 3 4 Bass Snare Bass Snare Bass Snare Bass Snare Drums: Drum = Drum = Drum = Drum = Drum = Drum) Drum = Drum Body Clock Now get your “Body Clock” into the mix. Your body clock is basically moving your body to the music. One of the simplest ways to do this is by tapping your foot, With the same drum backing track count and tap your foot. Every count should be when your foot hits the ground, like you are stepping on it. One beat equals one down-up movement of your foot. Another ‘common way to use your body clock is to bob your head along with the beat, Inspirations, Quote “Music is enough for a lifetime, but a lifetime is not enough for music.” Sergei Rachmaninov 14Rhythm - Playing with the Drums toe 14 In a drum beat the bass drum and snare drum are the back bone of the beat. You must learn the sound of these drums because you will play along with them to create a solid foundation for songs. In Example 1 use the drum backing track to play half notes on the open 4th string along with the bass drum. The bass drum will hit on beats 1 and 3. Example 1 In Example 2 you will play quarter notes along with the bass and snare drum. The bass drum still hits on beats 1 and 3 while the snare drum hits on beats 2 and 4. Example 2 A I 5 5 5 5 3 3 3 - Count: 1 2 3 4 1 2 3 4 Drum: B Ss B 8 B s B s Bass Line #2 Gear Shifter M4214 The following is a quarter note bass line. Make sure to use alternate picking, re Finger: 3 1 1 3 Cout: f 2030 4 ete. nVnV b h a e 15Blues Progression Blues has influenced almost every genre of music. A basic understanding of the blues will give you a great advantage as a bassist. The following blues progression is played using a series of open strings. This is a 12 bar blues progression which means it consists of 12 measures. This progression should sound familiar; i's the foundation for many rock and blues songs. First play through the progression with a straight feel, which is an even steady pattern. Make sure to use alternate picking. A }—_0—_1-—_ 1-—_0-—_9-—_9-—_ 9-9-8 0-0 — 0-0 6 6 4} a nVnVowaVo V ete, be E 3B 0 o 0 0 o ofo o 0 9 ¢ 0 9-9 A ooShuffle Feel bod 8 The shuffle feel is an uneven rhythm that creates a sway to a song. This rhythm is found in countless blues and rock songs. Play the measure below using the open 3rd string to get familiar with this rhythm feel, the way the notes are spaced depicts the timing, Efe ee oe oe el Count: 1 a2 a3 ad a Blues Shuffle Progression 19-20 Now apply the shuffle feel to the blues progression. The shuffle feel is also called the swing feel. Pay close attention when going to each new measure, the last note of each measure should flow to the first note of the new measure seemiessly. A Plfivccsvessivesssseclvsscvsnalvosnvevd nVaVnVmV ete 17Attaching Your Strap To stand up and play you must attach a strap to your bass. Most bass guitars have strap buttons on both sides of the body of the guitar. Simply attach the strap to each side of the bass at these buttons, Most straps are adjustable and should be set to a comfortable height. | tell students that a good starting Point is to look at how the bass rests against your body when sitting down and duplicate this position when you stand up. You may think it looks cooler to have the bass positioned lower (like some of your favorite bassists) but at this stage it will make your learning more difficult. Start at a higher position and lower it as you progress. Remember that you should always have the neck of your bass pointed up at about a 30 degree angle (sitting or standing) to ensure proper hand position. Bass Line #3 Hit it Hard Here is another bass line to challenge your fingers. Once you can play this steady all the way through play it with the backing track to apply it in a band fashion. Notice that there are two plucking patterns below the staff. Make sure to practice both patterns al Fi Pekin Patient: MV mV ete meen Vin VO o—o- 3 22 22 tr 4 18Track Chapter 2 ( Finger Flexing Here is an exercise that will help develop the strength and coordination of your hands. This exercise is a 5-7-6 —7 fret pattern repeated on each string. You should use alternate picking continuously. Again there are two plucking patterns below the staff. Both patterns are alternate plucking the difference is that ‘one begins with your index finger and the other with your middle finger. Take your time and increase your speed in small increments. This would be a great lesson to play along with a metronome. 4x 4x 4x 4x Gi 6 Ee WE 7] 4 | 576 z ate i a 1323 Plucking patents Yom V tc rwen: Vi Von ‘Once you can play this pattern smoothly across all four strings move it one fret lower starting on the 4th fret and playing frets 4 — 6 — 5 — 6 down each string. The distance between the frets gets wider as you move toward the nut; this will help stretch your hands reach to play difficult passages in songs. Keep moving it down as you feel comfortable with the fret position until you reach the first fret. 4x 19Eighth Notes 4 os An eighth note receives % beat of sound and divides a quarter note in half. For every one beat you will hit two notes. You will also use a different kind of counting. Instead of one, two, three, four, sub-divide that in half and count one & two & three & four & The one, two, three and four are when your foot hits the ground, each “8” is when your foot goes up in the ait. One Eighth Note Two Eighth Notes Four Eighth Notes i= setae Here is an exercise playing eighth notes. While picking your 3rd string open tap your foot and play it in eighth notes, Use alternate picking while you do this to get speed and fluidity. 1 & 2 & 3 & 4 & . z=! 6 §—_5—3 1 1 301 Com 1 & 2 & 3 & 4 & Example 2 aba = s | # & 7 s 1 3 1 3 1 3 const & 2 & 3 & 4 & 1k1RE aS 22The Chromatic Scale Intervals — The Half Step An interval is the distance between two notes. Intervals come in different sizes gauged by the distance between the notes. If the notes are sounded in a row, it is a melodic interval. If sounded together, it is a harmonic interval. The smallest interval in music is the half step. A half step would be the distance of one fret on the guitar. If you play any note and then play the note at the next fret you are playing a half step. A whole step is made up of two half steps. Sharps and Flats Asharp “*" means higher in pitch by a half step or one fret. A flat “b means lower in pitch by a half step or one fret. Sharps and flats are used in music when creating chords and scales and are also referred to as accidentals. b= Flat $= Sharp The Chromatic Scale All the music we listen to is derived from a group of 12 notes known as the Chromatic Scale. These 12 notes are all a half step (one fret) apart. There are two natural half steps in music: B to C, and E to F. There will not be a sharp between these notes. Study and memorize the Chromatic Scale below: Natural Half Steps é \ é 4 + 4 + AS BCRDREFRGYA Notice that there is a common flat and sharp note, one note with two different names such as A#/B?. This is because if you start with an A note and raised it a half step it would be called A®. If you start with a B note and lower it a half step it would be called B. Same note, different name. These are called Enharmonic notes. 23Notes in the First Position It's important to learn the names of the notes on your bass so you can communicate with other musi- cians effectively. The first position is considered the first four frets of the bass. Starting with the names. of the open strings you will use the chromatic scale to learn all the notes on your bass. Start with the 4th string open E and go up the chromatic scale from there: F first fret, Fit second fret, G third fret, Gi fourth fret. Next, do this same process on the other three strings. Itis important to practice each string without looking and memorize the note names. E F FG> G Gab A AtBb OB Cc c#pb + 4 0 4H o—+ D Deb £ F F8Gb G GAD A Atypb OB Inspirations Quore. “Music is a higher revelation than all wisdom and philosophy. Music is the electrical soil in which the spirit lives, thinks and invents.” Ludwig van Beethoven 245ths toe \ 38 Sths are commonly used in bass lines. They are created using the root note and &th degree of a major scale. There are five shapes that you will learn starting on the 4th, 3rd and 2nd strings. When playing the Root 4th, 3rd and 2nd shapes, you will use your first and third fingers and the first finger will always be the name or root note. These are movable shapes and can be played anywhere across the neck The open 4th and 3rd shapes are played using your first finger and the open string will give the shape its name. Since these are open position shapes they are not moveable. Play the 5ths below: pan ath open Sed Root th Root sd Root 2nd ° ° | ] e | 9 bool ’ R Sth R Sth R Sth Sth R sth Applying 5ths Rock Climbing Here is a bass line that will show you how to apply Sths into a bass line. Notice how they follow the chord change. Many times the bass line will coordinate with the chord changes in this fashion. ra Em G A 25How to Read a Scale Diagram Scale diagrams are used to visually show you a scale pattern on the neck of a bass. The four lines that go from left to right represent each of the four strings. Like with tablature, the top line is the thinnest (highest pitched) string and the bottom line is the thickest (lowest pitched) string. The lines running from top to bottom are the frets. The dots placed directly on a string show you the specific fret to play each note and the letters inside indicate what note you are playing. The fret markers on the neck in the diagram indicate where on the neck the scale is located, in this diagram the scale begins at the 5th fret. First String Note Names (thinnest) @,—_® @—® Fretboard Postion oe. TS Markers |< Frets ® @ Fourth String Notice how the diagram to the right is a mirror image of the bass neck. Below see how this scale pattern looks on the bass. In the diagram above the top line is the thinnest string and the bottom is the thickest string like a tab staff. 26C k Minor Pentatonic Scale 4’ bos First Position Key of “A” Minor pentatonic scales are the most widely used scales in rock and blues music. This is a five note scale, which means that it repeats after five notes back in a circle-type fashion. The notes included in the A minor pentatonic scale are A- C - D - E- G, then it repeats back to A. Notice that the Anotes (or root notes) are in white. Scales are your alphabet for creating bass lines and melodies. Just like you learned your alphabet in school and then expanded into words, sentences and complete stories you will learn scales for bass then expand to melodies, bass lines and complete songs. Practice this scale with a metronome using whole, half and quarter notes. bpp a a h 4 h a 4 a Finger: 1 CD Track Single Note Riff Os The Mission Play the last two notes of each measure quickly to get the proper rhythm, + ss Finger: 3 13 3 1 27Chapter 3 q bod Minor Pentatonic Single Note Pattern This doubling pattern comes directly from the first minor pentatonic scale. This is a great exercise to help develop coordination of your hands and help you use the scale in a creative manner. As you play through the scale the pattern will be to double the 4th and 3rd strings going forward and backwards. Be sure to use alternate picking consistently and build up your speed gradually. | recommend using a metronome to help gauge your progress. x 5 7 -B e 5 + Fing < 1 3 1 3 1 3 T +- + + x 5 5 -B 1 3 1 3 3 1 3 1 =f +- q 7 5 5 $- 3 1 3 1 3 1 4 1 Inspirations Quote. “Music is the art of thinking with sounds.” Jules Combariew 28‘Track Complete Song Progression ae) 42-44 Clockwork In this lesson you will learn a complete bass song progression in eighth note timing. Notice how many of the notes come from the minor pentatonic scale you just learned. Use consistent alternate plucking and build speed gradually. a 8—8- $ Finger: 1 3 4 3 mVnmVnmVnVmaVonVoVoaV 5 z x 555 5 5 7 55 | 5555 1 3913 1 1 3 mnVnVnVonAV mnVnVnVonV CD Track Minor Pentatonic Scale toe Positions 2 & 3 With the first minor pentatonic scale in the key of “A” you learned the names of the five notes that make this scale: A, C, D, E and G. The word pentatonic is “penta” meaning five and “tonic’ meaning first note In this lesson you'll learn the 2nd and 3rd positions of this scale. These are the same exact notes played at different places on the neck When leaming scales a great way to memorize them is to find the finger pattern (the fingers you use on each string). The finger pattem for the second position scale is 2~ 4, 1-4, 1-4, 1-3 always keep your fingers in a one finger per fret alignment. Play through this position and get familiar with the pattern. Again, notice that the root notes are in white.79-9 4 Finger: 2 4 1 4 2 4 1 3 3 t 4 t 4 1 4 2 The 3rd scale position starts on the 10th fret, and the finger pattern is 1-3, 1-3, 1-3, 14. The tricky part here is on the ‘st string you have to shift down to the 9th fret to get the first note, then stretch your fourth finger to the 12th fret to get the second note. o@ 3 “3 Make sure to use alternate plucking as you build up speed with these scales. Memorize the patterns so that you could play them easy and effectively. Also try to memorize the locations of the root notes within the scale patterns. In the coming lessons | will show you patterns that use these scales, so get excited! 30Minor Pentatonic Single Note Pattern 4 toe Positions 2 & 3 Take the double pattern you leamed earlier and apply it to the scales in the previous lesson. Double the notes on the 2nd and 3rd strings going forward and backwards through each scale. Play the 2nd scale position below’ # 9 + 7 0. 4 8 48 e—4e Finger:2 4014 1 4 1 4 1 4 1 3 9 + 8 40- 4 0 4 7 3 1 4 41 4 4 4 41 # 4 8 3 942 1 4 9 2— 40-42-46 4 2 4 1 3 4 3 1 3 41 30 1 3 4 ‘Once you're comfortable with this pattern, practice along with a metronome to gauge your progress. Start at a slow tempo and increase the tempo each time you practice. Keep clean technique, plucking each note clear and distinct, while alternating consistently. To make this pattern more challenging pluck each note twice as you play through the pattern sequence, 31cD Blues Riff Rhythm 49-51 The following is a single note blues riff rhythm. There are many times in music where a rhythm for song will be constructed using single notes played with the bass and the guitar together. This is a ‘common rhythm so it should sound familiar. Be sure to play this over the guitar and drum backing track. E — + - 2242 24 2242 224 pg 034 0034 0034 0034 Count: 1& 23S CAG oe, Fingers 2 3113-1 A E + 2242 2242 ft 034 003-4 2242 2242. 4-0-3-4 —3-8-3-4- B A E + 24 = 4 22 22-16-34 22-42 2-42 8-0-3-4- 6-3-4 This rhythm can be played with the shuffle feel that you leamed in the Blues Progression lesson, Below are the first few measures with the shuffle feel rhythm to get you started E + a) 24 224-2 224 3+ ‘8—@ 4 & 3—4 Cott a2 a3 a4 a 1 a2 a3 a4 al a2 a3 a4 a mn Vm Vm Vm Vm Vm Vm Vn Vm Vm Vm Vm V 32CD Track Bass Power Chords toe 52 Cuonp PRoFESsOR Chords are not just for guitar players. Bass players can use chords to create big sounding bass lines. Let's start with a basic two note power chord. This chord is also known as “5 chord” because the two notes that make the chord are the root and the Sth scale degree above that. These are the same two notes that you learned in the lesson on Sths only to make a chord you will hit both notes together. You can strum the chords with your thumb in a downward motion or use your index and middle fingers. The two chords you will lear have the lowest note as the root note on the 4th and 3rd strings, we 3rd String 2nd String \ Root > \ Root ole oule! R R ¢ F € Root F Root 5 fos 3 | # These two chords can be played on any fret on the neck and change names as they are moved. Follow the chart to see what the name of each chord is when moved to different frets on the neck 2nd String Root Fo Fes Gs Gts AS AHS BS CS CCHS 3°94 5 6 7 8 9 0 1 © ch p> ph e ps Fe o Ge 3rd String Root 33cD Tr Applying Power Chords bos 53-54 Double Trouble Here is a bass half note line that contains power chords. Make sure to hit both notes together in one swift motion. 47 z $ 6 3 a $ LA & 5 3 = 4 4 3 3 1234 923 4 ¢23 4 ¢23 4 CD Track i Qh Triplets Ry) 55 Eighth and sixteenth notes subdivide a beat in half and quarters. These are even number breakdowns of 2 and 4. Triplets subdivide a beat into threes. For every one beat, you're going to play three notes, Count triplets like this: 1-trip — let, 2 — trip — let, 3 - trip — let, 4 - trip - let ID TD TH PD 1 trip - let 2 trip - let 3 trip - let 4 trip - let Next, play the open 4th E string in triplets following the tablature below and feel the triplet timing: HE 4—_# & € @ 4 @- uF +. Count: 1 trip - tet 2 trip ~ et 3 trip ~ tet 4 trip ~ tet m Vom Vm Vn Vim Vom V 34Triplet Pattern 56-58 Here is a triplet pattern applied to the first three minor pentatonic scales. This pattern goes down three notes from each degree of the scale. Below I've outlined the first two measures so you can get familiar with the pattern: trip = let 2 trip = tet 3 trip = tet 4 trip = et Vom VoormVom Von Von V Now play the triplet lead pattern with the first three minor pentatonic scales: 1st Position tT 3 % 5 s = +48 = ss 2nd Position + 4 o—|40 Lg tate e100 Finger: 2 4 1 4 1 4 1 4 1 4 1 4 1 44 41 352nd Position 301 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 2 3rd Position 9——-9—42 4842404 42 4842-48 42_—$+4 40-424 13 1 3 1 3 1 3 1 3 1 3 1 3:1 3:13 42. 42—$§_4240-42-4 40 4 8 —42—4-__—§$_ 46 42—$§$42 301 3 1 3 t 3 1 3 1 3 1 3 1 3 1 8 1 Vary this pattern and play each note of this triplet pattern two times. Then transpose this pattern forwards and backwards with all three scale positions. 55 ——5 5 FESS FF + ey Inspirations, Quote. “Music is what feelings sound like.” 36Staccato Groove 9-60 Staccato by definition means short and detached. A note separated by silence. To attain this you must use both hands to mute the sound. With your fretting hand you simply lift the pressure off a note and with your picking hand use the side of your hand to touch the strings as they come off the bridge. Notes that are to be played with staccato will have a dot placed over the note. Play the following notes using the staccato technique. ———— a 7 1 1. at 1 1 a4 n Vom Vom Vom V Below is a staccato groove bass progression: 5 5 53 5 5 5 3 3 3 3 3 x 3 V V ete J 5 5 5 < : = = = 1 1 1 1 1 1 1 1 4 3 3 a 3 1 1 1 1 1 1 fl 1 a = = = = = * 4S 5 5 5 5 = : pe 3 3 3 3 1 i 3 37Chapter 4 61-63 The Major Scale Key of “G” The major scale is the mother of all music. All scales and chords are created by altering this scale and isolating certain notes within them. The first note of the scale is the name of the key or root note. This is a G major scale starting with a G note on the 4th string 3rd fret. Pay close attention to the fingering and keep your fingers lined up, one finger per fret, 66 © G A B c D E Fe G 1 2 4 A 2 3 2 4 1 2 4 1 3 4 n V n V n Vv n v G Fe E D c B A G = 4 4 5 4 3 1 4 2 1 4 2 n Vv n V n V v 38Major Triads A triad is the three notes that make a chord. Many bass lines are written using triad patterns. In this lesson you will learn a common major triad pattern. These are movable triad patterns and by just playing the same pattern at other frets you will change keys. Often when playing with a guitar or keyboard player you can follow the chords they play with the triad of the same key. This is a great way to begin creating bass lines. G Major C Major Qo 6 2 2) o¢ G = 4 2 + = + 2 Bz 3 Finger: 2 1 4 4 4 1 2 Inspirations, Quote. “To stop the flow of music would be like the stopping of time itself, incredible and inconceivable.” Aaron Copland 39Major Triad Progression Cherry Sky 65-67 Let's put the major triads into a progression and form a bass line. The following is a four chord progression formed with the chords G, C, A and D. You will play major triads for these four keys within this bass line. First Groove G c 5 5 2—5- 5—2 2—5- 5 3 3 =a Count: & 2 & 3 & 4 & Fing 14 4 4 1 2 " A D # 4 4 4+ 7#—+ 5 5 5 5 2 1 4 4 4 1 2 2 1 4 4 4 1 2 Second Groove G c + 5 5 2 2—5 Couns & 2 & 3 & 4 & yy Finger: 2 1 441 * A D 4 4 4—# 4 5 + 40Minor Triads 68 ‘A minor triad is similar to the major triads you learned only they contain the three notes that form a minor chord. These patterns are also movable and can be played in other keys by moving them to different frets across the neck. Get familiar with these minor triads. G Minor C Minor VY (NY OG 66 Gm q 5 5 5 & 6 Finger: 1 4 3 3 3 4 1 cm 5 J 5 5 A 6 é 1 ‘ 3 3 3 4 1 Inspirations Quote. “Without music, life would be an error.” Friedrich Nietzsche 41Minor Triad Progression Unbreakable 69-71 Let's put the minor triads into a progression and form a bass line. You will use the same three chord progression from the major triads formed with the A, D and E chords. You will play minor triads for these three keys within this bass line. Make sure to play this over the band backing track. First Groove Gm cm ~ 5- 5 5 5 s 5 3—6 6—2- & 6—3 14 3 3 3 4 14 3 3 3 4 1 Am Dm = a = +4 7 5 & —| 5—_6 8—_5 10403 3 3 4 1 104° 3 3 3 4 1 Second Groove Gm cm 5- | 5- 5: —s 4 5 5 3 6 6 3- € €- Cont: 1 & 2 & 3 & 4 ae Finger: 1 4 3 3 3 4 °° Am Dm 4 + 5 + $ & 42Major & Minor Triads A Spell on Me Many times you will combine both major and minor triads to form a bass line. The following is a great example of this in @ two part song progression. This first section is a verse and the second section is the chorus. Make sure to play this along with the backing track after you can play it up to speed Part 1 EMajor Gt minor HE .! ‘2 & a 4 4—7 Coumt:1 & 2 & 3 & 4 & ete Finger: 2 1 4 2 14 1 4304 403 C# minor BMajor $. 6— ‘i 4 2 4 §—4 4— 1 4304 43 2 1 4 2 14 Part2 A Major BMajor EMajor €- € + €- 5 2 ro «2 1 4 2 14 2 14 AMajor BMajor 43Octaves 68 75 Octaves are a common intervallic technique used in all genres of music. Octaves are formed by taking a root note and finding the same root note 8 scale degrees higher creating a higher pitched root note. There are a few shapes that are most characteristic that | am going to show you. These shapes incorporate a string skip where you have to play a note two strings away. Many players use octaves in bass lines as a technique. Play through the following octave shapes and move them around the neck to different frets. Example 1G ——— | ¢) a Finger: 1 3 ‘oO Example 2 C e ————— ss T— Si aS 0 Finger: 1 a Example 3 E | : Finger: 1 44Octave Rock Progression Make sure to use consistent alternate picking for this bass line. The tablature notes are spaced to help you with the timing. Pay close attention to the plucking, the pattern repeats but is not consistent alternate plucking : 2 3 4 —o- o- 4 —_ 0-4 4-9 0-61-0-6 & 2 2 2 2 momVm mV mVe mV mVm mV nV Applying Octaves The Chase 79-84 Here is an example of how you can use octaves to create a bass line, The chord changes here are G - F ~ Bb —C. For this song the octave shapes will be played with the first and fourth fingers, this is a ‘common fingering variation. Make sure to use alternate picking consistently throughout this bass line. G F x 5-5 5-5 a 3—3{—3a—3 3| 3 3 Fingers 14 141414 ote, nVnVnVnY BP Cc > 3 $55 8,5 555 44 4 + 3333 | 45Minor Pentatonic Scale Positions 4 & 5 82-83 Up to now you've leamed three minor pentatonic scale patterns in the key of “A.” Now it's time to learn the last two. The 4th scale position starts on the 12th fret with your first finger. Play through this scale Position below: ‘@- ©; 8 A @ @, @ 4215: 45- 43 5 —42- Finger: 1 4 1 4 1 3 1 3 301 3 1 4 1 4 20 + 244 44 4 The Sth scale position starts on the 3rd fret with your second finger. This pattern is pretty easy to memorize, play through this scale below: % oe 2-55 Zz 36 se | B35 53. Fingers? 4 2 4 1 4 1 4 46 1 4 1 4 2 4 2 Make sure to use alternate picking when playing these scales and memorize the finger patterns. Now you have all five minor pentatonic scale patterns in the key of “A.” All these patterns have the same notes, A- C- DE and G played at different spots across the neck. Once you have these five patterns memorized you'll be able to change keys by just moving these scale patterns up or down the neck. 46¢ Minor Pentatonic Single Note Patterns Positions 4&5 94-85) Below is the triplet pattern transposed to the 4th and Sth position minor pentatonic scale. Pay attention to your hand position and keep the bass neck up at a 30 degree angle. 4th Position 5th Position —T 5 5 5 4 3 3—s13—5— 5- $- Finger: 2 4 2 4 2 4 2 4 1 4 1 4 1 4 1 40 4 47i Cc k Finger Flexing #2 4 bo Here is another exercise that will help develop the coordination of both hands. In this exercise, there's a wide stretch to help open up your hand's reach to play harder passages. The fret pattern that you are going to use is 1 - 4-34, using alternate picking. Use the same finger as fret when you play this exercise and line your fingers up in a one finger per fret manner. Hold your first finger down on each string, this will help to open up your hand and develop a reach while building coordination of both hands. Repeat each measure four times and use alternate picking. Do the ‘same pattern on all four strings. 4x 4x 4x 4x 4$-4-3--4 4-34 Finger: 3 rasa nVnV ae Build up speed gradually. This is a great time to use a metronome to help you gauge your progress. Increase the speed a notch every day to effectively improve your skill. Once you feel comfortable playing this pattern across all four strings, do the same pattern doubling each note. The pattern would look like this: 4x 4x + 4—+ +—4—_,- 7 +444 — | 44 Af z Finger? 11 40 40303 4 4 te mV¥VnVnrAVoY 4x ax 4 443 4—4—_ tr A 4—+—_4— 4—3- 4—4 48Using a Pick Although using your fingers to pick the strings is the recommended technique there are times you may want to use a pick to get a different sound. You should hold the pick between your index finger and thumb with the point of the pick facing toward the strings. Center the pick on the index Bring your thumb down on Leave your hand open and finger of your right hand, top of the pick. Pinch your your other fingers relaxed thumb and finger together (don't make a fist). Your and leave just the tip of the thumb and finger should be pick showing, placed in the center of the pick, grasping it firmly to give you good control Palm Muting You learned how to use the mute technique to stop the sound completely. Another common way this technique is played is to lightly touch your picking hand against the strings just as they come off the bridge. Make sure not to go too far from the bridge because this will deaden the note completely. Make the notes come out slightly deadened but so you can still hear the pitch of each note. This is used in many genres of music and often in heavy rock music. Play the open 4th string on the next page using a pick to get familiar with this muting technique. Notice the “p.m.” followed by a dotted line that indicates palm muting on the staff 49Applying the Mute Technique Rockit Center Here is a simple bass line to apply the muting technique. Alll the notes are on the low E string so you can keep a consistent mute on that string for the entire progression. Use the band backing track to get the full band sensation. P.M- i +44} + 0 +4 cm: 1 & 2 @€& 3 & 4 & 1&2 RF RAE Finger: tororoaoaad4 P.M. = - +4 3-33-33 Fl 33 33 3 3 1&8 2&3 & 4 & 1K& PKR BAB 3933 33 3 3 3 3 3 3 3 3 3 33 InspirationaL Quore. “Music does bring people together. Itallows us to experience the same emotions. People everywhere are the same in heart and spirit.” 50Basic Slap & Pop Technique 89-90 Slap and pop is a popular bass plucking technique used in many genres of music. For the slap, make sure to use the side of your thumb slapping the bass string to sound a note. Itis a very quick movement and the thumb should not stay on the string. The higher notes are snapped or popped to sound the note. Place your middle finger of the picking hand under the string and snap it up to generate the sound Both the slap and pop are very percussive techniques and should be hit and snapped quick and hard Slap Let's start with the slap technique, with the side of your thumb slap your thumb against the 4th string right after the end of the neck as shown in the diagrams below, Make sure to bounce your thumb off the string right after it hits to allow the note to ring. Play a series of slaps on the 4th string to get familiar with the technique. $e Pop Now let's go through the pop technique. On your picking hand, bend your index finger in a hook shape and place it under the 1st string. Pull your hand up keeping it in a locked position. Play a series of pops on the ‘st string to get familiar with this technique. 5Chapter 5 bo 4 Slap & Pop Exercise In this example you will slap the open E string and pop the open. Once you have the bass line so you can play it smoothly play it along with the backing track cum: t & 2 & 3 & 4 & 1&2 &€ 3&4 EB s P Pos PS P oS P Pos Pos P CD Track Applying the Slap & Pop Technique 92-94 Now let’s apply the slap & pop technique into a song, Below is a simple song that will incorporate three octave shapes. Play each separately first then put them together with the backing track. This song is played with a swing or shuffle feel so pay close attention to the backing track for the rhythms timing HE 2 2 5 - = 3 s 8 5 - 4 Finger: 1 14 1 4 1 14°41 Inspirations, Quote. “When people hear good music, it makes them homesick for something they never had, and never will have.” Edgar Watson 52CD Track Warm Up Exercises . “95-96 In this lesson you will learn a warm up routine, great to use when you first start your playing session. A good warm up routine is essential to becoming a good bass player. Once you learn each pattern, continue to play them all the way up the neck using alternate plucking. Example 1 i—?# + Zz +23 —4}*? > * -B 2 34 i234 92 3 4 2123 4 F234 5 4 2 q * 5432 B 54 432 1 432 1 4321 4643 2 09 3456 q 34-5 6 me 5 3456 123 4 ¢2 3 4 023 4 F234 Example 2 + 32 I =? 2 = = 3 Fingers? 2 01022~«¢%°*«O2 «oP 28k 34) 5—4 4 54 “ s—+ 4 54 30403 4 #3 43 4 «212 1 «2 92 0 56 6 J 5 7—6 ; #6 * € 73923 2323 4343 43 43 53Heavy Bass Progression ps This is a simple but effective bass line. The timing is eighth notes until the last two notes which are quarter notes. The last two notes are a half step apart and create a dark sound. This is common in heavy rock or metal music. Make sure to use alternate picking and play along with the backing track to create a full band sound. ———— Track Single Note Riff Rhythm 400-102 This is a 12 bar blues rhythm with a rock feel. | have placed the chord changes above the staff to help you follow the progression. The guitar follows the same pattern with the bass in unison creating a full driving sound. A a I: 5—S 5—5 ae; zi Fingers 1 1 3° 3 1 ot 3 3 ete bY 4 o 4 54t 55 75 5 55 5 E 39 8 z 39 a9 A + 71-5 5 7 - B55 55 * Find Any Note on the Bass Using the chromatic scale and the names of the open strings you can learn the name of any note on the bass. It's very important to memorize the note names to help as you study how triads and scales are formed. Below is a complete neck diagram showing the names of every note on the bass. Start with each string ‘open and move one fret at a time up the neck to the 12 fret. Say out loud the name of each note. ‘One thing to note, the bass repeats its notes after the 12th fret. This is why most basses have two dots at the 12th fret. For example, the open 4th string is an E note when you get up to the 12 fret itis an E note again. The 4th string 1st fret is an F note and 12 frets higher on the 13th fret is another F note. 55CD Track Minor Pentatonic Scales Key of “E” bon 103-108 The two most popular keys in rock and blues music are A and E. Previously you learned alll five pentatonic scales in the key of “A.” In this lesson you will learn these five scale patterns in the key of “E." It's easy to change keys with these scales; just move the scale pattems you already know to different frets, The 1st scale position always starts on the root note or the key. In the key of “A,” the 1st scale position starts on the 5th fret which is an A note. In the key of “E” the 1st scale will start with the open 4th string which is an E note. This position can also be played an octave higher at the 12th fret Look at the following scale diagrams and see where all five positions are played in the key of “E.” Pay close attention to where all the E notes (root notes) fall within each position. eoo 8 o of fot ei © @- I OO @ C) @ eo 1st Position (open) 2nd Position 563rd Position eo ®, {oS Higrig! i313 ple! 7 4th Position = oLel ae ® > Bg KE}+—_++@} iat le o! 7 (eo e \@}—@ E @ 12 15 87Single Note Patterns Key of “E” Follow the tablature below to play the double and triplet patterns in the key of “E with the 1st and 2nd scale positions. The double pattem is written with no timing on purpose. First play this pattern in eighth note timing then move to sixteenth notes to make it more challenging. Remember to use alternate picking and build your speed up gradually. Make sure every note is picked clearly before increasing your speed. | recommend that you use a metronome to gauge your progress. Double Pattern - 1st Position e2,246 5 02-0 2020 |Triplet Pattern - 1st Position (Octave) 4 445 +5: 34313 dats det et ee ad Triplet Pattern - 2nd Position 2 2—4+ 4 2 26 2-6 5 2 2 2—s + a 2404041414141 42413 The Finger Drag Often when playing bass lines you will need to play two adjacent strings with one finger. The most effective way to pick these is to drag your finger from one string down to the next, In this exercise you will drag with your index and middle fingers. Don't pick the finger up and pluck the next string just let the finger drag off one onto the next string with one swift movement. I st sa 59E Minor Pentatonic Scale Groove Scales are groups of notes that you will use to create bass lines within a certain key. Here is a great example of a bass line created directly from the E minor pentatonic scale first position. I've outlined where the finger drag technique is used in this bass line, HE 2 2 202 0 4 comt1 & 2/8 3 |e & 1 @2/e@ sage Finger: 1 1 1 2 1 1 1 mV miV Vin V nValV V & r 4 2 o—2 2 3 = 1 «© 2{/e 3fe8 4 & 1 & 2]e & 46 1 1 1| 2 1 4 nV nlV¥ Vin Y¥ n VnjV V Inspirations, Quote. “Ifa man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.” Henry David ThoreauHammer Ons os Hammer ons are a widely used bass technique. On the staffs below, you'll see curved lines (or slurs) connecting tab notes. This indicates that you'll be picking the first note, but not picking the second note. The second note will be sounded by pushing your finger down in a hammer like fashion to make the sound resonate, The “H” on top of that note represents the hammer on note, Play through the following exercise and remember to pick the first note (which is your first finger), and hammer on the second note (which is either your third or fourth finger). ‘The second exercise is applied to the minor pentatonic scale. These patterns start on the 4th string ‘and go down in three string intervals. Read the tablature, take your time, and master the hammer on technique because it is widely used in bass guitar. 1st Position H Hl 4 Hl H i T & 2 6 . 4 2 4 $ o 3 2 1 1 1 1 1 2nd Position H H H H H i, T 2 4 2 5- 5- 4 25 25 1 3 + > 4 4 4 4 4 1 4 1 4 23 61Pull Offs 122-124 Pull offs are basically the opposite of hammer ons. Instead of pushing your finger down to sound a note, you're going to pull off (or snap off) your finger to sound a note. You'll need to hold a finger down to pull off and one pick will sound two notes. Notice on the staff below there are two tab notes with a curved line (or slur) connecting them. The “P" on top of the second note represents the pull off. Play your first pull off now. The second exercise is applied to the minor pentatonic scale. These patterns start on the 4th string and go down in three string intervals. Read the tablature, take your time, and master the pull off technique because it is widely used in bass guitar. 1st Position Pp P P P P i = 2 - Z 2 2—_* 2 1 1 1 1 1 2nd Position Pp P P P P 2 42 I Z 5 2 z 7 5- = | = 5—3 70204 9 4 1 4 @ 4 7 3 4 62Hammer Ons in a Bass Line bos 425-127 Here is a bass line that incorporates the hammer on technique. It is important that you apply new techniques so you can start to use them to create your own bass grooves. H H H 5 oo oo oo e035 Count: t & 2 3 & 4 & 1 & 2 & 30 & & 3 3 3 1 3 H H H H 4 = 5 oe 0 oo 3 35 1&2 8&3 & 4 & 1Tk2eR BHD 1 3 1 3 1 3 1 3 1 3 Here is @ bass line that incorporates the Pull off technique. Make sure to snap your finger off to sound the second note. P P P 4 5 ae 5 75 oo o—o Oo 8 0-0 5 3 a1 13 31 a4 P P P P T 5 o 4 I 5 - o—o oo 0-0 5S a1 13 aor 3 ra 4 63Root Notes The root note is the most important note of a scale; itis also the name of the scale and at times referred to as the “Tonic or “Tonal Center.” In an A minor pentatonic scale, the A note would be the root note. In this lesson take all five minor pentatonic scales and locate every root note within each pattern. Look at the diagrams below and you'll see the root notes depicted. 6 @ @. e eo} je @ |o|-e}|-\—-e @ af eo 0118 @ 0 je} | jo -» ote e—o. ela elle ® © oe e) 7e ® le\— eo) ee} @ '@ 1@ @} @; 3! @} @ @ @! eo! lo o! 3 5 5 7 7 9 9 12 12 15 Try playing only the root notes for each scale pattern up the neck. This is a great exercise for you to memorize where the root notes are in each scale pattern. As you're creating bass lines, these are great Notes to start or stop on. Look at the staff on the below and see all the root notes only in tab I 9 “£0 3 24 64The Major Scale Formula ‘The major scale is the mother of all music. | call it this because most music starts from the major scale, and we make other scales or chords by altering the notes of the major scale. Let's learn the formula used to create a major scale. A major scale is constructed using a series of whole steps and half steps. The pattern is: whole step, whole step, half step, whole step, whole step, whole step, half step, or commonly written W — W —H— W—W WH. Ifyou start on any note and use this formula you will create a major scale. The starting note will also be the root note (or key). Here's an example: start with a root note C on the 3rd string, 3rd fret and create a C major scale up this string. bh o 3 z LL ‘The C major scale is C - D - E - F-G-A~B—C. This will be the only natural scale, meaning the only scale that won't need any sharps or flats to make the formula work. Every other scale will have at least one flat or one sharp. You just learned a C major scale up one string by using the major scale formula. You wouldn't usually play a scale up one string like this. In the next lesson you'll learn how to play those same exact notes in one position patterns. 65‘Track Major Scale One Octave Patterns bod 134-133, Here are two one octave major scale patterns in the key of °C.” The C note (root note) is shown inside of a white dot, The first root note is on the 4th string the second is on the 3rd string, These are movable patterns so you can play these starting on any fret of the bass. C Major Df 12 413 4 ©: 7 9 @—_8,©, =] PROS | 70170) 3 5 After you have these patterns memorized move them to different frets and get familiar playing them in other keys. Remember the first note of each pattem is the key or root note. I've outlined them in the key of "G" and “B” below, after you play them in these keys transpose them to the keys of A and D. You will see these pattems as you play bass lines. G Major 66| °-@@ ® o Major Scale Four String Patterns Track 134-139 ‘These five scale patterns contain all the notes in the C major scale spanning your whole bass neck. The root notes are depicted with white dots. I've also included a full neck diagram of where all the C major notes fall across the neck. 1st Position eo) 672nd Position Ut o¢ $606 eo ee ee oO e909 | = 3 3 g 6 6 : » 6660+ OO 5th Position ‘@; @- 4—5 ———— | 7 This is a full neck diagram that shows every note in the C major scale across the bass neck. Find all the four note patterns you learned in this lesson in this diagram. It's important to start seeing the scales across the neck together as a whole and not just small scale patterns. ‘O70, ®,_ 8,0, ©, 0, 6 © Oe, oO} 28/0 — 0, 0 | 0/0; 40; (80 e OO; Oo} 0/0 0 6 8; 6; 0) 9) ®;— 88; © @'— 800 0 68 O00 6 "0 68Walking Bass Lines 140- Walking bass lines are one of the most melodic sounding bass parts. Those of you who are fans of swing jazz or blues are probably already familiar with the walking bass sound. In this lesson you will learn standard blues influenced walking bass lines. Blues walking bass lines have @ more structured repetitive pattern. Jazz walking bass lines tend to be more improvisational in nature, almost like playing a bass solo. Example 4 A I + 4 4 4- + C +4 7 44 44-7 +4 55 55 55 55 2211441446 D A 4 +t 44 44 + 4—_ fo 55 55 44 44 7 55 55 Turnaround E D E T $500: z + o A 4 55 +4556 56 7 5 Example 2 A TT +4] 5544 44] 3544 $k a4 +4 +47 74-4 55 55 22LI4G411 2ITIGAT IL Ae D A t 5544 +4 +4 +f 5544 45 ++ +4 55 Turnaround E D E +4 7 6-6-9-9- 444+ ¥ 7 55 445566] 7567 AlChapter 6 Exercise Routine Here is a series of exercises to help develop coordination of both hands together. It's important to have a series of exercises that you practice daily to improve your technique. This will enable you to play more challenging bass lines. The Killer 5: £ 8 87 eat ; B 6—5—8- +5 $3204321 43214321 4 24 ra 5—6- dee 7-8 #456 12341234 12341234 1 4 Finger Twister €- + +t +- ——8- € +5. +4 s— +e 16 el $12 4 1 2 ee $- J = — B_*4 8 2142 4 ate Finger Drag Exercise - © 6 4 0 @ 00 —0—$|_ 3-0-4 nVanVaVY ee. 70Lateral Pivot Exercise + 54-52-65 4-5 54-52-54 F5FAPS 3 5 243941434 24241424 0- 40- +49 }0-9-48-7-48-9-48 42-40-42-9-42-40-42 | po 24241424 34341434 24241424 2 Tre Legato 150 Previously you learned staccato, legato is the opposite of staccato. The definition of legato is smooth and connected. To play notes with a legato technique you will use hammer ons, pull offs and slides. To play a slide you pluck the first note and while holding the pressure down on the note you slide the finger Up or down the neck to another note. When notes are to be played using legato there will be a curved line also known as a slur placed over these notes. Example 4 Slides sl. sl a 1 Example 2 Hammer Pull Offs & Slides H sl 3454 —_} 1Hammer Pull Off Single Note Pattern Here is a pattern that combines the hammer on and pull of together to form a great sounding technique. There will be three notes sounded with only one pick. Pick the first note and with one swift motion hammer and pull of the next two notes. H P H P = 4 5 5 é 3 1 3 A T 4 1 1st Position HOP HOP HOP te @ I 6 o 4 @—2——0 —" 2 1 1 1 H P H Pp H P 4 ° oe 8 @—3—6 HOP HOOP HOOP + 44—§+4 4 42444 24542 re 13 4 1 3 4 1 3004 HOP HOP HOOP a 2—§$14 + 214 —42 5—42 1 3 1 1 3 1 1 3 1 1 oo4 1 72Using Hammer & Pull Offs in a Bass Line Here is a bass line that incorporates the hammer on pull off technique. After you feel comfortable playing this bass line play it along with the backing track and apply it in a band setting HP P H —— 5 2 B 5 5 s—7— | Pe ¢ Com: 1 & 2 & 3-T-L 4 &®@ 1&2 & 3 & 4-THL HP P HP 55 —— 5 5 2 e Sixteenth Notes 600 X56 Asixteenth note receives % beat of sound. It subdivides one beat into four equal sections. Sixteenth notes are twice as fast as an eighth note. Count out sixteenth notes now as follows: There are four subdivisions for every one beat. Tap your foot down on each beat or number. Now play sixteenth notes with the open low E string using alternate picking 4 0 0 0 99 00 e900 Couns@ © & ah @ ¢€ & ah @ © & ah nmVnVnmiVoaAVaAV AV ‘Accent (pick harder) on the down beat to get a true sixteenth note feel. edSixteenth Notes in a Bass Line This bass line incorporates the sixteenth notes you just learned. Make sure to use the new counting method, 1 € & a, as you play the following bass line. a Le &ah2 © &®ah3 e Kah 4 c Kah ete, if assstvvstenstveell 3 CD Track Slap & Pop Sixteenth Note Grooves 159-161 Here are three slap and pop grooves that accent different sixteenth note timings. Pay close attention to where each pop comes within each groove. This will give it a syncopated feel. Example 1 RO oe ~ ~ 2 2 2 | - #—_ 4 o & a 2 © & ah 3 © & ah de & ah PS ss pS s § PSS 8 oY 4 : | 4—-—_#- 4 - -8— 9 4—_-—_4 Cons! oe & ah 2 e & ah 3 ec & ah de & an $s 8 )S § 8S PS SS PS SS P 74Drop D Tuning = Drop D tuning lowers the 4th string E down one whole step while all the other three strings stay at standard pitch. From high to low the strings would be: Thinnest) (Thickest) 1st String 2nd String 3rd-String 4th String G DB A OD Now put your bass into drop D tuning. Here is an easy way to do it: i staring from standard tuning you already have a D open string the 2nd string, pick this string open and let it ring out, then pick your 4th string open and tune it down slowly until you hear the pitches come together. Remember all the other three strings stay standard tuning Altered Tunings Although they are not used in this book there are other versions of altered tunings where strings are lowered anywhere from a % to 2 whole steps. Let's look at a few popular altered and drop tunings: D tuning has all four strings lowered one whole step, drop C tuning is the same as D tuning except the low E string is lowered another whole step to C. D Tuning Drop C Tuning (Thinnest) (Thickest) (Thinnest) (Thickest) AstString 2nd String 3rd String 4th String tat Sting 2nd String 3rd String 4th String F c G OD F c G C B tuning simulates the bottom 4 strings of a 5 string bass. For this tuning every string is dropped 2 whole steps. This tuning loosens the tension on the neck drastically; you may need to adjust the bass truss rod to tune in this fashion, B Tuning (Thinnest) (Thickest) ‘st String 2nd String 3rd String 4th String D A CE B 5Drop D I-IV-V Progression 162-4 The | -IV-V progression is the most popular chord progression. This chord progression is constructed by building chords off the 1st— 4th and 5th degrees of a major scale. Many songs in all genres of music have been written using this chord structure so it should sound familiar. D G A Fa +; : D es a 6 o—t 55-5 t 11 11 3.03 3 3 CD Track Drop D Bass Line 165-167 Mean Street Here is a bass line that incorporates the drop D tuning. Once you feel comfortable playing the bass line play it over the backing track and hear the full heavy sound this tuning creates, D F Gar DIF4 z z Apa D @ + + Count: 1 & 2 & 3 & 4 & n V V G 3x 4 : 4 5 5 5 6 6 1 & 2 & 3 & 4 & n V Vv D = 4£—_}-—_4- 4—_0—_8-—_# 4—_9-—_0-—_4- #—8—9— 76