MARK KING
THE CHINESE WAY
Paes
DUNE TUNE
PAGED
THE SUN GOES DOWN LIVING IT UP
RGETD ae samt
STANLEY CLARKE
HOT FUN
PAGETE
SILLY PUTTY
TAGE
SONG TO JOHN PARTII
PAGED
THE DANCER
TAGEDE
MARCUS MILLER
RIO FUNK
TAGEZE
RAG BAG
RUNFOR COVER
PAGERS
COULD IT BEYOU
re
JACO PASTORIUS
COME ON,COME OVER
TAGE AD
TEEN TOWN
PAGER
RIVER PEOPLE
Pace
CHROMATIC FANTASY
PAGERSINTRODUCTION
‘To understand the musicin this book and how to use it,
Iwill give youa general idea of why I wrote it.
Inthe seven years I have been playing, have noticed the lack of
good books about the bass guitar on the market.
Mostly itis flooded with elementary method books with
‘poor explanations of what they are trying to teach.
Apart from one ook entitled'Slap It [have not seen any covering.
the slap style, which is becoming the most prominent style in music today.
So instead of writing yet another method book on this style,
thought it would be more beneficial to write a book transcribing and
analysing bass parts from some of the best bass players in the world.
HERE’S SOME ADVICE
1.Read through these lines very slowly, the mind will take in
the music correctly this way. Trying to play things too fast at first will lad to
mistakes and later mustbe re-learned.
2. f you don't have the recordings on which these pieces have been played,
please get them so you can play along with them,
3, Once you've learnt these lines, transpose them into other keys.
This will enable you to use them in other situations.
4. Remember tobe patient, the players who are written about in this book
didn’tlearn to play overnight.
Each person grows at their own rate ~ so relax and enjoy the music.
SYMBOLS
SSS
THE DEADEN NOTE
‘The deaden noteadds rhythmical content to the slap style but has no pitch.
‘Todo this, you play what is written and damp the note with the lefthand where the x's are written.
THE VIBRATO
usually done with the 3rd finger. You push the string up and pullitbackin
aquick succession across the finger board.
HARMONIC
‘The diamond shaped symbol means the noteis struck as.a harmonic.MARK KING
Phil —from hs years onthe Ll Of Wight andin 1980 thst plus
Cf Wightandhestarted playingdrums wheniewasnlne years keyboard player Mike Linda, formed Level42, All fourhad an
tld twasnotuntihiservalinLondonetihe ageofl9thathe _afiniy with jaar ie Miles Davia Jobn McLaughlin Keith
tookupthebass itr initalivhe workedinaCharingCross_JrretandJan Hammer
Road musical instrument shop selling bass guitars evel 42s recording debut ame vate independent Et
In order to obtain the postion bebad been obliged toleabout Recordslabelin May of 180. A major recording contract with
hisbass playingabily-inamatterofweckshehadmasteredthe Polydor followed almost immediately andthe group havesince
instramentand developedthethmbstyleforwhichhe would recorded fourfurher LPs anda dutch ofimpressivesingles
incadng the tp ten it"Sun Goes Down (Living Up)"
“Mark King was born on October 20,1958 at Cowes onthe Isle
become widely admired
King was already familiar withthe Gould brothers Boon andTHE CHINESE WAY
MARK KING, PHILIP GOULD & WALIOU BADAROU
Wel let's facet. Weve allbeennduenced by other players
‘This isa great example of beinginfuenced by Jaco witha very
slnteenth staccato and bos nein the main verse Notcein
Section theline becomes ver spars, hus creating tension ad
rmakingthelinein Section Athatmore effective
‘lemenber Marks no ustjammingalong here. He'screted
snactal rangement Notice every section basa tlsiechange
INTRO
tocomplementthe previous section, Thats the golden rle when
laying oa tune) Notion Section Dthetine becomes sparse
fnain sometimeslessismoe! Aga using Sthsand ths with,
power chordefect Practise thisone very stowlyand gradually
‘build up speedo get articulation peter. This one splayed with
fingerspace?acesRepeat to fade
= ooDUNE TUNE
MARK KING.fr TEND E BEND
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creer: ere
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goa 3 All~ i: :
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Fade out
PAGETHESUN GOES DOWN
LIVING IT UP
MARKING, MICHAEL LINDUP, PHILIP GOULD & WALIOU BADAROU
lite bit sir adn back nto the
eo. Aga this one played withTo Coda®
(D1 ass
: = =
SSS
iat ‘DS. al Coda
cova
Repeat to fadeHEATHROW,
‘WALIOU BADAROU
‘Thisgrooveisa funk shuffle fel Thesghtbaotesaresortof—_turearound,
payed asing its. "ope a was
7 ae 7
WI. d) (OQ,
“The baseline intheinr and section sane patternto The entre tneislapped.and remember the deadened notes
seinuthertuncesniar this Avamatertiackfmsure, areveryimpotnt The givethepereussveess which plays
Mark gotthisieafromaStarey Chae ncenttled-LopsyLa*— Mgraein Marks plying
‘off Stanley's second soo album. fs exactly the same except
(27 222) punt stutneDS, at
2nd ending
os osPAGE TGSTANLEY CLARKE
Stanley Clarke was born on June 90,185, andsteepedin
music rom aneary age. His firstnsirarmeats were the volinand
‘loan at he tookup the dasscal double bass. He studied
classical music atthe Padelphia Musi Academy andit was
here that wa also introduced rock jazz and sou
n1970 Clarke abandoned hisstudes andjoined Horace
Silver group. Onleaving iver he teamed up with Joe
Henderson's Band where he met keyboards player Chick ore
Soon Clarke and Crea combined ther talensintheinfuential
fusion group Reta To Forever which als included Lenny White
ondrumsandamnumberoffist-rate guitarists, among ther AIDI
Meola,
Return To Forever made seven albums whilethey remained
together and Clare alo appeared either ive or on record) with
Pharaoh Saunders, Stan Get Carlos Santana, Dexter Gordon Art
Blakey, Aretha Fraakli and The Barbarians «Relig Stones
spin-on eturingRon Wood and Keith chard
‘Clarke alsorecordeda nuber ofsolo albums usinghis
Return To Forever colleagues, Theseinchde is 974 debut
Stanley Clarke! Journey To Loe” (1975) and" Wanna Pay For
You" (1979) More recently Clarke has performed with George
Dikeand Lenny White
paceHOT FUN
‘STANLEY CLARKE
“Thissongis very fastand funky and displaysthechopsthat_eectatsuch speed This tine recurs in several spotsandis
Stanleyhas,Theline-on Section A, thesymbols over the tuted the tame every tne. The second partofSecton Ais
Geadened nates FO1OTO) mean in Out which mearsheputshis_ yetanoher ine example ofusing double stops tocreat ler
thumb nthrough thestringand pllsitbackout.thusgetingthat__ and bigger sound This tunes lapped
time fi23. 4
fae
1x Tororo125.
PAGE?SILLY PUTTY
‘STANLEY CLARKE
Herecomesadffcutone!Startingwiththeintrousinga kind percussiveand melodicattack almost ihe’ saccopppanyinghis
‘fchordmelody ste pling the melody partwithhis fingers, ownsolo.Noticein the oth bar where ve writen
iting the low notes wit thumb, And inthe St br athe
intro. the bends done playngthe open Gstringand withthe eft >
handindexfinget depressing the stringabovethe nt. making
thenotebendinG.
"Thelinest Section Ai slapped and remembertoarticulate 3
the deadened notes proper: Section Bisslapped, much more
Sparsethan Section A'Thebendinthe Sthburisdoneinthesame This means he'splaying 6 42nd notsin the place of. Also
‘raya before Strike theD harmonic onthe 7th ret on the notice the last barn Section Stanley's base goes upan octave
Gotringand, withthe kfthandindexfingerdepresstheGtving above the Gonthe 2th et ofthe Gating Most conventional
abovethenutInSecton Ewhichisthesola hestrsoffusing _ bassesdontgothat high. Take your ime and od ik!
INTRO aaGe2ttte Geettet
a SeHy 0
eS ee Ee
a ; S-
PAGe22‘2
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ul
PAGEDSONG IOJOHN PARIII
‘STANLEY CLARKE
“This songisa god exampleot where the bas playsthe ‘que high in spots The felis jazz samba Practise lowly and
relay Ontherecrdshepaysitontheaconsticbass otis one remember be patient Yourassgmmenton this istrecordthe
‘wouldbe nice done onyour fretless (Voudsithaveone? Well get chord changes on Section Band practise improvising solo over
‘one) Thereare some ieintervaljumpsonthisoneanditges_andoverandoverand,
(Play samba groove over changes and improvise over changes)
[8] cmajo
Abmai7 majoTHE DANCER
[chose this one because yournelyhear slappingona tery effective ry and investigate other Latin syesand
Brazlan of Lain type groove Well here fots,Verysimple_ulzeslappingin them.
INTRO
16.
DM. al Coda
Repeat to fade
-
#
PaGe26MARCUS MILLER
Marcus Miler was bornin Brooklyn, New York. in 96Land he
fnheriteda family radon of musical prowess. is ather played
Jaze keyboards and hs second cousin, Wyoton Kelly played piano
‘wth Miles Davis during the fits His eaiest musical memories
tre picking out tunes onthe family piano and learning the clarinet
attheage of.
Miller was nothingifnot eclectic By the age of She had
redthe plano clarinet, bas guitar and saxophone and was
tsp blossoming vocals. i fie professional work at 15—
tras witha New Yorn called Harlem River Drive who mixed
jazandr cover andhe became known aly for iingin.
Sam sessions ina parkin Jamaica Queens.
To1077 Miler washired as bassist with jaz ats Bobbi
Humphreys and he simultaneously contributed material to
pianist Lonnie Liston Smils*Love Land” album Aftera year
‘eth Humphreyshe toured wth Lenoy Whitedhen distinguished
‘imsifon the New York session scene Among hose who used
Mileriothestutio were Miles Davis Roberta Pack, Aretha
Frankn Bon Joh Luther Vandross, Grover Washington Jr
Tom Beene DaveGrsn and Bob James His reatonship with
Miles Davis was cemented witha year and half asbassist forthe
legendary trumpeter
{in 1982 Miller coal be found playing with the Satay Night
Livehouse band where he net saxophonist David SanboraThe
pir collaborated on Sanborrs-Voyeur" album andthe sme year
Miller begaa work onisown debutalbum “Sudden”
Between the release ofthatalbum and Miers recently
issued eponymous led follow-up, the now renowned bassist
‘worked closely with Lather Vandross. They penned material
Together for Teddy Pendergrass, Dionne Warwickand Aretha
Franklininching theaters 1983 it"Jump ToT.
pscez7RIO FUNK
LEERITENOUR,
Tereason liked thisonesommichisbecauseofthevaried _the2ndbar ve writen
sectional changes ad the amazing slapping solohe pays. The 5
intr starts of with very syncopated ythmicl das.
Séctn Astildeiwththesacopatonbatsomewhatoce EEE
simplisticin structure
Section goesintoasamba fee but nticehe doesn play the ch means there are 5 1thsinthe place of 416th In Section
typical oot th ype line, Good fck on Section C because this is 3 place “cts
aoe a a ttnaiaty Theis bear tsietheniceembelishment inte th bar ancl brs ick bt
injust might work), The wholetune slapped except forthe
samba sections.
INTRO (Funk)
Pace28(3)
(Samba feel)
To Coda®
ace2eacea0PAGeateeRAG BAG
DAVEGRUSIN
realy keto hear how thee to his songcameabout
Anyway. che into starts ou very spars jst hitting the accents
‘withthe drummer The bar drum il leads nie int Section A
This sectlon slapped Remember articulate those
dade notes property Section Bis played with ingersaice
Sfraizht groove fo complement the previous section. Notice the
INTRO
‘nt barofSecton Be 6/4 ba Dont feakout just ountto sx
Aetheplece carves on its prety straight ahead tothe rest ofthe
tune Remember thisiva groove tane-makeitgroove A tof
tnyscarft groove. They just want to beflath If ustasimpertant
{oplay alld grooveforseven minutesasitistoplayafast soo!
Tas. Boel
Paces3PAGEDPRGESRUNFORCOVER
MARCUS MILLER
Thisiforallyoufinlatersoutherfinkifortheres] eters and: Issachagoaenample oft angi
thine utsctostyolks tioncleceSppedoghoa, around cersiapatam-sndsornaal Nhe Sthand ear
inchdngtneisturscoatSectiaD.Thehingtotkeitow ofc the armoire paged ih gee So practi
Tretecveytkesihedecttcinvoandenbelshsta”— hsbectseyouiberwiching on gers osp ae
reo Pee
PAGER6DS al Coda
cova Repeat to fadeCOULD IT BEYOU
homework sto transcrbethat solo and edit Alo ry making
upsourown soloas wel
Tiss another ne exampleo the bass paying themed
Yesthatsright-getyour fretless ot agua (Comeon man told
sou to gt one) pretty maichremsinsin the high ester
throughout Watch for dhe2/4 arin teatro and Sctions Band
INTRO sts aoe
te be : a EF
be 5;JACO PASTORIUS
_JacoPastoris was bor ia Philadelphia on December 1.1951,
bute grew upin Florida where he began aneariyearer
rare Iwas football injry tat ede hie taking up the
nd eintally moulded his style onthe soul musi of ames
Brown and the Staxrecord abel Itwasnotlongbeforehe
advanced to jz, akingin Charlie Parker Jobs Coane Miles
Darisand Wes Montgomery alo with leading performersin
(Cuban calypso music
T1071 Pastors joined his first band, Wayne Cochran and
the CC Riders who concetratedon r&b, Shortly afterwards he
‘layed with thera Sullivan Quartet, Pat Metheny and Bob Moses,
tnd Paul Bley Atthe same ime ie performed ina Fort Lauderdale
‘called Bachelors I, backing up touringartsts ike Nancy
‘ison, TheFour Seasons, The Temptations, The Supremes and
Della Reese
twas Bobby Colombythedrumamer with Blood, Sweat and
Tears, wo brought Pastorius to EpicRecrds in 1975 to record
hisfist solo LP Atthe same time e collaborated with In Hunter
‘nthe latersAll American Alen Boy” album
n1976Pastrivs replaced Alphonzo Johnson in Weather
Report and quickly assumed pre-eminent positon inthe group
beside keyboards player Joe Zawinl and reds player Wayne
Shorter His workon the groups"Heary Weather” LP was widely
‘claimed and his name can aow be found on the ceils for
‘Seven Weather Report L's,
‘More recent Pastorias has released second solo Pied
‘Word Of Mouth and toured with hisown sextet Fora period he
continued asa casual member of Weather Report bathe now
|g hs creative endeavours between his own solo projets
Aun session work for agalaxy of talented performers
pacea9COME ON,COME OVER
JACO PASTORIUS &B. HERZOG
This ones fom Jo's first album entitled “Jaco Pastorius”
‘onpieRecords. remember when this album fistcameoutin
1076.No-one had heard anythiagkeit
rmosttalked about bass player arn.
fortwo Grammy Awards and shordy after he was asked toin
the famous Weather Repor. He waste fs person tay
fretless bass inthe way thathedocs, Asa mate offact shan
(Funky) a
INTRO 3
foreandhebecamethe
album was nominated
otto sound ikem when you pick pa fetes.
“Anyway ths tune displays Jes ghtnng fash tle of
stars of witha nice bles ik leading into
Section A which he eaves quite sparse sting up the second part
tf Secton when heel takes ofL Notice how he uses
teadened notes wih the finger tle of playing Make sure you
transpose these icks motherkeys They're great funk ks!
3S
——
e's
BI be 3,
ESS‘Repeat [B] and fadeTEEN TOWN
JACO PASTORIS
“Thistuncisastadyinitslfforany bassplyerHeplaysthe _theaccentsandarticulatons ve writen in. Also,thekey change
melody andifsone ofthe most musical plecesforbassIveever_ at Section which remains frtherest ofthe tne Good ck with
thea Jacoalso pays reat drumsanthistune Watchout forall thisone Youlbe proud of yourself when you gett down,
INTRO tal
Z 4 7
maces?(Fl Fine
PsGEaaRIVER PEOPLE
JACO PASTORIUS
This very ethni sounding tne. OF
ohaling changing thenotesaroun here and th
wa th
ing, back
D heli play
Pace at8 a
(D] Repeat to fade
rae8 PAGEASCHROMATIC FANTASY
|.S. BACH. ARRANGED BY JACO PASTORIUS
Thisisforthose chosen fewwhomanaged togettotheendof _rendton ofthis famous lassi AIT can says “Good Luckand
thebook Ithought leave you wih somehingyowdremember practise aed Watch forthe parts played upthe octave and hey,
fora wile andbeleve mt iyou get this together you heyhey ets carful ot there
rememberifI'sby Johann Sebastian Bach anda good
pinto sPtEL St aos,
PAGE 46Paces?‘Was born in the United States on June 16,1957.
He studied 3 years at Berklee College of Musicin Boston.
Has played and recorded with such artists as Gary Numan, Petula Clark,
Mose Allison, Morrisey and Mullen, Bill Sharp,along with various
sessions ranging from jingles to film soundtracks.
Formerly the resident bassist with the “Morrisey Mullen Band’
Also leader of jazz funk band “Hubbard's Cubbard" with one album to date.
BIBLIOGRAPHY
Tve provided a list of books here that have helped me develop my musica
‘Some of these books may help you understand more about my book and help your
‘musical development grow to the fullest.
Atl Arpaion
ach Celt (04 Time Resting Text
yn ty) ach by Lousterson
Licks Marmonisfor Electric Bass (Chard Staion ForTombone
by Dando oy ham Novice yea
2014 Contry InervaleDesins Jazz improvisation Shp
Tyoebore byDard a
Fasion Develo Siht Reading Charke
byloeDoro TpsCosn ene ‘yen
Contemporary Ets for Beet
‘Thesaurus ofScaer an Mela Patterns
Advance Jae Rock Ryths
‘David Chesky
Madeen Reading Tetin 4/4 Time
ii ate Die
“tinea terest
ace se