TABLE OF CONTENTS
PagP
HAPTER I. CHORDS 4
OUIZ... .......... t 0
CHAPTER II. CHABT READING: ASTABTING GUTDE . .. ........ t l
CHAPTER III. STYLES ENCOUNTERED ........ 14
swtNc. .... ... .... 14
Leamingto Play í n theSwingstyle.. ' ....... t 6
Blues... ..,... 1l
TheTuo Beat ... ....... 21
THEJAZZWALTZ..... .....24
ROCK . . .......... 25
LATIN.. ...........27
Bocsa Nova .,.. 2t
Samba . ....... 29
Beggre.. ...... 29
CHAPTER I V. SOLOS . ...... 3()
BASS LTNES ....... 32
CHAPTER V. GETTINGA"NATURAL''SOUND. ........33
CHAPTER VI.
VI . MORE ON CHORDS ..... u
9ü, llth and t3th Chords . ........... 34
Divising Formulas for Determining Chord Memberc.......... 3g
Non€ordal Tones .. . ...... . 39
Scales and Chords . ..........,10
Diminished Scales ........... 42
CHAPTER VII. MTSCELLANEOUS ..... ......... 43
Sampl ingoÍÍ a chan...
amplingo ...'...43
leÍ s. '.
CleÍ ........... 44
Give the Chart a Chance ...... 45
A Word on Major/Minor ...... .[ 6
ln Addition ........46
CHAPTER VIII. DTSCoGRAPHY ........ 48
RAY BRoWN '.. '.. 5í
CHAPTEB I X. REFERENCE ...,., , ,, , 52
CHAPTER X. BASS CHARTS (From the album "Hate To See You Go") ........ 53
 

ABOUT THE AUTHOR. .. .

JOHN CLAYTON, born August 20,1952, has made great musical strides in the past years.

A list of the professionals with whom he has worked would be too extensive to list here.
He has studied with Ray Siegel, Ray Brown, Carol Kaye, Abe Luboff, Murray Grodner
and Eugene Levinson. ln 1975, he received his Bachelorof Music in Double Bass from

lndiana University. At age 19, he was the bassist for Henry Mancini on the television series,
"The Mancini Generation." He worked for two years with the Monty Alexander Trio.
John has played in many professional big bands and now tours with the Count Basie
Orchestra.
 

PROSPECTUS

The things that one learns and retains come, mainly, from experience. The purpose of

this book is t o present some of the more common situations with which a bassist will

-have to cope when reading Big Band music (of course, much will apply to other musical
styles and situations encountered). The purpose is to also persuade the bassist to do his

own research, especially in regards to stylistic influences and aural development (too
many bassists know only how t o read and have underdeveloped ears). t wllt talk about

certain approaches to solving problems most often encounterd. These will be SOME
of the solutions at your disposal. I strongly advise you to learn from as many souroes
as are available to you.

DEDICATION

This book is dedicated, first and foremost, t o my firct musical inspiration. This

person was feeding music into my soul while I was nestling in the womb. .

Thanks, Mom.

secondly, this book is dedicated t o those who have given me inspiration in my

post-womb days. To name a few: Jeffery, Janine, Joseph, Jerome, Jennifer, Joy,

John Sr., Ray & cil and rineke. And to those not mentioned (you know who you
are).

Many thanks to all of those who contributed the bits and pieces that make up thas
 book. Your aid was immeasurable.

pnvrisht @.ts78 by STUDlo 224,- clo CPP/BELWlN, tNC., Miamí,

Miamí, Florida 33014
lnternational Copyright Secured -r" Ü.c.Á.
ú .a -r" All Rights Rererved

CHAPTER I

CHORDS

This is probably the most important section of the book. Many (and I mean MANY)
bassists don't have the understanding of the basic chords that they must know.

Learn this section. Listen to what each chord sounds like while playing it. The
purpose of learning this is t o condition your Í ef|exe
ef|exess to play the notes of a chord when

you see and/or hear the chord. For the sake oÍ creativity in bass Iine construction, later
(chordal given However, by
you won't need to play ONLY the notes tones) of a chord.
that time, when you see a QJ, you'll "hear" what it should sound like.

l have vertically categorized the chord types' Please make special notice of the diÍ
diÍ fe
fere
rent
nt

ways that these chords will appear (example: Q is also written as $ gf ) . Also, I have

left it up t o you t o complete the section on diminished chords.

us hear the chordal tones

 

Me, Í ^ R

(, &009 c- cp rrteí oR ol*fl

( (r,,nt 7b

eb , __ ebnwoe ítbb

eb Ub- ebb
 

MNú . ré ií , NG neful áaE

aE^^ ffi

fuaj1
 

ruN2R 6tífl ,í\]€) fl c+ il?

il?O
O

b b n ^ tb
 

?mt
mtiilÉ lIé ? Atlarat"al(o 6et€)il

úr^nl fik6)

óv'rha

?*afi Qarpe as u t ) Eb1 eoe,

é o1 (ane e9 ct
ctll
(01 Qana Aq oo1)

co1) eÜEs
 rh Qarae aq oIü+ Cb1

dq Parl Ag e,hl+ r.1) 01 +6

lbPl kene Po
í lbPl ?01 + ?1)

*mra/or(
í 1hJ
1hJ0R
0R rnAfuR 06]uJ41 oé lail\| fuArGo ltftA
Cn,tMefl ffiL-

gbr,1
gb r,1tna
tnaíí 1)

Obr,r11na,1) ?br,16
 rk-ot 8bM,N1?5)

1u1) (,-1óá

G mw(m1)

* A|JDN; C"tÉ"t É l-Kó

l-Kó rnA
rnAY
Yí fuk(, * eL??p Ré
eL aReé ? t A6 |4Alt
Ré í aReé
üatÚp,lao
-
f t c'?u uru*tl"+lYt(, o ( uxít
l^ k A1 l, No( Í ní ;AN
;AN( # t ( .

í0

CHORDS

outz

1. Fill in the notes belonging to each chord. The root should always be on the down beat.

flt+á bbPl bb
 2. Construct a bass line using only chordal tones. Use roots on the down beat only when it
helps in constructinq smooth bass lines.

e* ,A
,Artpí
rtpí -(, c bbol

( ol f uű

20

MEMOBIZE
MEMOBI BLUES PROG
ZE THE BLUES PROGRES
RESSI
SION.
ON. I T I S A MUST FOR THE BASSIST.
Using the knowledge that we now have about blues progressions, we are able to put together

the pieces of our puzzle.

 1. our key signature is 1 flat. We are in the key oÍ F majqr.(if We were in the key
of D minoi, "D minor" would be written above the staff).
2. Our time signature indicates that the piece is tn 414.

3. "Walk" tells us that the style is Swing.

4. "Blues" tells us what the chord changes will be Í or 1 chorus.

5. "2 choruses" indicates that we should play the blues progrcssion twice
(i.e., there are24 measures between Letter A and Letter B).

í9
 wb1) yl Í . 1 b1
b1))

Many, many variations exist. These, in Í act, are variations on earlier blues progressions.

There may be times when the blues progressions you play may be extended (16 measures

instead of l2 measures, for example); or, it may contain only 3 chords----the 17, lV7 and

V7, as illustrated in the following example.

1 chorus of 12 bar blues in the k34j.1p..1pgig

t8

Perhaps illustrating the above this way helps you in memorizing it:
it :
 T1 t r7 T,II
T, T1

E1

You may also be required to play a Mg blues:

1 chq '$ of 12 bar blues in the key of C minor:

olnn
ol

17

BLUES
There will be occasions when you get a chart that reads something like:
 E h lÍ r lwau
wau < '

Beí ore you can walk the blues, you must learn the most often used chord progressions.
Beí
They are being found more and more in bass books these days (not t o mention other
instruments. . . . . .guitar, piano, et.al.).

|chorus oÍ 12 bar blues in the key

key ooÍÍ C major:

r6

(play quarter
 I t is generally god practice to "lay down" the time notes) @@ adding

"drops," triplets, etc', so that the band has an understanding oÍ exactly wherc the time
Í eel is. You are preparing a foundation upon which the rest oÍ the band plays, After you

sense that the band is sure oÍ where the time feel is, it is generally o,K. t o throw in other

rhythmic figures (with some bands, the bassist may have t o play quarter notes
notes Í or t he

duration of the song. With other bands, it may take only one measure). Also, unless a
sp
spec
ecial
ial efÍ ectt is desired, play quarter notes more on the legato (long} side than on the
efÍ ec th e

staccato (short) side.

LEARNING TO PLAY I N THE SWING STYLE

There are diÍ rent methods oÍ learninq how to play this

diÍ Í erent style. Here is one that is taught:

Find a recording of a blues (or a song that you know the chords to) that is in t he
swing feel. The tempo should range Í r om medium to slow. Ascertain the key.
Listen carefully to what the bassist is doing. lf you wish, write out the chords
being used. After MANY listenings (at least 10), play along with the recording.
You may be required to re-tune your instrument to the recording. The volume
oÍ the recording should be such that you can hear what you are doing AND
What the rhythm section on the recording is doing. lí they don't physically
get in the way oÍ your playing, headphones can be helpful. When playing,
listen for the choice oÍ notes that the original bassist is using; if you like them,
play them along with him whenever possible. lf you have some ideas that you
think go well with what is being done,
WlTH THE try them.
REcoRDlNG' lf done properly, All notice
you'll should be done
oÍ thisimmediately ií you
are a Í ractionn of a beat ahead or behind what was done on the recording'
ractio
Double bassists and fretless electric bassists should make left hand adiustments
when needed to retain good intonation (play your instrument with your ear
as well as with your technique). Concentrate on lockino in to what has been
done. When you are in a similar environment, you will be able t o play this
style with little or no problem. Perhaps you'll notice mistakes made by th e
bassist on the recording. Ear-mark them and avoid making the same mistakes.

This method is suggested for learning the feel for any style oí music.

ln the chapter on SOLOS (Chapter lV), I have explained and outlined the above technique
for learning solos and transcribing bass lines.

t5
 ftI a uÍ Í Lé )rr?
)rr?ppé as by austin and s apaug h
6nss arr. by gary pot t e r
taro /ur4,9a47/o't/
I I l^ v a- lr

as opposed to something not in the swing style:

a4ár
-r @^ ffi
ff i? By Jim Edison

- '-

 
 14

CHAPTER III

STYLES ENCOUNTERED

SWING

ln order to capture the swing feel, you must familiarize yourself with it. This is done

by listening; absorbing this feel into your ear and conscience. Playing along with records
is the second important step to truly understanding this and other styles as well (and, of

course, it is important to eventually get some experience working with other musicians).

I won',t attempt to define swing. I will, instead, try to explain what is expected of a bassist
who must play in this style.

J)
I
The quarter note ( is the important metric unit here. You create a bass line within

the chords by playing, basically, quarter notes.

TechnicallY,

it is simple. ln glancing at a piece of music, if you mainly see quarter notes, you can usually
assume that it is in the swing style.

?oo?Le h r b
Swing style:

FAST 4 Qun a.t 422. : ?03E2 ?eu EArotl

 
 r3

S
6
F"
H
s
\ ouö
a< o
al
$
<" :o* ÚI
H* '
;l :t,
\
sb
a'.
l'^
o:
r

s
O,O5
:4 .
r'3. g
:- a
OOo
l
sgq
6'l
6'
to
l x
..,
.. ,
J
S
$
tbs

c-
s{
s
l..
 

t2

TRY USING THE PRECEDING GUIDE ON THESE TWO EX LES:

ö
Br

2?
ffi-ffi ffiffiffi
Fj
s ffi B
9
z
;(])

6
+
@, i
..-r
ol
::9
; io
c
-
U,
-9-
ar
" 'j *
:a
ffi- oz
'.
;j

qo
j-

z
o
cr
ffi o=

sg
D
 

11

CHAPTER II

CHART READING: A STARTING GUIDE

The situation: You're a beginner when it comes to reading big band charts (bass parts).

What do you do? How do you beginT

Basic Things to Check For

LEFT HAND CORNER (top)
Feast your eyes on the left hand corner. Make sure that you haven't accidentally

been given a guitar part, for instance. A quick glance at the clef will also help

determine this.
Look at the key signature.
Take note of the time signature.
Note the instructions given (style, tempo).

GLANCING THROUGH
Now, as you glance quickly over the music, make a mental note of repeats, lst and

2nd endings, fermatas (holds), cut-offs (pauses, railroad t and time

""krr//l,key
signature changes, instrument changes, D.C.'s and D.S.'s, arco and pizzicato indications.

RIGHT HAND CORNER (bottom)

Finally, take note of what's happening at the end of the music. D.C.'s, D.S.'s, Codas,
etc. Also, watch out for tricky or deceptive endings (perhaps you'll have t o play a

2 bar ending in unison with the rest of the band, for instance).

Use this guide and you'll experience fewer surprises:

1. Left Hand Corner
2. Glance Through
3. Right Hand Corner
 

2l

The 2 Beat
ln the swing style, the bassist often has to play ,,in 2,.,with
2,.,with a,,2Í
a,,2Í eel,,,o
eel,,,orr a,,2 beal,,
pattern. These terms all reÍ er to the same thing: the bassist plays, basically, on beats 1

and 3 (in the 4/4 meter). lnterpretation varies. Some bassists play half notes when playing

in 2:

Some play dotted quarters:

Mo6t often, you'll get a part written this way:

Or, this way:

 

22

Use your musical intuition to determine iÍ the above should be interpreted as is or as

half notes or dotted quarters.

ln many situations, you'll have to go from a 2 beat t o a Swing feel.

'}. ft €

Here, the zbgg sections have notated bass lines that you are to play. You walk an improvised

line starting in the sth rneasure and go back to thezbge feel in the gth measure'
I t is not uncommon to see the term SWING used in place of WALK.
 I t should be pointed out that the 2 beat style is not always a strict 2 beat; i.e., there are times

When the 2nd and 4th beats are played. This is done in a way that preserves the 2 beat Í eel
but allows the bass part to remain interesting, giving it a lift, keeping it unpredictable. Here

is an example of what may be encountered:

23

by Tillman Buggs
AAe

fy-Í

@
 ' At-

 -,tzt co9yíjllí l s72 ' sluolo 22,l'

co9yíjllí
rí'Míqd oc llrrr s.o'€
oc'Í'Í llr
16333 N'w
l/b.b h
5/{h
U's'A
A.nü' tlabin' Fb. &p14
Rcht ll6.6Md
^

21

Note that beats 2 and 4 arc generally left unplayed. When given a bass part that is in the
th e

2 beat feel and containsgl' the rhythm ) ) t ,ro, unoften take musical liberties
t o make the part more interesting by expanding upon what has been given you (as in th e
example above). lt is the occasional additional rhythms (that include playing on beats other

than |ust beats 1 and 3) that he|p to make the 2 beat Í eel more interesting.

THE JAzz wA
wALLÍ z

Here are four basic rhythmic patteÍ ns often played for Jazz Waltzes:
patteÍ

t.
 When there are two different chord changes per measure, Example No 3 is probably the
th e

best to use. Here is a bass line to illustrate what you might play iÍ given only the chords:

brtleil bb
bb11 a AN ?,r1 81

play a SWlNG
Example No. 4 is usually p|ayed when a chan calls Í or a bassist to WALK or
feel in 3/4.

25

ROCK

This has turned into a general term throughout the years. lt is hard to be specific about

what elements are oommon to all rock and roll because of its divercity. There is Acid rock,
Funk, Bossa rock, Boogaloo feels, Punk rock, Gospel rock, Reggae rock and who knows how
many other kinds that cropped up while you and I were sleeping last night.

Generally, when you see "Rock" indicated m a style in which you are t o play, the eighth
notes are played even or "straight."

Rock:

as opposed to

Swing:
 =9-+

sometimes a performance instruction of sTRAIGHT EIGHTHS_will be indicated on your part:

Bnss
NIEW
OArS
TIhE
,$\tlErDW
By Russell Peck and Kurt Carpenter
Fagr Q=III

26

Quite often you'll be given an example oÍ a rock pattern and will be instructed
to improvise
your own rock pattern, similar to the example given t o you.

h v)Ü
)Üíí ű ) fuM)a1 u ű ?)
 The Í eel will not be swing when you see the pe
perÍ
rÍ ormanc
ormancee instruction JAZZ ROCK.
The eighth not6 are sti[ prayed "straight" and shourd not be prayed
in the swing styre:
ú nr
F:a:."-El.r.ta
gb Abl €7 Ca7

Rock is so readily accessible today that l leeve it t o you t o do the Í indi

inding
ng and listening
to of the rccordings available.

27

LATIN

A few styles encountered that take their roots from south America and the west lndies
(via Africa) are the Bossa Nova, the Samba and Beggae.

Bosa Nova
The baic Bossa Nova beat is ) , il, ) . ,n. eighth notes are ,,straight.,, you can

expect to occasionally see a chart like this:

 Ouite often Bossa Nova lines consist of, basically, roots and fifths in this sort of rhythmic

pattern (this is also a probable bass line for the chord changes given above):

you can usualty assume that if you see the pattern

) , )'r). )o. J, ) J )that th e
style will be bossa nova:

lla.hsn

_-

28

fleb.Sw
zsse kt
ktee
 This rhythmic Í iguree is also used for the,,Soft Rock,'style:
igur

--

Samba

For those that are unfamiliar with the Samba, it is usually best to start off by thinking
of it as a fast Bossa Nova. This is a good starting concept. As your experience wíth Latin
music grows, your knowledge of bass parts and how they work in this style will grow also.

Here is an ex
excerpt oÍ a typical Bossa chart that goes into a Samba feel toward the middle.
cerpt

A suggested bass line has been included:

@;ffi
 el, d'J 22o A1 (ril 4AnbA-

Reggae
At this writing, there are few big band bass parts written in the Reggae style. With its
it s

growing popularity, I imagine that there will be more and more written. Below you will
find a few examples of some Reggae bass lines. Note that the emphasis is on beat 2,
primarily, and that the lst beat is generally left unplayed.

ELat)C

rfré
rfré ae,
n

Recorded examples of this style can be heard by such artists as Slinger Francisco ("The
Mighty Sparrow") and Lord Kitchener.

30

CHAPTER I V
soLos

I t takes a long time to be able t o play mature-sounding bass solos. Let's not put it of
offf
another day' one oÍ the main reasons that many bassists don't know what to do when

given the chance t o solo is because they are not afforded the opportunity to do so as

often, say, as a trumpeter or saxophonist. ln order to build this weak point in our
 playing, we have to consult those who are more adept at it than we are: back t o th
thee

record player. My suggestion for building a repertoire of solo ideas is to "Steal,"

"Borrow," whatever (solos, that is). First, you must íind records of bassists playin9
solos that appeal to you and are not too far advanced for you, technically. Do not be

afraid of being a "carbon copy" of someone. Nine times out of ten, the musician that
you are admiring did the same thing' Besides, ií t works, Why not? Your future

alterations to their ideas will be the things that dlstinguish your voice from theirs.

Your reje
rejection oÍ t he things that do not excite you enough to borrow help in developing
ction
your voice.

After finding a solo that you would like to learn, here is a guide that I recommend using
t o help learn the solo:
1. Listen to the solo 'l0 t o 20 times (you may Í ind that you need to listen to
ffi your eai is well devé
devé loped, you may not
loped,
need listen even 10 times). This must be done with the utmost concentration.
You must absorb every slide, glis, gí ace
ace note and other nuances used.

2. Sino the solo in unison to the recordinq 10 t o 20 times. lt will probably be

Í rus
rustratin
tratinga
gatTi' st bé óáuse you'll think that after listening to it 20 times
tTi'st
that you have it memorized (incidently, don't be concerned about voice
quality, lack oÍ a good range, etc. Just strive t o sing fairly in tune). Hang
in there after you Í ind that you aÍ en'n'tt able to sing it the way you thought
you would be able to. By singing along with the Í ecord ing,, you are
ecording
physically exercising your conscious and aural reÍ lexe lexess. Eventually,
anything that you sing you will be able t o play. We are attempting to
make our instruments extensions oÍ our musica musicall minds'
3. Plav the solo in unison to the recordino (while sinqinq). Again, this will be
a setback. Be prepared to do this 10 to 20 times.

4. Plav the solo in unison t o the recordinq without sinqinq. This is so that you
áí bettei hear what you are doing. lt is possible to get wrapped up in your
singing and drown out any mistakes that you might be making, especially in
regards to intonation.

40

SCALES AND CHORDS

l have not taken a scalar approach in my presentation oÍ chords because l Í ind it t o b€

 an approach that often conÍ useusess bassists' l will nor point out a thing or two about scales
ationship t o chords, but will leave much of the discovery up to you.
and their reí ationship

Here is a way of deteÍ

deteÍ mining what the notes are that make up the scale to a given chord.
mining what
Consider the followinq 4 bars:

( 'ű bb,í1 en

After taking the chord in question (Gmin7):

1. Write out the chord members, extending ittoa 13th chord ( C ab oFACE).
2. Arrange the notes so that they form a major scale. (We can see that there is only
one flat among our chord members. lt is saÍ e t o asqume that the scale will be
ihe scale contáining one flat, F Maior---F G A Bb c
D El.
3' You now know the scale to be used Í or that particular chord---Gmin7 =
F Malor scale.

I will use the above formula to determine the scales for the chords that remain in our 4 bar
progression.

c7 = C E G Bb D F A = (one ftat) F maior ( F G A Bb C D E)

c7 = F maior scale

Bb min.7 = gb Db r nb C eb G = (4 lats)) Ab maior (Ab ab

Í lats c ob Eb F Gl
Bb min.7 = Ab major scale

pb7 = Eb C Ab Ob F nr C = (4ftats) Ab maior (Al Al C Ot Eb F G)

Eb 7 = ab major scale

39
 NON.CHORDAL TONES

When a bassist plays bass lines, t o help in constructing a linear or smooth bass line,

he/she will play notes that don't necessarily belong to the chord (or scale of the chord).
They are acceptable passing tones and alterations that are usually played instinctively.
Consider the following example:

e, í1 (, u
fl

ln analyzing the notes that I have chosen to play here, we see that there are, in each
measure, notes that don't belong to the chord. , . but they sound good. I was not

ing í rom a scalar approach When l constructed this line. Nor was l thinking about
thinking
think
chordal tones and non-chordal tones. I HEARD a bass line in my head that would fit
fi t
wellwith the chords l was confronted with. ln order to do this, you must Í ind rec
record
ordss

with interesting bass lines on them. . .thingo that you really like. Play these same lines
yours
you elÍÍ (write them out or memorize them). DoN'T
rsel ANALYZE THE BAss LlNE
UNLESS YOU REALLY WANT TO. The important thing is to get a flow of good bass
lines surging through your veins. When you feel the need to analyze, go ahead. Analyze

your head off. lt's Í u n. Holding precedence over qlyglg oÍ bass lines is construction
of bass lines.

38
 DEVISING FORMULAS FOR DETERMINING CHORD MEMBERS

When finding it dií

dií í ic
icul
ultt o fill in chord members oÍ a given chord, dissect an example

and make a Í ormul

ormula.
a.

' e) Cvvv\,/
Examole: C^ = E G gb
M3 m3 m 3 M3
D

or or or or
B) 4 3 3 4 (half-steps)
A) The distance from C to E is a maior 3rd.
The distance om E to G is a minor 3rd.
Í r om
The distance from G toBb is a minor 3rd.
The distance Í r om Bb t o D is a maior 3rd.

OR
B) From C t o E there are 4 ha
halÍlÍ -steps
-steps..
From E t o G there are 3 halí -steps.
-steps.
From G t o Bb there are 3 half-steps.
From Bb t o D there are 4 ha
halÍlÍ -steps
-steps..

Formula for a gth chord:

A) M3-m3-m3-M3
B} 4-3-34 (halÍÍ -stepe
(hal -stepe))

lf this section is too hard for you, you probably haven't gotten a Í ul
ulll understanding oÍ

Chapter l. lf this is the case, you should go back and review Chapter l.

 
 37

Qbl
blx^
x^ nt9

(eb st11
st

 
36

6bt)
I

Gb-1

gt, bnwl

í0 (nt,l1

e,, fl-1

OI, D-1

-
-
 

35
 

34

VI
CHAPTER
MORE ON CHORDS

9TH, 1lTH and 13TH CHORDS

Here is a reference guide that you can complete for determining the chord members of
gth, llthandl3thchords. All areoftheTthchordfamily. lleaveittoyoutodiscover

the thinp that you will when pursuing and analyzing this.
ln the beginning, three examples will be given to you. The remaining 9 should be filled
in by you. Starting in the Minor 9th section, only one example is given. You are to fill

in the remaining 1 1.
By the time you reach the example of a C Mai. 13, you should have grasped the pattern in

my examples. When comparing the chord types, we can see that the 9th is an extension

of the 7th, the 11th is an extension of the 9th, and so on. By the time you reach t he
Major 13th column, you should not find it necessary to complete columns on the Maior
9th and Major 11th chords. They are both contained in the Maior 13th chords.
 

3it

CHAPTER V
GETTING A "NATURAL" SOUND
( Í or Double Bassists)

Your sound is so nething personal' lt often helps the rest oÍ the band if you strive for a
soÍÍ nething
"punch" or a bit oÍ "edge'' in your sound. Some people add a bit more treble on their
amplifier setting to help in getting the edge. Be careÍ ul, though, not t o lose the ,,bottom,,
careÍ
rcund when doing this.
Here is a system that you can use in setting your ampliÍ
ampliÍ ier
ier to help obtain and retain th
thee
you
sound that want:
1 . Turn volume completely down.
2. Play a scale or line covering 2 octaves, ascending and descending.

3. Turn volume up to Yz.

4. Repeat step 2.

5. Make tÍ eble
eble and/or bass ad|ustments on the amp
ampliÍ ier so that you are able t o
liÍ ier
retain the sound you were getting beí
beí ore the amp
ampliÍ ier volume w6 turned up.
liÍ ier
6. satisí ied, turn volume up t o t .
When satisí

7. Repear step 2.

8. Repeat step 5.
9. Continue process until you have reached the volume at which you normally play.
stuÍ Í in
ingg towels
towels in F_Holes helps cut down on feed-back (for those oÍ you that must play
Í airly
irly loud).
A FEW CONTRIBUTING FACTOBS TO YOUR SOUND:
1, Your amplifier settings.
2. Your instrument.
 3. How hard you pizzicato.

4, Where you pizzicato (how you adjust your hand regarding vertical height).
5. Where your strings are "set" (how far away from the fingerboard they arel.

6. Your pick-up.
iting,, the tvr,o mo6t popular pick-ups Í or double bass are the Polvtone and
At this wÍ iting

@@_b.and pick-ups. Others are available, but these seem to be the most popular.

32

This has proven to be a useful technique for aural development for students that l've
had. The good thing about this is that the solo becomes a part oÍ you. . . . . .not notes
orgottenn and sometimes never really HEARD by us (that
on paper that are often easily Í orgotte

is t o say, we'll sometimes be a bit lazy and iust PLAY the notes instead oÍ really hearing
what we are doing).

Bass Lines

Learning bass lines Í rom records is recommended also. However, it is harder (but not
rom
impoesible) t o memorize a chorus
chorus oÍ bass lines, usually, than it is to memorize a solo.

I recommend writing out bass lines that you find interesting by using a condensed version
ormulaa given Í or solo
oÍ the Í ormul solos.
s.

BASS LI NE TRANSCRIPTION :

(Note: lt is best to use a tape recorder at its fastest speed')

1. terr listening to the song in its entirety a few times, figure out how much of
AÍ te
the arrangement you are going t o transcribe.

2. rstt 2 - 4 notes of the bass line.

Listen t o the Í irs

3. Write down what you hear (if unsure of yourself at first, take time out t o
play what you have written down. )

4. thee notes that you'Ve transcribed.

Rewind t o beginning oÍ th

5. Start playing the recording again. Check to see that the notes that You've
written down are correct and transcribe 2 - 4 additional notes
 Continue this process until your goal has been reached. lf you have a hard time distinguishing
some notes, listen t o the notes in question a Í ew times' sing them, if necessary. Play them

on your instrument, iÍ necessary' Doing this should enable you to write them.

31

5. Plav the solo without the recordino. Now you can really hear yourself.
Check yours elí t o see iÍ you're pleased with the type of sound that you're
yourselí
getting. Double check orr the inflections in the solo (perhaps, for instance,
your gliss is too Í ast)' Now, too, is the time to make changes that you might
want t o make. Perhaps a note or two on the recording was out of tune oi
missed. Ta ke the libertí eli to correct the intonation and play the note that
Take
the other bassist did not.

Review:

1. Listen to the solo numtpr of times.

2. - With the recording
sing the solo in unison number oÍ times'
3. Play the solo in unison with the recording - number of times.
4. Play the solo in unison with the recording -
without singing.
5. Play the solo without the recording.

Keep these things in mind:

-- Always keep the volume of the recording at a level that enables you t o hear t he
recording and yourself (whether you are singing or playing or both).

-- Use headphones oNLY if theY do not physically get in the way oÍ your playing.
-- Be prepared t o retune your bass to the recording (recordings are usually about

a 1/4-tone sharp) unless you have a pitch control device on your recorder or

turntable.
 -- Find solos that you like and work at your own pace. lt should be an enjoyable
experience and not a chore.

The more solos that you absorb, the better prepared you will be to deal with the musical

situation that requires you to play one. Don't be Í rustrated if, after five solos or so, you
rustrated
still are Í reez
reezing up when it comes time to solo or your solos don't sound as ,,good., or
"proÍ essional"" as the ones on records. lt iust takes time' YoU'll notice quite a bit oÍ
essional
se
selÍlÍ _improvement
_improvement With the increasing amounts oÍ solos
olos that you learn.

4l

From the preceding analysis, lrv€ are able to see that there are 2 sca]es used for the progression:

When tryang to utilize the preceding Í ormula for a chord that has alterations, proceed as
ormula

usual. However, reverse the alteration so that there are no alterations in the chord and it
remains a seventh or minorseventh chord.

Example: cr{bs) = c,
After the scale has been determined, add the alteration (to the note from which it wc
 removed) to the scale. This will give you the @rrect scale for that particular chord.

Example:
1. c7(bs) = c E cb gb o FA
2. (with alteration removed) c7= cE
cEG
GBbDF
BbDFA
A
3. CT= CEGBbDFA = (one flat) F maior ( F G A gb C o e)

4. C7 = F maior scale
5. c7(b5) = F Gb A Bb c D E (alteration added)

42

DIMINISHED SCALES
Here are the three Diminished Scales that should be committed to memory. The larger

note heads indicate the chordal tones of the diminished chords that they represent. The
one oÍ the chordal tones (large note heads).
scales can be played starting from any one

For co7, Ebo7, GboT and Ao7, the scale is:

For Dbo7, Eo7, Go7 and Bbo7, the scale is:

 For Do7, Fo7 , *o7 and Bo7, the scale is:

43

CHAPTER VII
VI I
MISCELLANEOUS

SAMPLING OF A CHART
You
will find an example of a chart below,......an honest-to-goodness chart. The
arrangement has been charted out Í or you. lt is not that difficult t o figure out. however:
 You have been given a key signature (Bb) and time sign ature (4/41. Notice, too,
that the key and clef appear only once. They apply the duration of the song
unless otherwise indicated.

You've been told what the style is ("WALK" = Swing style).

You've been given the chord changes (BLUES). Being told that it is a BLUES
also tells you that one chorus willequal 12 measures.

You have been told how many choruses t o play.

At letter "A" you are cued in as t o when to expect a trumpet solo.

letteí "B" there is an ENSEMBLE which is played Í orte

At letteí orte''
At letter "c" you are instructed to walk the first t 0 oÍ the t2 bars of the blues.
Now comes the work: you play the written notes (such torture ) of the last 2
measu res.

44

-E[E' The signs used t o indicáte a certain amount oÍ measures or choruses vary.

The above illustrate a few th

that
at ar€used. They can also be used t o indicate rests' This is not

the case at Letter "C," however. When presented with a numeral above it, it indicates measures.

so, at Letter "C,'' we have 10 meirsures oÍ walking the blues. lf WALKhad not been indicated,
 tne wouto have represented 10 measures of rest. Use your good judgment in these
ff
ambiguous situations to determinrs what the copyist wants,

GIVE THE CHART A CHANCE

Until you become more familiar With a chart oÍ know what the composer/arranger wants

om you, it is important t o play what is written. on many charts you'll play'

Í r om
you'll have

theopportunityto,,improve,'uponwhatiswritt
theopportunityto,,improve,'uponwhatiswritt en.Howeve
en.However,Í
r,Í irstgivethec
irstgivethechartac
hartachanc
hance'
e'
your ideas
This is also a good way to show the band and band director how much better
may be when compaÍÍ ed t o thos€ oí the arranger's (as Í ar as a bass part may be concerned)'
compa

Be ca
care ul,, though. The arranger may have in mind for you to reinforce, harmonize'
reÍÍ ul etc"

another part. After reading through a chart as is, l'll often ask the conductor if he/she

Wants me t o play exactly what i;written. lÍ not, l've got a bit more Í reed reedom'
om'
nore interesting for all if, after you have thoroughly learned
lt maY also help to keep charts Í nore
the chart.and Í in bitt ooÍÍ freedom, to try difÍ
that you have a bi
indd that erentt thingE' Use your better
difÍ eren

iudgmenttodetermineiÍÍ thecha
iudgmenttodeterminei thechartisthes
rtisthesortoft
ortofthingthatyouc
hingthatyoucen,,s
en,,stretchout,,wit
tretchout,,with.h.
Let the chart act as a quide; a vehicle for your creativity' Again, it is important
to learn

to sens€ when t o play what is written'

45

CLEFS
Here is a chart which may help you wlren you encounter the other cleÍ
cleÍ s that bassists
are often required to read; the Treble Clef and the Tenor CleÍ
leÍ ' The notes have been

arranged so that when viewed vertically you can determine what a particular note is in

the various clefs.

Example: lf you read this note in the Tenor cleí

 but are not sur€ of What
it is, by looking directly below it on the bass clef line, you can see that it is the same thing
astheB
astheBas
asssCleÍ ',C,'.lÍ
',C,'.lÍ yourea
youreadthisno
dthisnoteinTre
teinTreblec
blec|| "f
"f##

"=-a-- but are not suíe

oÍ what it is, by looking directly below it (2 staves} on the Bass cleÍ line, you can see that
staves}

it is the same thing 6 leÍÍ "E", and so on'

the Bais Cle

(é ^ Jo? cÉ (

.l.lcc

AWOBD ON MAIOR/MINOR

Thg indi
indica
cation oÍ Minor (min., mi., m,
tion oÍ after tho len.r naÍ
naÍ no oí t chord
-}
(Example: C min'l always reí erc t o altering th€ third. making its distance írom t he
 rmt a minor third (3 ha
halÍ
lÍ * tepe}} . So, you can see a chord with more than one
tepe
alteration (Example: cr| t uut ií u gl does not immediately í ollo
ollow
w tlre letter
thiiÍ d will be maior (4 halí -stepsl.
name of the chord, the distance Í r om the root to the th -stepsl.

The indication oí Ma|or (Mai., M,A ) after the letteÍÍ name oí a chord (Example: C Mai.l
lette

reí erc t o a Maior sarcnth (one halÍ

always reí halÍ -s
-step m the
awayy Í r oom
tep awa rootl. lf you see C Maj.9,

it t rÉ
rÉ aÍ r s hat the se
seventh oÍ the chord is Major and there is alrc a ninth in the ciord
venth
(CEGBD).
A combination oí the 2 is poBsible. Example: Cmin.Ma|.9 = eb c ao
c
You will na'er see CMai.min.7. ln order for the D .' in the preceding example t o eÍ í ect
thiÍ d, it must appaar l EElE 4y after the chord's letter name (C4 q.Ma|.7l. ln
the thiÍ

traditional theory, the phrase "Major Minor Seventh'' is used t o reí er t o a Sanenth chord.
So, a C"Malor Minor Sanenth" = C7.

I N ADDITION

Suspended, Srs. 4. Sus' or 4 (appearing after the letter name oÍ a chordl all mean that t he

third oÍ the chord is replaced by a Í ourth.. Example: C7 Sus. = c

ourth c al
  g 9 or-Pgl (appearing after the letter narn€ oÍ a chordl rneans that that panicular note
should be played a a pedal tone (either t o be played entirely or receive much emph*is).

speciÍ ic bass notes. There will b€ tim6 when a bassist runs acrocs rcmething
chords with speciÍ
like this: FrlC. The F, above the slash (/) tells us what the chord is. The note below
the slash (Cl tells us the note that is to be played in the bass.

47

An example of items discussed in "lN ADDITION:"

 01('{)

48
 CHAPTER VIII
DI SCOGRAP
SCOGRAPHY
HY
The suggested recordings and discographies are Í or thothosse who don't know where t o start.
The Ray Brown recordings were picked for their clarity in order to make it easy for the
bassist t o hear and analyze. lt is not mandatorv t o acquire thes€ particular recordings,
especially if the studeni has other rec6TdTnnTTFat he/she enioys more that illustrate what
is being discussed.

The following discography is from "THE EVoLVlNG BAsslsT" by RuÍ us Reid.

"ln each category I have listed significant bass players that you should know or at least
know their existence. These players represent only a small portion oÍ the many excellent
bassists on recordings and also those who have not been as fortunate to record, The sole
thiss discography is to stimulate interest and broaden your total bass concept."
purpose oÍ thi
BuÍ us Beid, Author. "THE EVOLVlIvO BAsstsT"
Beid,

Jimmy Blanton Duke Ellington - lN A MELLOTONE RCA LPM 1364

DUKE ELLINGTON AND ORCHESTRA Columbia 35322
Slam Stewart LIONEL HAMPTON ALL STARS Decca DL74194
Stewart - BOWIN' SINGIN' SLAM Savoy MGl2067
Oscar Pettiford ESSEN JAZZ FESTIVAL ALL STARS Fantasy 8601 5
Pettiford - STARDUST Bethlehem BCP-33
PettiÍ ord _ MEMoRlAL ALBUM Prestige P87813
Pettiford - MY LITTLE CE LLO Fantasy 86010

Charles Mingus Mingus - MY FAVORI

FAVORITE
TE OUINTET Fantasy JWS5
Mingus - LET MY CHILDREN HEAR MUSIC Columbia KC-31039
Mingus - OUARTET AND MAX ROACH Fantasy 86009
Minsus - TOWN HALL CONCERT Fantasy JWS9

Ray Brown RAY BROWN ALLSTAR BIG BAND Verve V&8444

RAY BROWN AND MILTJACKSON Verve V6-861 5
Oscar Peterson - AF FIN I TY 68516
Verve
Oscar Peterson - WEST SIDE STORY 68454
Verve
Ouincy Jones - WALKING lN SPACE A&M SP3023
RAY BROWN AND LAURINDO ALMEIDA Century City 80102
Percy Heath Modern Jazz Ouartet - LIVE AT THE LIGHT- Atlantic S-1486
HOUSE
Modern Jazz Ouartet - FONTESSA Atlantic S-1231
Andrew Simpkins The Three Sounds - MOODS Blue Note 84O44
STANLEY TURRENTINE WITH THE Blue Note 84057
THREE SOUNDS
OUARTESCENCE Van-Los Music V LM3608
Paul Chambers Chambers - BASS ON TOP Blue Note 81569
Chambers - WHIMS OF CHAMBERS Blue Note 81534
MILES DAVIS AT CAR
CARNEGI
NEGIEE HALL Columbia CLl812
Miles Davis KIND OF BLUE
- Columbia CS
CS816Í l

Scott La Faro Bill Evans - SUNOAY AT THE VILLAGE Riverside 376

VANGUARD
Gary Peacock Bill Evans - TRIO '64 Verve V68578

49
 Richard Davis MUSES FOR RICHARD DAVIS BASF 20725
Eric Dolphy Memorial Album - ALONE Veelay 2503
TOGETHER
Richard Davis & Elvin Jones - HEAVY SOUNDS lmpulse A9160
Thad Jones & Mel Lewis - CENTRAL PARK Solid State 18058
NORTH
RI SE AND FALL OF THE THIRD
Joe Zawinul - RISE vortex s2002
STREAM
Eddie Gomez THE BILL EVANS ALBUM Columbia 30855
BILL EVANS AT THE MONTREUX JAZZ Verve V68762
FESTIVAL
Bill Evans - SI
SIMPLE
MPLE MATTER Verve 68675
Bob Cranshaw Lee Morgan - SIDEWINDE R Blue Note 84157
Sonny Rollins- NEXT ALBUM Milestone 9(X2
Sonny Rollins & Co. - THE BRIDGE RCA LST2527

Ron Carter Eddie Harris

Carter - lN SOUN
- UPTOWN D RS
CONVE RSATI
ATI ONS Atlantic S1448
Embryo SD521
.
CArtEr B LUES FARM cTr 6027
Carter - ALL BLUES cTr 6037
Miles Davis - MY FUNNY VALENTINE Columbia CS9106
Miles Davis - FOU R AND MORE Columbia CS9253
Herbie Hancock - MAIDEN VOYAGE Blue Note 4195
Jim Hall & Ron Carter - ALONE TOGETHER Milestone 9045

Dave Holland Hal Galper - INNE R JOU RNEY Mainstream 398

Holland - MUSIC FOR TWO BASSES ECM 101 lST
Buster Williams Herbie Hancock - FAT ALBERT ROTUNDA Warner Bros. S1834
Herbie Hancock - PRISONER Blue Note ST8432l
Jazz Crusaders - POWE RHOUSE World Pacific 20136

Miroslav Vitous Chick Corea

Vitous - INFINITE HE SINGS, NOW HE SOBS
- NOW SEARCH Solid
EmbryoState
52418039
Weather Report - I SING THE BODY ELE
ELECTR
CTRII C Columbia KC31352
Stan Clarke Clarke - CHILDREN OF FOREVER Polydor PD553l
Chick Corea - RETURN TO FOBEVER ECM 1022
Joe Henderson- lN PURSUIT OF BLACKNESS Milestone 9034
Dexter Gordon - CA'PU RANGE Prestige 1005 1

Joe Farrell - MOON GE RM

RMS
S cTr 6023
Wilbur Ware Sonny Rollins - NIGHT AT VILLAGE Blue Note 81581
VANGUARD
Cecil McBee Pharoh Sanders - THEMBI lmpulse S-9206
Charles Tolliver & Stanley Cowell - MUSIC, lNC. Strata-East
463 West Street
New York, NY 10014
Charles Lloyd - FOREST F LOWE R

Sam Jones WES MONTGOMEBY AND FRIENDS Milestone 47013

Cedar Walton Trio - A NIGHT AT BOOMERS, Muse 5010
VOL, I

 
50

ELECTR I C BASS DISCOG RAPHY

Monk Montgomery (First rccorded jazz electric bassist.)
M. Montgpmery - BASS ODYSSEY Chisa CS806
M. Montgomery - lT'S NEVE R TOO LATE Chisa
M. Montgomery - REALITY Philadelphia I nternational
distributed by Columbia

Chuck Rainey Roberta Flack - OUIET FIRE Atlantic S1594

CHUCK RAINEY COALITION Cobblestone 9008
Ouincy Jones - WALKING lN SPACE A&M 3023
Jam6 Jameson Marvin Gaye - WHAT'S GOIN' ON? Tamila 5310

Richard Evans Evans - DEALING WITH HARD TIMES Atlantic SO1604

Wilton Felder The Crusaders - 2ND CRUSADE Blue Thumb BTS7000

CLASSICAL DISCOGRAPHY
Gary Karr Serge Koussevitzky - CONCERTO FO
FOR
R cRt s-248
DOUBLE BASS
Karr - BASS VI
VIRTUROS
RTUROSO O Golden Crest 8E7031
(Suite and Sonata for double bas and piano
and lor double bass and guitar)

Bertram Turetzky Turetzky - THE VIRTUOSO DOUBLE BASS Medea Records

THE NEWSOUND OF BERTRAM TURETZKY ARS-NOVA RECORDS
606 Raleigh Pl. S.E.
Washington, D.C. 20032

Barry Green NEW MUSI

MUSICC FOR THE DOUBLE BASS These may be ordered :

ROMANTICMUSIC
BAROOUE MUSIC
MUSI CFOR THEDOUBLE
FORTHE DOUBLE BASS
BASS Piper Records
P. O. Box 1713
Cincinnati, OH 45201
ALBUMS ON WHICH RUFUS REID CAN BE HEARD
ls lt ln - Eddie Harris Atlantic SD 1659
Charlie Parker Memorial Concert cadet 60002
The Chase Gene Ammons and Dexter Gordon Prestige I ff)l0
Kaleidoscope - Nancy Wilson Capitol ST852
lnstant Death - Eddie Harris Atlantic 161 1
Eddie Harris Sings the Blues Atlantic 1625
Excurcion - Eddie Harris Atlantic SD231 1

Mirage - The Awakening Black Jazz BJOD/ 5

lncantation - The Fore
ForeÍÍ ront ForeÍ ront Publications
ublications
1945 Wilmette Avenue
wilmette, lL 6(x)91
 

5t

RAY BROWN
There are so many bassists t o listen t o and learn from that l've found many bassists to
be co
conÍ
nÍ used as t o where to start lin regards to jazz solos). At first, l thought it unwise
used
to single out any one bassist for fear oí tampering With stylistic iniluences] However,
for the. sake of those who.just don't know where to start; l'll single oneout: Ray Brówn.
He is almost always recorded well and clearly, thereby making it iairly easy to di;ttngJish
what he is doing. His rhythmic time is good. His intónation is consisiently good. His
elen1{ d usually approactred from a melodic stand_point. TÉ ls s NoT
P-Lo:9 9 99 elen1{
TO IMPLY THAT THERE ARE NOT OTHER GOOD BASSI BASSI STS THAT YOU OR i
CAN CHOOSE TO LEARN FROM. This is A start (not THE start) for those who need
a point of departure.

I have listed some albums upon which Ray Brown can be heard:

Milt Jackson - THAT'S THE WAY lT tS lmpulse 9189

Herb Ellis/Ray Brown - HOT TRACKS Concord CJ-12
Oscar Peterson
(Note: - NIGHT TRAIN, VOL. 2 Verve 68740
The above 3 contain solos of medium difficulty.)
Herb Ellis/Freddie Green - RHYTHM WtLLtE Concord CJ-10
Oscar Peterson - WE GET REOUESTS Verve 68606
Oscar Peterson - THE SOUND OF THE TRIO Verve 8480
Oscar Peterson - NIGHT TRAIN Verve 68538
Oscar Peterson " SOMETHING WARM Verve 68631
Oscar Peterson - OSCAR PETERSON TBtO + 1 (Ctark Terry) Mercury 60975
Oscar Peterson - THE TRIO Verve 68420
Add to this the Ray Brown examples in Rufus Reid's discography.
 

52

CHAPTER I X
REFERENCE

l would like to mention a Í ew reÍ erencce guides that may be helpful:

reÍ eren

COMPREHENSIVE
COMPREHENSI VE CATALOG OF AVAILABLE LITERATURE FOR THE DOUBLE BASS
by'This
Murray Grodner
calalog presents literature available Í or the Double Bass. lt includes all works under
the headinó METHoDs, ETUDEs & oRcHESTRAL sTUDlEs, soLo LITERAT_URE'
cHAMBEá MUSlC and coNTEMPoRARY BooKs ABoUT THE DoUBLE BAss.
AISO iNCIUdEd iS A IiSt Of AVAILABLE REC ORDI NGS OF SOLO WORKS FOR THE
RECORDI
DOUBLE BASS. lt lists publishers, prices, level of difficulty and other essential, useful
information.
Available through: LEMUR MUSI CAL RESE
RESEARC
ARCH
H
Box 71
Bloomington, lndiana 47401

THE EVoLVlNG BAsslsT by RuÍ us Reid

As the author puts it, this is "an aid in developing a total musical concept'" Arco and
pizzicato playing are discussed. Etudes, Chords, Blues, Rock Patterns and Scales are
just a FEW it'emi explored. One of the most complete method books available.
Available through:
MYRIAD LIMITED or STUDIO P/R, INC.
P. O. Box 757 224 s. Lebanon Street
Teaneck, New Jersey 07666 Lebanon, lndiana 46052

UNDERSTANDING LATIN RHYTHMS, Volume 1 presented by Martin Cohen

Although geared toward percussionists, this record and instruction booklet affords th
thee
bassist it-h an invaluable guide Í or learning to play AUTHENTlc Latin styles. lt features
one oÍ the best aides on t he
Jme of the best Latin per-cussionists and should be considered one
market today. Musical examples for the bassist are included in the instruction booklet.
Available through: LATIN PERCUSSION, INC'
P.
Palisades 88 New JerseY 07650
O. Box Park,

RAY BROWN BASS METHOD bY RaY Brown

lncludes scales, chords, arpeggios, interesting blues bass lines and jazz etudes. Perhaps
the f iÉ t substantial book geared toward lazz bass basics.
Available through: RAY BROWN MUSIC
P. O. Box 1254
Hollywood, CaliÍ
aliÍ ornia 90028

HOW TO PLAY THE ELE ELECTRI

CTRIC C BASS ANd ELECTRI
ELECTRICC BASS LINES, NO. 1 (AISO AVAIIAbIC:
No. 2, 3, 4, and 5) by Carol KaYe
An'eiceilent displáv of commonly used electric bass lines. HoW To PLAY THE ELE6TRlc
tyles played by electric
BASS is not a m'ettr'oa book but discusses and gives examples oÍ styles
bassists.
- Availablethrough: GWYNPUBLISHING
P. O. Box 84043
Los Angeles, Calií ornia 90073
 JAMEY AEBERSoLD has a large line oÍ PLAY ALoNG records. They include '|azz selections
thee top musicians in the business today.
played by some oÍ th
ormation/Catalogg Available through :
lnÍ ormation/Catalo
JAMEY AEBERSOLD STUDIO P/R, INC.
121 1 Aebersold Drive
or 224 S. Lebanon Street
New Albany, lndiana 47150 Lebanon, lndiana 46052

53

CHAPTER X
BASS CHARTS

ln order to allow you t o use many of the techniques displayed in this book, I have
included this chapter. This will allow you to see bas charts as they will often appear.
This was the way the music appeared before me. My interpretation of the following
charts can be heard on the record, "HATE TO SEE YOU GO," by Al Cobine. lt can

be ordered through STUDIO P/R, lNC., the publisher of this book.

This is a guide for those who don't have the funds t o purchase some of the many
recordings mentioned in the discography. I hope that you'll enjoy playing these

charts along with the record and that learning these styles will be a pleasant challenge.

JOHN CLAYTON
 

54

9Úéé t,(ka<L
9Ú
 

55

L1 (1 L É
lEl
hilila -*Atttí
LuAilbrls

tfJtffi
lF| ?NwÍ lld.E
lld.E
 

56

áoé l,&Acn 9

fRocl,ocl o
 

ffi 'Oo I .
 

58

áve t,ftrcr 4
 T

59
 (ffi
-----'-----

2
'.-
'. -

60

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