MUTED ROOVES ron Bass BY JOSQUIN DES PRES ‘COVER PHOTO BY PETE DEMOS Paka siconane: Sern Seti sane pte noesTABLE OF CONTENTS AUDIO CONTENTS AND TRACK NUMBERS. AUDIO CREDITS. ABOUT THE AUTHOR. ... INTRODUCTION. HOW TO USE THIS BOOK. SECTION A. Part 1 Part2 Part3 Part4 Part 5 Part 6 Part7 Part 8 SECTION B Past 1 Part2 Quarter- and eighth-note patterns ‘Sixteenth-note patterns. - ‘Sixteenth-note patterns with changing accents. ‘Sixteenth-note patterns with random accents Patterns that combine eighth- and sixteenth-notes Patterns that combine eighth- and sixteenth-notes with rest Triplet patterns Triplet patterns with rests String raking patterns String raking patterns with rests. SECTION C Past 1 Past 2 Part 3 Part 4 Funk patterns using string muting Rock patterns and fills using string muting ‘Shuffle blues patterns using string muting Rock blues patterns using string muting. Latin patterns using string muting SECTION D (Transcription) “Mutant Groove" “Beck To Bass “Copley Square” Page 10 u 15 16 18 28 30 36 38 40 41 2 “4 4a 49 53 Asso ‘Tack 47 8,9 10,11 12,13 14,15 16,17 13,19 20,21 22-24 25.27 28.39 4051 52.59 60-63 64-75 6 7 B31 32 33 34 35 36 37 38 39 4a 2 4B “Mutant Groove” (funk tune using string muting) “Beck To Bass” (shuffle/rock blues tune using string muting) “Copley Square" (Latin une using string muting) SECTION A (Quarter-note pattern (Fig. 1) (Quarter-note pattern (Fig. 2) ighth-note pattern (Fig. 1) Eighth-note pattern (Fig. 2) ‘Sixteenth-note pattern (Fig. 1) Sixteenth-note pattern (Fig. 2) ‘Sixteenth-note pattern with changing accents (Fig. 1) ‘Sixteenth-note pattern with changing accents (Fig. 2) ‘Sixteenth-note pattern with random accents (Fig. 1) ‘Sixteenth-note pattern with random accents (Fig. 2) Pattera combining eighth- and sixteenth-notes (Fig. 1) Pattern combining eighth- and sixteenth-notes (Fig. 2) Pattern combining eighth- and sixteenth-notes with rest (Fig. 1) Pattern combining eighth- and sixteenth-notes with rest (Fig. 2) ‘Triplet pattern (Fig. 1) ‘Triplet pattern (Fig. 2) ‘Triplet pattern with rest (Fig. 1) ‘Triplet patern with rest (Fig. 2) SECTION String raking pater ex. 1) String raking patter ex. 3) String raking patter ex. 5) String raking pattern with rest (x. 7) ‘String raking pattern with rest (ex. 9) Siting raking pattem with est (ex. 11) SECTION C Funk pattern 1 Funk pattern 2 Funk pattern 3 Funk pattern 4 Funk pattern 5 ‘Funk pattern 6 Funk pattern 7 Funk pattern 8 Funk pattern 9 Funk pattern 10 Funk pattern 11 Funk pattern 12 Rock patter 1 Rock pattern 2 Rock pattem 3 Rock pattern 4o 0 7 n B ™ 75 7 8 Rock pattem 5 Rock pattern 6 Rock pattern 7 Rock patter 8 Rock pattern 9 Rock pattern 10 Rock pattern 11 Rock pattern 12 Shuffle blues pattem 1 Shuffle blues pattern 2 ‘Shute blues pattern 3 ‘Shutile blues pattern 4 ‘Shuffle blues pattern § ‘Shuffle blues pattern 6 ‘Shuffle blues pattern 7 Shuffle blues pattern 8 Rock blues pat Rock blues pat Rock blues pat ern 9 tern 10 tern 11 Rock blues pattern 12 Latin pattern 1 Latin pattern 2 Latin pattern 3 Latin pattern 4 Latin pattern S Latin pattern 6 Latin pattern 7 Latin pattem 8 Latin pattern 9 Latin pattern 10 pattern 11 Latin pattern 12 SECTION D 76 “Mutant Groove” (funk tune without bass) “Beck To Bass” (shuffle/rock blues ue without bass) “Copley Square” (Latin tune without bass) Bass Guitar AUDIO CREDITS ‘Track 1 Track2 “Beck To Bass” Track 3 “Copley Square” ‘Written by Tristan des Pres Keyboards and programing ‘Tenor and soprano sax “Mutant Groove”* Josquin des Pres Dave Stark ‘Tristan des Pres Steve Kockerhans Produced by Josquin des Pres and Dave Stark Recorded on Alesis ADAT with a Carvin MX2488 minerABOUT THE AUTHOR Jesguin des Pres was bom in France anda a uio musician recorded over 20 albus on RCA Revors, United Arist Records, Polydor Records, Music, Mes For Nations, EMUSBK Record, Eek, Virgin, ete He has shared credits and/or performed with musicians such as: Jeff Porcaro (Toto), Steve LLukather (Toto), Vinnie Colaiuta (Sting, Don Henley, Madonna), Billy Sheehan (Mr. Big), Alex Acuna (Weather Report), Jerry Goodman (Dixie Dregs), David Garibaldi (Tower Of Power), Bunny Brunel (Herbie Hancock)... He is also a producer/songwriter collaborating with such noteworthy writers as Bernie Taupin, Josquin des Pres plays Carvin amps, Carvin basses, Gibson strings, Vigier basses and Washburn acoustic instruments. CARVIN ipso STRING: So Aigie" WASHBIRNString muting is one of the most useful, yet simple techniques available to help bass players develop a good solid groove. Jazz and blues bassists have long used this technique to add bounce to their walking bass lines. In the 1960s, rhythm and blues bass players such as James Jamerson, Jerry Jemmot and ‘Carol Kaye relied on string muting to create their distinctive funk lines. Inthe seventies Chuck Rainey, Jaco Pastorius, Rocco Prestia, Paul Jackson, John Paul Jones, and many others, brilliantly demonstrated its usefulness in building the perfect groove. Today, great players like Geddy Lee, Flea, Billy Sheehan, Nathan East, Victor Wooten, Jeff Ament, Les Claypool, ‘tc... employ string muting as an integral pat of their sound. Also known as “Muffling” or “Ghost notes” string muting creates a hollow thud sound When used in conjunction with regular unmuted notes, can add an exiting percussive quality to your bass lines. ‘String instrument players often have a tendency to overpractice their left hand and to neglect their right one. However, a bass player's right hand role should not be overlooked, sine it controls the rhythmic part of his playing and helps him lock in with all the other instruments While these exercises are designed to develop a good string mutingistring raking technique, they will equally promote flawless right-hand dexterity, as well as lefUright hand synchronization, al leading toa better feel.HOW TO USE THIS BOOK Ifyou are not familiar with muting technique, here is how it works Step 1. Fret a “C” note (3rd fret on the “A” string), then pick it with your right hand. ‘The result should be a clear, sustained note. Step 2. While keeping the let hand in the exact same position, release the fretting finger’s pressure just enough so that the string no longer touches the fret. Use ‘more than one left hand finger to avoid harmonics. Step 3. Attack the string with the right hand. The resulting sound should be a muffled, percussive, undefined note with no sustain. ‘As far as right hand articulation goes, pull down on the string using your index finger (No. 1) or middle finger (No. 2). Don’t pluck! After pulling on a string, your finger should end up resting on the next string down. This is called a rest stroke. It is similar to the technique used to play upright bass and classical guitar. The rest stroke prevents the neighboring strings from ringing uncontrollably. In music notation muted notes are indicated by substituting X's for noteheads. To get the desired combination of notes and thuds, apply and release the left hand finger pressure as indicated by the X's and notcheads. Always use a metronome or drum machine to develop a good sense of time, Play each ‘exercise starting at the slowest indicated metronome speed, concentrate on your sound, clearly making a difference between muted and regular notes, then gradually speed up. Do not play faster than you can; speed will come with time. A circled number (®) indicates the audio track where that exercise can be found.SECTION A ‘This section contains a series of exercises that combine both muted and regular notes in a ‘wide range of rhythmic patterns of increasing difficulty. Practice the frst pattern (Fig. 1) on a single “C” note. Alternate your right-hand fingers (index and middle finger), repeat the pattern using this first right-hand fingering until you are comfortable with its ehythmic content. Then, play the pattern with the second right-hand fingering. Fe @ 2 ngeing 2 1 2 1 Finally, apply the pattern to all 4 strings of your instrument (Fig. 2). This is an important step in developing a good string muting technique, as the leftright hand feel differs with each string size. Note that your right-hand fingering will reverse automatically as you alternate between the frst tothe second fingering, Practice each pattern (Fig. 2) moving up chromatically, in half steps (a half step equals one fret), 4 = 50 beats per minute and up throughout this section.[TEM ouerter and eighth-notepaterns Exercise 1 LE — a : + = “Reminder Prasze each ig 2 pater moving vp oma by al epson he repeat. 10PATTRTTT sisteenth-note patterns Exercise 4 aaa? 1 2212212 2121 2 Ri 212d Exercise 5 Fel Exercise 6 aExercise 7 Sass BSS SSS! 212d 212 2124 1 2 rai2a4 1212212 Bgl 1 2 22a RH RH 1 2 2aan2020 21202121 RH Exercise 8 aiad 12122 212d 12122 2 21a Fg2 ¥ Exercise 9 21212 Ri 21212121 aia 1 2 210 Exe Exercise 11 121221219 Exercise 12 n2.2212 22122121 1214212 BExercise 13 bo bok Gk |) BEL SF RET IE x =H} : = ol = x sll] | call Pps os = = =f f= = a ey BS AE ji te A: : “iit x In: “ ni i aati silss 23 2a bee “COTA TTTES sixteenth-note patterns with changing accents Exercise 16 2 12a oe 2121 aia2aa28 2 1212 Exercise 17 Exereise 18 ae tee 21212921212 2421 2124 1sExercise 19 CTT TTY sixteenth-note patterns with random accents “h = fe : =i oe : : oH 22 || = n ot} g Mec) Bsc) glo) ccd} : ot] gic soll] bal =<]: : : : = = =f : : : : = =f i iW i sla aay oA ae ll 16Exercise 22 Ft 212212 124242 RH 2120 eet 23 Exercise ”CQUAMGTTS Patterns combining eighth- and sixteenth-notes Exercise 24 . me ® E S = FHExercise 27 Exercise 28 Exercise 29 »ca === SS 2 aS 1.21 212 a SS. 21 124 212 202 -S= Se Ses aaa ze : Exercise 30 =o eS Ra Fit Exercise 31 = Exereise 32 a aaa be = zag i Hee Fe moat molt re fig mora Sas St Fe _ Ri aExercise 36 EVE RS|F GA BSE ai Be e ge Ae E-3 a Jf iH HE Hy cy ants i he Ce eeLIED Get Gtk gE) ASI EM ERE | BE Bi) Gt a Gieg dea] Hep dei) Bey d= e a « del] ME a: all a: | H:: i ont is: ( ee 'E | oSExercise 42 Exercise 43 Exercise 44 (LETT Patterns combining eighth- and sixteenth-notes with rests Fe1@®5 = Exercise 45 Fed a Ez & i a 12 2 Ra RH Fe? Exercise 47Exercise 48 Exercise 49 Exercise 50 1 Fi AEE RH 67ATTESETEN sriptee Patterns Exercise 54 re1@_3 2 2 ran 2 2 a e655 Se SSSExercise 58 Fig 2 2 2 2 puss SSSCQUAPTTTE sripter patterns with rests Exercise 60 Exercise 61Exercise 64 Exercise 65 Fel 9s eta cea cae 4 2 auSECTION B This section covers the string raking technique. String raking occurs when a succession of muted notes is played over more than one string in a descending fashion, usually ending with a regular sustained note. J 0 beats per minute and up throughout this section,PLTTETT string raking patterns a . = Sap —— mL 22 22 2 pbb | 23 2? 5 ios 4 Exercise 2 2 Exercise 4 2LTARATTY string raking patterns with rests bes A: Exercise 9 Exercise 11SECTION C ‘This section contains a series of bass patterns in various musical styles (funk, rock, blues, Latin). These examples will help you understand the application of string muting and « string raking in creating good rhythmically solid bass lines. Use them as a springboard for your own ideas. = 82 beats per minute and up throughout this section. 35COTTE Funk patterns using string muting a o aera Pree ee La ® © Exercise tf = ———ie © Se ae te eftLATMITD rock patterns and fills using string muting Exercise 1Exercise 7 @ w SS 4 Exercise 9 @ w SSPATE sist otves patterns using string muting ew : Exercise 1, 2Exercise 7 @ ww w 4COTATI Latin patterns using string muting ® © Exereise 1Exercise 7 ae ® © Erercise 8 Hater eS ere ry @ Exercise 9 © <: = « Oo ete Er SS eS = a Se eee S| Exercise 10 = bx pe = ee z nt ! l HE ES = Ss = ® Exercise 12 © EE er ES ee = ee eS SSSSECTION D Bass transcriptions to: “Mutant Groove,” “Beck To Bass” and “Copley Square.” MUTANT GROOVE“ne * — ry aS at fe eee ees apap EES Fee agM1 04 —* a Baa? te™ +. _ Fa SS ae = ——— =| = + + t+ 0oo — ee == .. = .: _ * yee SS SS 5 b 2 $50COPLEY SQUAREaa? cnt Ava Daa? B Pua F cr s Aba? pa a ee ae Bima? Bmaptoo3) WICHFass Eft et tbe tes ot — on = ca SSeS se = = BASS [ee — mem et : : pater pee’ tet —= <= = = | —. |; 1 > 4 we P= Sa = + - 4 maj? =— Tmnnw ne - be. b n 9 Se ae ——S SSS : _ = a ee —~ fe e gE SHB eH ee pe Ss —= {te 6 == =7Guat? cat Aaa a Bmf) AU LRA ey ” SUR Cavett Hi Funk, Rock, Blues, and Latin Patterns: Using String Muting Bis