ELECTRIC BASS,

TECHNIQUE
volume I
by
Valda amm

GWYN PUBLISHING CO,

Exclusive Seling Agent
WRNERBROS.PUBLICATIONS INC.
$5.95
75 Rockeleller Plaza -New York, Y10019 in U.S. A.
 ABOUT THE AUTHOR

Valda Hammick was bo rn in Lismore, New South Wales, Aust ralia, Her nusical studies
began with violin lessons at the early age of 5 and she played this instrument for l2 years.
gaining her A. Mus. A. (Associate of MusiC, Australia) at 14. At the age of 8 she also startedA
piano lesson, which continued for 4 yeare, and,she taught herself to play ukulele at 9. A
brief career as a jazz vocalist ended after she hea rd guitarist Barney Kessel and subsequently
took up guitar, Eighteen months later she also be ganto study alto flute and played it for about
2 years, She had guitar lessons for about a year, but was otherwise self-taught --- learning
mainly from records and books, Valda played guitar for 10 years, working in clubs, accom
panying singers, and doing jingles, record dates and T. V. shows in Aust ralia ---including the
John Laws Show, the Don Lane Show, the Tommy Leonetti Show, the Bob Roge rs Show, Band
stand, Sound of Music, etc, (playing behind singers such as Carmen MeRae, Tony Bennett,
Jack Jone s, Liza Minnelli, Paul Anka, Robert Goulet, Shirley Bassey, Leslie Uggams, Matt
Monro, Lainie Kazan, Englebe rt Humpe rdinck, Dusty Springfield, Billy Preston, etc., when
they sang on various Australian T. V. shows).
Valda was inspired to take up Electric Bass after hearing the exciting bass lines played
on Motown and Soul records, and lea rned to play by listening to records and transc ribing bass
lines, Shortly after switching to bass she began to do recording sessions on the instrument.
Experience includes playing bass in clubs, working with the ABCShow Band in Sydney, doing
concerts, radio and T. V. shows, jingles and recording work.
Por the past3years she has been traveling with singer Lovelace Watkins as a me mber of
his rhythm section, working mainly in the United States a s well as Aust ralia, New Zealand,
England and Wales.
The bassists whose playing particula rly influenced her include Chuck Rainey, Jerry
Jemmott, Janes Jamerson, Ray Brown, Willie Weeks and Chuck Domanico.
Valda is currently writing Volume II of this series, In addition she is working on Specla
material for the 24 fret Electric Bass, which will be available soon. It will demonst rate tech
niques which add newdimensions to Electric Bass playing. She designed and uses the 24 tret
ba Bs 1lustrated on the front cover of this book, It is a modified Fender Precision" bass

THE PUBLISHER
 ELECTRIC BASS PUGL(ES#

TECHNIQUE
volume |
by
Valda Rmniek

CONTENTS

INTRODUCTION. 3
FINGERBOARD CHART. 4
PLAYING PICKSTYLE ELECTRIC BASS 5
PLAYING FINGERSTYLE ELECTRIC BASS 6

I. DEVELOPING TECHNIQUE 7
Ex. 1 Key of C Root of chord 9
Ex. 2 Key of F Root and 5th of chord 10
Ex. 3 Key of Bb Root and 5th of chord 11
Ex. 4 Key of Eb Root and 5th of chord . 12
chromatic run between 3rd and 5th; patterns.
Ex. 5 Key of Ab - - -

Root of chord and octave; patterns; . 16

slides; Ex. in D; Ex. in G.
Ex. 6 Key of Db Root of chord and octave; patterns; . 19
Ex. in F; Ex. in A
Ex. 7 Key of Gb Root of chord and octave; patterns; . 22
Ex. in E; Ex. in C; space; variations.
Ex. 8 Key of B Root of chord and 10th; patterns; . 27
double stops
Ex. 9 Key of E Root of chord and 10th; patterns; 31
pedal notes (modulation); boogaloo
Ex. 10 Key of A Root of chord and 10th; patterns 35

II. FINGERBOARD AND RHYTHM STUDIES

Chromatic Scales 39
Chromatic Exercise in Db; Variations 44
Foot Pats 46
How To Count Triplets (8th, Quarter, Half Note) 47
Time. 48
Chromatic Exercise in A; Jump-downs 48

II. SIGHT READING AND FINGERING EXERCISES

Common Fingering Situations: (18 Chord Progressions in all Major keys
and 3 Minor keys) 50
Double Stops --- 10ths 55
Suspended 4th (11th) to 3rd (10th) 57
Two Independent Lines 58
Transposition 60
19 Chord Progressions in Key of C. 62

SUGGESTIONS FOR STUDY. 63

©Copyright 1975 by Gwyn Publishing Co., Inc.

International Copyright Secured Printed in U.S.A. All Rights Reserved
 Preface

Valda Hammick is the best new bass player we have heard in four decades,
Other bass
players, present and future, should be grateful Val has decided to share her
and observations with them.
persOnal notes
Our first encounter with this major new creative force was on the occasion of Lo
Watkins' main show room debut at the Las Vegus Flamingo Hlilton Hotel, August 197A t
was so quiet, so unobtrusive; we hadn't even noticed there was alady bass player.
Four
in, we knew she was there, still not obtrusive, just a solid rock musical foundatinn: bars
present, in immaculate taste.
We edged over to the side of the show room where we spotted
planist Mike Montana. con
ductor for the excellent Joe Guercio Flamingo orchestra.
"Who is that bass player?"
"That's what the guys were asking this afternoon at rehearsal. The
chick just
announced herself, sat down; Igave the downbeat and less than a chorus later she walked
in,
had take
our collective male chauvinism and shoved it right up our
noses "
The life blood of any creative art is the newcomer with talent
and courage. Writing this
book so early in her career took courage; her talents are
obvious and many.
Perhaps the highest compliment in Las Vegas was that all the bandleaders and almost all
of the players wanted her to put her card in. So did we.
It is a privilege to be part of this first landmnark effort.

Joe Delaney
Las Vegas SUN
KLAV radio
KSHO - TV

Whatever I could say about Val Hammick from the first moment I
heard her play wou
inadequate and impossible to put into words. Aside from her god-given
talent, ms
most dedicated being Ihave ever known. Iam not only
prOud to have her as a part
ot y
work, but even moreso because she chooses to write
these things down, so that nOse
pire to play the bass will not orly touch her genius with their hands. but
share it wiui
hearts.

Lovelace Watkins
 3

Introduction
This is a systematic method of building technique over the entire fingcrboard, and is de
signed to be both challenging and stimulating for the serious bassist.
Afew years ago, anyone who wanted to play Electric Bass had to rely on haphazard
methods to acquire technique. Every other instrunent in contemporary music had method
books to guide the student, as well as books containing recorded solos and lines created by
great players, which enabled the student to study and analyze the styles and learn from them.
But Electric Bass players found that the scales and arpeggios in Sring Bass tutors did not
give them the facility to play the complex lines found in Rock, Pop and Soul music, and did
read.
not prepare them for the unaccustomed 16th note rhythms which were difficult to
During the past few years there have been a number of books written for the
Electric Bass student. However, until this volume, there appeared to be no formalized
music.
system of technical studies specifical ly related to the instrument's role in modern
Students who have worked through other tutors should find this book a useful source of
additional material for study, enabling them to extend their knowledge and technique.
Obviously, if the exercises practised are similar to the bass lines played "on the job",
then the bassist will be equipped to handle most lines that he is required to play. This book
will not only prepare the player for the harmonic and rhythmic complexities that are often en
countered when sight reading current bass lines, but it will also enable him to create bass
lines of his OWn.
The material contained in these pages ranges from easy to very difficult. Beginners should
have a knowledge of the fundamentals of music theory before attempting it. The exercises are
equally effective for pickstyle and fingerstyle Electric Bass. They are designed for:
a) The bassist who wishes to improve his (or her) technique and reading ability;
b) The pickstyle bassist who wants to learn to play with the fingers;
c) The fingerstyle bassist who wants to learn to play with a pick;
d) The bassist who has been unable to play the instrument for a period of time and wants to re
gain his technique as quickly as possible;
e) The bassist who wants to develop and expand his creativity.
High notes (i. e.: notes written on ledger lines above the staff) will frequently be encoun -
tered in these pages, and undoubtedly this will help overcome any "hangup" or mental block
the bassist may have about playing and reading up high. Every part of the fingerboard can be
useful, and knowing the notes above the 12th fret will give him the opportunity to create some
beautiful and exciting bass lines.
As well as building "chops'", the exercises should enable the bassist to utilize the parts of
the fingerboard previously neglected, and it is hoped that the harmonic possibilities demon
strated will assist him (or her)to become a more musical and creative player.

Valda caik
 20 Eb
D# Bb
A#
19
18
17 D
A
I5\6 DHC# G#
Ab| B
Eb
D#
Bb
A#

4 C G D
13 Gb|
F# Db|
C#
G#
Ab/
B
12
Bb
A#
F C
G

A Gb|
F#
E
RD 10
Ab
GG# Eb|
BbA# 3

A
FINGERBO D

N0TES
THE D
A
E
8 F#
Gb Db|
C# G#
Ab|
Eb

F C G D

Gb
F# C#
DH

THE EbD#
E B
Bb|
A#
3

F C
5
7

D A E B

C#
Db G#
Ab Eb
D$ Bb
A#

C A
G D
3
C#
Db| G$
Ab
Gb
F#
3

BbA# G
'F#
cbl
2
F

Fret)
(lst
A B

AbG# "A
Bb|
EbD F OPB

J(OP
EN) STRING
G STRING
D STRING
E
G STRING
A A
nut
0

D A
 5

On the next 2 pages are photographs showing PLAYER'S VIEW OF LEFT HAND
pickstyle and fingerstyle techniques and left hand
fingerings. Beneath each pair of photographs is
a musical example, and the note which is illus
trated in the right and left hand photographs is
indicated by an asterisk (3). In the case of 10ths
or double stops, the asterisk may indicate two
notes.
Left thumb should be opposite or
slightly left of lst finger.
PLAYIN G PICKSTYLE ELECTRIC BASS
NOTE:

Pickstrokes are
indicated as follows:
d - downstroke
V -upstroke

E7, A7
d d
J-132

Foot Pats

Am
* dv V d d v V

J-92

Foot Pats

Db Cb Bb
B Ab A B
J- 92 4

Foot Pats
 6

PLAYING FINGERSTYL E ELECTRIC

Fingers should be relaxed and slightly curved.
The lst or 2nd finger strikes the string and follows CROSS-SECTION
OF STRINGS
BASS
through, coming torest against the next string (ex lst or 2nd
cept when playing on the E string, when the finger finger
finishes in the air). If sitting down to play, do not angle at which A
arch the right wrist too much. (inger strikes
the strings D
NOTE: All examplcs in the book may be played
both pickstyle and fingerstyle.

J- 84 Db7
(Pickstyle) d d V d
Gb

(2nd Time) 4
Foot Pats

SLOW (Straight 8ths)

66
Ab *
Bbm
4 3

Foot Pats

NOTE:

The right thumnb is used

only when the E and G
strings are played
simultaneously
G7
C
Bm Am
J66

Foot Pats
 7

1. DEVELOPING TECHNIQUE
The tollowing exercises will develop accuracy in the right hand, coordination between
hands, and speed on the instrument. They systematically cover every picking possibility ---
notes on the same string, then adjacent strings above and below, then octaves, and then 10ths.
Bach exereise is in a different key to encourage the bassist to feel equally comfortable in all
keys. For cxample, if you practise in the keys of B or Gb as often as in the key of C, then
there will be no problems playing and reading in those keys. From the key of Eb onwards,
patterns are introduced which may be effectively used in actual playing situations. Practise
Cxereises such as Ex. 5(e), (), (g) and (h) pages 17, 18and 19, in allkeys. Exercises 5,
6and 7 (octaves) and 8, 9 and 10 (10ths) will be found to be valuable for learning to read high
notes on the ledger lines above the staff.
To play the exercises with a pick, use the pickstrokes tlhat are indicated: d = downstroke,
V- upstroke, and rest the base of the right thumb against the string(s) that are above
the one being picked (except when playing on the E string, when the base of the thumb is
in the air, slightly left of the E strìng).
To play the exercises with the fingers, alternate the lst and 2nd fingers of the right hand,
and rest the right thumb about an inch above the E string. (The author had the seratch plates
on her Fender Precision Basses --- fretted and fretless cut down parallel to, and, an inch
away from, the E string, and uses them as thumb rests). To get the most natural bass sound,
strikethe strings just in front of the pick up. For a more treble sound, strike the strings be
hind the pickup, nearer the bridge. Play each exercise commencing with the lst finger, then
again, commencing with the 2nd finger. Fingerstyle players should keep the right hand lst
and 2nd fingernails short.
Pay particular attention to obtaining an evenness of tone, and steady time, between the
down- and up-picking (pickstyle), and between the alternating lst and 2nd fingers of the right
hand (fingerstyle).
At first, play only the quarter note and 8th note exercises, until complete accuracy of the
right hand has been achieved. Then add the l6th note exercises. Only attempt the l6th note
triplets when the 16th notes can be managed with ease. (Watch for any sign of tension in the
right elbow when playing the triplets with the pick. If it occurs, then the tempo is too fast,
and should be eased back until it's more comfortable. The right hand movement should be
only in the wrist). Each part should be repeated until it is satisfactory, then resolved to the
final chord. When each part can be played without error, each key should be played as a con
tÉnuous exercise, with the final chord note at the very end, or where a page has to be turned.
Practise with an electric metronome in order to develop good time, and have it clicking on
the off-beats (1 an 2 an 3 an 4 an) for a groovier feel. To begin with, set it at d- 50, and
only increase the tempo, by one notch at a time, when the exercises can be managed without
tension or mistakes. (Note: The tempo should be only as fast as the most difficult exercise
can be played comfortably. This will ensure that all note values will be kept in perspective).
 8

Pat the foot on | 2 3 4 when playing quarter and 8th notes, and on 1an 2 an 3 an 4 an

when playing 16th notes (boogaloo). Thc foot pats will be the same as the pickstrokes, down
on the downbeat, up on the upbcat.
When looking at music for the first time, memorize the notes immediately, visualizing the
music with foot pats, pickstrokes and notes in onc scope. i.e.:
pickstroke
note
- foot pat

Practise slowly for best results. A common fault of beginners is to rush through the
"casy bits'" of music (e. g.: the quarter notes in this chapter), and slow down to playthe more
difficult parts (e.g.: the 16th notes). This naturally spoils the rhythmic flow of the music,
and it is essential that a bass player has good time. One of the most difficult things to do is
to play slowtempos with good time and control. SLOW practice is essential in order to devel
op accuracy, control and confidence. SLOW practice develops correct playing habits, which
should be employed at all times, regardless of the tempo of the music. It allows the student
time to think about right hand technique, left hand fingering and foot pats, while playing in a
relaxed manner at a comfortable tempo.
SLOW practice also builds SPEED. By practising slowly, and gradually increasing the tempo
over a period of time --- maybe by one notch a day over several weeks or months the stu
dent will find that the required fast tempos will be easily playable. Trying to play too fast too
soon, results in tension, tightening of muscles, and mistakes. It also spoils the "feel" of the
music.

It is important that the student counts at first, while practising. However, as soon as pat
ting the foot has become an automatic part of the playing technique, actual counting is only
necessary when analyzing any difficult bars. The most effective method of "counting" 16th
note patterns is for the bassist to sing them to himself while patting the foot, using either the
actual notes or just the rhythm pattern with the syllables "dut" and "dah'" for short and long
notes.

e.g.:
Foot Pats
dut dah dut dah dut dah dut dah dut dut dah

Reading music is not a question of counting note values, it is merely recognizing or re

membering various rhythm patterns that are already familiar. This is the way that all great
readers read. The actual physical thought of counting detracts from learning the feel of the
notes in relation to the foot pats. Reading the meter of the notes is as easy as patting your
foot. The note is played either when the foot is patting down (on the beat) or is up in the air
(off the beat). Once you memoriz the different meter forms in relation to your foot pats, you
will be able to sight read perfectly. This is how studio players read so well. It is the fastest
and most practical way to learn how to sight read. After a while you may not want to pat your
foot, but you still think "down" and "up"" in your mind.
 Key of C
PRINCIPAL CHORDS - C F and G7 EXERCISE USING ROOT
(1) (1V) (V7) OF THE CHORD
J-50 C
(3rd Fret) d d G7

Ex.1(a)e
I(an) 2 (an) 3(an)4 (an)
Foot Pats

G7 C

d y d v
G7

(b)
1 an 2 an 3 an 4 an
Foot Pats

C G7

NOTE: 16th note rhythms have a double-time feel and should be thought of as being in 8/8 time
instead of 4/4. (Each 8th note is a downbeat). However, the time signatures of 4/4 and
C(common time) are very often used instead of 8/8.

C
d v d

(c)
1 e an a 2 e an a 3 e an a 4 e an a
Foot Pats
C G7

C
G7
 1

G7
222 C

Key of F
PRINCIPAL CHORDS -P B and C7 EXERC1SE USING ROOT AND 5TH
(1) V) (V7) OF THE CHORD

(Pr. - Pret)
B»
(6 Pr. )

(b)

C7
 F

d vd vd v
(Tremolo)

C7

Key of Bb
PRINCIPAL CHORDS - Bb Eb and F7 EXERCISE USI NG ROOT AND 5TH
(1) av) (V7) OF THE CHORD
Bb
d d E
(lst Fr. )

Ex. 3(a) ti
Bb F7 B

Bb Eb
dv d v

(b)

F7
 NOTE: In the following exercise make sure fingers 2 and I, or 4 and 3, or 3 and 2. av
close to the fret as possible.
B»
dv d v

(c

Eb

BT

F7
B

Bb
dv dv dv
(Tremolo)

(d)

ED

Bb

F7
B

Key of Eb
PRINCIPAL CHORDS - Eb Ab and Bb7 EXERCISE USING ROOT AND 5TH
(1) (V) (V7) OF THE CHORD

(6th Fr. ) d Ab

Ex 4(a)
Bb7
 Ab
13
d y

Bb7
E
Eb

Eb
d v d v

Ab

Eb

Bb7
Eb

EXERCISE USING RO0T AND5TH AND CHROMATIC RUN BETWEEN 3RD AND5TH
OF THE CHORD
NOTE: In the following exercise, the left thumb should be behind the 5th fret --- one fret to
the left of the lst finger. The chromatic run may be fingered a number of ways.
Eb Ab
d yd v d v d v d v d v d y d v

Bb7
Eb

Eb Ab

Bb7
Eb

E
Left hand- -- Use thumb as an anchor and pivot the hand. (See photograph at the top of page 5).
 14 Ab

Bb7

Eb

Bb7
Eb

Some of the patterns most frequently played on Electric Bass use the root of the chord
plus a chromatic run between the 3rd and 5th of the chord. All kinds of rhythm patterns can
be created using these notes, and Ex.'s 4 (f) and 4 (g) are examples of the most common
ones. For purposes of study, the pattern is virtually the same in each bar of the four -bar
chordsequence. But in actual playing situations, patterns may vary fromn bar to bar; or each
pattern may be part of a two -bar sequence; or the particular patterns demonstrated here could
be used as fills. (Fills are usually played at the end of every 4 or 8 bars of a tune). After
the root of the chord, the pattern may either drop down to the 3rd or go up to it.
N TE: When playing 16th note patterns with the pick (e. g.: Ex. 4 (f), (g), (h), and (i), )the
right hand should use a steady l6-notes-to -a -bar movement (from the wrist). This Wll
ensure that each note is played with the correct pickstroke.
d (d) v d (v) d (d) v d (v) d v d (v)

e.g.:
) e an a 2 e an a 3 e an a 4 e an a

In a short timne the bassist will use correct pickstrokes automatically, resultung
hgher degree of accuracy, a better "feel", improved sight reading and greater confidence n
performance.
Eb Ab
dv d d v d

] e an a 2 e an a 3 e an a 4 e an
Foot Pats
Eb Eb
Bb7
 15

AP
Variation i) E Var. (ii) Eb Ab
d v d

Bb Ab
d v d V d d v d

1e an a 2 e an a 3 e an a 4 e an a

Bb Bb7
Eb

Var. (i) Ab Var. (ü) Ab

ac)

Another common pattern has the root of the chord anda chromatic run between the b7th
and 5th of the chord. e.g.:
Eb7 Ab7
d d v d d v d d v

(h):

Bb7 Bb7 Bb

Ab7 Eb7 Ab7

Vat () Bb7 dv d d Var. (ii) d v

Eb7
d d y d v Ab7

Eb7 Bb7 Eb

Bb7 Ab7
Var. (i) Ab7 Var. (ii)
 16

Key of Ab
PRINCIPAL CHORDS - Ab Db and Eb7 EXERCISE USING ROOT OF CHORD
IN OCTAVES
(1) (1V) (V7)

Ab
d d Db
4
(1th Fr. )

Eb7 Ab

Ab

d vd v
Db

Ab Eb7 Ab

Ab
d yd y

(c);

Db

Ab

Eb7 Ab
 A 17

(Tremolo)

Eb7
Ab

ROOT OF CHORD AND CHROMATICRUN BETWEEN 3RD AND 5TH OF CHORD

Ab (or Ab7) Db(or Ds7)
d v V d d v d d

(e)

ttt
Ab(or Ab7) Eb7 Ab

Or gliss (slide)
A gliss may be used when the Ab and Db are played on the same string. A short gliss may
be used when the Ab is played on the D string and the Db is played two frets lower on the A
string. (Also when the Ab is played on the Astring and the Db is played two frets lower on the
E string). This is a swift, short slide from the Ab down several frets with no definite ending
note. The slide goes a short way past the Db fret, then the finger quickly jumps back up to the
Db on the lower string.
A gliss is most effective if the note is held as long as possible (for almost its full value)
before sliding it. The slide should be fast. If the slide is started too soon, it has to be slower
to avoid rushing the next note. With a slow slide, the finger may be heard crossing every fret
On the way down (or up). Experience will teach you how to judge the correct timing for each
slide. Slides feel good to play, but don't overdo them.
N TE: Practise octave patterns in all possible places on the fingerboard. For example, in
Ex. (e) and (t), try playing the octaves only on the E and D strings.
 Db
18 Ab
d d v V d v d

Ab Eb7
Ab

After playing the root of the chord in octaves, it is also effective to drop down to the 2v4
instead of going up to it.
e.g.: Ex. (e) in the Key of D
D
V d v d

D A7
D

Ex. (f) in the Key of G

G C
d d v d d v d

G
D7 G

Dropping down to the 3rd is a good idea when:

1) going up to the 3rd would take the pattern too high, or
2) the first note of the next bar is low on the E string, and going up to the 3rd would lead t a
big jump-down from one note to another, or
3) you want to end the patte rn on the same note that it started on (not an octave higher).

Play Ex.s (e), (), (g) and (h) using any of the following rhythms on the last beat of the bar:

Any of these would be 0.K. depending on how fast the tempo is. The 8th note in the three "o
pattern allows time for the hand to change position, or for the finger to do a slide, and may be
played either short or long.
Practise and write the examples in all keys. It's a good way of getting to know the finger
board.
 19

ROOT OF CHORD AND CHROMATIC RUN BETWEEN b7TH AND 5TH OF CHORD
Ab7 Db7
d d v d v d d

(9)

Ab7e Eb7
Ab

Ab7 Db7
d v d d v dv d

Ab7 Eb7 Ab
(13 Fr)

change
position

Key of Db
PRINCIPAL CHORDS - Db Gb and Ab7 EXERCISE USING ROOT OF CHORD
(1) (IV) (V7) IN OCTAVES

Db
d d Gb
(6th Fr.)

Db Ab7 Db

Db Gb
d y d v

(b)

Ab7 Dt
Db
 20 Db
d Vd

(c):
Gt

Db

Ab7 D

Db
dvdvdv
(Tremolo)
(d) eHH

Db

Ab7 D

ROOT OF CHORD AND CHROMATIC RUN BETWEEN 3RD AND STH

OF CHORD
Db
d v v d
Gb
d y d dv d

e)
DE D
Ab7
 21
DE Gb
d V V d v d

(t)

Db Db
Ab7

Root may drop down Ex. (e) in the Key of F

to 3rd,
Bb
d v d d v V d d v

F
F C7

Root may drop down Ex. (f) in the Key of A

to 3rd.
A
d d D
d v V

E7
A
A

ROOT OF CHORD AND CHROMA TIC RUN BETWEEN b7TH AND 5TH OF CHORD

Db7
Gb7
d v y d d v d d
d v

(a)

Ab7 Db
Db7
 22
Gbz
Db7 d v d d v V d v d

(h
Ab7
Db7 Db

Key of Gb
PRINCIPAL CHORDS - Gb Cb and Db7 EXERCISE USING RO0T OF CHORD
IN OCTAVES
(1) (V) (V7)
Gb
d d d
Cb
(9th Fr. )

Ex. 7( a ) E e E
ttt
Db7 G
Gb

Gb
d v d v
Cb

(b)t
t t
Db7 G
Gb

Gb
dy d v

Cb
 23
Gb

Db7
Gb

ROOT OF CHORD AND CHROMA TIC RUN

BETWEEN b7TH AND 5TH OF CHORD
tfttt<
Gb
d v d v Td v d v d vd v dy d y

tt
Go
Db7

cb7

Gb7
Db7 G

¿3Left hand --- Use thumb as an anchor and pivot the hand.

NOTE: Ebb (double flat) is the same note as Di, but think of it as Eb played another fret
lower Ebb, because it takes more time to think of D.
 24

Gh
dv dv d V d v

e)
Gb Db7

Cb7
Gb

Db7 G

ROOT OF CHORD AND CHROMATICRUN BETWEEN 3RD AND 5TH OF CHORD

Gh
Cb
be

Mt
Gb
Db7 Gb

Gb Cb

(9)

Db7 Gb
Gb
 25

Ex. (f) in the Key of E

Root may drop down
to 3rd.

E B7 E

Ex. (g) in the Key of C

Root may drop down
to 3rd.

G7

ROOT OF CHORD AND CHROMA TICRUN BETWEEN b7TH AND 5TH OF CHORD

Gbz cb7

(h)

Gbz Db7
Gb

Gb7
cb7

()

Gb7 Gb
Db7
4 4
 26

Space
The best bass lines are both harmonically and
in a rhythm pattern is most desirable, just as an
rhythmically interesting.
The use of"space"
endless succession of
16th notes is
ing. Space does not necessarily mean silence, but it is a period of
time very bor
sounding, but with no new rhythmic attack. wherea
note may be
The patterns in Ex. 7from (f) through (i) are great for
developing
hand and coordination between the hands, but they are far
too busy and flexibility
in the right
However, lacking rhythmic
variation to be used in their entirety as "working"
patterns. in
any part of the
cises may be used as a basis for creating patterns which are exer-
rhythmically more
e. g. :
interesting.
Variations
J-76
A
Vd v
V d
dy

E B7

dv
2 A

B7

ydv
d d v d d v
3 d v
F

G7
 27

V
V d v

G7

Key of B
PRINCIPAL CHORDS - B E and F#7 EXERCISE USING ROOT OF CHORD
() (v) (v7) AND 1OTH

(Photographs showing pickstyle and fingerstyle techniques, and left hand fingering of 10ths,
may be found on pages 5 and 6).

LEFT HAND FINGERING OF 10THS

Major 10ths - use 2nd and 4th fingers (e. g.: B and D#).
Minor 10ths - use 2nd and 3rd fingers (e. g.: Band D).

DOUBLE STOPS (See last bar of Ex. 8 (a) ). When playing both notes simultaneously in 10ths,
use the pick and 3rd finger of the right hand (for pickstyle), or thethumb and lst or 2nd finger
of the right hand (for fingerstyle). Pick players should keep the right hand 3rd fingernail short
to ensure that the root note sounds louder than the 10th. (The author has all nails short to fa

cilitate various techniques -which will be explained in a later volume in this series). Finger -
style players should have enough control to be able to play the 10th softer than the root note.
It takes a little concentration. When playing a succession of 10ths as double stops (see exam
ples pages 5 and 6 ), fingerstyle players should use the thumb and alternating lst and 2nd
fingers of the right hand.(e. g.: 1T 2T 1T 2T

d d d E
(7th Fr. )
Ex. 8(a)H
H
B
B F#7
 28

When picking 10ths in 8th notes ( dvdy ), the right hand does a "figure 8"
ment (from the wrist).
kind of move
e.g.:
D
feross -section
of fingerboard) A D G
string string string string

d vd V E

(o)

B
F#7 B

dv d v d vd v
E

B
d V d

F*7 B
 29
B
V dv d v dv

yy y y

F#7

ROOT OF CHORD AND CHROMATIC RUN BETWEEN 3RD AND 5TH OF CHORD, IN 10THS

B
dy d V dv d

F$7 B
B

NOTE: The fifth note in bar 1 of ex. (f) is C^ (double sharp) which is the same note as Di, but
think of it as C# raised another fret higher --- C.

B d d
d d v d v
#

B
F$7
B
 30

Examples (t) and (g) could be played with the last two 10ths in each bar as double stone
3 3
e.g. : dv d d d d d

F#7
B
B

Or, the entire example could be played as double

stops.
B E
e.g. :

B F#7
B

ROOT OF CHORD AND CHROMATIC RUN BETWEEN

b7TH AND 5TH OF CHORD, IN 10THS
B7
dv 3 3 E7
d dv y d
b he

B7
F$7 B

N TE: In very fast tempos the first 8 notes of (f), (g), (h)
and (i) could be picked:

Vd

or

(Use this picking ONLY when

correct picking is too hard).
B7
d 3 3 E7
d v d dv d d
 31

B7 F#7

Examples (h) and (i) could be played entirely as double stops.

E7
B7
e.g.:

F#7
t f
B7 B

N TE: In Exs. (h) and (i)try playing the 3rd bar an octave higher.
Tenths (particularly as double stops) are most effective when used SPARINGLY. They
could enhance a particular phrase, add color to the introduction or ending of a song, or fill
out a chord progression with the brass and/or saxes or the final chord of a song. An occa
sional pattern in 10ths (double stops) can sound great, but DON'T OVERDO THEM I You'1l
find you'l1want to play them at every possible opportunity. However, too many 10ths can be
monotonous, so pick a spot where they may be used tastefully, preferably where there is a
lot of space. Avoid using 10ths when the entire brass and sax sections are filling the room
with a solid wall of sound, A detailed study of 10ths is included in the next volume of this

series.
Remember, bass lines played with just single notes can sound fantastic !

Key of E
EXERCISE USING ROOT OF CHORD
PRINCIPAL CHORDS - E A and B7
AND 10TH
(1) (aV) (V7)
the key
Because of the nature of this exercise ("reversed" 10ths)examples (a) through (e) in
of the bar. The 10th (which is the 3rd of
of E do not have the root of the chord on the lst beat
In actual playing situations the
the chord, up an octave) occurs on the downbeat of each bar.
or on the anticipated lst
root of the chord will nearly always fall on the lst beat of the bar,
beat.
Pedal Notes
root of the dominant (V7)
There are exceptions to this rule, however. For instance, the
in an introduction
chord could be used as an off -beat pedal note (on "2 and "4" in 4/4 time)
modulation into the new
for a song. It could also be used before a key change, as part of the
"bridge" or middle -
key. Modulations usually occur at the end of the first chorus, or after the
eight of the second chorus of a tune.
 32

Modulation from Key of E to Key of F

Fast walk (Jazz)
J= 144 B7 C7
F D7 Gm7 C7

etc

Another exception is --- in a minor boogaloo, the pattern may start with a b7th
note on tho
first beat of the bar. e.g. :

Boogaloo
Em
J108 V
V d d v

V d V d

slide

A boogaloo in a major key could also

start witha b7th note. For example, the above four
bar pattern could also be used for a
boogaloo in the key of E Major, starting on an E7 chord.
Only one change would be necessary: in bar 4, alter
the "G" to "G".

(The following exercises are included

ulate the student's harmonic
particularly to benefit the right hand, and 10ths are used to further stim"
awareness.)
d
(13th Fr. ) A
Ex. 9(a)hn e

B7

When picking "reversed" 10ths in 8th notes (d v d

of v), the right hand does a "figure 8 KI
movement (from the wrist).
e.g.: d

lofcross - section
fingerboard) E

E A D G
string string string string
 33
E
d v d v

E
E
B7

Examples (c) and (e) are similar to classical guitar style.

E
d v d v d v dv

A
3

B7
E

dy d v

tth

B7
 34

B7

In order to make examples (t) through (i) usable as working patterns, the root of the chord
is anticipated bya l6th beat in cach bar.
ROOT OF CHORD ANTICIPATED, AND CHROMATIC RUN BETWEEN 3RD AND 5TH OF
CHORD USING "REVERSED" 10THS

dv V d
A

E
B7

pmit
last
time
NOTE: Short ties indicate hold -over of those notes.

V dv d d v
A

(9)

B7

pmit
l¡st
time

ROOT OF CHORD ANTICIPA TED, AND CHROMA TIC RUN BETWEEN b7TH AND 5TH O
CHORD USING "REVERSED" 10THS
E7 A7
V d v Vd d v vd
 35
E7 B7

pmit
ast
time

B7 d v V d dy

B7
E7

he

pmit
l¡st
time

Also play Ex. 's (f) and (g), and (h) and (i), as double stops, in the same way as Ex. (8)
(t) and (g), and (h) and (i). When playing the above as double stops it is not necessary to anti
cipate the root.

Key of A
PRINCIPAL CHORDS - A D and E7 EXERCISE USING ROOT OF CHORD
AND 10TH
(1) (1V) (V7)
A D
(5th Fr.) d

Ea 10 (a)
A
A E7

A D
d v d v

E7
 36 A
dy d v

DA

A
E7

A D
d v d v d v d v d vd v d v d v

A E7

A (i) D
(ii)
4 4 4

A E7

(i) Suspended 4th ( or llth) used as a passing note.( Pivot the hand. )
(ii)2nd (or 9th ) used as a passing note.

A
D
dv d v dv d v d v d vd d v
4

A E7
 37

A
D

E7

ROOT OF CHORD AND CHROMATIC RUN BETWEEN 3RD AND 5TH OF CHORD, IN 10THS

dvd v d v V d dy d v D

A E7. A

Variation (i) A D

A E7

Yariation () A
D

A E7
 38

D
Variation (i) A

E7
A A

ROOT OF CHORD AND CHROMATIC RUN BETWEEN b7TH AND 5TH OF CHORD, IN 10THS
A7
dvd
D7

(9)

A7
E7

Variation D7

A7
E7
A

ROOT OF CHORD ANTICIPATED, AND CHROMATIC RUN BETWEEN 3RD AND 5TH OF
CHORD USING "REVERSED" 10THS
A
dv d v d v, d Vd v d D

(h):

pmit
last
time
 39

ROOT OF CHORD
ANTICIPATED, AND
CHORD USINGCHROMATIC RUN BETWEEN b7TH AND 5TH OF
A7
dv
T
d v d v dv
"REVERSED"
10THS
Vd y
D7

Hftta
A7 TA
E7

pmit
last
time

II. FINGERBOARD AND RHYTHM STUDIES

Chapter 1 concentrated
Chromatic Scales
mainly on right hand
accuracy and coordination between hands,
obile taking the bassist through
most of the major keys, and all over
n on the fifth ledger line the fingerboard up to
above the staff. As well as preparing the
sihuation that may arise, the first chapter was hands for any picking
of the harmonic possibilities
designed to make the student aware of some
available on the instrument.
This chapter takes the left hand over the
entire fingerboard --- both up and down the
of the strings and across the length
strings. For "vertical" scales (up and down the same
use String Bass fingering, and for scales string)
across the strings use the pivoting technique.
Fingering will vary with each individual, depending on size of
hand, and whether the
bassist is playing a bass with a normal scale-length or a
short-scale (smaller) neck. Finger
ings suggested in this chapter would suit small and
medium-sized hands playing a bass with
a normal scale-length (e.g. :Fender Precision).
Bassists with large hands might findit easier
to use guitar fingering (one finger for each fret) most of the
time.
Fingerings for only two chromatic scales are included here. These will be sufficient to
demonstrate the basic fingerings, which may be used for all other chromatic scales.
10gain a thorough knowledge of the fingerboard, each chromatic scale should be
prac
tised in one- and twO
-0ctaves with the various fingerings. The one-octave examples in all
keys (at the end of the G
when the chromatic scales) should be used as a guide. Notes are sharped
scale is ascending and flatted when descending.
Play the scales as smoothly as possible, SLOWLY at first, so that the shifts and extension
fiandngerings are not discernible. When using extension fingerings, keep your thumb in position
pivot the hand.
After the basic fingerings have been memorized, try making the shifts at different places.
The examples of
be able
to "mixed" fingering illustrate some of the possibilities. Eventually you will
move anywhere on the board, using any fingering, with complete confidence.
 40

Use extension fingerings when not shifting. This is important. When playing
instead of 1, 2 and 4. Bassists with large
higher than
the 12th fret, use 1, 2 and 3fingering hands
Use 1, 2 and 3 lower down the neck. When playing the highest notes on the E should
the left thumb from behind the neck and play with a "íree" hand the
string, hbring
fingers are on the
board without any thumb support behind.
Chromatic scales are the foundation of learning good pop and iazz lin
They particularly provide excellent training for walking bass lines.

CHROMATIC SCALE of D
ONE OCTAVE

(5th Fr)
‘ Astg.e
1 2 4 1 2 4 1 2 3 1 2 3 3 3 2 1 3 2 1 4 2 1 4 2
Ext.

(Open)

0 1 2 4 1 2 4 1 2 4 1 2 3 2 1 4 2 1 4 2 1 4 2 1 0

(7th Fr.)
1G stge
2 33 3
Ext.
or 4

(10th Fr.)

1 2 3 3 1 1 2 3 3 1 2 3 2 1 1 3 3 2 1 1 3 3 2
Ext. Ext. Ext. Ext. Ext. Ext. Ext.Ext.
or 4 or 4 or 4 or 4

(5th Fr)

1 2 4 4 1 1 2 4 4 1 1 2 4 2 1 1 4 4 2 1 4 4 2
Ext.Ext. Ext. Ext. Ext. Ext. Ext. Ext.

(17th Fr)
Astg.

23 3 1
I23 Ext.3 2333 2 1 3 2II3 3
Ext. Ext. Ext. Ext. Ext. Ext. Ext. Ext.
or 4
 41
TWO OCTAVES

(10thFr)

2 3 3 1 1 2 3 3 1 1 2 3
Ext. Ext. 1 2 3
Ext. Ext. 2 3 3 2 3
or 4 or 4 Ext. Ext.
Or 4

3 3 2 1 1 3 3 2 3 2 1 3 2
Ext. Ext. 11 3 3 2 1 1
Ext.
or 4 or 4 Ext. Ext. Ext. Ext.
Or 4 Or 4

(5th Fr.)

1 2 4 4 1 1 2 4 4 1 2 4 1 2 4
Ext. Ext. 1 2 3 2
Ext. Bxt. 3 1 2

3 2 13 2 3 2 4 2 4 2 1 4 4 2 1 1 4 4
Ext. Ext. Ext. Ext.

TWO OCTAVES MIXED FINGERING

D
(jth Fr)

2 4 4 1 1 2 4 1 2 3 3 1 1 2 3 1 2 3 1 2
Ext. Ext. Ext. Ext.
or 4

(D A

E
3
2 1 3
2 3 1 4 4 2 1 4 2
2 1 1 3 3 2 1 4 2
Ext. Ext. Ext. Ext.
or 4
 42

CHROMATIC S CALE of G
G
ONE OCTAVE

(3rd Fr)
tE stg.e
1 2 4 1 2 4 1 2 3 1 2 2 1 3 2
Ext.
1 4 2 1 4 2

(5th Fr)

tD stge
1 4 1 2 4 1 2 3 1 2 3 3 3 2 1 3 2 1 4 2 1 4 2
Ext.
or 4

(Open)
‘Gstg.
4 1 2 4 1 2 4 1 2 3 2 1 4 2 1 4 2 1 4 2 1

(3rd Fr)
E stg.

1 2 4 4 1 1 2 4 4 1 1 2 4 2 1 1 4 4
Ext. Ext.
2 1 1 4 4 2
Ext. Ext. Ext. Ext. Ext. Ext.

(15th Fr)

2 3 3 1 2 3 3 1 1 2 3 2 11 3 2 1 1 3 3 2 1
Ext. Ext. Ext. Ext. Ext. Ext. Ext. Ext.

(10th Fr)
Astg.e
2 3 3 1 1 2 3 3 1 23 2 1 332
Ext. Ext. Ext. Ext. Ext. Ext. Ext. Ext.
or 4 or 4 or 4 or 4
 43

TWO OCTAVES

(3rd Fr)

Bstg..
2 4 4 1 2 4
1
Ext. Ext.
1 1 2 4 1 2 4
Ext. Ext. 1 2 3 1 2 3
Ext. Ext.
Or 4

2 1 1 3 3 2 1 4 2 1
3 3 4 2 1 4 4
Ext. Ext. 2 1 1 4 4 2
Bxt. Ext. Ext.
or 4
or 4 Ext. Ext.

TWO OCTAVES MIXED FINGERING

(3rd Fr)

1 2 4 1 2 4 4 1 2 4 1 2 3 1 1 2 3 1 2 3 2
Ext. Bxt. Ext. Ext.
or 4

3 2 1 3 2 3 2 1 1 3 3 2 1 4 2 1 4 4 2 1 4 2 1
Ext. Ext. Ext. Ext.
or 4

AII Ke ys
Ater the fingerings in D and G have been memorized, practise the rest of the chromatic
steles in one and two octaves with the various fingerings. Practise only one scale each day
order t0 cover it thoroughly, To en sure that all fingering possibilities have been practised,
you may want to
check with the fingerboard chart at the front of this book.

F
 44

Chromatic Exercise in pb
The following "Blues in Db" uses a chromatic run from the b3rd to the Sth of the chor.
In the Db chord, Fb (E) goes to Ab. The first beat of every bar is anticipated by a lóth
note. Notice the ambiguous- sounding rhythm. In every bar except the 12th, the effect of the
16th note tied to the Sth note, the 8th note tied tothe l6th, and the dotted 8th note makes the
pattern sound as if it's in an odd time-signature. It feels likea slow walk in 5 plus 1/16 beat.
In the 12th bar it feels like a march (6/8 feel in l6th notes).

e.g.: Sounds like in bars l through ll

Sounds like in bar 12

In the 12th bar, notice how the pattern goes up to the b3rd for the first time, then contu
ues on up to the highest note of the first chorus on the last 16th of the bar, which is also u
anticipated first note of the next chorus. The second chorus gets off to a groovy stas E.
low
jumping down the octave from the anticipated high Db, and then down again to the last
in the
This pattern illustrates taste in establishing an exciting bass line which climaxes
bar.
 45

Db
Blues in pb
d v d
J-84 V d vd V Gb7

Db7

Gb7

Gbz
Ab7

Db7 V d Vd y d v vd v dv

D Gb7

2nd
Chor.
fote

1e an a 2 e an a 3 e an a 4 e an a

Variations
created. The chro
Using the above pattern as a basis, any number of variations can be
rhythmic varia -
matic run from the b3rd to the 5th may have other notes in the run and many
tions can be used. Db ydv
Gb7
V d

d v
 46 d v

The following variationsare transposed into the key of F, so that the low root note of the
chord may be used in the pattern.
F Bb7
d v

Foot Pats
When you are able to play all the various rhythms while patting your foot, you may find it
lesstiring if you pat the heel as well as the toe. For example, in boogaloo (or in slow straight
8ths), = approx. 76, try patting the foot:
1 an 2 an 3 an 4 an
H Heel H T H T H T H T
T - Toe

This is like a drummer's left foot playing the hi-hat cymbal. You might want to reverse
it, if it feels more comfortable:
1 an 2 an an 4- an
T H TH T H T H

Cut the foot patting in half if desired:

an 2 an 3 4 an
H T H T

When using correct pickstrokes is a natural habit, it really doesn't matter how (or if) you
pat your foot as long as you keep good time. Patting your foot is great to help you get the Ieel
of meter and play with good time.
Patting the foot is particularly helpful when any cross-rhythms are being played. For ex
ample, if you are playing a slow straight 8th note rhythm (d-76), and drums (and maybe
brass) play quarter note triplets against it, patting the foot enables you to keep steady une
without getting "thrown" by the triplets. It is also a good anchor if you have to play quartet
note triplets:
The foot can pat: H T H T
2 3 4

while the hands are playing:

 How To Count Triplets 47

following analysis of quarter note and half note triplets should

The. enable the bass player
quite accurately.
countthem
to Quarter note and half note triplets may be constructed using 8th note triplets as a basis.

8th No te
J-76
Triplets
d v V d dv V

3
1na 2 ana

(Foot Pats) H T H T

Qu arter Note Triplets

Quarternote triplets may be obtained by tieing each pair of 8th notes in the above 8th note
tripletexample, thus:
d d d

1 an a 2 an a ari 4 an a
H T H

usual quarter note triplet form:

Then simplify the previous exanple by rewriting in the
d d d d d
3

2 an a 3 an a 4 an a
1 an a
H T H T

Half Note Triplets

8th note trip
note triplet may be obtained either by tieing the 8th notes of a bar of
4 laT
lets in 3 groups of four:

4 an a
1 an 2 an 3 an

H T
H T
or by tieing three pairs of quarter notes in a bar of quarter note triplets:
d
d
3

an a
an a 4
a 2 an a 3
1 an
T
T H
H
 48
half note triplet form:
rewriting in the usual
Then simplify by d
3

an a 3 an a 4 an a
2
I an a
H
H
with the 8th note triplet in
quarter note and half note triplets mind, then
Always count fast tempos it is easier to
hangup in playing them. In count quar-
there should never be any note triplete
quarter
triplets, and half note triplets like
ter note triplets like 8th note

Time
essenss.s
player's most important function is to play with good time. This is
The bass
Normally, no musician shouldhave
whether you are playing alone or with a large orchestra,
However, the bass player lays down the main nulee
todepend on anyone to keep time for him.
his time-feel. Practising
of the band. To be able to do this competently he should practise
The electric mnetronome is
with an electric metronome should iron out any time problems.
án 2an 3 an 4 â)
particularly valuable when practising 16th note exercises (clicking on 1
and for practising triplets (clicking on 1 2 3 4).

Chromatic Exercise in A
(Jump- downs)
The bass player should get to now the instrument so well that he (or she) is able to play
anything, in any key, in every possible place on the fingerboard. When playing high on the
neck (past the 12th fret), it will sound good if you play an interesting fill to jump back down
to a lower position.
The next exercise demonstratesa two-bar pattern on an A7 chord in three different oc
taves. Notice the fill in bar 6 which jumps down from the high A leading smoothly into uie
pattern in bar 7. This works better than repeating the pattern used in bars 2 and *.
two-bar pattern on the D7 chord is slightly different to the one plaved on A7. In bar
fill jumping down from the high D is rather difficult
(depending on the tempo) but
groovy.
Both these jump-downs use
mainly the root and 5th of the chord, and illustrate the value
of being able to play them over the
entire length of the fingerboard.
The chromatic run in bar 1 is from the 5th of the chord (E) to the root (A), and in bar 2
it is from the 3rd of the chord (C#) to the 5th (E), In bar 1, the flow of the chromatic run is
interrupted by the repetition of the E(5th) and the G(b7th). In bar 2, the root of the chord
(A) occurs again after the 3rd
(C#). The
repetitions add rhythmic intensity to the phrases.
 A7 49
J- 84 d v d v V V

en
V d
r

e an a 2 e an a e an a 4 e an a
7Fr.

D7 Vd v V d v

al
ve

se

g
is
d v
), 4
Vd v
V d
dv

1e an a 2 e a a 3 e an a 4 e an a
1210
Fr.Fr.

y The fingering suggested in bar 12 is suitable for pickstyle.

e
are
It could also be used for fingerstyle. However, when playing fingerstyle, open strings
commonly used, whenever possible, to allow the left hand time to change position.
SUGGESTED FINGERING FOR FINGERSTYLE

(Right Hand) 2 1 2 1 2 1 2 (or vice versa)

7
e

1e an a 2 e an a 3 e an a e an a

e
difference in timbre
The above fingering would be unsuitable for pickstyle because of the great
D string, when
of sound between the A played on the 17th fret of the E string and the open
2
played with a pick.

d fingering would apply for

KIf the jump-down in bar 12 were half a tone higher (on an Eb7 chord) the original
pickstyle and fingerstyle.
50

III, SIGHT READING AND FINGERING EXERCISES

Common Fingering Situations
These exercises willacquaint you with nmany fingering situations that may be encountered
in studio work or other jobs involving sight reaing (backing nightclub acts, shows, etc. ), A
variety of chord progressions in all major keys, and several minor keys, is used.
Very few fingerings are marked, because you will benefit more by working out fingerings
for yourself, This is good practice for sight reading, when "instant'" fingering decisions bave
to be made. The exercises will also help you develop facility all over the fingerboard.
Exercise 1
d-s4slow), 104(fast).

G7

Exercise 2
F Dm

Bb

Exercise 3
Em7b5
B A7

Db7 Cm 1l F7
Dm

Exercise 4
Eb Cm
 51
Fm" Bb7

Exercise 5
F7 Bb7 Eb7 Ab

Bb7 Eb7 Ab
F7

Exercise 6
Db Cb

Ab7
A

Exercise 7
Gb Cb

Abm7 Db7

Exercise 8
- 104(slow), 132(fast). D#m
B

E F$7
52

Exercise 9
J- 84(slow), 104(fast).
E E+

E bass B7

Exercise 10
A B

D E7

Exercise 11
D G

Exercise 12
G
B

Eb
D7
 53

Exercise 13
c A#m

D¥m7 G#7

Suggestion: If you play the above exercise first in the key of C(no sharps), it will make it
easier to play in C. You simply move up one fret.

Exercise 14
F#

c#7

F:

The fourth note in bar l above is GX (double sharp). which is the same note as A<. But
think of it as G# raised another fret higher - G.

Exercise 15
Descending Bass Line Fb Fbm
Cb
B55 bass A5b
.

Cb Db
G Fb Gb7
F
54

Exercise 16
Am G

F E7

Exercise 17
Dm

Bb A7

Exercise 18
Gm

D7
 55

Double Stops - 10 ths

Bx. 19 illustrates 10ths played as double stops. At first
glance, it might appear to be
difficult, but an analysis of the exercise reveals a surprisingly simple
"iormula'": the top line
consists only of major and minor 10ths with chromatic approach notes, and the
bottom line
consists of the root of each chord connected by scale-type runs.
Right hand technique is the same as for a single-line bass part. Each
bar may still be
subdivided into 4 groups of four l6th notes:

Bar 1 (etc)

e an a j2 e an a 3 e an aj4 e an a

Notice that the notes in the top line (stems up) in Ex. 19 are never struck at the same time
as notes in the bottomn line (stems down). Some notes in the bottom line are tied-over (and

held) while other notes in the top line are played. If the notes in the top and bottom lines haye
to be played simultaneously, use the techniques explained on page 27. The entire exercise is
played on the E and G strings only.
Practise SLOWLY at first. Be sure to give each note its correct value, and sustain the
tied notes for their full length. If there is any difficulty reading the exercise, practise the
bottom and top lines separately at first.

Exercise 19
d v d v d v V d d v d y d v V d d v d d v

J-84

C Dm7 G7 C

The above exercise is a busy example demonstrating 10ths on major, minor and dominant
7th chords in the space of two bars. When using 10ths in a tunme, it is more effective to space
them so that they don't sound boring. Don't use them too often. Try to blend them into the
bass line by leading into and out of the 10th smoothly.
 56

In bar 1, the 10th is used on

The following example can be used exactly as written.
"I e an'"; in bar 2, it is on "3 e'"; and in bar 3, it is on "3"'.

Exercise 19(a)
Dm7

C
G7

The next example is a two-bar phrase showing another way of using a 10th on a Dm7 chord.
Compare the first bar of Ex. 19 (b)with the second bar of the previous example 19 (a). You
can switch the Dm7 bars of these two examples.

Exercise 19(b)
Dm7

slide
slide

slide

Following is Ex. 19 transposed into the keys of Ab and E, in order to show how to handle
the limitations of the fingerboard. Notice the slight variation in the few notes before the re
peat in each key, and the last two notes in bar 2.

Ex. 19 in the Key of AD

Ab Bbm7 Eb7 Ab
4
 57

Ex. 19 in the Key of E

F#m7 B7
E

Suspended 4th(11th) To 3rd(10th)

The bassist should always listen to the
other instruments in the group. When
be sure they don't clash with any playing 1Oths,
section of the band. They could spoil the voicing of the
played by brass, saxes, or strings. If the chord has a chords
the bass must play the sus. 4th
suspended 4th (B sus. 4 or Bll), then
(1lth) not the normal 3rd (10th).
In the following example, the suspended 4th
(11th) moving to the 3rd (10th) imitates the
Preceding two (root) notes --- both rhythmically (anticipated) and harmonically (descending
half a tone).

Exercise 20
* B7 (sus. 4) B7
B A7(su_. 4)
Dn

Hete)

%See
phhotograph and example page 6
 58

Two Independent Lines

(Bass Line Plus Melody)

Bass players certainly wouldn't be expected to sight read anything that looks like the fol
lowing example | Ex. 21 is included in this chapter to give you the opportunity to work out
fingerings that will enable you to play two independent lines.

Exercise 21

Cm
J-84 4

Ex. 21 could haye been written in a much simpler form:

Cm

However, when written the simpler way, it is impossible to indicate the correct note va
ues. In order that the lines will sound as effective as possible, it is important that eacn nou
receives its exact value, The ability to sustain a note in one line while the other line moveo
stac
is suitable if a
is what makes the two independent lines sound good. The simpler version
cato bass line is required.
 59

Practise Ex. 21 in two

parts (slowly).

(bass) line:
(a) Play the lower
d v d d v
d

(b) Then play the upper (melody) line:

d V V

() Then play both lines together. (Transpose into other keys).

21 could be used as an introduction for a song, When using it as an intro play four
bars of the bass line first (a), before playing both lines together (c). This makes it easy for
the ear to hear the
two separate lines.
To use this as an intro for Latin tunes (fast bossa novas, etc. ) play it in half time (""cut"

Common time) with double the number of bars:

Cm
Fast Bossa
 60

Transposition
The student should transpose each of the 21 exercises in Chapter III into at least one at.
key, preferably the key which is a b5th higher than the original. This distance from the ort.
ginal key will put the exercise in a sharp key if it was in a flat key, and vice versa, Ir will
also present some new challenges in fingering, and might necessitate writing a pattem ina
higher or lower octave than the original. You may want to change a few notes to ensure that
a phrase leads smoothly into the next one.
For a complete study of this chapter, the exercises should be written out and practised in
every key. However, in order to avoid becoming bored, transpose only one exercise each day.
Writing music helps one to become a better reader.

How To Transpose

To transpose each note of the exercise up a bSth, simply use each note as the starting note
of a major scale (ascending) and sing the first five notes of that scale. Say the names of the
notes as you sing them (counting on the fingers if you like), and then flat the Sth note.
For example, in Ex. 1the first note is C. Sing the first five notes of the Cmajor scale --
CDE F G - then flat the G(cb). The next (different) note is E. Sing the first five notes
of the E major scale --- E F# G# A B then flat the B (Bb), The next note is G. Sng
the first five notes of the G major scale --- G A BC D -- then flat the D (Db) --- and s0
on, through the whole exercise. This method can be used for all intervals, and for minor
keys as well. You should know all major scales, and memorize the key signatures of a
jor keys and their relative minor keys.
The above describes one method of musical tran sposition. Solfeggio (the movable DO) 1
another method.
On the next page will be found two examples of transposition: Ex. 1 in the original key of

C, and (for comparison) transposed to the key of Gb; and Ex. 17 in the original key of D mio
and transposed to the key of G# minor.
 61

Transpo sitions:
EXERCISE 1 - Key of C
F

G7

EXERCISE 1 - TRANSPOSED from C to co

Gb C

Gb Db7

EXERCISE 17 - Key of Dm

Dm C

A7
Bb

EXERCISE 17 - TRANSPOSED from Dm to Gm

G#m F#

E D#7

s* NOTE: This could have been written in Ab minor (7 flats), but it is more practical in G# minor, which has
only 5 sharps.
 62

19 CHORD PROGRESSIONS in the KEY of C

Following are the various common chord progressions uscd in Chapter JÚ, transposed int,
the key of C for easier comparison.

Exercise Four - Bar Progression

G7
C

Am G7
2

F#m7b5 B7 Em Eb7 Dm 11 G7
3 C

|Am Dm7 G7
4 (and 13) C

D7 G7 A7 D7 G7 C
5 A7

Bb |AS G7
6 C

F Dm7 G7
7

Em G7
8
F
C+ G7
9 C Cbass

C D F G7
10

F Bb Eb / D7 G7
11

C |Eb Ab G7
12

14 C G7 C

C Fm D F G7
15 Bb bass A Ab G F#
16, 17, 18, 21|| Cm Bb Ab G7

19 C Dm7 G7 C Dm7 G7

19(a) C Dm7 G7 C

19(b) Dm7 Dm7 C

sys)B7 (Sys)
20 C / B7 Bb /A7 A7 Dm (G7)
 63

Transpose the 19 Chord Progressions listed on the previous page into every key. Practise
improvising bass lines on them in various styles, tempos and time
signatures.
The bassist should feel comfortable playing in any key --- not just the easy ones. By prac-
tising chord sequences in all keys, he will be prepared for any playing situation that might

arise.

Suggestions For Study

To be a good versatile player, capable of doing sessions (records, jingles, T. V., films),
accompany club acts, etc. --- the bassist needs to be more than just a
play shows, "natural"
(intuitive) musician with a good ear and good time. He (or she) must also be able to
play
all styles music --- Pop, Rock, Soul, Latin, Jazz, Classical, Old-time, etc. He should
not onlybe able to read written bass parts (some are very difficult) at sight, but also be able
nate a bass line in any style with only a chord symbol guide; play in
any key, any time
ah1re, and any tempo; and be able to improvise a bass line by ear if a vocalist sings an
nernected tune without telling the band the name of it or what key it is in. (It helps to know
the chord changes of every popular song that was ever written 1).
The bassist can develop his musicianship by:
a) Having ear-training: which involves developing the sense of pitch; recognition of intervals,
chords and chord progressions; sight-singing; "hearing" modulations (key changes); tran
scribing bass lines off records.
b) Acquiring a knowledge of chord construction and chord scales.
c) Learning the common chord progressions in every key.
d) Getting to know the entire bass fingerboard.
e) Developing the technique sufficiently to be able to play just about anything, in any key, in
any time-signature (within reason !), in all tempos, anywhere on the fingerboard. Very
Slow and very fast tempos are the most difficult to handle. Slow tempos can be very shaky
T the bassist doesn't have good time, control, and most important of all --CONFIDENCE,
wiCn playing slow. Fast tempos can slow down if the bassist, or drummer, has insuffic
ient "chops".
1) Learning the chord changes of as many popular songs as possible.
These Suggestions will give the student an idea of what kind of things he should study in
order to
become
Of the instrument good player.
a The greater the player's musical knowledge, and knowledge
the greater his contribution to the rhythm section and the group.
Subsequent volumes in this series will deal with various other aspects
technique and their practical application.
of Electric Bass

Any correspondence conce rning this book should be addressed to:

Valda Hammick
P.O. Box 559,
North Hollywood, Califo rnia 91603
64

MORE ABOUT THE AUTHOR

Valda Hammíck is the best new bass player we have heard in four decades. Other ba es
personal o
players, present and future, should be grateful Val has decided to share her
andobservations with them.
Our first encounter with this major new creative force was on the occasion of Lovelace
Watkins' main show room debut at the Las Vegas Flamingo Hilon Hotel, August 1974. She
was so quiet, so unobtrusive; we hadn't even noticed there was a lady bass player. Four bars
in, we knew she was there, still not obtrusive, just a solid rock musical foundation; ever
present, in immaculate taste.
We edged over to the side of the show room where we spotted pianist Mike Montana, con -
ductor for the excellent Joe Guercio Flamingo orchestra.
"Who is that bass player?"
"That's what the guys were asking this afternoon at rehearsal. The chick just walked in,
announced herself, sat down; I gave the downbeat and less than a chorus later she had taken
our collective male chauvinism and shoved it right up our noses !"
The life blood of any creative art is the newcomer with talent and courage. Writing this
book so early in her career took courage; her talents are obvious and many.
Perhaps the highest compliment in Las Vegas was that all the bandleaders and almost all
of the players wanted her to put her card in. So did we.
It is a prívilege to be part of this first landmark effort.

Joe Delaney
Las Vegas SUN
KLAV radio
KSHO - TV

Whatever I could say about Val Hammick from the first moment I heard
her play woula be
inadequate and impossible to put into words. Aside from her god-given talent, this is ue
most dedicated being I have ever known. Iam not only
proud to have her as a part of my ue
work, but even moreso because she chooses to write
these things down, 8o that those wno a
pire to play he bass will not orly touch her genius with their
hands, but share it with ue
hearts,

Lovelace Watkins
 GWYN PUBLISHING CO.
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