Preface he purpose of this book is to provide the aspiring bass player with a wide variety of finger exercises in- dispensable to anyone wanting to develop the technique necessary to succeed in today’s music scene. It can also play a very important role in a bass player's daily prac- ticing program This book is dedicated to the memory of my father. Francois Turenne des Pres (May 4, 1907 / November 29, 1990) for his lifelong support and indinite inspiration. and David Paul Schuchman, (November 2, 1960 / September 1, 1989) His encouragement and help gave me the initial force in writing it Josquin des PresIntroduction Approach to Practice SECTION ONE SECTION TWO SECTION THREE, SECTION FOUR SECTION FIVE SECTION SIX SECTION SEVEN SECTION EIGHT SECTION NINE SECTION TEN moving across the fingerboard variations on exercises from Section One alternating direction variations on exercises from Section Three skipping frets skipping frets, alternating direction moving between strings moving back and forth between strings finger independence (centered around finger #1) finger independence (centered around finger #4) 5 18 21 28 28 32 36 40 44 56 ContentsIntroduction hese exercises are designed to help increase your speed, improve your dexterity, develop accuracy and promote finger independence. il ven though all the tablature and finger combinations apply to the left hand, they will also work your right hand as some of them require swift and precise right hand moves. he numbers on the tablatures indicate both frets and fingers: Number 1 indicates the index finger as well as fret 1 Number 2 indicates the middle finger as well as fret 2 Number 3 indicates the ring finger as well as fret 3. Number 4 indicates the little finger as well as fret 4.i ractice daily. playing each exercise for at least 15 minutes before moving on to the next one. il lay each exercise up and down, then move up chromatically in half steps (a half step equals one fret). Starting at fret 1 up to the 12th fret and back down. 1 use a metronome, playing 8th notes (2 notes per metronome Click). Start at the slowest indicated speed, concentrate on your sound, then gradually speed up. hen crossing over strings be as precise as possible by watching alternatively your left and right hand. Approach to PracticePartA Exercises with all 4 fingers moving across the fingerboard 2 o g wo J =60/180 FE Fpoceonee rire Sy up 98 Gee Hee e a‘ atheiel * (94 popes Hep ES ee eoseel fa eRJ =60/180 Staaten oe or ce es = EYE pee eaten pat [ties Sal E ee ===== Ge 4Part B Buorcises with J finger remaining in the same position and 3 moving across the fingerboard DOWN 15 betebstebe 5-5 EF ett ey itttes SS rr 2 ee eeeJ= 60/180 ue DOWN ~—_—o . te n, wpe pee Sa Pteey roeg tetera —t . ea | ove E Sy SSE pacha tet ity pages ert ni bt 8 EE aeeaee ye CT) nae eee etree teas a! — +4 * poet ioe —fI E me et ore UP 19 Fe ——— UP DOWN : hate jog Hebel ey fot * PoE amet EA pe COPE ir ee ++ ms a ee aeJ = 60/180 uP SS eee ne ae = ie “ee a a SE UP DOWN, beets cya - fy potters tse oh ro ier ay erp oa Saeco ME Type Pee poe CON Tear a ns + 4 / tt } HhPart C Exercises with 2 fingers remaining in the same position and 2 moving across the fingerboard += 60/180 up Down uP Down pele be k “Spee pecDOWN DownJ = 60/180 up 33 " eae F aaa w og Te el 3 ue EE =art D with 3 fingers remaining in the same position and J moving across the fingerboard = a je beef i HE bodeJ = 60/180 aT ee prem Cea ft Sie le mat pearceceier ty es ae ste =e "ae reaper teeth SSeS] BSE Se ESS ESup DOWN 4 é ami — of of a Sa a ieee 2 ne [ = nt ie A 4 iPart A 3 Variations of the exercises contained in Section 1 § & oO J = 60/180 “Sine! PeMtatrnreys a =o oe CE eee teeta eee EE = et UP. *° DET SS hee {| —_ peeetece Hy Seed Ses up oF = = ie the pe tel ° ae ea SEES ——- 4 pesepes) # 4o8 4 Sa See ur pow °? (OCF eBlcne . ‘ eee ee ey SS Saal EE SsJ = 60/180 ue DownJ=60/180 ve bow === Tp etna pe theca fake tp fy ~poeacpaEaettn entered — es +t oot f aS al i a py f= rm oe a 20art A 6 ses alternating direction. with alt 4 fingers a 8 Dg he phe + EE tt == vow 4 — ea pbehel — - Pa SER EES poy tetris ae EY Qe = = rt at =Part B Exercises alternating direction, with 1 finger remaining in the same position and 3 moving across the fingerboard J 60/180 oo “Ee oe pram gh | [E= ae ae 6 ona Ey aes ir + a 2 «eae? fp EBS. + 2272 Part C Exercises alternating direction. with 2 fingers remaining in the same position and 2 moving across the fingerboard J= 60/180 ¥ 4Part D Exercises alternating direction, with 3 fingers remaining in the same position and I moving across the fingerboard 73 = 60/180 vp FEE beter betee— Teepe et ef = a SteeVariations of the exercises contained in Section 3 SECTION J= 60/180 w sae GF 7 Oras rae 25DOWN 4 PPA ve tele sb,J = 60/180 27PartA Exercises for skipping frets, with al 4 fingers moving across the fingerboard 4 SECTION J+ 60/180 jG — TT. i eg bemphele, os 0° (SE Sapien eRe COEy poy either _ + 2 + + i" Pa —— Sead 28Part B Exercises for skipping frets, with 1 finger remaining in the same position and 3 moving across the fingerboard /= 60/180 uP DOWN 93)Part C Exercises for skipping frets. with 2 fingers remaining in the same position and 2 moving across the fingerboard J = 60/180 up 97 30Part D Exercises for skipping frets, with 3 fingers remaining in the same position and 1 moving across the fingerboard J+ 60/180 DOWN 31PartA Exercises for skipping frets. allernating direction. with all 4 fingers moving across the fingerboard J= 60/180 uP i SECTION 106-5): Scie 32PartB Exercises for skipping frets, alternating direction, with 1 finger remaining in the same position and 3. moving across the fingerboard J= 60/180 uP bown 33Part C Exercises for skipping frets. alternating direction. with 2 fingers remaining in the same position and 2 moving across the fingerboard J = 60/180 up ua ER et DOWN pager Efe! Ele +e up jy} CLL e+ + ul 115 Ea el 4 = 34Part D Exercises for skipping frels. alternating direction, with 3 fingers remaining in the same position and 1 moving across he fingerboard pown ~ eee HE = HE =e Ce + a + + 35Part A Exercises for moving between strings SECTION 1 = 60/180 "gael eprcees) erty “ - Pe Be BS 1 Hi « & — 12ae 36r . ss He — oe ett EA See 37Part B Exercises for skipping strings = 60/180 coe a = EE = 3 pA = BS sft z se ete el Baebes tet Bey di es ee mun pe TRetiz i aS Ss Sa -Down 1 pes OO HEPartA Exercises for moving back and forth between strings z g & 9 a a J = 60/180 opettttetee uP bown 40Part B Exercises for moving back and forth between strings. alternating direction 4Part C Exercises for skipping back and forth between strings J = 60/180 Sy FS 42Part D Bxercises for skipping back and forth between strings alternating direction J= 60/180 _ - — Tt 4 * ASPartA Finger independence exercises centered around finger #} (upward motion) SECTION J = 60/180 ae = 1 ct a 3 Down [apeg-be-te-be-be—ete be be a bate et sete ae _— Sa coor) MEG oe igor ee 442 = 60/180 ue 45J = 60/180 46a7161 48 2 = 60/180 a= = fa eae samrn +24 + ———49Part B Finger independence exercises centered around finger #1 (downward motion) 302 = 60/180 up T +4 ao 4 = ————sDown coe bites oer nis - cs 52= 60/180 53"Leia a, SSS = : SSE = = 54175 DOWN TS. “e [y. 176 55PartA Finger independence exercises centered around Singer #4 (upward motion) SECTION 4+ 60/180 SS ee DOWN pospreeiceties eae fartp eee poe o eset — up id bea See ey besisinle reefs PRES Se ie a patote - Ppt tat tae 58J =60/180 57+= 60/180 | eee te tet 4 eee ce + ra up ee 7 a tabel Se aoe ee PO ie atop * FS ea — - ee ee Saad 59+= 60/180 up 185 22 eer = oe = : tit [sassonsepaorn Se aa up aa 7 Beat + Down pete is tit + == = ae 607 See Sere ere 61Part B Finger independence exercises centered around finger #4 (downward motion) J = 60/180 eee ee they ership op Pees tire ee 7 a oe + ae peep tees $48 a 2a et 4H 622 = 60/180 uP L = aa bow peeceesrs fewer Spree ey uP 192 A= = So er PE, opeageatd pape | gercgepe _ ~ ; 444 — 4 At ee Se Down org th ies b liebe yp et 63— - "00 Tags dad badd aeeton | 194 HE - 7 fede pep tintin threes Tee REL Toe eed 44 + — fe eee sea = +e 644 = 60/180 we 8 Loeb oo r = 1+ 65J = 60/180 = === + Down ye at pop teeticste rte pte DOWN 4 4 +2 Sere tet eee + * x as ce - 66+= 60/180 up 199 ate = —AS ecorded Versions for Buss Guitar are straight eff-the-record transcrip- Hons done expressly for bass guitar. Each book contains notes and tab. This series features the classics to contempora: superstars. Also avall- are Recorded Versions for Guitar and Easy Recorded Versions for Guitar. AEROSMITH_PUMP 1 ‘he maiching lalio fo this super groups lots! smash album, Indes: Love in An Elevator © Jane's Gat A'Gun * The Ger Side » more! 060135, 314.95 ‘THE BEATLES BASS BOOK 19 boss iranscriplions os recorded by the "Fol Four” Includes: Bock ln The USS. * Come Together * Day Tripper * Lady Medanno * Ticket To Ride 00660103... $1495 BLACK SABBATH WE SOLD OUR SOUL FoR ROCK /N’ ROLL Naiching folio othe double ve from hie legendary heavy metal group. 16 songs, indiding:Poronoid ron Mon» the Wizard § NIB, Sabbath, Bloody Sabbah * Snowblind 00860116. $1495 BONHAM— THE DISREGARD OF TIMEKEEPING Molching folio to tht debut clbum. 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Includes: Blue Suede Shoes * Summertime Blues * Highway 40 Blues + Mystery Train © Stray Cot Strut * Tho l Be The Day. 00860085. $1495 HEP st iconara rising crpr ration TPT Wt nin ed PB 289 Mahe WISINich Appleman (Berklee college of music. bass department chairman. Bass Player Magazine couumtst) “A very concise and comprehensive approach to the art of the finger exercise. A welcomed addition for the sertous player's practice routine, We need more matertal ike this for the electric bass.” 200 chromatic Dale Titus (17 instructor session player) “This hook Is tong overdie! If « bassist works through this book cover to cover he should eliminate any weaknesses in either of his hands. A ‘must for the senous player” designed to: increase speed, Rudy Serxo Whiwsnake, solo artist “Josquin’s finger exercises are the perfect warnvips for the studto and Stage performance.” prove dexterity, develop accuracy ny Brunel erbie Hancock. Chick Corea. sole artist) “200 ways fo.@ greater technique. These are definitely some very good seas lo practice on your bass.” and promote Jimmy Brown {Guitar World, Guitar Sehool Magazine, music editor) Newer have | seen such a well organized comprehensive technique primer for the bass player. These exercises cover a wide range of {echnical requirements and difficulty levels that will benef even the most advanced pro, Yet. they are presented tn a simple, uniform format that even the greenest beginner cil feet comfortable with.” finger independence Carmine Rojas (Roe Stewart. Michael Bolton. session player) “One of the best hooks ue seen yet for developing technique for a wide variegy of music. Excellent for beginners and norvbegbiners,~ Mark Egan (Sting, Clements, Pat Metheny. Gl Evans. Slo Artist) Hass Piiess will deftly et you tn shope for any rusia! situation. 1's along ated thesaurus for ger exercises.” Barry Rudolph Imusic Connection, “nevw toy” column) “Au aerobic workout for your fingers thaw wil fore: you to ultimately ecome a beter player: Ron Garant (Basics Magazine} ‘Whether you nse these exercises 10 improve your finger dexterity or as ‘warm ups. you wil jul them very heipfl” Karl Coryat (Bass Player Magazine) “Yf you're ooking fora catalog of fger eal Ameva Venta por catalogo para 270-0950 Ao else 657 et Fa (385942864 CARVIN $i501- & -+rovyy OUTTT" 0 HL00660177 HB: Leonard Publishing Corporation