BOOK | ‘More Notes on the G String The 1-2-4 Fingering System Opet-Svng Exercises The Raia... Moe Hotes on the E Sting . so’ Sta. The Classic Rhythm Down 12-Ba Blues Ait Heavy Bote on he D Sting Alassic Variation . Classic BluesMUSICAL SYMBOLS consists of two basic elements: rhythm and pitch. Pitch is notated using a set of lines (and spaces) called a staff. The note appears on a staff, the higher its pitch; the lower a note appears, the lower its pitch. At the beginning of the staft sign. Bass music is written in the bass clef or “F clef.” BASS 2 a = = cer = 1@ tWo dots in the clef sign surround the line on which the pitch “F" is written; hence the term “F clef.” sical alphabet uses the letters A, B, C. D, E, F, and G. After G, the sequence repeats starting with A. In bass clef, the ‘written on the lines of the staff are G-B-D-F-A. You can remember this sequence as "Good Boys Do Fine Always.” The on the spaces are A-C-E-G. “All Cows Eat Grass” may help you remember this. : © : we ———{——— SPACES 5 2 | G B D 5 A A c e. G | im, the other basic element of music, is notated using measures (also known as “bars”), which contain a set number of (the pulse of the music). Each measure is separated from the next by a bar line. A double bar line is used to show the { ‘section of music. The final bar line is used to show the end of a piece of music. [— MEASURE — -— MEASURE — i t t t i BAR LINE BAR LINE DOUBLE BAR LINE FINAL BAR LINE (end of section) (end of song) ber of beats in each measure is indicated by the time signature, which appears at the start of a piece after the clef time signature looks like a fraction. The top number tells us how many beats there are in a bar, and the ‘number tells us what type of note is to be counted. Most of the examples in this book will be in 4/4 time, TIME === + four beats per measure IGNATURE a a quarter note (4) gets one beat Part of this book, you will see three different kinds of note values. They are: VALUES 4 d ° QUARTER NOTE = 1 beat HALF NOTE = 2 beats WHOLE NOTE = 4 beatsRIGHT-HAND TECHNIQUE FINGERSTYLE The most common approach for playing electric bass is fingerstyle—i, using the index (i) and middle (m) fingers ofthe right hand to play the strings. The fingers give you a warm, full sound that can be controlled easily by developing touch sensitivity * Let your fingers hang comfortably, straight over the strings; don’t curl them. + Start by resting the tip of the thumb gently on the pickup. + Using the fleshy pad of your finger, place it on top ofthe string ESTRING Gently push down and aoross the top of the € string, letting your finger come to rest against the pad of the thumb. Alternate strokes between the index and middle fingers. Repeat this until you ‘eel comfortable, Play lightly; too much force wil give you a distorted sound. tee ae Fingers: i m i m right-hand poston A STRING Move your finger to the A string. Push down and across the string letting your finger come to rest against the E string atthe end of the stroke. Alternate fingers; repeat several times, eee Fingers: i m nd of ingerstroke O STRING Drop your thumb to the E string, Move your finger to the D string, push down and across, letting your finger come to rest against the A string. Alternate fingers and repeat. =| eet Fingers: i m G STRING muting the E string Drop your thumb onto the A string, and make it lean against the E string, This mutes both strings to prevent unwanted ringing. Put your finger on the G string. Push down and across the string, letting your finger come to rest against the D string. Alternate fingers and repeat. = oe Fingers! i m i m TIP: As you alternate fingers, place each finger down for the next stroke just slightly ahead of time, to mute the previous note. This will give you a more controled bass sound. muting the and A stringsPICK STYLE Pick style produces a clear, distinct sound, and is a very popular technique for playing rock bass. While most bassists tend to use their fingers, pick style is a good skill to have. The thickness of the pick will afect the tone: A thin pick may be too floppy to produce a strong tone; a heavy pick may not be flexible enough. See what gauge feels right to you. + Curl your index finger and place the pick on it, letting just the tip stick out. ‘+ Place your thumb over the top of the pick, holding it securely—but not too tightly. * Make sure the pick is flat against the string: don't use the edge of the pick + Rest your pinky against the face of the bass, or on the lower edge of the pickup. The pick can be used to play downstrokes (=) and upstrokes (V). The dovnstroke has a strong attack and works well for hard rock. Play the previous examples again, this time with pick, using downstrokes (n). Use a light wrist motion with a little bit of forearm movement. Downstrokes: A A n | TIP: To get a full sound from each string, make sure the pick connects fully; let the pick “travel through” and come to rest against the next string after the stroke, Be careful, however, not to play too hard (especially on strings D and G); overplaying can make the string “flap out,” producing a weak tone NOTE: While you will eventually develop a preference, it's important to play both fingerstyle and pick style to be a well- rounded bassist. Readers are encouraged to learn fingerstyle first—as it presents many unique challenges to the begin- ning player—and then, at a later time, to try pick style. Any example can be played either fingerstyle or with a pick. LEFT-HAND TECHNIQUE Now its time to start using the left hand. The fingers are numbered 1 through 4 as shown. 1-2-4 FINGERING SYSTEM ‘The 1-2-4 fingering system allows us to keep the hand relaxed and com- fortable, particularly when playing in the lower regions of the bass where the frets are farther apart. Start with the pad of your thumb in the middle of the neck; make sure it doesn't stick up over the top. The thumb is posi- tioned between the first and second fingers. * Place your first finger directly behind the ‘st fret of the E string, pressing down lightly ‘+ Place your second finger on the 2nd fret. + Place your fourth finger on the 3rd fret Notice that we have access to three frets—this is called a position. We'll study three playing positions in this book: 1st position (with the index finger at the ‘st fret), 2nd position (with the index at the 2nd fret), and 3rd position (index at the 3rd fret). TIP: Keep your left hand relaxed when you play. Never forcibiy stretch your hand or hold ‘ 2nd posit 83rd position position that feels strained possi 0%OPEN-STRING EXERCISES The tollowing exercises are played on the open strings and will help you with oasie rhythms, fingerstyle technique, and cross Ing the strings. Here are the notes for the open strings as written on the staff EAD G o—O=O=0 SS 5385S d= — Sine A D G [ The open E string is written on an added line below the staff, called a ledger fine. Each exercise below is played on a single string. Count the rhythms out joud at first, and then play them. As you play, con- centrate on alternating between index (i) and middle (m) fingers, as shown. ESTAING ey 4 - = z = 194 —— S| SI a tae = cues ee eee ee tse eee eee at A STRING cee eee SS ==] a oe ee <= eee eee eee eer renee re eee iel hi eae pi = — ——= r 1 pee eeg ge eigeeae eee eee STRING oe - —— — 4 E = = d comm -2-9-4 1-2 3 4 4 2 39 4 1 2 8-4 When playing fingerstyle, the most important thing to remember is to alternate fingers. Once you get used to it, this technique allows you to play notes quickly and easily. You may begin your alteration with ether finges—index or middle. Try playing the above exercises again, beginning with “m” instead of “i.” 2Now let's try playing on more than one string. These exercises move up the open strings, Continue to alternate fingers as you move up from one string to the next. Remember to lat your fingers “travel through” on each stroke. == SSSI count: 12 oo 4 SS aS] count 2 8 4 LU ————— aN When moving down a string, use the same finger to play both strings—this is called the rake technique vale | | om 2S | The idea is to use as litle effort as possible to get from one string to the next. The rake actually helps keep your right hand relaxed as you move down to the lower string Try these exercises moving down the open strings. (Use your left hand to mute the higher open strings.) 7s =e Al cunt -2 3 4 1-2 3-6 4 2 8-4 9 0EF = SS =e 7 1 This example mixes ascending and descending motion through the strings. It starts on “m,” but you could also switch and begin with “i” Remember: When crossing to a higher string, alternate fingers; when crossing to a lower string, use the same finger (the “rake technique”) on both strings. Se = ee com? 2 8 4 1-2 3-4 13NOTES ON THE E STRING E i G CIE rT 4 4 3rd FRET 1st FRET —— ‘These notes are in 1st position, with the first finger of the left hand on the 1st fret. Here are a few tips ‘+ Place your finger directly behind (not on top of) the fret. ‘+ Experiment with different amounts of pressure; it takes less than you think. + Keep each note ringing until you're ready to play your next note. 10 ee lSay the names of the notes out loud while you play, tke “E..F... 6 the right hand as you play. (etc,)". Remember to alternate i and m fingers in cor:t 2 3 4 1 2 8-4 1 2 3 ee te ee SS==) 2-3-4 14 FE court - 2 3 - 4 Practice keeping the count going on your own, $ - a] 15 Ff) == cou:1 - 2 3 - 4 This next example is 8 measures long. When you reach the end of the first line, continue on to the second line without a pause. ‘The count-off for the track is two measures long: “1... 2... 1, 2, 3, 4 @ LITTLE ROCK TRA? == 25 SS il @ KINDA FOL rant = SS SS Haas IMORE NOTES ON THE E STRING ‘Thase notes are shown in 2nd position, with the first finger of the left hand on the 2nd fret. F/G G#/A SS 2nd FRET SS Why does each note above have two different names? Read on. So far, the notes you have learned have all been natural notes—they have a letter name, and that's all. Notes that occur in between natural notes have names with sharps (#) or flats (>) next to them, + When you go up one fret from a natural note, its name becomes /® sharp (¢). For example: Pay 1st fret F, then move up to the 2nd fet. ‘© © That note is called F-sharp (FF). ¢ + When you move down one fret from a natural note, the name be- y ‘comes flat (b). For example: Play 3rd fret G, then slide down to the 2nd fret. That note is now called G-flat (G>). ‘You just noticed that the 2nd fret on the E string has two different names: When you move up from F, we call it F#; when you mave down from G, we call it GP, That is called an enharmonic equivalent. 16{In written music, a sharp (#) or flat (*) placed in front of a note affects every note on the same line or space in that measure. It is automatically cancelled out in the next measure. SS SSS SS a a a a Qo LOOKIN’ SHARP Anatural sign (4) cancels a previous sharp or flat In this example, the G natural is played with the second finger. Fingering: 0 20 DF o 17 4 2 4 ° = aS. ——— | @ {In the above example, the natural sign “cancels” a sharp from the previous measure, Though not strictly necessary, this helps to avoid any confusion over the intended pitch. This is known as a courtesy accidental, {mn order to play all the nates on the E string comfortably, you need to learn how to shift from 1st position to 2nd position. You can shift on any finger: Play the first note, then lighten up on the pressure and slide your hand up or down one fret. Try the following examples, each of which shifts using a different finger. Fingering: 01 A eshitte1 2 4 2 4 21 ——— = SS Fingering: 0 1 2 -shift- 2 2 FF Fingering: 0 1 3 It = "7NOTES ON THE A STRING A B C —— 7 — g @ oven 3= a Sg te A B c These notes are in 1st postion. Remember to say the note names aut loud as you play. 229 SS SS] 3S = | 69 SS SSPractice slowly, to get the notes securely under your fingers. When you feel comfortable with an example, gradually increase the speed. @ YOU GO, SLAV TRACKS 27 DS = — 7 SSS SSS ea ‘When a section of music needs to be repeated, a repeat sign (:{ ) is used. When you reach the repeat sign, go back to the beginning and play the section again, ending at the last measure. g @ ONE MORE TIME TRAX a + 23 J . z SS = = The next group of exercises will use notes on the E and A strings. Go back and review the E string notes if you need to, Use the rake technique—marked with an asterisk ()—when crossing from the A string down to the E string. 29 FE go te = 2 —=_}-— 7 = | oS @ S38 oe I This exercise adds F# in measure 6, Use the fingering shown, Take the repeat. ¢)) CATTLE CROSSING TRACK T = = = =——— == I === =eMORE NOTES ON THE A STRING Just like the E string, the A string has notes that occur in between the natural notes. AF/B c#/0! ROR 2) ceccemeece (mea) ‘Ast FRET AAa/Bb is in 1st position This example uses A¥ with the first finger. It is in 1st position. FNG: 0 1 1D This example is also 1st position; it uses B> with the first finger. FNG: 0 2 1 0 4 24 32 9 A ee This example is in 2nd position (make sure your first finger is on the 2nd fret). FNG: 0 1 al 2»Se A special technique forthe let hand is the finger rall. This helps you when playing notes on adjacent strings located at the same fret. The goal is to ‘cross smoothly from one string to the next. To do this when moving from a lower to a higher string, play the note on the lower string using the tip of | the finger (with the small knuckle slightly bent); then, flatten the knuckle and roll your finger across, playing the note on the higher string with the pad of the finger. FNG) 401 14 Be 2 2 4 4 44 This example thoroughly works the finger roll on all fingers. Observe the position shifts indicated @ ROLLIT Se ce Se = ot so é 5 4 =F = = This 2nd position exercise has several string crossings (and uses Ab on the way down from open A). In measures 3 and 4, there are finger ralls between G and C. @ ROLLY 35 4 I SES = = q aUae una Lets play a longer song form, a 12-bar blues. This is a common progression in rock, azz, blues, and many other styles cof music. The bass line corresponds directly to chords that a guitarist or pianist plays. They will be written above each measure so that your teacher or a friend can play along with you, If you examine the bass line, you will see that when the chord symbol says E7, the bass starts the measure with an E; when the chord changes to AZ, the bass plays A; etc. You are playing the root of the chord, a very important aspect of functional bass playing. This line is mostly in 2nd position, with an occasional shift down to 1st position. There are only a few fingerings and shift in- ications written in to help you. Measure 4 has a pattern called a triad—three notes that “spell out” the contents of a chord, @ 12-BAR BLUES maxi e7 : 7 : _ | ; : = 2 te oe. el 7 F = a v oe oe oe oe * 0 1 fhihwind POS) o 4amo ar e7 : — a = = = e e oe a - 2 10 koa 2 Here is another 12-bar blues. This one changes chords in the 2nd and the 12th measures, a common variation in blues form, ¢)) ALITTLE HEAVY TRAX 11 FE Fa 37NOTES ON THE D STRING 2nd FRET 3rd FRET When playing on the D string, remember to drop your right-hand thumb to the E string to keep it muted. Pull straight across with the finger and into the A string. Pick style players: concentrate on your pick accuracy and touch, Dor't play the D string too hard = =| oe — += eS = o = ——- = | B@ PRIVATE EYE TRACK 12 409 This 1st position example crosses the A and D strings. The chord names are included so others can play along. You are play ing the root when each chord changes. The symbol "Dm" is for a D minor chord. Minor chords sound dark while major chords (without the “m”) sound happy and bright. Listen for the difference, Watch out for the finger rollin the last measure. ® MINOR LEAGUE TAX Om c , : Bb : : c ae —— SS et SS] Dm ee CS The next song has a tst and 2nd ending (indicated with brackets and the numbers “1” and “2”) Play through the ‘st ending like a standard repeat sign, and go back to the beginning. The second time through, skip the entire 1st ending and go directly to the 2nd ending section / This example starts and ends on D; it outlines the sound of the key of D. D is the tonic or “home base” of the piece. Notice how the bass is not always playing the root when the chords change. You can play other notes that belong to the chord. (This, will be explained in depth in Book 2.) @ D-LITE TACK 42D dMORE NOTES ON THE D STRING D#/E> ® Py Spo wet FE/G 4® = bo ain FreT 32 ee oS S| Remember to start in 2nd position. ee — _ 44 SS | This example shifts between 1st and 2nd position. a = = : 5 Df oie fh / =e | E o —t# o Ds =f iz = |T a] Here are all the notes you have learned so far. Review each note and solidify your understanding of where it is played (on the fingerboard and how itis written on the staff of bleh —e F—- Fla Ab alee +—s—\—o + ct el_p— pate tow D STRING E STRING 3 —— = = ee + o foo o foto E This 2nd position example crosses the three strings you've learned so far. Make sure to follow the 1st and 2nd endings, a CROSSIN’ THREE TRAX 15 6 =a3 Its time to look at a musical pattern that is very common in bass playing, the “octave.” An octave is the same note up or down eight letters in the musical alphabet. For instance, the last two notes in the previous example were both E, but one was high, and one was low—that is an octave. octave ieee eee musical alphabet - E GABCDE 1 Si aio) 8 7 8 The octave follows a physical pattern on the finger- Fingering an octave (without an open string) requires board. From any note on the E (or A) string, move up you to play the tow note with the first finger, and the 2 frets, and across 2 strings. This pattern is consis- high note with the fourth finger. ‘ent throughout the fingerboard. E 1 ae I | | | 2 Tres «| 2 strings Str 2 strings For fingerstyle, use your index finger (i) for the low note of an actave and your middle finger (m) for the higher note, This example uses the octave shape. For fingerstyle, make sure to drop the right thumb onto the E string when making the jump across to play the D string. This example also shifts up with the first finger to 2nd position. Shifting around the octave shape is a very common practice in bass playing. ic: 0 2 2 ° 1 4 4 1 shin — =| i a o le | os 1 4 4 J T¥ = 0 1 0 # Zz aNOTES ON THE G STRING Sand FRET = 4th FRET These notes are in 2nd position When playing on the G string, make sure your right thumb drops to the A string (muting the bottom two open strings).This example is in 2nd position and crosses over to the D string. Fingerings are written where necessary. @ GEE WHIZ TRACK 17 @ ALL RIGHT FNG: 2 o 4 yy e—P_ # te 2 po E Now you'll play across all four strings using only the natural notes. Start in 2nd position, and watch for the shifts, FNG: O-shitt- 4 1 0G#/Ab and A¥/Bb are in 1st position. 54 DF This one begins in 2nd position, and then shifts between 1st and 2nd (shifts are indicated with a dash MORE NOTES ON THE G STRING G#/A a bo——— tat Fret Ra Az/B 3rd FRET A “, FNG: 4 me 1 2 4 1 1 40 2 2. - je te be—e : — / 4g 55 Dj ° 14 2 4 ted ° ayo 2 a 2. hee rp—pe |Time for more practice playing across all four strings. This is mostly 2nd position, with one note in tst position. @ ALL FOUR ONE G major is the tonic. Start in 1st position, but shift in the 6th measure. Use the open D string to move to 2nd position. FNG: 4 ° 1 2 3MORE OCTAVES Playing across all four strings, there are more octave shapes available. Here are the new octaves you can play between the A and G strings. Remember that A® and B> are enharmonic equivalents. 4 e- 9p ist POSITION ~ | 2nd POSITION Now let's use all the octaves you've learned so far. The shifts are indicated with a dash “—". 60 Ff a —— a Because both notes of an octave are the same letter, they can both be considered the root of a chord. On an E chord, for example, both low and high E are the root. Understanding this concept will help you to create your own bass lines. This 12-bar blues uses the octave an each chord for the bass line. The chords are “seventh chords” (E7, A7, and B7). They are a different type of chord than you've seen, but for now the important thing is to play the root (E, A, and B). Begin in 1st position; for the B7 chord, shift up to 2nd position. Remember, when playing octaves fingerstyle, the lower note of the octave can be muted with the thumb as you move up to play the higher note on the A or O string. As a general rule, use ‘your middle finger (m) when jumping to the higher note, and your index finger (i) when jumping back down to the low octave. @ OCTAVE BLUES TRAX 2 7 SS SSules A tie connects two notes of the same pitch. It is used to extend the note value across a bar line, or sometimes within ‘a measure. Play the first note, and hold it for the combined value of both notes. Se Cris Ge type ee ede Os dea or) ficient, i ees FS ‘3 BEATS 4 BEATS 5 BEATS In this example, some of the chords change on the first beat ofa ti. The key is B minor; notice the darker quality of the song. @ TAIWAN OW TRACK 22 jm E Bm 3 ES| ea 3 3/4 time has three beats per measure, and the quarter note receives §}-+ three beats per measure ‘ong ent + a quarter note (4) gets one beat A dot after a note extends the note’s duration by one-half. A dotted half note equals 3 beats. do o+ 2. 2 d two beats one beat —_—three beats 43S SSS] : a So we So SS This has a country waltz feel, and the tonic is C. @ THREE'S A CROWD aod = — = —————— : = = C oe — == eo ¢ 34This example is a gospel-flavored tune. The tonic is F. ® TALI TRA 24 66 Se =| ——— This piece changes time signatures from 3/4 to 4/4. Count your way through—it’s easier than it looks, and i's fun, (int: Keep your foot tapping on every quarter note!) @ CHANGIN" TIMESRESTS Rests are spaces, or silences, in the musio, and have specific durations just ike notes. n fact, for every note value, there is a corresponding rest of equal value. WHOLE REST HALF RESTS DOTTED HALF REST ‘QUARTER RESTS {ts important to make sure your notes are not stil ringing during a rest. Mute the string with your right or left hand, whichever is most convenient. 68 com; 1 23 4 1-234 1234 12 3-4 1 Although the count is written out only for the first line, keep counting on your own for lines 2-4. Make sure to hold the quar- ter notes for their full note value. @ ROCK 'N' RESTal FIN The marking D.C. al Fine is short for “Da Capo al Fine,” an Italian phrase meaning, “From the beginning until the end.” When you see this marking in a piece of music, go back to the beginning (or “head'") of the piece and resume playing Until you reach the Fine marking (the “end”), and then stop. This piece has a jazz-waltz feel. Count through the rests and ties. Note that the root is not always played on each chord. @ THREE PLAY G E> F G cm F 0 pe : ——— Bb Am D 6 | | 3 == e | a — =p Bb F pm D —— — ze ° + 2 3 1 2 3 G c _ cr D = IF 7 —-- — ‘This time, take the D.C. and play the 1st ending back to the beginning; the Fine is the 2nd ending 71 a = - SS SSS Coun 2ieetae 4) 1 4 a | = f SES 37‘When you divide a quarter note in half, you get two eighth notes. Eighth notes are d d Jd o Aj o a) written separately with flags, or in groups of two or more with beams. EIGHTH NOTES {In 4/4 and 3/4 time, there are two eighth notes per beat. To count eighth notes, we use the word “and,” like this: “1 & 2 & 3 & 4 &.” The numbers are called downbeats, and the “ands” are called upbeats cou: 1 4 2 4 3 + 4 + and) For fingerstyle playing, continue alternating index and middle fingers when playing eighth notes. For pick style playing, alter- nate downstrokes with upstrokes. Use downstrokes (m) on the downbeats and upstrokes (V) on the upbeats. Play the following exercise slowly at first. Count aloud, tapping your foot on the downbeats. Keep the count going for yourself on the 2nd and rd lines. Then try it again, reversing the fingerings (start with “m’), pee vn vnvomvevan For additional practice, try playing each measure individually ina repetitive loop (you'l need to adjust the right-hand finger- ings if playing fingerstyle). Add one measure at a time, and eventually play through the entire exercise. 8This tune combines eighth notes with moving lines. Practice keeping the eye moving ahead fast enough to follow the notes. Make sure to count through the rests. @ MOVIN’ 8's man — : fF pt —_ 13 I ee x aad 3 3 2S | This is in 1st position. Fis the tonic or key. Watch for the finger roll with the fourth finger in the last measure. 74 Df | epee ei SS Dae Notice the use of a consistent idea here; it contributes to a solid bass line, Repetition in the bass part gives a song a feeling of stability and a sense of character, @ EIGHT BAI TRACK 29 73 2 cou: 1 + 24 3-4 D.C. al Fine (take repeat) SS] 39SLE ‘An eighth rest takes up the same amount of space as an eighth note. Eighth rests can occur on a downbeat or an upbeat. EIGHTH RESTS EIGHTH NOTES AND RESTS = SSS | ——— 7 h- E f 1 a+ tees 84 a Play this example slowly. Tap your foot on the downbeats, and keep counting out loud through the second line. Practice each measure of this exercise separately until you get comfortable with the feel of it, then string them ali together. Fingerstyle, con- tinue to alternate index and middle fingers. Pickstyle, keep downstrokes on downbeats and upstrokes on upbeats. ep epee ress les cout: 1+ 2 + SS This example uses a two-measure rhythmic pattern to create a consistent feel. There is a slight variation in measure 7. od ROK GRUV Taos 7 ff co; 1 + 24+ 3 4 = E SS! Here is a cool feel. The “and” of beat 2 gets emphasized ® BOP BOP cen wa E 73 =e ea # oe . aa SSS PE SS