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English Pages [75] Year 1978
TABLE OF CONTENTS CHAPTER
PagP I.
CHAPTER
II.
CHAPTER
III.
CHORDS
4
OUIZ...
CHABT READING: ASTABTING GUTDE STYLES ENCOUNTERED
.......... t0 .. ........ tl ........ 14
.
swtNc.
Leamingto Play ín theSwingstyle..
Blues...
... THEJAZZWALTZ..... ROCK .. LATIN.. Bocsa Nova Samba . Beggre.. SOLOS . BASS LTNES GETTINGA"NATURAL''SOUND. MORE ON CHORDS 9ü, llth and t3th Chords . TheTuo Beat
CHAPTER IV. CHAPTER V. CHAPTER VI.
Divising Formulas for Determining Chord
Non€hordal
Tones
CHAPTER VIII.
CHAPTEB IX. CHAPTER X.
..
. Diminished Scales MTSCELLANEOUS ..... SamplingoÍa chan... CleÍs. '. Give the Chart a Chance A Word on Major/Minor ln Addition DTSCoGRAPHY RAY BRoWN REFERENCE Scales and Chords
CHAPTER VII.
'
BASS CHARTS
.... ...
....
14
....... t6 ..,... 1l ....... 21 .....24 .......... 25 ...........27 .,.. 2t ....... 29 ...... 29 ...... 3() ....... 32 ........33 ..... u ........... 34
Memberc..........
3g
...... . 39 ..........,10 .
........... 42 ......... 43 ...'...43 ........... 44 ...... 45 ...... .[6 ........46 ........ 48 '.. '.. 5í ...,., , ,, , 52 (From the album "Hate To See You Go") ........ 53
ABOUT THE AUTHOR.
..
.
JOHN CLAYTON, born August 20,1952, has made great musical strides in the past years.
A list of the professionals with whom He has studied
he has worked would be too extensive to list here.
with Ray Siegel, Ray Brown, Carol Kaye, Abe Luboff, Murray Grodner
and Eugene Levinson. ln 1975, he received his Bachelorof Music in Double Bass from
lndiana University. At age 19, he was the bassist for Henry Mancini on the television series,
"The Mancini Generation." He worked for two years with the Monty Alexander Trio. John has played in many professional big bands and now tours with the Count Basie Orchestra.
3
PROSPECTUS The things that one learns and retains come, mainly, from experience. The purpose of
this book is to present some of the more common situations with which a bassist will -have to cope when reading Big Band music (of course, much
will apply to other musical
styles and situations encountered). The purpose is to also persuade the bassist to do his
own research, especially in regards to stylistic influences and aural development (too many bassists know only how to read and have underdeveloped ears). t wllt talk about certain approaches to solving problems most often
of the solutions at your disposal. as are available to
I
encounterd.
These
will be SOME
strongly advise you to learn from as many souroes
you.
DEDICATION This book is dedicated, first and foremost, to my firct musical inspiration. This person was feeding music into my soul while
I
was nestling in the womb.
.
Thanks, Mom. secondly, this book is dedicated to those who have given me inspiration in my post-womb days. To name a few: Jeffery, Janine, Joseph, Jerome, Jennifer, Joy,
John Sr., Ray & cil and
rineke. And to
those not mentioned (you know who you
are).
Many thanks to all of those who contributed the bits and pieces that make up thas
book. Your aid was immeasurable.
pnvrisht @.ts78 by STUDlo 224,- clo CPP/BELWlN, tNC., Miamí, Florida 33014 lnternational Copyright Secured ú.a!-r" Ü.c.Á. All Rights Rererved
4
CHAPTER
I
CHORDS This is probably the most important section of the book. Many (and I mean MANY) bassists don't have the understanding of the basic chords that they must know.
Learn this section. Listen to what each chord sounds like while playing
it. The
purpose of learning this is to condition your Íef|exes to play the notes of a chord when
you see and/or hear the chord. For the sake oÍ creativity in bass Iine construction, later you won't need to play ONLY the notes (chordal tones) of a given chord. However, by that time, when you see a QJ, you'll "hear" what it should sound like.
l have vertically categorized the chord types' Please make special notice of the diÍferent ways that these chords will appear (example:
Q
is also written as
left it up to you to complete the section on diminished chords.
us hear the chordal tones
$!gf
). Also,
I have
(, (
Me,Í^R
&009
c-
cp
(r,,nt
7b
eb
, __ ebnwoe
eb
Ub-
ítbb
ebb
rrteíoR ol*fl
neful áaE^ffi
MNú. réií,NG
fuaj1
ruN2R
bbn^tb
6tífl
,í\]€^)fl c+il?O
Atlarat"al(o 6et€^)il
?mtilÉlIé?
fik6)
úr^nl
óv'rha
?*afi
Qarpe
as ut)
Eb1 eoe,
éo1 (ane e9 ctl (01
Qana Aq oo1)
rh
Qarae aq oIü+ co1)
Cb1
dq
Parl
01
Ag e,hl+ r.1)
ílbPl kene Po
?01 +
?1)
eÜEs
+6
í1hJ0R rnAfuR 06]uJ41
Cn,tMefl
*mra/or(
oélail\| fuArGo ltftA
ffiL-
gbr,1tnaí1)
Obr,r11na,1)
?br,16
rk-ot
8bM,N1?5)
ے1u1)
(,-1óá
G mw(m1)
*
A|JDN; C"tÉl-Kó rnAYífuk(, ft c'?u uru*tl"+lYt(, o ( uxít l^k A1 l, No( Íní;AN( l#t(.
*
eL?p RéíaReé?ft A6 |4Alt
üatÚp,lao
-
í0
CHORDS
outz 1. Fill in
the notes belonging to each chord. The root should always be on the down beat.
flt+á 2. Construct
a bass line using only chordal
bbPl
bb
tones. Use roots on the down beat only when it
helps in constructinq smooth bass lines.
e*,Artpí-(,
c
bbol
(ol
fuű
20
MEMOBIZE THE BLUES PROGRESSION. IT IS A MUST FOR THE BASSIST. Using the knowledge that we now have about blues progressions, we are able to put together
the pieces of our puzzle.
1. our key signature is 1 flat. We are in the key oÍ F majqr.(if of D minoi, "D minor" would be written above the staff).
2.
We were in the key
Our time signature indicates that the piece is tn 414.
3. "Walk"
tells us that the style is Swing.
4. "Blues"
tells us what the chord changes will be Íor 1 chorus.
5. "2 choruses" indicates that
we should play the blues progrcssion twice
(i.e., there are24 measures between Letter
A and Letter B).
í9
yl
wb1)
Í.1!b1)
Many, many variations exist. These, in Íact, are variations on earlier blues progressions. There may be times when the blues progressions you play may be extended (16 measures instead of
l2
measures, for example); or, it may contain only 3 chords----the 17, lV7 and
V7, as illustrated in the following example. 1 chorus
of 12 bar blues in the k34j.1p..1pgig
t8
Perhaps illustrating the above this way helps you in memorizing it:
T1
tr7
T,I
E1
You may also be required to play 1
a
M!g!
blues:
chq!'$ of 12 bar blues in the key of C minor:
oln
T1
17
BLUES There will be occasions when you get a chart that reads something like:
E
hlÍrlwau