MARK KING THE CHINESE WAY Paes DUNE TUNE PAGED THE SUN GOES DOWN LIVING IT UP RGETD ae samt STANLEY CLARKE HOT FUN PAGETE SILLY PUTTY TAGE SONG TO JOHN PARTII PAGED THE DANCER TAGEDE MARCUS MILLER RIO FUNK TAGEZE RAG BAG RUNFOR COVER PAGERS COULD IT BEYOU re JACO PASTORIUS COME ON,COME OVER TAGE AD TEEN TOWN PAGER RIVER PEOPLE Pace CHROMATIC FANTASY PAGERSINTRODUCTION ‘To understand the musicin this book and how to use it, Iwill give youa general idea of why I wrote it. Inthe seven years I have been playing, have noticed the lack of good books about the bass guitar on the market. Mostly itis flooded with elementary method books with ‘poor explanations of what they are trying to teach. Apart from one ook entitled'Slap It [have not seen any covering. the slap style, which is becoming the most prominent style in music today. So instead of writing yet another method book on this style, thought it would be more beneficial to write a book transcribing and analysing bass parts from some of the best bass players in the world. HERE’S SOME ADVICE 1.Read through these lines very slowly, the mind will take in the music correctly this way. Trying to play things too fast at first will lad to mistakes and later mustbe re-learned. 2. f you don't have the recordings on which these pieces have been played, please get them so you can play along with them, 3, Once you've learnt these lines, transpose them into other keys. This will enable you to use them in other situations. 4. Remember tobe patient, the players who are written about in this book didn’tlearn to play overnight. Each person grows at their own rate ~ so relax and enjoy the music. SYMBOLS SSS THE DEADEN NOTE ‘The deaden noteadds rhythmical content to the slap style but has no pitch. ‘Todo this, you play what is written and damp the note with the lefthand where the x's are written. THE VIBRATO usually done with the 3rd finger. You push the string up and pullitbackin aquick succession across the finger board. HARMONIC ‘The diamond shaped symbol means the noteis struck as.a harmonic.MARK KING Phil —from hs years onthe Ll Of Wight andin 1980 thst plus Cf Wightandhestarted playingdrums wheniewasnlne years keyboard player Mike Linda, formed Level42, All fourhad an tld twasnotuntihiservalinLondonetihe ageofl9thathe _afiniy with jaar ie Miles Davia Jobn McLaughlin Keith tookupthebass itr initalivhe workedinaCharingCross_JrretandJan Hammer Road musical instrument shop selling bass guitars evel 42s recording debut ame vate independent Et In order to obtain the postion bebad been obliged toleabout Recordslabelin May of 180. A major recording contract with hisbass playingabily-inamatterofweckshehadmasteredthe Polydor followed almost immediately andthe group havesince instramentand developedthethmbstyleforwhichhe would recorded fourfurher LPs anda dutch ofimpressivesingles incadng the tp ten it"Sun Goes Down (Living Up)" “Mark King was born on October 20,1958 at Cowes onthe Isle become widely admired King was already familiar withthe Gould brothers Boon andTHE CHINESE WAY MARK KING, PHILIP GOULD & WALIOU BADAROU Wel let's facet. Weve allbeennduenced by other players ‘This isa great example of beinginfuenced by Jaco witha very slnteenth staccato and bos nein the main verse Notcein Section theline becomes ver spars, hus creating tension ad rmakingthelinein Section Athatmore effective ‘lemenber Marks no ustjammingalong here. He'screted snactal rangement Notice every section basa tlsiechange INTRO tocomplementthe previous section, Thats the golden rle when laying oa tune) Notion Section Dthetine becomes sparse fnain sometimeslessismoe! Aga using Sthsand ths with, power chordefect Practise thisone very stowlyand gradually ‘build up speedo get articulation peter. This one splayed with fingerspace?acesRepeat to fade = ooDUNE TUNE MARK KING.fr TEND E BEND = = creer: ere —— = = seat goa 3 All~ i: : et at — tO P oi UIs IUEI | eee fe wm Fade out PAGETHESUN GOES DOWN LIVING IT UP MARKING, MICHAEL LINDUP, PHILIP GOULD & WALIOU BADAROU lite bit sir adn back nto the eo. Aga this one played withTo Coda® (D1 ass : = = SSS iat ‘DS. al Coda cova Repeat to fadeHEATHROW, ‘WALIOU BADAROU ‘Thisgrooveisa funk shuffle fel Thesghtbaotesaresortof—_turearound, payed asing its. "ope a was 7 ae 7 WI. d) (OQ, “The baseline intheinr and section sane patternto The entre tneislapped.and remember the deadened notes seinuthertuncesniar this Avamatertiackfmsure, areveryimpotnt The givethepereussveess which plays Mark gotthisieafromaStarey Chae ncenttled-LopsyLa*— Mgraein Marks plying ‘off Stanley's second soo album. fs exactly the same except (27 222) punt stutneDS, at 2nd ending os osPAGE TGSTANLEY CLARKE Stanley Clarke was born on June 90,185, andsteepedin music rom aneary age. His firstnsirarmeats were the volinand ‘loan at he tookup the dasscal double bass. He studied classical music atthe Padelphia Musi Academy andit was here that wa also introduced rock jazz and sou n1970 Clarke abandoned hisstudes andjoined Horace Silver group. Onleaving iver he teamed up with Joe Henderson's Band where he met keyboards player Chick ore Soon Clarke and Crea combined ther talensintheinfuential fusion group Reta To Forever which als included Lenny White ondrumsandamnumberoffist-rate guitarists, among ther AIDI Meola, Return To Forever made seven albums whilethey remained together and Clare alo appeared either ive or on record) with Pharaoh Saunders, Stan Get Carlos Santana, Dexter Gordon Art Blakey, Aretha Fraakli and The Barbarians «Relig Stones spin-on eturingRon Wood and Keith chard ‘Clarke alsorecordeda nuber ofsolo albums usinghis Return To Forever colleagues, Theseinchde is 974 debut Stanley Clarke! Journey To Loe” (1975) and" Wanna Pay For You" (1979) More recently Clarke has performed with George Dikeand Lenny White paceHOT FUN ‘STANLEY CLARKE “Thissongis very fastand funky and displaysthechopsthat_eectatsuch speed This tine recurs in several spotsandis Stanleyhas,Theline-on Section A, thesymbols over the tuted the tame every tne. The second partofSecton Ais Geadened nates FO1OTO) mean in Out which mearsheputshis_ yetanoher ine example ofusing double stops tocreat ler thumb nthrough thestringand pllsitbackout.thusgetingthat__ and bigger sound This tunes lapped time fi23. 4 fae 1x Tororo125. PAGE?SILLY PUTTY ‘STANLEY CLARKE Herecomesadffcutone!Startingwiththeintrousinga kind percussiveand melodicattack almost ihe’ saccopppanyinghis ‘fchordmelody ste pling the melody partwithhis fingers, ownsolo.Noticein the oth bar where ve writen iting the low notes wit thumb, And inthe St br athe intro. the bends done playngthe open Gstringand withthe eft > handindexfinget depressing the stringabovethe nt. making thenotebendinG. "Thelinest Section Ai slapped and remembertoarticulate 3 the deadened notes proper: Section Bisslapped, much more Sparsethan Section A'Thebendinthe Sthburisdoneinthesame This means he'splaying 6 42nd notsin the place of. Also ‘raya before Strike theD harmonic onthe 7th ret on the notice the last barn Section Stanley's base goes upan octave Gotringand, withthe kfthandindexfingerdepresstheGtving above the Gonthe 2th et ofthe Gating Most conventional abovethenutInSecton Ewhichisthesola hestrsoffusing _ bassesdontgothat high. Take your ime and od ik! INTRO aaGe2ttte Geettet a SeHy 0 eS ee Ee a ; S- PAGe22‘2 SS at = =—=— = = = = 2= SS eS SS ul PAGEDSONG IOJOHN PARIII ‘STANLEY CLARKE “This songisa god exampleot where the bas playsthe ‘que high in spots The felis jazz samba Practise lowly and relay Ontherecrdshepaysitontheaconsticbass otis one remember be patient Yourassgmmenton this istrecordthe ‘wouldbe nice done onyour fretless (Voudsithaveone? Well get chord changes on Section Band practise improvising solo over ‘one) Thereare some ieintervaljumpsonthisoneanditges_andoverandoverand, (Play samba groove over changes and improvise over changes) [8] cmajo Abmai7 majoTHE DANCER [chose this one because yournelyhear slappingona tery effective ry and investigate other Latin syesand Brazlan of Lain type groove Well here fots,Verysimple_ulzeslappingin them. INTRO 16. DM. al Coda Repeat to fade - # PaGe26MARCUS MILLER Marcus Miler was bornin Brooklyn, New York. in 96Land he fnheriteda family radon of musical prowess. is ather played Jaze keyboards and hs second cousin, Wyoton Kelly played piano ‘wth Miles Davis during the fits His eaiest musical memories tre picking out tunes onthe family piano and learning the clarinet attheage of. Miller was nothingifnot eclectic By the age of She had redthe plano clarinet, bas guitar and saxophone and was tsp blossoming vocals. i fie professional work at 15— tras witha New Yorn called Harlem River Drive who mixed jazandr cover andhe became known aly for iingin. Sam sessions ina parkin Jamaica Queens. To1077 Miler washired as bassist with jaz ats Bobbi Humphreys and he simultaneously contributed material to pianist Lonnie Liston Smils*Love Land” album Aftera year ‘eth Humphreyshe toured wth Lenoy Whitedhen distinguished ‘imsifon the New York session scene Among hose who used Mileriothestutio were Miles Davis Roberta Pack, Aretha Frankn Bon Joh Luther Vandross, Grover Washington Jr Tom Beene DaveGrsn and Bob James His reatonship with Miles Davis was cemented witha year and half asbassist forthe legendary trumpeter {in 1982 Miller coal be found playing with the Satay Night Livehouse band where he net saxophonist David SanboraThe pir collaborated on Sanborrs-Voyeur" album andthe sme year Miller begaa work onisown debutalbum “Sudden” Between the release ofthatalbum and Miers recently issued eponymous led follow-up, the now renowned bassist ‘worked closely with Lather Vandross. They penned material Together for Teddy Pendergrass, Dionne Warwickand Aretha Franklininching theaters 1983 it"Jump ToT. pscez7RIO FUNK LEERITENOUR, Tereason liked thisonesommichisbecauseofthevaried _the2ndbar ve writen sectional changes ad the amazing slapping solohe pays. The 5 intr starts of with very syncopated ythmicl das. Séctn Astildeiwththesacopatonbatsomewhatoce EEE simplisticin structure Section goesintoasamba fee but nticehe doesn play the ch means there are 5 1thsinthe place of 416th In Section typical oot th ype line, Good fck on Section C because this is 3 place “cts aoe a a ttnaiaty Theis bear tsietheniceembelishment inte th bar ancl brs ick bt injust might work), The wholetune slapped except forthe samba sections. INTRO (Funk) Pace28(3) (Samba feel) To Coda® ace2eacea0PAGeateeRAG BAG DAVEGRUSIN realy keto hear how thee to his songcameabout Anyway. che into starts ou very spars jst hitting the accents ‘withthe drummer The bar drum il leads nie int Section A This sectlon slapped Remember articulate those dade notes property Section Bis played with ingersaice Sfraizht groove fo complement the previous section. Notice the INTRO ‘nt barofSecton Be 6/4 ba Dont feakout just ountto sx Aetheplece carves on its prety straight ahead tothe rest ofthe tune Remember thisiva groove tane-makeitgroove A tof tnyscarft groove. They just want to beflath If ustasimpertant {oplay alld grooveforseven minutesasitistoplayafast soo! Tas. Boel Paces3PAGEDPRGESRUNFORCOVER MARCUS MILLER Thisiforallyoufinlatersoutherfinkifortheres] eters and: Issachagoaenample oft angi thine utsctostyolks tioncleceSppedoghoa, around cersiapatam-sndsornaal Nhe Sthand ear inchdngtneisturscoatSectiaD.Thehingtotkeitow ofc the armoire paged ih gee So practi Tretecveytkesihedecttcinvoandenbelshsta”— hsbectseyouiberwiching on gers osp ae reo Pee PAGER6DS al Coda cova Repeat to fadeCOULD IT BEYOU homework sto transcrbethat solo and edit Alo ry making upsourown soloas wel Tiss another ne exampleo the bass paying themed Yesthatsright-getyour fretless ot agua (Comeon man told sou to gt one) pretty maichremsinsin the high ester throughout Watch for dhe2/4 arin teatro and Sctions Band INTRO sts aoe te be : a EF be 5;JACO PASTORIUS _JacoPastoris was bor ia Philadelphia on December 1.1951, bute grew upin Florida where he began aneariyearer rare Iwas football injry tat ede hie taking up the nd eintally moulded his style onthe soul musi of ames Brown and the Staxrecord abel Itwasnotlongbeforehe advanced to jz, akingin Charlie Parker Jobs Coane Miles Darisand Wes Montgomery alo with leading performersin (Cuban calypso music T1071 Pastors joined his first band, Wayne Cochran and the CC Riders who concetratedon r&b, Shortly afterwards he ‘layed with thera Sullivan Quartet, Pat Metheny and Bob Moses, tnd Paul Bley Atthe same ime ie performed ina Fort Lauderdale ‘called Bachelors I, backing up touringartsts ike Nancy ‘ison, TheFour Seasons, The Temptations, The Supremes and Della Reese twas Bobby Colombythedrumamer with Blood, Sweat and Tears, wo brought Pastorius to EpicRecrds in 1975 to record hisfist solo LP Atthe same time e collaborated with In Hunter ‘nthe latersAll American Alen Boy” album n1976Pastrivs replaced Alphonzo Johnson in Weather Report and quickly assumed pre-eminent positon inthe group beside keyboards player Joe Zawinl and reds player Wayne Shorter His workon the groups"Heary Weather” LP was widely ‘claimed and his name can aow be found on the ceils for ‘Seven Weather Report L's, ‘More recent Pastorias has released second solo Pied ‘Word Of Mouth and toured with hisown sextet Fora period he continued asa casual member of Weather Report bathe now |g hs creative endeavours between his own solo projets Aun session work for agalaxy of talented performers pacea9COME ON,COME OVER JACO PASTORIUS &B. HERZOG This ones fom Jo's first album entitled “Jaco Pastorius” ‘onpieRecords. remember when this album fistcameoutin 1076.No-one had heard anythiagkeit rmosttalked about bass player arn. fortwo Grammy Awards and shordy after he was asked toin the famous Weather Repor. He waste fs person tay fretless bass inthe way thathedocs, Asa mate offact shan (Funky) a INTRO 3 foreandhebecamethe album was nominated otto sound ikem when you pick pa fetes. “Anyway ths tune displays Jes ghtnng fash tle of stars of witha nice bles ik leading into Section A which he eaves quite sparse sting up the second part tf Secton when heel takes ofL Notice how he uses teadened notes wih the finger tle of playing Make sure you transpose these icks motherkeys They're great funk ks! 3S —— e's BI be 3, ESS‘Repeat [B] and fadeTEEN TOWN JACO PASTORIS “Thistuncisastadyinitslfforany bassplyerHeplaysthe _theaccentsandarticulatons ve writen in. Also,thekey change melody andifsone ofthe most musical plecesforbassIveever_ at Section which remains frtherest ofthe tne Good ck with thea Jacoalso pays reat drumsanthistune Watchout forall thisone Youlbe proud of yourself when you gett down, INTRO tal Z 4 7 maces?(Fl Fine PsGEaaRIVER PEOPLE JACO PASTORIUS This very ethni sounding tne. OF ohaling changing thenotesaroun here and th wa th ing, back D heli play Pace at8 a (D] Repeat to fade rae8 PAGEASCHROMATIC FANTASY |.S. BACH. ARRANGED BY JACO PASTORIUS Thisisforthose chosen fewwhomanaged togettotheendof _rendton ofthis famous lassi AIT can says “Good Luckand thebook Ithought leave you wih somehingyowdremember practise aed Watch forthe parts played upthe octave and hey, fora wile andbeleve mt iyou get this together you heyhey ets carful ot there rememberifI'sby Johann Sebastian Bach anda good pinto sPtEL St aos, PAGE 46Paces?‘Was born in the United States on June 16,1957. He studied 3 years at Berklee College of Musicin Boston. Has played and recorded with such artists as Gary Numan, Petula Clark, Mose Allison, Morrisey and Mullen, Bill Sharp,along with various sessions ranging from jingles to film soundtracks. Formerly the resident bassist with the “Morrisey Mullen Band’ Also leader of jazz funk band “Hubbard's Cubbard" with one album to date. BIBLIOGRAPHY Tve provided a list of books here that have helped me develop my musica ‘Some of these books may help you understand more about my book and help your ‘musical development grow to the fullest. Atl Arpaion ach Celt (04 Time Resting Text yn ty) ach by Lousterson Licks Marmonisfor Electric Bass (Chard Staion ForTombone by Dando oy ham Novice yea 2014 Contry InervaleDesins Jazz improvisation Shp Tyoebore byDard a Fasion Develo Siht Reading Charke byloeDoro TpsCosn ene ‘yen Contemporary Ets for Beet ‘Thesaurus ofScaer an Mela Patterns Advance Jae Rock Ryths ‘David Chesky Madeen Reading Tetin 4/4 Time ii ate Die “tinea terest ace se