(continued) A fast paced rock tune requiring a simple yet solid bass line.

P01 Midnite Heat

This dark-sounding rock tune has a bass line that uses a repeating rhythmic pattern over different chords as it moves through each section.
F# minor Key medium Difficulty
Technique Tips: Open strings can be tempting, so try learning this one in different keys to eliminate the option of playing any open strings. Work on your left-hand muting technique. Notice how cutting off the notes at the end of each phrase changes the feel of the bass line. Theory Thoughts: Notice how the bass starts the riff in F# minor by first picking an E, then goes up to the F#. This same pattern is repeated in the second section as the bass starts the riff in B minor by first picking an A, then going up to the B minor. This approach on bass creates a sense of motion. Main Objectives: Finding the pocket of this tune is the most important element. Try not to play it lazy or hurried, but right in the middle. The tempo may be quick, but the bass is playing in the middle of the beat. Learning where to place each note relative to the beat, regardless of the tempo, is important for developing your internal clock.

P02 Disco Octave

disco/funk Style 4/4 Meter
This fun, upbeat tune has a bass line playing octaves while walking over two chords.
E major Key medium Difficulty
Technique Tips: The bass pattern starts on the root of the chord being played, jumps down 4 frets then walks chromatically (1 fret at a time) back up to the root. Try playing this with either the finger-style approach or using the slap-and-pop technique. Keep your focus on emphasizing the downbeat. Theory Thoughts: This tune uses dominant seven chords. This means the 7th scale degree is flat (lowered a half-step). So, the E7 (meaning dominant seven) has a D natural as the seventh scale degree (instead of D#). This causes the distance or interval of a tri-tone between the 3rd and 7th scale degrees (in E, these scale degrees would be G# and D) which adds musical tension to the sound of the chords. Main Objectives: Creating a solid in the pocket feel, locked in with the drummer, is most important. Developing a left hand technique that becomes second nature is necessary to play this for an extended period of time. Notice how you can cut each note off early (also called staccato) to create more of a punchy feeling.

P03 Rusty Gate

jazz/blues Style 4/4 Meter
A traditional blues pattern becomes jazz with a few additional chords and a walking bass line.

G major Key hard Difficulty
Technique Tips: Right-hand attack needs to be consistent and delivered with a sense of purpose. Left-hand positioning will need to be flexible as you venture into your own walking patterns. Theory Thoughts: Walking a bass line over chords like these can be done in an infinite number of ways. You can play chord tones (1st, 3rd, 5th and 7th scale degrees of each chord) to emphasize the chord being played. You can also use passing tones (notes that arent part of the chord) to create tension, and then cause release by playing a chord tone. Main Objectives: To deliver a consistent rhythm the band can feed off of while supporting the chords with good note choices. Maintaining the swing feel of the walking bass line is the main role of the bass in this musical environment.

P04 Synth Time

pop/funk Style 4/4 Meter
A pop progression that relies on the bass to define the chords.
E minor Key easy Difficulty
Technique Tips: Make sure the single hits on each downbeat of the second section are played exactly on the downbeat. Long rests in between notes can challenge your internal clock. Theory Thoughts: The first half of this song has chords that are only defined when the bass is playing. This is a great example of the power of bass. Main Objectives: This song is an open framework that allows you to try playing different notes in the open spaces. Change up the bass line and try some different note choices. Make sure you emphasize the downbeat to maintain intensity.

P05 Soulful Sky

pop Style 4/4 Meter
This pop song changes from major to minor from one section to the next.
G major Key medium Difficulty
Technique Tips: The bass sometimes plays (with the chord) on the anticipation of the downbeat. Try and feel when this happens by listening to the rhythm of the chords. Notice in the second section that there is a space left each time by the bass on beat 3. This technique leaves a nice hole and increases the bouncy feel. Theory Thoughts: In the first section, the bass is playing G while the chords start on C. Because the bass stays on G, the chord sounds like a variation of a G chord rather than a C chord (in this case the result is called a Gsus4). The bass has the power to define a chord just by the choice of notes played over it. Main Objectives: Use your ear to hear the sound of the band change based on your note choices. Focus on when not to play to create a certain feeling of space.

P06 Jamboree

country Style 4/4 Meter
A country song where playing a simple and traditional bass line is the key to making the song work.
G major Key easy Difficulty
Technique Tips: Sometimes the hardest thing to do is to not overplay. Maintain an even attack with your fingers and let the notes ring out (also called legato). Avoid slapping the strings on beats 2 and 4 (a common mistake when trying to focus on beats 1 and 3). Theory Thoughts: This song structure is focused on being sparse. There are a few walking bass fills placed to specifically set up the changing of a chord (also called leading tones). Main Objectives: Executing the simple bass part properly so that it sounds natural and authentic. It may seem easy, but it takes time to learn to play it correctly and consistently.

P07 Big Rocks On

rock Rock Style 4/4 4/4 Meter
This straight-ahead rock tune requires solid playing but also has room for some tasty fills.
E Major E minor Easy Key easy Difficulty
Technique Tips: Listen to the kick drum and decide when it is best to play the same rhythmic pattern with your right hand. If you vary your approach by section, you can create a stronger feeling of change. Theory Thoughts: When you decide to play a bass fill, good note choices and solid rhythm make all the difference. Notice how many of these bass fills set up the next downbeat. Remember that regardless of what you choose to play, being in sync with the drummer on the next downbeat is your fundamental job. Main Objectives: To learn and understand how to play both with and between the rhythm of the kick drum. Knowing how to play bass fills that include chord tones and set up the next downbeat.

P08 Classy Pop

sophisticated pop Style 4/4 Meter
This pop tune uses some extended chord voicings and interesting rhythm hits.
Technique Tips: The key to making this sound effective is to play fewer notes, but to put them in the right place at the right time. By making use of the space, the bass can push or pull the feeling of the pulse. Theory Thoughts: Notice the bass fills in measures 2 and 6. Each fill uses the same notes but with different rhythmic placement. Remember, there are only 12 notes; its where you place with them that makes all the difference! Main Objectives: Placement of notes in a song that lacks an obvious steady pulse. Placing fills without disturbing the unique feel of the pulse.

P09 SKA 8Board

ska Style 4/4 Meter
A fast-paced, bouncy tune with emphasis on the upbeats that requires quick hands.
E major Key hard Difficulty
Technique Tips: The rhythmic placement of notes is the key. Being able to hear the downbeat and keep time while playing on the upbeat takes practice. Slow this one down at first. The pattern of notes comes right out of the chord (1st, 3rd and 5th scale degrees). Understanding the note pattern will make playing the rhythm pattern easier. A good left-hand alternative is to avoid open strings, playing the riff in A on the 5th fret and the riff in B on the 7th fret (of the E string). Theory Thoughts: This song does not have an equal amount of measures. Although the A section is a familiar 8 bars, the B section is only 6 bars. Hearing the upward movement of the chords to cue the change might take some practice. Main Objectives: To learn a unique rhythmic feel played at faster tempos, and to anticipate the changes during uncommon section lengths.

P10 Funk 5 Fever

pop/funk Style 5/4 Meter
From sparse to busy, this pop tune in 5/4 presents a rhythmic challenge.
G minor Key hard Difficulty
Technique Tips: The most important element to playing this properly is to internalize what 5/4 feels like. Try counting it different ways to see what feels more natural. Instead of counting to 5 over the pulse of quarter notes, try counting 1 and 2 over two half notes followed by and on the last (5th) quarter note. This will help emphasize and single out the fifth quarter note from the other beats. Theory Thoughts: Notice how the note played on the downbeat is the most important one. The notes in between are being played to help set up each downbeat. Try playing only the downbeat note to really help solidify your feeling of playing in 5/4. Main Objectives: To master the art of counting and feeling an odd meter. Beyond the counting, knowing how to set up the downbeat with the bass line is also very important.

P11 Pick Rocker

A floating bass line keeps this rock tune moving forward and feeling good.
Technique Tips: Even right-hand technique and proper note placement is what makes this feel song feel bouncy. The bass is playing inside all of the time (meaning there arent really any fills, just a focus on conveying the groove). Theory Thoughts: Notice how the bass goes through a rhythmic pattern every 2 bars. The first bar has emphasis on the downbeat. The second bar has a rest on the downbeat. This creates a push/pull feeling and illustrates the point of playing the same notes in a different manner to make the bass line more effective. Main Objectives: To understand and execute subtle rhythmic changes designed to create an interesting feel.

POn The Flo

pop/rock Style 4/4 Meter
A straight ahead pop tune including a simple bass line you can have fun with.
A minor Key easy Difficulty
Technique Tips: Try to play this one without using any open strings (as written). Even though it may seem easy to play with open strings, you should learn it without using them. Transpose this to different keys for the mental exercise of re-positioning your hands. Also, try playing it by ear in a different key. Theory Thoughts: The key to this tune is the contrast between the two sections. Playing simple whole notes over the first section leaves a lot of space. Notice how the B section moves the tonal center from A minor up to B minor. This creates a tonal change. It is at this point that the bass takes on a more rhythmic approach. This is important for creating a sense of movement and change. Main Objectives: To exercise restraint, by playing only what is written (even when it is very simple). To be aware of musical changes and how simply altering the rhythm can enhance those changes.

P22 Groove Juice

A rock tune using octaves and walking bass lines to create emphasis.
E major Easy Key medium Difficulty
Technique Tips: During the B section there is a chromatic walking pattern (1/2-step increments). It is easy to play if you remember to keep your left hand in position. Play the root of the G7 chord (G) with your second finger. This frees up your first finger to grab the B and begin the walk up. If you keep your left hand in position over the whole chord, you will be able to play these kinds of lines with ease. Theory Thoughts: Since the keyboard is playing a rather involved melody in the A section, the bass uses octaves to create motion without muddying up the sound with too many notes. The walking bass in the B section adds chromatic notes, which create tension and release along with the motion of the chords. This approach contrasts the first section and creates movement and change between the sections. Main Objectives: To shift back and forth between two different concepts on bass (octaves and walking) without losing the momentum of the song.

P23 Looking Away

A ballad with the bass focused on supporting the emotion of the chords.
Technique Tips: Sometimes playing slow or sad pieces of music causes the player to come in early. There is nothing overly challenging about the technique of this tune aside from making sure you are playing in time. Theory Thoughts: This tune moves in a downward direction from A minor down to E minor in the A section and back and forth between D minor and C Major in the B section. Notice how the bass uses the A note during the D minor chord (A is the fifth scale degree of a D minor chord). In most musical cases, you can bounce back and forth between the root and the fifth as a way to create motion. Main Objectives: To play a slow tempo in time and to exercise restraint, by playing only what is written (even when it is very simple). To also be aware of the musical changes and how altering the rhythm of your part can enhance that musical change.

D minor Key medium Difficulty
Technique Tips: The idea with this tune is to get big, warm notes out of the bass and use the movement of the rhythm to propel the chords forward. To get a warmer tone, try moving your right hand closer to the neck so you are striking closer to the middle of the string. Theory Thoughts: Notice the bass plays a D over the G chord in measure 10. In a G Major chord, the notes are G (root), B (third) and D (fifth). By playing the D (fifth of the chord) you create an interesting sound without upsetting the tonality of the chord. Try this in different musical applications to add flavor! Main Objectives: To support the chords and move them forward with a soft, warm tone. Also, understand the idea of playing the fifth of the chord instead of the root.

P27 Puzzle Piece

prog Rock rock Style 4/4 4/4 Meter
Very complicated rhythms that call for the bass to play something solid and simple.
Technique Tips: If you listen only to the bass line, this tune is relatively simple to play. The tough part is keeping your bass line together while all of the chords start playing seemingly random rhythmic hits. Try using your foot to tap quarter notes (1, 2, 3, 4) to further develop your internal clock. Theory Thoughts: Listen to the B section for a rhythmic phrasing called 3 against 4. This is a way of describing the sound of triplets against quarter notes. Use your left hand to tap out the quarter notes and your right hand to tap the triplets. You should be able to see and hear one hand tapping 3 (right) while the other is tapping 4 (left). Main Objectives: To perform a straight bass line against difficult rhythms and to understand the sound and feel of 3 against 4.

P28 Steel Drum

This upbeat tune has an island vibe provided by steel drums and a bouncy bass line.
C major Key medium Difficulty
Technique Tips: The challenge with this bass line is to internalize the upbeat hits that provide the bouncy feeling. Try counting out the measures you find difficult to hear the upbeats being emphasized. Internalizing unfamiliar rhythmic patterns takes time and practice, but it will eventually become natural for you. Theory Thoughts: Notice that the B section of this tune has the bass simply outlining the notes of the chords being played. In the case of measure 9, the bass is playing F, A, C, F. This selection of notes outlines the F Major chord (1, 3, 5, octave). This pattern repeats throughout the remaining measures. Try to see this pattern and remember it, because knowing the 1st, 3rd and 5th degrees of any given chord allows you to make good note choices and create better bass lines. Main Objectives: To feel and internalize this unique rhythm pattern and to understand the power of knowing and playing arpeggios over any given chord.

P29 Punch Thru

pop Rockrock Style 4/4 4/4 Meter
A pop tune that gets its drive from the bass being locked into the bass drum.
Technique Tips: Remember that music is not just about playing the notes. In the A section of this tune the downbeats give the attitude while the upbeats provide the flavor and motion. Try to distinguish between them and play each with the proper technique. The downbeats should feel heavy and deliberate while the upbeats should allow you to create a lighter sense of motion. Theory Thoughts: The chord progression is fairly simple, as it is derived from the blues progression. Notice how it uses the same three chords as the blues (I, IV and V), but is a 16-bar progression with a different feeling than the blues. It is very common that the chord you will use to get back to the beginning is the V chord (in the key of E, that chord is B, or B7 in this case). Main Objectives: Combine the unique rhythmic approach of upbeats and downbeats to create a solid bass line. Understand the familiarity of the blues in other styles of music and learn to hear more common chord progressions like I, IV, V without seeing written music as a guide.

P30 Spacey Kaos

prog rock Style 4/4 Meter
An extreme study of going between complete simplicity and total rhythmic complexity.
Technique Tips: Mental alertness when transitioning between these sections is the key to playing this tune. Counting using eighth notes is recommended. Play this one at a tempo comfortable to your right hand during the B section. The quick string jumps in the B section should be worked up slowly. Theory Thoughts: Going from playing hardly anything in the A section to the full-on rhythmic assault of the B section takes some getting used to. Notice that the B section is outlining the notes of the E7 chord. When the bass is playing the D on the open D string, you are playing the flatted 7th of an E7 (E= root, G#=3rd, B=5th, D=b7 th). Main Objectives: To transition between simple and complex rhythms and to understand how the bass can help outline the notes of a dominant 7th chord (commonly written as E7).
(continued) An extreme study of going between complete simplicity and total rhythmic complexity.

P34 Feeling Sad

A steady bass part plays off of the drums and creates a nice background for this popular chord progression.
Technique Tips: Notice how the bass is not playing the same rhythm accents as the kick drum. This is an example of how drums and bass can work off of each other instead of playing the same rhythm. Focus your ears on the kick drum and the bass guitar to hear this clearly. When done properly, this approach can create a wider-sounding rhythm section and a more interesting groove. Theory Thoughts: The A section has a chord progression of I, iii, IV, V, in which the bass is playing the root of each chord. This progression has a feeling of climbing upward. The B section uses almost the same chord progression, substituting ii for I (ii, iii, IV, V). Notice how starting on the ii chord (which is minor) drastically alters the sound of the progression. Main Objectives: To focus on the relationship between the kick drum and the bass guitar and to see how they can play against each other to achieve a more complex sound.

P35 Root Peddler

This pop tune shows how the choice of bass notes changes the overall feel of the song.
Technique Tips: Keep your focus on playing in sync with the drums during the A section. The downbeat is mostly left open (nothing played). The chords moving over the top are anchored by the anticipation of the C, which is played on the last eighth note of each preceding measure (see the last note played in measures 1, 2 and 3). Theory Thoughts: In the A section, the bass continues to play C (pedals) while the chords move through C, F and G. This is an example of how the bass creates the feeling of an anchor around the note C, which makes the chords all sound like variations of C. Once the B section begins, the bass moves away from C, down the scale, which creates momentum and opens up the song; a nice contrast to the A section. Main Objectives: To understand how keeping the bass rooted on the same note (pedaling) has an interesting effect on the chords moving around it. To be able to stay with the drums and play anticipated upbeat notes.

P36 Pop Synth 7

A tricky odd meter combined with a happy chord progression makes for an interesting exercise.
Technique Tips: Counting to seven over and over is not the best solution to truly feeling 7/8. Using quarter notes helps create a count that is easy to remember and lets you concentrate more on playing. In the case of 7/8, you have (7) eighth notes. If you treat 6 of them like quarter notes, then add the word and for the remaining (7th) eighth note, you get a count that is 1, 2, 3, and, 1, 2, 3, and Theory Thoughts: The bass uses notes on the weaker beats to help set up the downbeat more easily while playing in 7/8. Notice how the B section has the bass playing along with the snare drum instead of the bass drum. This is done to create motion and change to the feeling while the drummer is playing on the ride cymbal. Main Objectives: To focus on being musical while playing in 7/8 as this song goes through many chords. Understanding alternate relationships between bass and drums and help create different rhythm patterns and feels.

P40 Teach Warm 3

A multi-position exercise on 1 string moving down the neck, designed to increase strength and dexterity in both hands.

P41 Major Scale1

A 1-octave Major scale in the key of G.
scales Rock Style 4/4 Meter 4/4 E Major G major Easy Key easy Difficulty
Technique Tips: The root note of the scale (in this case G) should be played with the middle finger of your left hand. Assigning one finger per fret, you should be able to play this scale without shifting your left-hand position. Think of your left hand fingers as being numbered: 1(pointer) 2 (middle) 3 (ring) and 4 (pinky). Based on those numbers, the scale would be fingered: 2, 4, (shift string) 1, 2, 4, (shift string) 1, 3, 4. Because the bass neck is a grid, simply shifting your left-hand position allows you to play any major scale. An alternate pattern for playing this same scale can also be used. Place your first finger on the root note G and play G, A and B all on the E string (3rd, 5th and 7th frets). Repeat this spacing on the A string to play C, D and E (where C is being played with your first finger). The final two notes (F# and G) would be played on the D string (frets 4 and 5) with your first and second fingers. The fingerings would be 1, 3, 5 (string shift) 1, 3, 5 (string shift) 1, 2. This approach has a wider left-hand stretch, but it allows for a different jumping-off point beyond the first octave. Theory Thoughts: Music notes have a whole step between them with two exceptions which occur from B to C and again from E to F. The notes in ascending order would be: C, C#, D, D#, E, F, F#, G, G#, A, A#, B, C. The notes in descending order would be: C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db, C. As you can see in both cases, there is no sharp or flat from B to C or from E to F. The notes C# and Db are the same pitch but have different names dependant on how they are being used. Main Objectives: To become comfortable playing and hearing the sound of a major scale.

P42 Major Scale2

scales Style 4/4 Meter
A 1-octave major scale playing the root and octave of each note in the key of G Major.
Technique Tips: This major scale makes use of octaves (the same note at a higher pitch). This example shows the string skipping from E to A in measure 2 and staying there all the way to the top of the scale. When you play this scale in different keys, you will have to decide the best time to switch from the E string to the A string. This exercise should help you visualize more of the fretboard. Remember, an octave is always two frets up the neck and two strings higher in pitch (a visual shape resembling the number 7). Try this one using the 1st and 3rd fingers of your left hand, then switch it up and use the 2nd and 4th fingers. This will increase your finger strength evenly. Theory Thoughts: The formula to create a major scale starts from the root note (in this case G) and is measured in terms of whole steps and half-steps. The formula is: W, W, H, W, W, W, H (W=whole and H=half). A whole step = two half-steps. From G to G# = half-step. From G to A = whole step. You can select any note as the root and follow this pattern of whole and half-steps to arrive at the notes of that major scale. Main Objectives: To become comfortable playing and hearing the sound of a major scale and be able to find the octave for each note within that scale.

Technique Tips: This exercise uses a G Major scale to help you hear and recognize the intervals between the root note and each scale degree. By placing a root note G in between each scale step, you will begin to recognize the intervals that are being played. The better you get at recognizing these intervals, the easier it will be for you to learn musical passages by ear. Playing eighth notes creates an additional challenge. Theory Thoughts: The intervals in this ascending G Major scale are as follows: G to A (Major 2nd), G to B (Major 3rd), G to C (Perfect 4th), G to D (Perfect 5th), G to E (Major 6th), G to F# (Major 7th). Main Objectives: To become comfortable playing and hearing the sound of all the different intervals in a major scale in relation to the root or key of the scale.

P49 Major Pedal4

A descending major scale (similar to Major_Pedal2) using eight notes pedaling back and forth between the root and the scale tones to help demonstrate different interval (distance) relationships within the Major scale.
Technique Tips: This exercise uses a G Major scale to help you hear and recognize the intervals between the root note and each scale degree. By placing a root note G in between each scale step, you will begin to recognize the intervals that are being played. The better you get at recognizing these intervals, the easier it will be for you to learn musical passages by ear. Playing eighth notes creates an additional challenge. Theory Thoughts: The intervals in this descending G Major scale are as follows: G to F# (minor 2nd), G to E (minor 3rd), G to D (Perfect 4th), G to C (Perfect 5th), G to B (minor 6th), G to A (minor 7th). Main Objectives: To become comfortable playing and hearing the sound of all the different intervals in a major scale in relation to the root or key of the scale.

P50 Major Add3rd

An exercise using a G Major scale and adding a 3rd (1 octave above).
Technique Tips: The notes on the bass are too low in pitch to allow for a chord to be created only on the low strings (without sounding muddy). To create a more pleasing sounding chord, add a 3rd scale degree up one octave (also called the 10th). This creates more distance between the notes, resulting in a more pleasing sounding chord. In the same way that the 1st and 8th scale degrees are the same notes (1 octave apart); the 3rd and 10th scale degrees are also the same. Theory Thoughts: Chords on bass are not as common as playing single notes, but, done properly, they can be very effective. In this example, you are playing the root note on the E string and the 3rd of the chord on the G string. Some chords are major and some are minor. Since you are only playing the root and the 3rd, the only note that will change is the 3rd. To make a G Major chord into a G minor chord, simply lower the 3rd a half-step (in this case from B to Bb). If you study this example, you will realize which chords are major and which ones are minor in the key of G Major. Note: the minor chord based on F# (7th scale degree in the key of G) is actually a diminished chord (because it also has a flatted 5th). Since this example does not play the 5th scale degree, it appears to be minor. Main Objectives: To become comfortable playing and hearing the sound of each scale degree with the 3rd added which create the major and minor chords that naturally come out of a major scale.

P66 Teach Octave

intervals Style 4/4 Meter
An exercise playing 16th notes through the cycle of fourths.
none Key medium Difficulty
Technique Tips: From a technical standpoint, this exercise is great for working on string skipping. When playing bass finger-style, moving quickly up the strings (from lower- to higher-pitched strings) is one of the toughest things to do. This example alternates strings every quarter-note beat to cover both the starting note and the octave. In addition, playing on different strings throughout the exercise is great practice for improving your right-hand technique. The way to get the most from this exercise is to start slow and develop the technique. Theory Thoughts: This exercise is designed to take you through the cycle of fourths while playing octaves. Playing through the cycle of fourths is an important musical exercise because it helps you understand how chords resolve. In this example, we begin with the open E string followed by its octave (2nd fret of the D string). By continually moving up a fourth, you eventually play every note and resolve back to E. The cycle goes like this: E, A, D, G, C, F, Bb, Eb, Ab, Db, (Gb/F#), B, E. Notice the Gb/F#. The term cycle of fourths implies each letter name will go up 4 steps. Although Gb and F# are the same note (also called enharmonic equivalents) Db must go 4 letter names up (to Gb). Since Gb to B is only 3 letter names apart, it is more appropriate for Gb to be called F#. Think of each note in this cycle of fourths naturally resolving to the next one. Main Objectives: To become comfortable playing and hearing the cycle of fourths and understanding how using this cycle helps chord progressions resolve or take you to a new key within the same piece of music.

P67 Teach Rhy1

rhythm Rock Style 4/4 4/4 Meter
A sixteenth-note rhythmic study systematically removing notes to increase rhythmic awareness.
Technique Tips: This exercise begins with a basic pattern of playing straight sixteenth notes. Since 4 sixteenth notes = 1 quarter note, you will notice 4 groups of sixteenth notes per measure (equaling 16 notes). The first eight measures focus on removing 1 note at a time from the end of each 4-note grouping. The second eight measures focus on removing 1 note at a time from the beginning of each 4-note grouping. The idea here is to force you to think and feel each group of notes as a 4-note group, with rests placed in interesting places. Theory Thoughts: Although we are playing only a single note for the point of this exercise, the lesson to be learned is about when instead of what. Knowing the notes you can play over any given chord is part of the learning process, but remember: People do not dance to notes, they dance to rhythms. Having total rhythmic control is essential to being a great bass player. Once you understand the concept of breaking rhythms down, you will naturally begin applying them to all of the notes you play. Main Objectives: To become comfortable playing and hearing different patterns of sixteenth notes and be able to play them with confidence in any musical situation. Understanding the importance of rhythm in music is one of the most important elements of being a great bass player.

P74 Teach Slap 5

A more intense slap and pop exercise which incorporates left and right hand movement back and forth between the E and A strings. The intense rhythm for the right hand now must allow for string changing while playing octaves up and down the neck of the bass.
E Major none Key Easy hard Difficulty
Technique Tips: The ability to take this pattern back and forth between strings presents a challenge. Managing your hands from string to string without missing notes is important. The popping of strings is much easier to do on the G string than on the D string because there is wide-open space underneath the G string (whereas the D string pop has to navigate between the D and G strings to be played). Focus on the quality of the notes and achieving very tight muting (no sloppiness; tight note length). Theory Thoughts: A good slap-and-pop technique comes from effective muting. Moving back and forth between different strings, you will notice that things get sloppy sounding. Slow things down if needed. Playing this exercise evenly up and down the neck may take some time, as your hands get used to the different string tension from one position to the next. Main Objectives: To introduce your hands to a more advanced slap-and-pop technique using simple octaves up and down the neck, and to add the pattern of this exercise into your bag of tricks so that playing a riff based on this rhythm is second nature.

P75 Teach Slap 6

An exercise focused on applying the slap-and-pop technique to a minor scale with the placement of the root note (G) in between each scale tone to emphasize the intervals of the minor scale.
Technique Tips: In this exercise, we are playing an eighth-note octave pattern while also placing the root note in between each scale degree. The idea here is to combine your slap-and-pop technique with your ears memory of the different degrees of a minor scale. The end result should help you play slap-and-pop riffs beyond simply climbing up and down a scale. You should be able to hear an interval (distance between two notes) that you want to play and your hands should automatically shift to the correct note you want to play. Theory Thoughts: Great players can hear something they want to express inside their head before they ever play a note. Establishing a connection between your technique and your ear is important. This exercise throws you back and forth between G and the different notes in a G minor scale. Being able to hear the distance between G and Bb (an interval of a minor 3rd) is the first goal. Being able to play a Bb (using your slap-and-pop technique) is the second goal. Main Objectives: To connect your ears and your technique so you can hear the intervals found within the G minor scale and to be able to play those intervals using the slap-and-pop technique.

Pop Song

pop Style
A complete pop song utilizing different rhythmic and musical approaches on bass designed to support the song.
4/4 Meter G major Key medium Difficulty
Technique Tips: Listening along to this song, some things will jump out as familiar to you while other parts may seem very unfamiliar. Try putting the bass down and following along with the written music using a pencil to mark the measures that interest you. Then go back and study those specific measures with your bass and add something new to your playing. Theory Thoughts: How does the bass move the song forward? When the bass plays notes outside of the normal pattern, which scale degrees (of the chord) are being played and what is the result of those note choices? Discovering the tonality of the notes in the context of the chord being played will give you the knowledge to create powerful and effective bass lines. Main Objectives: To hear a complete piece of music and pull out the specific parts you enjoy for the purpose of analyzing and emulating them. To learn how to play the written bass part, then create your own bass line for this song.
(continued) A complete pop song utilizing different rhythmic and musical approaches on bass designed to support the song.

Rock Song

rock Rock Style
A complete rock song utilizing different rhythmic and musical approaches on bass designed to support the song.
4/4 Meter E minor Easy Key medium Difficulty
(continued) A complete rock song utilizing different rhythmic and musical approaches on bass designed to support the song.