Poge CDTrock

Acknowledgments 4
MusicolCredits 4
AbouttheAuthors 5
Introdudion 6 1
Tuning 2
HowToUseThisBook 7
HowToUsetheCD 7
KeyToSymbols 7
Sedionl: TheFunkArsenol 9
Chopterl: TheThump 10 3-5
Chopter2:ThePluek 14 6.8
Chopter3:Thumb/Pluek Combinotions 18 9-11
Chopter4:TheHommer-Ghost.Note
Style 21 12.14
Chopter5:TheHommer.Reol.Note
Style 25 15-17
Chopter6:Thumb/Pluek/HommerCombinotions 29 18-20
Chopter7:ThePull 32 21-23
Chopter8:Thumb/Pluek/Hommer/Puli
Combinotions 36 24-26
Chopter9:Triplets ..39 27-29
Chopter10:Putting
ItAliTogether 43
Sedion2: Hip-Hop 51
Chopter11:Hip-Hop
Teehniques 52 30-32
Chopter12:TheConeept 56
Sedion3:TheBuddho
Rope 55
Chopter
13:TheExercises 56
Chopter
14:Proetiee
Routines 57
Sedion4: Advonced
Solo& GrooveRiffs 61
Chopter
15:MySignoture
Rolling
Teehnique 62 33-34
Chopter
16:Burning
WithArpeggios 64 35-36
Chopter
17:Advoneed
LeftHondStudies 66 37-38
Sedion5: Ploy-AlongChorts 71
Chortl: RedFox 72 39/45
Chort2:TwoDoys Off 74 40/46
Chort3:NoHoNights 76 41/47
Chort4:Lineoln
Street 78 42/48
Chort5:Cosmotron 80 43/49
Chort6:Deep Poekets 82 44/50
Sedion6: In Closing 85
Appendix
l: Buddho's
Essentiol
FunkyListening
List 86
Appendix
2: Buddho's
Seven
StepstoMusicalEnlightenment 87
Contoet/Produet
Info ..88
R egarded by his contemporaries as one of the best bassists in the world, BillDickens
has enjoyed an extremely diverse career performing and recording with numerous
artists, including Chaka Khan, Freddie Hubbard, Janet Jackson, AI DiMeola, Dennis
Chambers, Steve Morse, Pat Metheny, Mary J.Blige,Randy Newman, George Michael,
The Hooters, Grover Washington Jr.,Ramsey Lewis,and many others. He is also an
accomplished producer and writer and has worked in that capacity with a number of
artists, including Aretha Franklin,and Shawn Christopher, for whom he co-wrote a #1
Billboard dance track.
A native of Chicago, Dickens expanded on his early funk influences to include extensive
studies with Steve Jennings and renowned jazz bassist Monk Montgomery. Through the
years, his near-fanatical diligence in the practice room has not gone unnoticed. An unpar-
alleled technician, Dickens is notorious for his fìery improvisations and blinding speed,
both of which have helped create a cult-like followingamong bassists the world over.
Buddha has amply displayed his amazing technique and deep musicality at major bass
events where he has shared the stage with the likes of VictorWooten, BillySheehan, John
Patitucci, Steve Bailey,and others. His mastery on the instrument has also been well doc-
umented on the Warner Bros.videos Funk Bassand Beyond and BassBeyond Limits,and
on the Bobby Rock and Neil Zaza CD Snap, Crackle and Pop...Live!
Additionally,the Buddha has made some innovations on bass design, incorporating them in
his own signature model, seven-string bass for Groove Tools, the GTBD-7.Buddha also has
his own line of bass cabinets designed by Accu Groove. His ever-expanding reputation as
an inspiringclinician has won him kudos on the educational front as well. He is currently
working on his solo record debut 'The Truth" to be released on Audio Arts Records, and
stili resides in the Windy City.

obby Rock has earned recognition as a premier performer and educator in the indus-
B try for more than 15 years-from the international arena circuit to his work as one of
the drumming world's rare touring solo artists.
After studying at the Berklee College of Music in Boston, Bobbywent on to a play in a
number of recording and touring projects including funk-rock pioneers Rare Earth, ex-Kiss
guitarist's Vinnie Vincent Invasion,the multi-platinum Nelson, and guitar greats Gary
Hoey, Neil Zaza, Brett Garsed, and T.J.Helmerich. He is the author of fìve books and has
released three recordings as a solo artist and two top-selling instructional videos, the
most recent his criticallyacclaimed, two-volume masterwork The Zen of Orumming.
Additionally,Bobby is one of the top educators in the industry, having won the coveted
Clinicianofthe Yearaward in Orummagazine'sAnnualReaders' Politwo times (1998
and 2001). Bobby currently resides in Los Angeles.

5
- -- --
 .

M cCraw Hall, 1969, a crisp winter night in Chicago. I was 11 years old but 1'11never
forget it. I had already been playing bass for a few years and was now attending my
first Sly and the Family Stone concerto We had ali sat through two sets from the opening
act and were waiting restlessly for a very tardy Sly and company to hit the stage.
Then, after midnight, it happened. Through the rolling haze of the strange-smelling smoke
around me, I saw and heard him for the first time. Dressed in some sort of bizarre Viking
outfit was bassist Larry Craham, and the super-funky, otherworldly-sounding groove that
emanated from his pulverizing right thumb and blinding left hand would change my life
forever. My eyes and ears stayed on him ali the way through their second encore, and Ileft
the hall that night a different person. The next day I practiced emulating what I saw the
"Viking man" do until my fingers split open and my strings turned crimson. Such was my
baptism into funk.

Funk bass-it' s one of the most distinctive bass guitar styles out there. It' s fun, it' s flashy,
and it has a very earthy, percussive kind of feel that is universal in its appeal. Funk is also
one of only a few styles of music governed at least as much by the bass as any other instru-
mento This gives us more reason to spend time with it and master ali of its intriguing ele-
ments.

But beyond funk music, never before has it been so important for the modern bassist to
diligently woodshed his or her funk bass chops. With other urban styles, like hip-hop, tak-
ing center stage in the mainstream music media and contemporary rock and jazz con-
stantly infused with flashes of popping and slapping on the bass, the well-rounded bassist
would do well to have at least a working knowledge of funk bass techniques. Funk Bass
and Beyond will provide you with that knowledge and then some.
This book presents my entire approach to funk bass as well as the many signature "chops-
heavy" tricks of the trade that l've enjoyed playing through the years. It' s also based on my
video, Funk Bassand Beyond (Warner Bros. Publications), which represents more than
thirty years of serious practicing, performing, and recording in this style. Funk bass is in
my blood and a part of my soul. Now, with this book, I respectfully pass the torch along to
you. Have a ball!
-Bill"The Buddha"Oickens
Chicago, IL

6
 designed the instructional part of FunkBassand Beyondto take youthroughthe
I process of developing your funk vocabulary, applying it to hip-hop, expanding your tech-
nique with one of my longtime trade secrets, and then getting into some advanced solo
and groove concepts. I felt it was very important to arrange everything for you in a very
sequential manner so that each new lesson builds on the one before. As a result, I advise
you to move through the book in sequence, as opposed to skipping around.
You can do this in one of two ways:
· One chapter at a time, work on ali three parts (basic, intermediate, and
advanced) of each chapter in Section One before proceeding to subsequent sec-
tions.
·Work on just the IIBasicExercises"pages of each chapter in Section One and then
progress to the IIlntermediateExercises"and IIAdvancedExercises"as you com-
piete ali of the chapters in each leve!.This willgiveyou a broad-strokes overviewof
each technique so that by the time you reach the end of the first section, you will
have a complete outline of alithe techniques you willneed for this style.
The play-along portion of the book, on the other hand, provides you with some practical
application material along the way.Youwill notice at strategic points throughout the book
a particulartrack fromthe play-alongsection inthe back (and on the enclosed CD).In
this section, we offer a brief overview of the track, transcriptions of ali key parts, and a
loose, session-style chart that will help you navigate your way through the track.

How to Use the CD

T he CD is a valuable aid that will not only accelerate your progress but it willalso bring
you closer to making music with your new skills. Youcan check out key examples
throughout the book (specified with a CD icon) and hear me play the example on the disco
In the play-along section, you can listen to me play a given track first, and then you can
jam along with the IIbassless" version that follows.This willgive you the opportunity to
experience some of your newfound techniques in a hands-on setting.

1. TH- Thump the string with the thumb

2. PKTHthrough PK4-Pluck with your right-hand thumb or indicated right-
hand fingers.
3. HM-Hammer-ghost note style with the left hand
4. F1 through F4-Finger on left hand for real-note hammer
5. PL-Pull
6. PLO-Pull with thumb over the string
7. PLU-Pull with thumb under the string
8. TP1 through TP4- Tap real notes with indicated right hand fingers.
9. X-Chost note. Played either with the left hand choking notes that have
been struck by the right hand or by the left hand hammering the notes
without pressing the string to the fret.

7
8
T he language of funk bass consists of only a
handful of musical components. Building your
funk bass arsenal is about mastering these com-
ponents and then working on a multitude of
combinations and variations that will ultimately
comprise the funky grooves and solo passages
you will be playing. These components are, in
essence, the vocabulary of funk bass playing
and their mastery will enable you to "speak"
the language convincingly. Of course, it will
be very important to practice these compo-
nents diligently, because they will provide
you with the strong foundation necessary
to progress through the book.

9
 Chapler1: TheThump
Usingyour thumb to thump the strings is a basic element of funk bass playing. Itcreates
that percussive, slapping kind of sound that is so definitive of the style.

Youwill strike the string with the side of the thumb, using a quick, rotating motion with
the wrist. Notice how the fingers remain in a tucked-in, ready-to-play position.

To ensure that your technique is correct, try the followingprerequisite exercises before
proceeding to the IIBasicExercises" page.

TheThumb:FirstExercise

-&
TH TH TH TH

10
 <t8
Jiji 0:00-0:10

TH TH TH TH TH TH TH conto throughout

..
-
~0:14-o:24

::

13

> > >

..
16
Q!]ii 0:28-0:39

11
 TheThump:IntermediateExercises
..
Q!:8iI 0:00-0:
14

>
TH TH TH TH TH TH TH TH TH TH TH TH TH TH TH TH conto throughout

> >

7
..
QtIii O:18-0:33

> >

11

15
..
~0:36-o:51

12
 ..
Q!:8i 0:00-0: 15
\ /
I--

TH TH TH TH TH TH TH TH TH TH conto throughout

4 y

8 Ut8i 0:18-0:33
I
r
I
t
Il'
..
'" 12
If
=
1\
f>\>

!!'
IO'-
,

i:
iìIi:c
.'c '-' .I. -' -'
j;,.
19?'
!!"
;;:J 0:36-o:51 \
16
:"
Iii-.

13
 Chapler2: ThePluck
The pluck involves pulling sharply on a string with your right-hand finger, creating a very
pronounced and punchy sound. This technique, along with the thump, comprises the
foundation of most funk grooves.

Curi your right-hand finger underneath the string so that the string is resting against the
fingertip. Then, while maintaining this position, snap your hand upward with a plucking
motion. The symbols PKTH, PK1, PK2, PK3, and PK4 indicate which right-hand fingers to
use for the pluck.

Here are a few prerequisite exercises to work on before moving ahead to the "Basic
Exercises" page.

ThePluck:FirstExercise

-&
PKl PKl PKl PKl

14
 ~
.!.
Q!Jiii 0:00-0: 10

'7

..
Qtìii -
f
IO
.. . O:13-0:24
.. ..
=
F-
- i.----I I
""

'"
" . . . . . .
""
. . . , . . , .

13
(open strings
" ./

only)

PKl PK2 PK3 PK4 PKl PKl PKl PKl PKl

16
..
QI:ìiI 0:27-0:37
PKl PKl PKl PKl PKl PKl PKl PKl PKl PKl PKl PKl PKl

15
 I
ThePluck:Intermediate
Exerdses

s:::
.-.....
o
PKl PKI PKl cont.
1.

throughout
~

'"
G)

..
4
CZ!:8i 0:00-0:
12 y

7
Q[ji
.. O:15-0:30
\
/,
V

IO

48 r

13 Cl!:8ii0:33-0:48

16
 ..
~0:OO-O:15
\1

~1 ~1 ~1 ~1 ~1 ~1 ~1 ~1 ~1 ~1 PKl conto throughout

r
I

..
I
k

Ci£JiII O:18-0:33 y

1 )
10

13
..
CiLìiI 0:35-0:51
....

17
 Chapter3: Thumb/Pluck
Combinations
These examples include both the thump and pluck techniques.

humb/Pluck Combinations:
BasicExercises
48
C!!:ji 0:00-0: 10

TH TH TH PKl TH PKl TM PKl TH TH TH TH TH PKl TH PKl TH PKl TH PKl

.. \,'
5 ~0:13~':25
» >

TH PKl TH PKl TH TH PKl TH TH TH TH PKl PKl TH TH PKl TH TH TH TH TH PKl PKl PKl

TH PKl PKl PKl PKl PKl TH TH PKl PKl TH TH PKl

c88
~0:27-o:40
> > >
'"
12

TH PKl TH PKl PK2 PKl TH PKl TH TH TH TH PKl PKl PKl

r
15 >

TH TH PKl TH TH TH PKl PKl TH TH PKl PK1 PK2 TH PKl TH TH PK2

18
 r}( v \ ,
J!!:8i 0:00-0: 13
>
\)
.. .. . .. ..
->
TH TH TH TH PKI TH PKI PKI PKI TH TH
c§) TH TH TH
TH TH TH PKI \

<88
4 ~0:17-o:31

TH TH TH
PKI TH T,\ PKI .\
TH PKI TH PKI PKI TH TH
CY TH TH
TH TH TH
\..
PKI) TH

~ 7
TH TH TH PKI PKI TH PKI PKI PKI TH PKI PKI
TH TH TH TH ~ mi TH TH ~~)

lO

TH TH TH PKI TH TH TH TH PKI TH PKI PKI TH TH PKI PKI TH PKI PKI TH TH PKI PKI TH

(~
13 \ ~0:34-o:48 >

>-
TH TH TH TH TH PKI PKI PKI TH TH
TH TH TH TH( PKI\ TH '\ PKI) \PK~)H TH THTHTHpid ~ PKIPKI , PKI

19
 Thumb
/Pluck: AdvancedE
L' 8t>
c: 0Eìii
.-......
o '"--- 0:00-0:
13
.
~ PKl PKl TH TH PKl PKl PKl PKl TH TH TH TH PK) PK-l) TH TH TH TH TH TH TH TH
CI)
'"

.~

TH PKl TH PKl TH PKl PKl PKl TH TH TH TH TH PKl TH PKl PKl TH PKl

PKTH

IO

TH TH PKl PKl TH TH TH PKl TH TH TH TH PKl PKl TH PKl TH PKl TH

-~
13
Cì!iJii
' >
0:34-o~8 > > > > >

TH TH TH PKl PKl PKl TH TH TH TH TH PKl PKl PKl TH TH TH PKl PKl ,,"Kì TH TH TH

20
Chapter4: TheHammer-
Ghost-NoteStyle
This ghost note-style hammer provides a muted, percussive kind of effect, as opposed to
an actual note.

The ghost hammer motion is more of a clasping, or muting, kind of thing. You will not be
pressing the strings down against the neck as if to create a note. Instead, you will simply
be muting the ringing string with any or ali available fingers.

This basic ghost-style hammer drill will better prepare you for the following pages
of exercises.

GhostNote-StyleHammer:FirstExerdse

TH HM TH HM TH HM TH HM TH HM TH HM TH HM TH HM

21
 s::
I

..
GhostNote-StyleHammer:BasicExercises

.-....
o
TH HM TH
~O:OO-O:10

TH HM TH HM TH TH HM TH TH HM TH TH TH TH HM
~

'"
G)

..
5 ~O:13-o:23

TH HM TH TH TH HM TH HM TH TH TH HM TH TH HM TH HM TH HM

TH HM TH HM TH TH HM TH HM TH TH HM HM TH HM TH TH HM HM

13

TH TH HM TH TH HM TH TH TH HM TH HM TH TH HM TH TH HM

48
16
~O:27-o:40

TH HM TH HM TH HM TH TH TH HM TH TH TH HM HM TH TH HM TH TH

22
host Note-Style Hammer:IntermediateExercises
..
0!!Iii 0:00-0:
15

HM TH TH HM TH TH HM TH TH HM TH TH

HM TH TH HM TH TH HM TH TH HM TH TH TH HM TH HM TH HM TH HM TH HM TH TH HM TH TH HM TH HM TH TH HM TH TH HM

TH HM TH HM TH HM TH HM TH HM TH TH HM TH HM TH HM TH HM TH HM TH HM TH TH HM TH TH HM TH TH HM TH

..
IO Cì!ììi O:18-0:33

TH HM TH TH HM TH TH HM TH TH HM TH TH TH TH HM TH TH TH HM TH HM TH TH TH HM TH TH TH HM TH TH TH TH HM TH HM TH HM TH

13
.
. . . .
. . .
. . .
--./

TH HM TH TH TH HM TH TH TH HM TH TH TH TH TH TH HM TH TH TH

. . . . . .

. . . . .
.

48>
16 0:38-0:57

TH TH TH
---
TH TH HM TH HM TH TM TH HM TH TM TH TH HM TH TH TH TH HM TH

23
 48
~O:OO-O:15

TH HM TH TH HM TH HM TH HM TH TH HM TH HM TH HM TH HM TH TH HM TH HM

TH TH TH TH HM TH HM TH PKI TH HM TH PKI TH PK2 TH TH HM TH HM TH TH HM TH TH HM TH HM

7 ~O:18-0:31
..
TH TH TH TH TH TH TH HM TH HM TH HM TH HM TH HM TH HM TH HM TH HM TH TH TH HM T HM TH HM TH TH HM TH HM TH HM

IO

TH HM TH HM TH HM TH TH TH TH HM TH TH HM TH TH HM TH TH TH TH HM TH TH HM TH TH HM TH TH HM

13
~O:36-o:49
..
...

THTHHM THTH THTHHM TH THTHTHTH THHM THTHHM TH HMTH TH HMTH HMTH HM

16

. ...

TH TH TH TH TH HM TH HM TH HM TH HM TH HM TH HM TH TH HM TH HM TH HM TH HM

24
ChapterS:TheHammer-
RealNote-Style
On this real note-style hammer, the left hand will generate a note without the usual help
of the right hand, enabling you to play especially fluid sounding passages.

With any finger on the left hand, hammer down on a given string against the targeted fret
hard enough to initiate the string without additional activity fram your right hand. The indi-
cations F1, F2, F3, and F4 represent which left-hand finger you should use to hammer.

To better acquaint yourself with this technique, try the following exercise before moving
ahead to the "Basic Exercises" page.

Real-NoteStyle'Hammer:
FirstExercise

Fl F2 F3 F4

2S
 RealNote-StyleHammer:BasicExercises

Thefirsttwelve examples are left hand only. ~

0EIii 0:00-0: 11

F1 F1 F1 F1 F1 F1 F1 F1 F1 F1 F4 F4 F4 F4 F4 F4 F4 F4 F4

F1 F1 F1 F1 F1 F1 F1 F1 F1 F1 F2 F3 F4 F4 F1 F4

9 ~0:14-o:26
..
F1 F3 F4 F1 F1 F4 F1 F4 F4 F3 F2 F2 F3 F4 F4 F3 F2 F1 F1 F2 F3 F4

The remaining examples are combinations of left- and right-hand techniques.

13

TH F4 HM TH F4 HM TH F4 TH HM TH TH F4 F1 F4

16
..
C!£ìii 0:30-0:40

TH TH F4 F1
TH F4 TH F4

26
~e first nine examples are left hand only. 48
0€IiiI 0:00-0:09
FI F2 F3 F4 F4 F3 F2 FI FI F2 F3 F3 F2 FI F2 F2 F3 F3 F2 FI FI F3 F4 F3 FI FI F3 F4 F3 FI

FI F3 F4 F3 FI F3 F4 F3 F4 F4 F4 F4 F4 FI F4

~
7 ~0:12-o:27

Fl F3 F4 F3 FF4 F4 F4 Fl F4 Fl F1 F4 Fl F4 Fl Fl F2 F4 Fl F2 F4 F4 Fl F4

The remaining examples are combinations of left- and right-hand techniques.

IO

Fl HM F1 Fl Fl HM Fl Fl TH Fl Fl F3 Fl Fl F3 TH Fl TH Fl

13
..
0£ji0:31-o:44
.1 I ..

TH HM TH HM TH HM TH Fl TH Fl TH M TH M TH M TH M TH F4 THTHFl THHM TH

27
 I
RealNote-StyleHammer:Advanced
Exerdses

s::: 48
.-
....o C!E8i 0:00-0:15

. ~

'"
F4TH TH F4THF4 TH TH TH F2TH THF4 TH F2 TH TH TH F4 TH Fl THTH THF3TH

CI)

5 Cì!£8i
.. O:18-0:32
. 1"\0.1. .
.... ..

THFl THFl TH TH F3TH TH F3TH TH THF4 TH THF4 TH F4 TH THF3

TH TH
F4 TH

TH F3F1 TH F4 TH F4 TH Fl THF4TH THFl TH THFl TH TH Fl TH Fl TH F4 TH TH TH Fl

f8>
12~0:35-o:50

F1 TH ~ TH F1 TH ~ TH F1 TH ~ THm PK2 TH ~ TH F1 TH ~ TH TH ~ m TH ~ ~

14

TH HM TH TH TH Fl TH F2 TH TH F4 TH TH TH F4 TH Fl TH TH TH F4

28
Chapter
6: Thumb
jPluckjHammer
Combinations
4It>
~0:Oo-O:11

TH PKl TH TH TH TH HM TH HM TH PKl TH PK2 TH HM TH HM

TH PKl HM PK2 TH PKl TH HM TH TH TH PKl TH HM TH PKl TH PK2 TH HM

8
..
Ci!£Iii O:14-0:25
..
0EIii 0:28-0:39
Em7 A7

TH PKl TH PK2 TH HM PKl Fl TH HM TH F4 TH HM PKl PK2 TH HM PKl PK2

12 F~m7 C~m7 Cm7 Fdim/G

TH HM TH HM PKl PK2 TH TH HM PKl TH HM PK2 TH PKl TH HM TH TH TH HM PKl

29
 s:::
I
Thumb
jPluckjHammer Combinations:
IntermediateExercises
..
~0:OO-O:09

.-....
o
~ PKI PK2PK3PK4HMHM HMHMTH TH TH TH TH HM PKI TH HM PK2 TH PKI HM TH PK2HM
G)
'"
4

TH HM TH PKI TH HM TH PK2 PKI TH TH PK2TH PK3TH HM PKI TH TH TH TH PK2PK3 TH

7
..
G!8iI O:12-0:27

TH PKI TH PK2 TH TH PK2 HM TH TH HM TH HM TH PKI TH TH TH TH HM TH TH PKI

48
IO B~m7 E~m7
Dm7 ~ 0:32-0:43

TH HM TH TH PKI PK2 PK3 TH TH TH TH TH PKI TH HM TH TH HM TH TH TH F4 TH TH TH

D~m9 D~m6
13 B~maj7

-
TH TH TH TH HM TH PKI TH TH TH PKI TH TH TH TH PKI TH HM

30
 TH PKl TH TH HM TH PK2 TH TH TH PK TH TH HM TH PK1 PK2 TH TH HM TH

TH HM TH TH HM TH PKl PK2 TH TH PKl TH HM TH TH TH TH TH HM TH PKl

..
~0:O(}-o:13

TH TH PKl Fl TH HMTH TH TH PKl TH HM TH PKl TH TH TH TH HM

~
lO Amaj7 Bmaj7
G!£ji
Am7
o:16-0:29

PK2 TH HM TH TH PKl TH TH TH TH TH PKl TH HM TH

PKTH
~

31
 Chapter7: ThePull
As an alternate way of using the thumb, the pull technique gives you a more distorted kind
of sound.

You will strike the string with the thumb in a pulling-off motion one of two ways: either
from underneath the string with the top part of your thumb (indicated as PLU), or fram
over the top of the string with the bottom part of the thumb (indicated as PLO).

Check out these simple prerequisite exercises before you begin the IISasic Exercises" page.

ThePull:FirstExercises

-&
PlO PlO PlO PlO

-&
PlU PlU PLU PLU

32
 48
CiEIiiI 0:00-0: 11

PlO PlO PlO PlO PlO PLO PlO PlO PlO PlO PlO PlO PlO PLO PlO PlO PlO PLO PlO PlO PlO PlO PlO

PlO PlO PlO PlO PlO PlO PLO PlO PLU PLU PLU PlU PLU PLU PLU PLU PLU

9
..
GI£JIi O:13-0:23

PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PlU PLU

12

PLU PLU PlU PLU PlU PlU PlO PLU PlO PlU PlO PLU

15

PlO PLU PlO PlU PlO PlU PlO PLU PlO PlU PlO PlO PlU PlO PLU PlO PLUPLO PLUPLOPlU

33
 ThePull:IntermediateExercises
I

c:
.---o
~ PLO PLO PLO PLO PLO PLO PLO PLO PLO PLO PLO PLO PLO PLO PLO PLO continue for 5 measures

CI.)
'" ..
4 ~O:OO-O:14
.r-.-..-

PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU PLU continue for 5 measures

~
IO G!ìilO:17-o:30

13

PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO

48
16
~O:33-0:47

PLO PLU PLO PLU PLO PLU PLO PLO PLU PLO PLU PLO PLO PLU PLO PLU PLO

34
 .
....

PLO PLO PLO PLO PLO PLO continue for 5 measures

..
5 ~0:OO-O:15

PLU PLU PLU PLU continue for 5 meaSl

..
9 G!ìiI O:18-0:33
. .
.

13

PLO PLU PlO PLU PLO PLU PLO PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLO PLO PLU

48
17 ~ 0:35-0:52

PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO PLU PLO

35
 Chapler8: Thumb/Pluck/Hammer
/
PullCombinalions

~0:Oo-O:12
..
TH PlO PLU TH PKl TH HM TH Pll TH PlO PlU PlO PlU TH PKl

PK1 PK2 TH PlO PlU TH TH PKl PlO TH HM TH TH HM PlO PlU TH HM TH HM PlO PlU PlO PlU

~0:15-0:29
.. ..
Q£Iii 0:33-0:47
9 Drnaj7 Grn7

TH PK1 PlO PlU PlO PK2 TH HM TH TH TH PKl PlO PlU TH HM TH TH TH PKl

12
.. oo
C7
..
Crn6
. .. .. .- ..
o
. .. oo

-.J I I
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Il. " I " .1. .'0 .11
4 Il T I. .. Il
M Il- .... T -;y -;y ::> 01. " Il- .G ..1

36
he Pluck:IntermediateExercises

~O:OO-o:ll
..
PlO PLU TH TH PlO PLU TH PLU PLO PKl TH HM TH PlO PLU PlO PLU PlO PlU PlO PLU

PLO PLU PlO PLU PlO PLU TH PKl PlO PLU TH PKl TH HM PlO PLU PLO PLU PKl TH

7
..
G!ìiI O:15-0:27

TH TH PKl PK2 PlO PLU PLO PLU PlO PKl TH HM TH HM TH PKI PK2 PlO PLU PK3 TH

48
IO Om7 G7/0 Om7 Gdim/A
ùEJii0:31-0:44
Em7

PlO PLU PlO PKl PLO PLU PlO PlU PK2 PlO PLU PlO TH Fl PKI PlO PLU PlO PLU TH PKl TH PlO PLU

13 Cmaj7 Em7 Gmaj7/E

TH PKl TH TH PlO PlU PlO PlO PLUPlO PlU PKl TH PK2 PLUPlO PLU PlO PlU PlO PLU PlO PlU TH HM TH HM TH HM TH HM

37
 ThePluck:AdvancedExercises
~
s::: lJEJii
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0:00-0: 12
o
....
G)
PLO PLU PLO PKl PK2 TH PLO PLU PKl PK2 TH TH HM TH TH HM TH PLO PLU PLO PKl

'"
4
..
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48
7
~0:17-o:32 ~.

PLO PLU PLO

t.-:I
PKI
-PK2 TH HM TH
..
TH HM PLO PLU PLO TH
..
TH
-
TH PKl TH PK2 TH HM PLO PLU PLO

. .. ..
. .. .. ~

IO B7 B/D E/F Dm7

TH TH TH TH TH HT TH TH TH TH HM TH PLO PLU PLO PLU TH PKl TH TH HM TH PK2 TH PK3

Gm7
48
B~maj7 c/o
E m7 Q£I1ii 0:35-0:50
13

TH PKl TH PLOPLUPLO PK2PK3 PLOPLUPLO PLOPLUPLO TH PKl PK2 PLOPLUPLO PLOPLUPLOTHHMTH PKl PK2

38
Chapler9: Triplels
Rhythmically speaking, triplets are a different animai than the usual quarter, eighth, or six-
teenth notes we've had thus far. Typically arranged in either three-note or six-note group-
ings, triplets have a less rigid, more swinging kind of feel about them, which gives them a
very distinctive sound.

Triplets are a great rhythmic device that can be applied to funk bass several ways:
· As the basis for an entire groove of a song.
· In conjunction with our "regular" notes for more rhythmic diversity.
· As isolated solo licks or fills.
This section covers two different ways to play triplets, one using a thump-thump-pluck
combination and the other using a pluck-hammer-slap.

39
I I

s:::: 48
.-.....
o ~O:OO-O:12

~ 3

'"
3
G) TH TH PKI TH TH PK2 TH TH PKI TH TH PK2
3 3 3
TH TH PKI TH TH PK2 TH TH PKI TH TH PK2 simile

48>
4 Gl£Iii O:1~:24
3 3 3 3 3 3 3 3
3
PKI HM TH PKI HM TH PKI HM TH PKI HM TH PKI HM TH PKI HM TH PKI HM TH PKI HM TH

7
3

3 3 3
3 3
3
conto simile

lO 3
3 3

3 3 3 3
3 3 3
3

8t>
~O:28-o:39
13 3

3 3
3 3 3 3 3

40

...l.
 ~0:00-o:18
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r r 6
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: 01110 " u " 0'1'0 0'1
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7 3

6 6 3 3
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~ ~
IO
G!EIii 0:22-0:38 ~0:41-o:58 3

3 3
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13
> > > >

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3
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41
 6
u
6
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T Il. .'1 . J , J oli

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a Il ' J J J 'I J J J Il
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l'O
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48
5 ~O:22-0:40

6 6 6 3
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-J.'.
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42
 Chapler1 O: PullingIl AliTogelher
Now it gets funI Here is where we combine ali of the techniques and rhythmic ideas we've
covered so far to create a series of grooves that really maximize the funk bass vocabulary.
Of course, it won't always be necessary to use ali of these techniques in every song or solo
you play, but this section will showcase the overall depth and diversity inherent in the
style. Havefun.

.. ..
3
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7
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44
 3

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TH PlU TH PlU TH Fl TH TH PlU TH TH TH PKl TH F4 TH F2

7 6

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IO

PK TH PK PKl PK PK TH TH TH PK TH PK TH TH PK TH HM TP TH HM TP

4S
 6

3
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46
 3
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47
 3

6
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4 6 6

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3 3
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48
 III

Bm7 Am7 Gmaj9 Cmaj7 C13 Bm7 Am7

3 3
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4 Gmaj9

3
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B~/C Em7

TH PKl PK2 TH TH PKl PK2 TH PKl F4 Fl TH Fl THPKl TH PLO PLU

Gmaj7 Fmaj7
IO Cmaj/D Dmaj/E Fmaj/G Em7
. . . .
3 3

Fl TH PKl TH PLO PLU FI TH PKl TH PLO PLU Fl TH PK TH PKI Fl TH PK2 PKI TH

49
 8

e,r,on
A 'though the word hip-hop has more recent-
Iy come to embody an entire genre of
music, it has been first and foremost used as a
musical term to describe a specific type of
groove or feel. In short, hip-hop patterns and
grooves have a certain Swingto them-a swing
that employs more of a triplet feel than the
straighter,sixteenth-note_based feel we've
been using far most everything thus far.
Nonetheless, ali of the techniques Wecover
in this book are relevant to the style and, as
you willsee, can be very useful in YOurhip-
ment.
hop playing with a slight rhythmic adjust-

51
 Chapler11: Hip-HopTechniques
fa
Jm =m -~O:OO-O:14 ., , , .. ..

I I
.J:::::d I
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. ..
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-1118 :~

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7
3
6
..
~O:17-o:32

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IO Dm7 Em7 Am7 Em7

. . .. ..
TH TH PKl TH PK2F3 TH TH TH PKl PLO TH PLU PKl Fl PK2Fl TH PKl PK2

. . .
. ..
Am7 C/O Bmaj7 Gmaj7 Em7
13

3
3
PLO TH TH TH PKl PK2 PKl Fl TH PKl Fl HMPK2TH THPKlTH Fl TH PK2 PKl Fl HMPK2 PKl Fl THHMTHHMPKlTH

52
 III

~
~ =~ ~O:Oo-O:16

3
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4 6

3
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7 ~O:17--1J:3!

3
TH TH PKl TH PK2TH PKl TH PKl Fl TH TH PKl Fl TH TH TH TH PK2 PKl Fl PK2 THTH THTHPKl

Em? Fmaj/G 3 Emaj7 Amaj? B~maj?

IO

TH TH TH TH TH TH PKl Fl TH PK2 TH TH TH PKl PK2 PKl TH PKl F3 F2 TH

13 Amaj? Fmaj/G
6
:o

3
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S3
 ~=J
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6
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~
~O:17-0:32
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IO
3 3

3
TH PKl PK2F3 TH TH TH PK2 PKl HM TH PK2 TH TH PK2 Fl TH TH PK2 F3 TH

13 e/D 3

3 6
TH PKl PK2TH TH TH PKl TH PKl TH TH TH TH TH PKl TH TH TH TH PKl Fl TH PK2 Fl TH PKl F3 TH PK2

54
 8

eellon
Roe
ConceplandEiercises
A
s demonstrated in my Funk Bassand Beyond video, I have a very unusual, but highly
effective, method for maximizing my practice time: the Buddha Rope!

ss
 Chapler12: TheConcepl
L et's face it: a huge part of my sound and approach to playing, especially soloing, is cen-
tered around certain concepts that require a fair amount of technique to pull off. This
has led to numerous discussions with bassists through the years about how I developed
my technique and, more to the point, if there are any trade secrets l've run across that
might help to accelerate the chops-building processo Of course, l'm obliged to tell them
that it's mainly about a lot of hard work and long hours of practice. However, there is one
little trick that has had an extraordinary affect on my technique development efforts
through the years. I cali it the "Buddha Rope."

It ali came about more than 20 years ago. I was watching an upright bass player switch
over to his electric during a show and noticed how much speed he had on it. This made
sense to me because, after all, once he was acclimated to the ultra-high action and dead-
ness of the strings on the upright, the action on the electric would've felt effortless and he
could really burn. So what I did was try to find a way to both deaden the strings and ele-
vate the action on my electric in an exaggerated, but temporary, way and do a lot of prac-
ticing with it like that so I could develop some "upright" kind of chops. My answer came
in the form of a very specific-sized piece of rope, and the Buddha Rope was born!

My routine is centered around both of the following concepts:

1. By placing this rope
underneath the
strings on the last
fret, the Buddha
Rope takes ali of the
natural resonance
and "play" out of the
strings. This really
isolates the pickingl
thumpinglfingering technique, thereby developing greater speed, accuracy, and articu-
lation in the right hand.

2. When placed farther

up the neck, the
Buddha Rope raises
the action on the
strings, making it
more difficult to
press them down,
which in turn devel-
ops strength and
speed in the left hand. Think of this as similar to the concept used by baseball players
when they piace a "donut" on their baseball bat. After swinging the bat around with the
weight of the donut, they remove the donut and presto, the bat feels lighter.
For maximum results, I suggest you incorporate both of these applications into your
practice regimen.

S6
Chapter13: TheExercises
1. After sliding the Buddha Rope under the strings of your bass, simply play eighth notes
(counted 1 & 2 & 3 & 4 &, etc), one string at a time starting with the lowest string and
proceeding to the highest, alternating between your index and middle fingers. Do this
on each string for five minutes before moving to the next one. (Time: 20 minutes)
2. Repeat the procedure, but this time thump the string with your thumb (which you'lI
keep straight, not crooked) while bouncing your palm off the bridge (Iikea basketball),
making sure the four fingers are together and not touching the strings. Also, start from
the highest string and progress to the lowest, once again spending five minutes per
stringo(Time: 20 minutes

G string D string

Astri ng E string

57
 PositionTwo:Left HandExercises
1. After sliding the rape up to the middle of the neck, play various chramatic scales with
the left hand while returning to the alternating index and middle finger eighth-note
rhythm with the right hand. Also,you can experiment with other scales and even ven-
ture into some sixteenth-note patterns (counted 1e&a 2e&a 3e&a 4e&a).
(Time: 30 minutes)
2. After completing the first phase of your left hand practice, switch over to the thumping
technique with your right thumb and continue with similar left-hand exercises.
(Time: 30 minutes)

E string A string

D string

Please keep in mindthat l've been usingThe BuddhaRopefor manyyears and have
worked up to this kind of regimen. Take your time and gradually increase your Buddha
Rope practice periodo

58
Chapter14: PracticeRoutines
T he sky is the limit with what you can do with the Buddha Rope. Much like a drummer
might work on rudiments with heavier sticks, or an athlete might jog with ankle or
wrist weights, you can add the Buddha Rope to anything that's in your normaI practice
routine, including:
· Anyscale or arpeggio exercises.
· Particularly difficultsolos or ensemble passages.
· Challenging one-bar riffsor solo excerpts.
· Chordal pieces or strumming exercises.
· Anything else you can dream up that could use a little polishing.

. Experiment with different settings on the metronome. Try slower tempos for accuracy
and faster tempos for speed. Make sure that what you are playing is coming across
clean and precise at ali times. Ifit isn't, then slow it down until it is.
. Since the Buddha Rope is primarilya technique builder and many of the exercises can
be monotonous conditioning-oriented drills,feel free to watch TV,listen to music, or
even talk on the phone as you do some of your routines. This helps time go by while
you stili reap the benefits.
· In addition to using the Buddha Rope as a daily practice aid, try integrating it into your
pre-show warm-up regimen. Even 15 minutes of doodling with the Rope in piace before
a gigcan giveyou an extra edgeonce you removeit.
Also, keep in mind that a light burn is usually a good sign that the fingers, hands, andjor
forearms are getting a good workout, but a deeper burn could indicate that you need to
either slow down or stop for a few minutes.

59
60
 8

eCIIOn
----

ncea 5010 & Groove

---- Rills
n addition to the many time-tested techniques covered thus far, there are a few more
I signature concepts that will no doubt be handy to have in your bag of tricks. These are
some of the tlagship tricks and tools with which I have supplemented my solo and groove
vocabulary through the years. So check them out, but don't hurt yourself!

61
 Chapter1 S:MX Signature
. RollingTechnique
O f ali the various techniques, musical ideas, and improvisational tools of the trade that
I might pull out of my bag of tricks, there is one concept in particular that I consis-
tently get questions about. I cali it the "rolling" technique because it has a similar rhythmic
density to that of a drummer rolling. When done correctly, the net result is this sort of
"wall of sound" effect that can really come in handy when you want to up the intensity in a
song or solo.

The key to success as you're familiarizing yourself with this technique is to always start
slow and gradually increase speed. It is absolutely imperative that these rolling patterns
be played as cleanly as possible; otherwise you'lI have a real mess on your hands! So
think precision first, speed secondo

..
Q!:ìii 0:00-0:
16
"

Fl THF4PKl FI THF4PKl Fl THF4PKl Fl THF4PKl FI THF4PKIFl TH F4PKl Fl THF4PKI Fl TH F4PKl

=i===:# ~
....

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~.. :5 :5 '7 '7 6 6 8 8 -0-"-

:J.If
:ttt. '7 :3 :3 :5 :5 ..~

62
 -.

48>
~0:OO-O:16

FI TH F2 TH F3 TH F4 TH FI TH F2 TH F3 TH F4 TH F4 TH F3 TH F2 TH FI TH F4 TH F3 TH F2 TH FI TH

FI TH F2 PKI F3 TH F4 F4 PKI F4 TH F3 PKI F2 TH FI F4 TH F3 PKI F2 TH FI PKI FI TH F2 PKI F3 TH F4 PKI

5
..
Q!ji 0:19-0:35 Dm

FI TH F3 PKIF4 PK2F3 PKIFI TH F3 PKI F4 PK2F3 PKI FI TH F3PKIF4 PK2F3PKIFI TH F3 PKIF4 PK2F3PKI

FI TH F3 ~ ~ ~ F3 ~ FI TH F3 ~ ~ ~ F3 ~ FI TH F3 PKI F4 PK2F3 PKI FI TH F3 PKI F4 PK2F3 PKI

FI TH F3 PKI F4 PK2 F3 PKI FI TH F3 PKI F2 PK2 F3 PKI

63
 Chapter16: Burnil!g
With
Arpegglos
Root 3th 5th
Ornaj
..
0!::8i 0:00-0:13
Root b3 5th
Ornin
la lb 2a

F2 TH Fl PKl F4 PK2 F2 TH Fl PKl F4 PK2 Fl PKl F2 TH Fl PKl F4 PK2

Root4 b7
07sus
4 2b 3a 3b

Fl TH F4 PKl F3 PK2 F4 PKl Fl TH F2 PKl F3 PK2 Fl TH F3 PKl Fl PK2 F3 PKl

Root b3 6th Rootb3 b5

7 Orn6 Odirn
4a 4b 5a

F3 TH Fl PKl F2 PK2 F3 TH Fl PKl F2 PK2 Fl PKl Fl TH F4 PKl F2 PK2

IO 5b

Fl TH F4 PKl F2 PK2 F4 PKl

64
 Root 5 7
..
Q£ji 0:00-0:13 Root 3 5 ~7
Dmaj Dmaj
6a 6b 7a

Root ~3 5 ~7
Gm7
4 7b 8a

Root5 7 9
Gmaj9
7 8b 9a

Root 3 ~5 7
G9
10 9b 10a

13 1Ob

...-
....
 Chapter17:Advanced
Lelt-
HandStudies
We finish this section with some left-hand exercises. With so much of our focus having
been on right hand techniques-thumping, plucking, pulling, etc.-these scale-based stud-
ies will get the left hand up to speed, so to speak. They will also help to expand your cre-
ative process in building solo lines and parts as we explore three of my favorite melodic
modalities.

66
 f8
o ~O:OO-O:15

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@]4

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67
 ~
~O:16-o:29

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03

~
s:: TH Fl TH F3 TH F4 TH F4 TH Fl TH F3 TH F4 TH F4

.-....
'o
~
CI.)
~
TH F3 TH F3 TH Fl F4 TH TH F3 TH F3 TH Fl F4 TH

05

TH F4 TH Fl TH F2 TH F3 TH F4 TH Fl TH F2 TH F3

68
 ..
Q!:8iiI
.. .,.
0:00-0:
16
.. .. .. -
---
TH F2 TH F4 TH F4 TH Fl TH F2 TH F4 TH F4 TH Fl

. .. '-' .. .
. .
,

[I] 2

TH F4 TH Fl TH F2 TH Fl TH F4 TH Fl TH F2 TH Fl

[I] 3

TH F4 TH Fl TH F2 TH Fl TH F4 TH Fl TH F2 TH Fl

04

TH F4 TH F2 TH Fl TH F4 TH F4 TH F2 TH Fl TH F4

05

1_'_'===
TH Fl TH Fl TH F4 TH Fl TH Fl TH Fl TH F4 TH Fl

69

i
70
 8

eCIIOn
t' s one thing to work on these concepts and have a
I technical understanding of funk bass playing and
another to actually experience it in a practical, musical
setting with an ensemble. Here is where it ali comes
together. We have put together six different tunes,
each emphasizing a few particular techniques from
the book. We provide you with an overview of what
the track is ali about, isolate the parts for the song's
key sections, and then giveyou a basic guide to the
arrangement with a makeshift "studio" chart.
The first version of each song has me playingwith
the bandoCheck it out and get an idea of the
tune's basic feel as well as my interpretation of
it. Then it's your turn; you can play along with
the same track, minus my bass part.
Also, you'lI notice that while ali of these tunes '"
have an unmistakable funk influence (partic-
ularly where the bass parts are concerned),
(D
.....
we tried to present a real mixed bag of .....
tracks stylistically,as opposed to just stick- -.
ing with the traditional funk sound. We did O
this to demonstrate the versatility of funk ::I
bass in a wide range of styles and to pre-
pare you for the subtleties of integrating '-Il
this style into many different settings. So
don't forget to consider the overall vibe of each
song and try to play each one with the appropriate feel, atti-
tude, dynamics, etc., and, most important, make it groove!

71
 Charl1:Red Fox
Thump, pluck.

Bookreferencesedion:
For a review of the specific techniques used in this piece please review chapters 1, 2, 3.

Rooted firmly in the funk-rock vein, this simple track makes good use of space in the bass
parts. In the verse section, let the drums carry the groove and allow plenty of holes for the
guitar melody to shine through. Then, in the choruses, lock in tightly with the drum part to
create a strong, punchy groove. The solo section is similar to the verse with only a slight
harmonic variation. The outro is a return to the chorus.

Intro Riff - 1 Verse - 8 Chorus - 7 Intro Riff - 1

Verse - 8 Chorus - 7 Cuitar fili - 1

Solo Sec. JJ/\'- 8 Solo Sec. JJB"- 8

Chorus (Double) - 15 Ending

72
 Red Fox
Q!:8iiWith
48>
Boss
..
C!!:ìi MinusBoss
~ (Play 3 X) F7
VersEE 7 I.
!: a. a. ..., I. I I I
o
o o o o
o o

fl8 ft-
TH TH PKl TH PK2 THPKlTH PK2THPKl TH PKl TH PK2 THPKlTH PK2THPKlTHTH

.10 " v 01. " " Il

A .1 I. Il
ti .10 -O) 01. ' v Il

Chorus: (Play 3 X)
~ m7 D (; ~m7 F~1111 <:; 1\rrvJ
I.
- E
a. D.S.
o o o
o o o
~x o
. o
o o

r T

TH PKl TH TH TH PKl TH TH TH PKl TH TH TH

110 ...... 01. ...... oli

Il I. Il
110 J J 01. J or oli

Solo A
IO D7

~x

TH PKl TH PK2 TH PKl TH PK2 TH PKl TH PKl TH PK2 TH PKl TH PK2 TH PKl

Ending:
14 87(U9) D7 E7 E7

1Xr
TH TH TH TH
-------

:5 6 I 1

73
 Chart2: TwoDaysOff
Thump, pluck, hammer.

For a review of the specific techniques used in this piece please review chapters 4, 5, and
6, as well as those used in "Red Fox."

Crooving with simplicityin a super-supportive role is the name of the game on this one.
IITwo Days Off' combines some basic funk elements with several different styles, to cre-
ate a smooth jazz type of sound. After its spacious intro, you will need to ease back and
forth between the reggae-tinged A section and the funkier B section. Duringthe piano
solo, keep things simple while building with the dynamics of the soloist. The ending is a
return to the intro, followed by an outro guitar solo.

Drums Only - 4 Intro - 4

/lA"Section - 8 /18"Section - 8
JJp;'Section - 8 /18"Section - 8 /lA"Section - 8
Piano Solo - 16 Intro - 4
/lP;'Section - 8 Outro Cuitar Solo - 8

74
 .. TwoDays
~
Off
C!!:8i With Boss QtIiiI Minus Boss
A F G
A G/A
Drums:
4

TH TH TH TH

G A G (Play 3X)A G A
~A
, o
I I o

o o
o
o o

W
TH PKl TH HM TH F4 TH TH TH PKl TH HM TH F4 THTH TH PKl TH HM TH F4 TH TH TH PKl TH

01. Il
110
Il
110
-::I- l.
01.
Il
Il
" .> A " .> .> .> " .> .> "

~F7
13 Play 3X:

TH F4 PKl TH F4 PK2 TH TH TH F4 PKl TH F4 PK2 TH F4 TH TH TH

(To A)
E~ D C G
15

TH F4 PKl TH F4 PK2 TH F4 TH TH F4 PKl TH F4 PK2 TH F4 TH TH TH TH

Solo: Outro:
17 Cm aj7 Bm7 Am7 Bm7 Cmaj7 Bm7 Am7

TH TP4 PKl TH TP4 PK2 TH TH TP4 PKl TH TH TP4 PKl TH TP4 PK2 TH TH TH TH
 Charl3: NoHoNighls
Thump, pluck, hammer, pull.

For a review of the specific techniques used in this piece please review chapters 7 and 8.

The punchy intro section where the bass is followingthe drum part note-for-note segues
into the body of the song once the guitar melody kicks in.This is loosely based on the
classic ABAformoThe A section is tight and funky,and then it kicks into a sort of rolling
feel for the Latin-flavoredB section. The solo sections basicallyfollowthe form, with the
keyboards taking the initialA section, the guitar taking the B section, and a series of drum
breaks coinciding with the final A section. From there, it's one more B section, and then
the song énds with a recap of the intro.

Intro - 8 Main Riff- 2 with drums

Main Riff- 2 add davo Main Riff- 2 add gtr.
JJA"Section (Main Riff) - 8 JJB"Section - 8
JJA"Section (Mai n Riff) - 8 Piano Solo (Main Riff) - 8
Cuitar Solo (B" Section) - 8 Drum Section - 8
JJ" .
B Sectlon - 8 Intro - 8

76
 48
No~ Ho Nighls
GI:8i WithBoss C£:8iiIMinusBoss
Intro: A

TH PLU HM TH PLU HM TH PLU PKI PKI PKI TH TH HM TH PLU TH PLUHMTH PLUHMTH PLU PKI

~
-t #=! '" '" , ,
# '" '" , ,

4 ,,--
.

TH PLU HM TH PLU HM TH PLU PKI TH PLU HM TH PLU HM TH PLU PKI TH PLU TH PLU TH PLU TH PLU

Main Riffs
7 Am7 C D

TH TH TH PLU TH PLUTH TH TH PLU

C D C

TH ~ TH m rn TH ~ TH 00 rn TH ~ TH TH conto simile

2nd ending:
C A Drum Section:
l1D

TH PLU TH PLU TH PLU TH PLU TH TH TH PLU

l7
 Charl4:Lincoln
Slreel
Thump, pluck, hammer, pull, triplets.

For a review of the specific techniques used in this piece please review chapters
1-5.

The ethereal, texture-heavy intro is followed bya couple of rounds of alternating sections;
a vintage funk-styled verse section (complete with the classic Fender Rhodes piano sound
and an end-of-the-phrase triplet lick); and a chorus that has more of a quasi James Brown
type of feel. The solo section starts with the keyboards and guitar trading fours (trading
four- measure solos) and then trading twos (two-measure solos) as the intensity gradually
progresses. Again, it is very important to be sympathetic to this escalation of dynamics as
you accompanying them. After that, it's their turn to accompany you during your eight-bar
bass solo. The tune finishes with a final shot at a verse and a double outro chorus.

JJLincoln Street" - Chart

Intro - 8 Verse - 8
Chorus - 8 Verse - 8
Chorus - 8 Solo section (Intro) - 8
Bass solo - 8 Verse w/trip ending - 8
Double Chorus - 16

78
 Lincoln
Slreel
.. <8>
G!Jii With Boss [J!]iiI MinusBoss
IntroEm9 D c

TH TH TH TH PKl TH TH TH TH PKl

Verse: (Play 3X)

5 Em11 ..-... ..-... 1!- fI- fI- fI-
o
o o
o
.xt

TH F4 TH PKl PK2 F4 TH TH F4 TH PKl PK2 F4 TH PKl F4 TH PKI TH F4 TH PKl PK2 F4 TH

o o

o o

Chorus: (Play 3X)

o
..-... .. r-,
x o o
o
o
o

. r "..
J "1 L......J
TH F4 TH PKI PK2 F4 TH TH TH TH TH PKI PK2 TH TH TH PKl TH

.10 oli
.1 Il
.10 oli
j j j

11

.X:

6 6
PKl TH TH TH PKI TH TH TH TH TH TH F4PKITH F4PKI TH F4PKI TH

79

L
 Charl5:Cosmolron
Everything!

For a review ofthe specific techniques used in this piece please review chapters 1,2,4,
and 5.

With an aggressive, funkjfusion feel, busy drums, and an intricate unison melody between
the guitar and keys, the secret of making this song groove is ultimately in its simplicity of
the bass parts. Notice that the foundation falls firmly on the bass player's shoulders
throughout the verse and chorus sections-that is, until the bass solo rolls around and you
have a chance to throw down a bit in this 16-bar free-for-all. This style of music really
lends itself to pushing the improvisation envelope, so go for it. Just make sure you return
to earth for the last chorus. The tune ends in the reverse order of how it started, with the
drums gradually simplifying against the steady bass pattern.

Intro - Main Riff - 4 - w/hi-hat Main Riff - 4 - with drums

Verse - Main Riff - 8 Chorus - 8
Verse - Main Riff - 8 Chorus - 8
Bass solo - 16 Chorus - 8
Verse - Main Riff - 8 Main Riff - 4 - drum variation
Main Riff - 3 - w/hi-hat only Ending Tag - 1

80
 Cosmolron
Q!:ji
81>
WithBoss
..
C!!Jii MinusBoss
Main riff 'A': Main riff 'B' (Play 3X)
D7sus E7sus D7sus
E7sus ,.--

THTH THTHTH TH THTH THTHPKlF4 THHMTHTHTHHMTH THTH TH THHMTHTHTHHMTHTHPK1F4

5 E7sus D7sus Em sus D7sus E7sus

..
Xl
TH HM TH TH TH HM TH TH PKl TH TH HM TH TH TH HM TH TH TH TH

Chorus:

7 A/B

. .. . .
xO
TH TH TH TH conto simile

: I 6 I
6 6 6 6 6 '"
CD
9 Ending: unison '"
.. . . . . .. . .....
-.
xfi .. O
:=
u u u u u u u u
: :; - '-Il

81
 (harl 6: DeepPockels
Hip-Hop.

For a review of the specific techniques used in this piece please review chapters 11
and 12.

You'lI want to make sure this tune lives up to its name! The key to this pocket is making
everything swing with that triplet-oriented feeL Based on that swinging hip-hop feel, this
tune's distinctive, chord-based intro section throws you a bit of a curve ballo After that, it's
just a typical verse/chorus/intro arrangement. The third verse has a guitar solo replacing
the melody, but it stili stays true to its form, as you do a final chorus and then an intro-out.

Intro - 8 Verse - 8 Chorus - 8

Intro - 8 Verse - 8 Chorus - 8
Intro - 8 Solo - (Verse) - 16 Chorus - 8
Intro - 16

82
 ..

DeepPockets
.., ..,
G!::Iii WithBoss C1!:IiI MinusBoss

~:
- -

Verse:
3 A7

Chorus:
5 Fm7 E D E

rn;

83
84
 8

eellon
T o say we've covered a lot of ground in this book would likely be an understatement.
We have thoroughly dissected one of the most compelling American music bass
styles, then explored a few turbo-charged tricks of the trade, ali before putting everything
to practical use in our play-along section. We now leave you with a couple more goodies:

This is collection of some of my favorite funk bass recordings. These are records that
influenced me a great deal as I was coming up andjor I thoroughly enjoy listening to now.
Check them out!

These are seven very important food-for -thought points that I want you to really
consider-both on the stage and off.
Ali for now, friends. See you out there.

8S
 Artist Title Label
Brothers Johnson Look Out for Number One A&M
Bass: LouisJohnson (Note: Check out the title track.)

Brothers Johnson 20th Century Masters Polygram

Bass: Louis Johnson The Millennium Collection:
The Best of the Brothers Johnson
(Note: Check out "Stomp,"
"Mr. Cool," and "Ride o' Rocket.")

Sly and the Family Stone Greatest Hits Sony

Bass: Larry Graham (Note: Check out "Thank You"
and "Dance to the Music.")

larry Graham Jam: The Larry Graham & Rhino

Graham Centrai Station Anthology
(Note: Check out 'The Jam")

Pleasure The Greatest of Pleasure Fantasy

Bass: Nathan Phillips (Note: Check out "Glide.")

Fourplay Any Title Warner Bros.j

Bass: Nathan East RCA Victor

Bill Bruford One of a Kind E.G. Records

Bass: Jeff Berlin (Note: Check out "5G.")

Michael Henderson In the Night-Time EM D/Capitol

(Note: Check out "Happy.")

level 42 Live at Wemberly Stadium Imago

Bass: Mark King

Stanley Clarke I Wanna Play for You Sony

Victor Wooten Any of his solo records Compass

Marcus Miller Any of his solo records Various

86
l. ThouShaltPracticeHard
No matter how long you've been playing, you stili have to practice if you want to stay on top of your
game and continue to improve. Just like an athlete, we need a certain amount of conditioning to keep
our skills in tacl. When we slack off and begin to rest on our laurels, our hard-earned technique will
begin to erode. This is not good! Always try to improve and keep on practicing.
2. ThouShaltGroove
Crooving is the essence of what we do. Locking in with the drummer and laying down that big fat
pocket is what it's ali aboul. Yet sometimes we are so tied up with the technical aspects of what we're
doing on our instrument, we lose sight of the importance of the groove. So no matter what the circum-
stances are, whether you're stili getting acclimated to a new song or even reading through a chart for
the first time, don't forget to groove!
3. ThouShaltle Versatile
Even though we've been focusing on funk bass technique throughout this book, it's important that we
say a few words about the importance of versatility as a bassisl. As we continually reach into that tool
chest of musical ideas, the more styles we can study and play, the wider our overall bass playing
vocabulary becomes. This is of great benefit to our musicianship and, as a not-so-unimportant aside,
our pocketbooks! The more proficient we are in different styles, the more it will complete us as musi-
cians and the more opportunity we will have to work.
4. ThouShaltKnowTh Chords
You can have a boatload of chops, but, you're going to be very limited as both a soloist and an accom-
panying player if you don't know your chords. The harmonic aspect of music is what will ultimately dic-
tate your note choices. Be sure to spend some time learning your chords and scales so you'lI be able to
play the right thing at the right time.

5. ThouShaltUseThY..!imlers
andThumb
A huge part of that funk sound is about the thumb, so that's why we've been focusing on the thumping
technique so heavily in this particular book. But in the big picture of being a complete bassist, you'lI
definitely want to spend equal amounts of time developing both thumb and finger techniques with your
right hand. Each approach will give you a totally different sound, so why limit yourself to just one or the
other?

6. ThouShaltMeanWhatYouPia
This step in the process is about musical conviction, about really meaning everything you play. Like I
always say, so much of what we do depends less on what exactly we're playing and more on how we're
playing il. It's about being in the moment, taking each song a measure at a time, and pouring our heart
into every note. Believe me, the audience (as well as your fellow musicians) will feel the difference
between when you are really expressing yourself and when you are just coasting through the gig, think-
ing about going home, and watching TV.

7. ThouShaltUveRight
In this day and age, where drugs, violence, and disrespectful behavior are glorified throughout the
media, it's important to have a little reality check on the subject of how you conduct yourself away
from the stage and practice room. You can be the greatest bass player on earth, but if you don't live
right, take care of yourself, and treat others well, you'lI either self-destruct or no one will want to work
with you. That's the bottom line. l've been able to sustain a long career without the use of drugs and
alcohol of any kind, at anytime, and so can you. There is no prerequisite of having to party to be in this
industry. And you'lI find that treating people right and avoiding "bridge-burning" in this business will
take you a long way as well. Plus, it's just the right thing to do. So, live right, be good to people, and
stay away from drugs, alcohol, and anything else that will get in your way.

87