Bass Grade 7Performance pieces, technical exercises and in-depth guidance

for Rockschool examinations

ISBN 978-1-912352-94-4

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Catalogue Number: RSK200058
ISBN: 978-1-912352-94-4
Initial Release | Errata details can be found at www.rslawards.com/errata

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Syllabus Designer Recording & Audio Engineering (Hit Tunes 2018 Repertoire)
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RSL-858170122834 / 1 / shayne Addinall / [email protected]

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Drums: Paul Elliott, Pete Riley, Peter Huntington, Stu Roberts, Recording & Audio Engineering (Rockschool 2012 Repertoire)
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Bass Grade 7

2
Table of Contents

Introductions & Information

1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Rockschool Bass Grade 7

Hit Tunes

5 Marvin Gaye..................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘What’s Going On’

11 Tower of Power.. ............................................... . . . ‘Only So Much Oil In The Ground’
17 Ian Dury and the Blockheads................. . . . . . . . . ‘Hit Me With Your Rhythm Stick’
23 D’Angelo.............................................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘Spanish Joint’
29 Alanis Morissette........................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘You Oughta Know’
35 Snarky Puppy................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘Lingus’

Rockschool Originals

39 ‘Reborn’
45 ‘Seeing Is Deceiving’
51 ‘The Pants Era’
57 ‘Thumb King’

RSL-858170122834 / 1 / shayne Addinall / [email protected]

63 ‘Buena Havana’
69 ‘Rooster’

Technical Exercises

75 Modes, Scales, Arpeggios, Chords & Stylistic Studies

Supporting Tests

81 Quick Study Piece

84 Ear Tests
85 General Musicianship Questions

Additional Information

86 Entering Rockschool Exams

87 Marking Schemes
88 Bass Guitar Notation Explained
89 Mechanical Copyright Information
90 Rockschool Popular Music Theory
92 Rockschool Digital Downloads
Bass Grade 7

3
 Welcome to Rockschool Bass Grade 7

Welcome to Bass Grade 7

Welcome to the Rockschool 2018 Bass syllabus. This book and the accompanying downloadable audio contain everything
you need to play bass at this grade. In the book you will find the exam scores in both standard bass notation and TAB,
as well as Fact Files and Walkthroughs for each song.
The downloadable audio includes:
■ full stereo mixes of 6 Rockschool compositions and 6 arrangements of classic and contemporary hits
■ backing tracks (minus the assessed bass part)
■ all necessary audio for the complete range of supporting tests

Bass Exams
At each grade, you have the option of taking one of two different types of examination:

■ Grade Exam: a Grade Exam is a mixture of music performances, technical work and tests. You prepare three pieces
(two of which may be Free Choice Pieces) and the contents of the Technical Exercise section. This accounts for 75%
of the exam marks. This accounts for 75% of the exam marks. The other 25% consists of: a Quick Study Piece (10%),
a pair of instrument specific Ear Tests (10%) and finally you will be asked five General Musicianship Questions (5%).
The pass mark is 60%.

■ Performance Certificate: in a Performance Certificate you play five pieces. Up to three of these can be Free Choice
Pieces. Each song is marked out of 20 and the pass mark is 60%.

Book Contents
The book is divided into a number of sections:

RSL-858170122834 / 1 / shayne Addinall / [email protected]

■ Exam Pieces: in this book you will find six specially commissioned pieces of Grade 7 standard. Each of these is
preceded by a Fact File. Each Fact File contains a summary of the song, its style, tempo, key and technical features,
along with a list of the musicians who played on it. The song itself is printed on up to four pages and immediately after
each song is a Walkthrough. This covers the whole song from a performance perspective, focusing on the technical
issues you will encounter along the way. Each song comes with a full mix version and a backing track. Both versions
have spoken count-ins at the beginning. Please note that any solos played on the full mix versions are indicative only.

■ Technical Exercises: you should prepare the exercises set in this grade in the keys indicated. You should also choose
one Stylistic Study from the three printed to practise and play to the backing track in the exam. The style you choose
will determine the style of the Quick Study Piece.

■ Supporting Tests and General Musicianship Questions: in Bass Grade 7 there are three supporting tests – a Quick
Study Piece, a pair of Ear Tests and a set of General Musicianship Questions (GMQs) asked at the end of each exam.
Examples of the types of tests likely to appear in the exam are printed in this book. Additional examples of both types
of test and the GMQs can be found in the Rockschool Bass Companion Guide.

■ Additional Information: finally, you will find information on exam procedures and marking schemes.

Audio
Audio is provided in the form of backing tracks (minus bass) and examples (including bass) for the pieces and the
supporting tests where applicable. Audio files are supplied in MP3 format to enable playback on a wide range of compatible
devices. Digital versions of the book include audio files in the download. Download audio for hardcopy books from RSL
directly at www.rslawards.com/downloads — you will need to input this code when prompted: Q8JC2LU67R

Syllabus Guide
All candidates should read the accompanying syllabus guide when using this grade book. This can be downloaded from the
RSL website: www.rslawards.com
Bass Grade 7

Errata
Updates and changes to Rockschool books are documented online. Candidates should check for errata periodically while
studying for any examination. Further details can be found on the RSL website: www.rslawards.com/errata
4
 Marvin Gaye

SONG TITLE: WHAT’S GOING ON

ALBUM: WHAT’S GOING ON

c 100 Soul
LABEL: TAMLA
GENRE: SOUL R&B

? # ## # 44
E maj 7

œ œ
œ œ.
WRITTEN BY: MARVIN GAYE
PRODUCED BY: MARVIN GAYE

UK CHART PEAK: NOT CHARTED

T
A 2
B 0

? # ## # œ œ œ
œ œ.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

BACKGROUND INFO sections. He added his own view to the lyrics, changed
parts of the melody and added the title.
What’s Going On is a landmark in 20th century
popular music. It is an unparalleled concept album Gaye was by then undergoing a profound personal
that interweaves lines of musical and lyrical poetry T crisis and needed to prove himself. The initial
2 4
performed to perfection by a cast of stellar musicians. A idea for the recording was dismissed by Motown’s
B Berry Gordy0as a protest record gone too far. Gaye,
By 1971 Marvin Gaye was already a star primarily [3] determined to see his vision through, ploughed on
associated with Motown Records and singing about and produced the record himself.
love. He reached a point that made him question
the validity of the lyrics he had been singing when Amongst the features that make What’s Going On

? # ## # œ
faced with the brutal reality of racism and poverty he a masterpiece j 7 the bass performances by James
E maare

œ œ
A1

œ œ
saw on the streets of North America. The Vietnam Jamerson Jr. and Bob Babbitt. Jamerson’s line on

œ œ œ.
war was nearly a decade old by then and Gaye’s ‘What’s Going On’ is a masterclass in understatement
brother Frankie had spent three years in service. and inventiveness – he has a style all of his own,
His namesake cousin died in Vietnam. These events descriptive and very complimentary to the music.
affected Marvin Gaye profoundly. Jamerson’s syncopated melodic lines and his unique
tone and timing are acknowledged by most bass
What’s Going On provides a sharp and direct players as a significant influence. He is, to many, the
comment on the state of race and social relations T father of the electric bass as we know it today. 2
A 2 4 4
in the US. The title song, ‘What’s Going On’, was
originally written by Renaldo Obie Benson (Four B 0 0
Tops), who developed the original idea after [5]
witnessing an episode of police brutality and violence
in Berkeley, California. He related his experience to
songwriter Al Cleveland who developed it further.

? # ## # # œ œ œ œ
The Four Tops rejected it, saying it was a protest song,
Bass Grade 7

œ. œ œ.
and the pair offered it to Gaye who accepted it on
condition he was credited and allowed to change it in

5
 What’s Going On
Marvin Gaye
Words & Music by Marvin Gaye,
Al Cleveland & Renaldo Benson
c 100 Soul

? # # # # 44 œ
E maj 7

œ œ œ œ œ œ œ œ œ
œ œ. œ œ.
T 2
A 2 4 2 4 2 4 4
B 0 0

? #### œ œ
œ œ.
œ œ œ
œ œ. œ œ œ nœ œ #œ

T
A 2 4 2 4 4 3 2 4
B 0 0 4
[3]

C # m7

? #### œ œ œ. œ œ. œ œ œ
E maj 7

œ œ œ
A1

œ œ œ œ. œ œ œ œ œ nœ
œ œ œ.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

T 1
A 2 2 2 4 2 4
B 2 4 4 4 4 2 2 3
0 0 4
[5]

? #### # œ œ œ. œ œ œ
œ œ œ œ œ œ œ.
E maj 7

œ. œ œ. œ œ œ
œ œ.
T 1 4
A 1 2 2 2
B 4 4 4 2 4 4
4 0
[8]

C # m7 F # m9

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J œ. œ œ. œ œ nœ #œ œ
œ œ œ œ. œ œ œ

T 6
A 6 2
B 4 2 2 3 4 4 4
4 4 2 2
[11]

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B9
œœœ œœœ
œ œ œ œœœ
A/B

œ œ œ œ nœ œ œ . œ œ
.
Bass Grade 7

T 2 4 2 4 2
A 4 1 2 3 4 4 4 2
B 4 4 3 2 2 4 4 2
2
[14]
6 © Copyright 1970 (Renewed 1998) Stone Agate Music/Jobete Music Co., Incorporated.
EMI Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
 C # m7

? #### œ œ œ
E maj 7

œ œ œ œ œ œ œ. œ œ.
A2

œ œ. œ œ œ nœ #œ œ
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T 1
A 2 2 4 2 4
B 2 4 4 4 2 3 4 2
0 4
[17]

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œ œ œ œ œ œ œ.
E maj 7

œ. œ œ. œ œ œ
œ œ.
T 1 4
A 1 2 2 2
B 4 4 4 2 4 4
4 0
[20]

C # m7
œ œ. œ œ nœ #œ œ œ
? #### œ. nœ #œ
œ œ œ. œ œ œ
T 6 4 5 6 4
A 6 6
0 4 2 2 3 4

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 4 4
[23]

F # m9
? #### œ œ nœ #œ œ. œ œ œ œ nœ
˙ œ. .
T 2 3 4
A 4 4 4 3
B 2 2
[25]

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A/B B9

œ. œ œ œ œ œ. œ œ œ œ œ œ nœ

T 2 4 2
A 1 2 3 4 4 4
B 2 0 2 0 2 2 0 0
4 3
[27]

F # m9
? ####
B A maj 7/B

œ œ œ œ nœ œ œ œ œ. œ œ. œ nœ.
œ œ œ. œ
Bass Grade 7

T
A 0 0 4 3 2 2 2 0 0
B 2 2 4 4 3 0
[29]
7
 F # m9
? #### nœ #œ œ
œ œ œ œ
A maj 7/B

œ œ œ œ nœ œ œ.
œ œ œ.
T 4
A 1 2 3 4 2
B 0 0 4 3 2
2 2
[31]

F # m9

? #### œ œ.
A maj 7/B B9

œ œ œ œ œ nœ #œ œ. œ œ œ
. œ œ.

T 4 4 1
A 4 4 3 2 4 2 4
B 2
[33]

C # m7

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E maj 7

œ. œ œ. œ œ œ œ œ. œ œ œ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

œ œ

T 1
A 2 4 2 4
B 0 4 4 4 4 2 4
4
[35]

C # m7

? #### œ œ
E maj 7

œ. œ œ ˙ œ œ œ œ nœ œ œ œ
˙
T 1 1
A 2 4
B 4 0 4 4 3 3 2 2
0
[37]

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C A m9

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Bass Grade 7

.
.
T 7 7 7 7 7
A 0 0 7 7 7 7 7 7
B 5 5
[39]
8
? ####
œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ

T 7 7 7 7
A 7 7 7 7 7 7
B 5 5 5 5
[41]

? #### œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ. œ œ œ.

T 7 7 7 7 7
A 7 7 7 7 7 7 7
B 5 5 5 5
[43]

? #### œ œ œ œ œ œ œ œ œ œ œ œ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

œ œ œ. œ œ œ.

T 7 7 7 7
A 7 7 7 7 7 7
B 5 5 5 5 5
[45]

? #### nœ #œ œ œ. œ nœ #œ
œ œ œ œ œ
A/B

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T 7 9 9
A 6 7 8 9 6 6 7 8 9 0
B 7 7 9 8
[47]

? #### œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ nœ #œ œ .
7

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E maj
Bass Grade 7

.
.
T 7 9 7 9 7 9 7
A 6 6 7 7 8 9 9 9 9 7
B 7 7 9 9 0
[49]
9
 Walkthrough

‘What’s Going On?’ is a classic soul tune played by James B Section (Bars 29–38)
Jamerson who was one of the pioneers in commercial music Bars 29–38 | Pre-chorus to chorus
of the time to employ a more ‘improvisational’ concept when Letter B acts as a pre-chorus from bars 29–34. If you analyse
playing bass lines. He had a distinct way of ‘playing through the harmony at this point you will realise that this is a II
the changes’ as opposed to merely laying down a repetitive V progression in E major. The Amaj7/B creates a B13(sus)
riff that was so common at the time of this recording. As chord which is from the dominant 7th family. You will often
a practice suggestion study the relationship of the bass hear this form of a II V progression used in more popular
line over the chords being played. This is where you will music styles where the Dom7(sus 4) is used as a substitute
see evidence of chord tones, diatonic passing tones and for the Dom7 chord. The chorus is the four-bar section from
chromatic approach notes which made up a large majority of bars 35–38. Notice that the chorus is played over the same
Jamerson’s vocabulary. chord progression that is heard in the intro.

Intro (Bars 1–4) C Section (Bars 39–50)

Bars 1–4 | Diatonic progressions Bars 39–50 | Interlude
In the intro the bass line utilises the use of the 6th of the Letter C is a 12-bar interlude which is based on the IVm7 to
Maj7th chord, creating a more commercial and pleasing V7(sus) chord progression.. This is another variant of a II
sound, rather than using the 7th in his lines. This chord V sequence, which gives a faster recognition to a key area
progression toggles between the Emaj7 and the C#m7 which when it is heard. However, in this case, the IVm7 is borrowed
creates the foundation for a Imaj7 to VIm7 in the key of E from the parallel minor key (E minor) utilising a harmonic
major. Pay close attention to the key signature as it contains technique called Modal Interchange. Pay close attention to
four sharps. the rhythmic syncopation used throughout this section as
it clearly points out that rhythm is an improvised concept
as well as melody and harmony. Study the melodic content

RSL-858170122834 / 1 / shayne Addinall / [email protected]

A1 and A2 Sections (Bars 5–28) in each bar; bass lines are sometimes not thought of as ‘the
Bars 5–28 | Syncopated 16th notes melody’ but all bass lines should provide a degree of melodic
Syncopated 16th notes create an obstacle if you are not aware counterpoint to support the song. This section is repeated,
of how 16th-note patterns are grouped across one beat. As then ends on an E maj 7 chord where the bass holds on the
a learning tip go through this entire section and identify open E string.
all the different ways that 16th notes can be organised
across one beat. Once completed, slowly tap out the rhythm
patterns for each successive bar and then begin to analyse
the melodic content that exists in each bar. As an example,
in bar 28, notice over the B9 chord how the first beat is made
up of chord tones (root, b7, 5, b7). In beats 2 and 3 the bass
line is comprised of the root, b7 and back to the root. In beat
4 the first two 16th notes are the b7 followed by a double
chromatic approach note leading into the root of the F#m7
in letter B.
Bass Grade 7

10
 Tower of Power

SONG TITLE: ONLY SO MUCH OIL

IN THE GROUND
ALBUM: URBAN RENEWAL c121 Funk/Soul
LABEL: WARNER BROS. Intro

? bb 44 œ œ œ œ œ # œ œ œ œ n œ œ n œ
GENRE: FUNK SOUL A G m9

WRITTEN BY: EMILIO CASTILLO AND

STEPHEN KUPKA
PRODUCED BY: EMILIO CASTILLO

4 5 5 5 3 3 2
T 5 5 5 3 3
UK CHART PEAK: NOT CHARTED A
B

Eb9
œ
G m9

? bb b œ œ œ œ œ ¿ œ œ nœ œ
œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

BACKGROUND INFO Bassist Francis ‘Rocco’ Prestia auditioned as
guitarist for Tower Of Power but Emilio Castillo
‘Only So Much Oil In The Ground’ was included persuaded him to play bass – the rest is now history.

¿
on the legendary Urban Renewal by Tower Of Power, 5
released in 1975. The band originated in Oakland T Prestia’s contribution to the
A 6 6 6 electric bass is very
and was formed by tenor saxophonist and vocalist B significant6 - he is a6master of what became
3 3 3 5
known 6
Emilio Castillo and baritone saxophonist Stephen as finger style funk. His technique involves highly
Kupka in 1968. From the onset the band appealed to [4] demanding subdivisions, considerable stamina on
minority and rebellious listeners. Their brand of fiery the right hand and light muting on the left hand, # #
soul developed hand in hand with their popular and b
creating11
E
a percussive and funky sound that cutsDright7 5 9

n
legendary live performances. By the mid 1970s Tower through the mix. His unique style is influenced by

? bb œ œ œ œ œ œ œ
of Power were a highly respected band in the US. the Stax, Motown and Muscle Shoals sound which
in turn influenced Jaco Pastorius. He is one of a
Tower Of Power’s contribution to the sound handful of bass players that, through their craft
of funk and soul is very significant. Whilst they and dedication, shaped and defined the role of the
borrowed from early funk, soul and motown they electric bass as we know it.
managed to carve a highly original and identifiable
sound. The driving and powerful rhythm section of Tower Of Power released 11 albums, including two
David Garibaldi on drums (incidentally only featured T live records, between 1970 and 1981. More recordings5 5
6 with6
on one track on Urban Renewal) and Rocco Prestia on A followed6from 19866 onwards, together many
B
bass, propelled the soulful vocal of Rufus Miller (later tours worldwide. They are still actively performing
replaced by Lenny Williams) and the phenomenal [7] their unique brand of funk and soul.
horn section the band is so well known for. After
various line-up changes, including over 60 musicians
Chorus

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in over 40 years of live and studio performance,

? bb œ œ œ nœ œ #œ
Tower Of Power managed to retain their unique and B G m9
singular sound.
Bass Grade 7

11
3 4 5 5 5
T 5 5 5 3
A
 Only So Much Oil In The Ground
Tower of Power
Words & Music by Stephen Kupka
c121 Funk/Soul & Emilio Castillo

E b 11
Intro

? b b 44 œ œ œ œ œ # œ œ œ œ n œ œ n œ b œ œ œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ nœ
A G m9 G m9

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¿
T 5 5 5 3 3 4 5 5 5 3 3 2 5 5 5 3 3 4 5 5 5 3 3 2
A 6 6 6 6
B 6 3 3 3 5 6

Eb9
œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
? bb b œ œ œ œ œ
G m9 C9

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¿
T 3 3 5 5 5 5 5 5
A 5 5 5 3 3 4 5 5 5
B 6 6 6 6 1 3 3 3 4 4 5
6 3 3 3 5 6
[4]

# #
E b 11 A b m9
U
D7 5 9 G m9

? b œ œ œ œ œ œ œ nœ œ #œ œ œ œ nœ œ #œ œ bœ. œ
b

RSL-858170122834 / 1 / shayne Addinall / [email protected]

T 3 3 4 5 5 5 3 3 4 5 6
A 6 6 6 6 5 5
B
[7]

E b 11
Chorus

? bb œ œ œ nœ œ #œ œ œ œ nœ œ nœ
G m9

bœ œ œ œ œ
B

œ ¿ œ œ nœ œ

¿
T 5 5 5 3 3 4 5 5 5 3 3 2
A 6 6 6 6
B 6 3 3 3 5 6
[9]

E b 11
œ œ bœ œœ
? b œ œ œ œ œ #œ œ œ œ nœ œ nœ œ œ œ œ œ #œ œ œ œ œ
G m9 G m9

b bœ œœ œ œœ œ nœ

T 8 8 8
A 5 5 5 3 3 4 5 5 5 3 3 2 8 8 5 5 5 3 3 4 5 5 5 5
B 6 6 6 5 6 1 2
8
[11]

Eb9 7 #5 # 9

œ œ œ œ # œ œ œ œ œ œ œD œ œ œ œ œ G m9

? bb œ œ œœœœœ
C9

œ #œ œ œ œ œ Œ
œ
Bass Grade 7

T 5 5 5 5 6 6 7 7 8 7 7 7
A 8 8 7 7 5 5 5 3 3 5
B 3 3 4 5 6 6 5
3
[14]
12 © Copyright 1989 Bob-A-Lew Songs.
Sony/ATV Music Publishing.
All Rights Reserved. International Copyright Secured.
 Bridge

? bb œ œ bœ nœ nœ œ #œ œ Œ
C9 G 13 C9

‰ œj œ œ ‰ œj œ œ
C

œ œ
nœ œ œ #œ nœ nœ œ #œ
T 2 3 4
A 3 3 4 5
B 3 3 3 3 3 3
3 0 1 1 2 3 3 0 1 1 2
[17]

b
? bb œ bœ nœ nœ nœ bœ œ œ œ œ bœ nœ
G 13 C9 G m9 C7 9

œ œ œœœ œœ
nœ œ #œ œ œ œ œ œ œ œ œ #œ œ œ
T 2 3 4
A 2 2 3
B 6 6 5 5 5 4 3 3 3 3 3 5 5 3 3 4 4 5
3 3 0 1 2 3 6 6
[20]

E b maj 7
# #
? b œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ œ
D7 5 9 G m9

b œ œ Œ

T 3 3 4 5 5 3 5
A 6 6 6 6 6 5 5 5 5 5

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B
[23]

Verse
E b 11
? bb œ œ œ #œ œ œ œ nœ œ nœ bœ œ œ œ œ
D
G m9

œ ¿ œ œ nœ œ

¿
T 5 3 3 4 5 5 5 3 3 2
A 6 6 6 6
B 6 3 3 3 5 6
[25]

E b 11
œ œ bœ œœ
G m9 G m9

? bb œ œ œ œ œ # œ œ œ œ n œ œ n œ bœ œœ œ œœ œ œ œ œ œ #œ œ œ œ œ
œ nœ

T 8 8 8
A 5 5 5 3 3 4 5 5 5 3 3 2 8 8 5 5 5 3 3 4 5 5 5 5
B 6 6 6 5 6 1 2
8
[27]

Eb9 7 #5 # 9 Db9
œ œ
C9
œ œ #œ œ œ œ œ œ œD œ œ œ œ œ G m9

? bb œ œ #œ œ œ œ œ œ œ œ œ #œ œ bœ Œ
Bass Grade 7

T 5 5 5 5 6 6 7 7 8 7 7 7
A 8 8 7 7 5 5 5 3 4 5
B 3 3 4 5 6 6 5 4

[30]
13
 Bridge

œ nœ nœ œ œ
? bb œ œ œ
C9 G 13 C 13

‰ œj œ œ ‰ œj œ œ
E

Œ œ
nœ nœ #œ œ nœ œ #œ
T 2 3 4
A 3 3 5
B 3 3 3 5 3 3 3
3 0 1 2 3 3 0 1 2
[33]

bœ nœ œ
b
? bb œ œ nœ bœ œ œ œ œ bœ nœ
G 13 C9 G m9 C7 9

œ œ œ œ
nœ œ #œ œ bœ œ œ œ œ œ œ #œ œ œ
T 2 3 4 3 4 5
A 3
B 6 6 5 5 5 4 3 3 3 5 5 3 3 4 4 5
3 0 1 2 3 6 6
[36]

# #
E b maj 9
? b œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ œ
D7 5 9 G m9

b œ œ Œ

T 3 3 4 5 5 3 5
A 6 6 6 6 6 5 5 5 5 5

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B
[39]

Solo
E b 11
? b b .. œ œ œ œ œ # œ œ œ œ n œ œ n œ bœ œ œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ nœ
F G m9 G m9

œ ¿ œ œ nœ œ
.
. ¿
T 5 5 5 3 3 4 5 5 5 3 3 2 5 5 5 3 3 4 5 5 5 3 3 2
A 6 6 6 6
B 6 3 3 3 5 6
[41]

E b 11
œ œ bœ œœ œ œ œ œ #œ œ œ œ
G m9 C9

? bb b œ œœ œ œœ œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ
œ nœ

T 8 8 8 5 5 5 5 6 6 7 7
A 8 8 5 5 5 3 3 4 5 5 5 5
B 6 6 6 5 6 1 2 3 3 4 5
8
[44]

1. 2.
# #
Eb9 A b m9
œ œ œ œ œ œ œ œ
œ œ œ œ œ #œ œ bœ. œ
D7 5 9 G m9 G m9

? bb œ œ œ .. œ œ œ œ œ n œ œ Œ
Bass Grade 7

.
.
T 8 7 7 7
A 8 8 7 7 5 5 5 3 3 4 5 6 5 5 3 5
B 6 6 5 5 5

[47]
14
 Bridge

œ bœ nœ nœ œ #œ œ Œ
C9 G 13 C9

? bb œ ‰ œj œ œ ‰ œj œ œ
G

œ œ
nœ œ œ #œ nœ nœ œ #œ
T 2 3 4
A 3 3 4 5
B 3 3 3 3 3 3
3 0 1 1 2 3 3 0 1 1 2
[50]

b
? bb œ bœ nœ nœ nœ bœ œ nœ œ œ œ #œ œ œ
G 13 C9 G m9 C7 9

œ œ œ œ bœ œ œœœ œœ œ œ œ œ œ
nœ œ #œ
T 2 3 4
A 2 2 0 0 3
B 6 6 5 5 5 4 3 3 3 3 3 1 1 3 3 4 4 5
3 3 0 1 2 3
[53]

# #
E b maj 9
? bb œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ œ
D7 5 9 G m9

œ œ Œ

T 3 3 4 5 5 3 5
A 6 6 6 6 6 5 5 5 5 5
B
[56]

Chorus/Outro
E b 11
? b b .. œ œ œ œ œ # œ œ œ œ n œ œ n œ bœ œ œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ nœ
H
G m9 G m9

œ ¿ œ œ nœ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

.
. ¿
T 5 5 5 3 3 4 5 5 5 3 3 2 5 5 5 3 3 4 5 5 5 3 3 2
A 6 6 6 6
B 6 3 3 3 5 6
[58]

E b 11
œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
? b bœ œ œ œ
G m9 C9

b œ œ ¿ œ œ nœ œ œ œ œ œ #œ œ œ

¿
T 0 0 3 3 5 5 5 5 5 5
A 5 5 5 3 3 4 5
B 6 6 6 6 1 3 3 3 4 4 5
6 3 3 3 5 6
[61]

1. 2.
# # 7 #5 # 9
Eb9 A bm9 E b9

œ œ œ nœ œ #œ œ bœ. œ œ œ œ œ œ œ nœ œ
D7 5 9 G m9 D

? b œ œ œ œ œ œ œ nœ œ #œ .. œ œ œ
b

.
.
T 8 7 7 7
A 3 3 4 5 5 5 3 3 4 5 6 8 8 7 7
B 6 6 6 6 5 5 6 6 5

[64]

? bb œ œ œ œ # œ œ n œ # œ œ œ œ n œ # œ œ œ œ n œ # œ œ œ œ n œ # œ œ œ Uw
G m9 C 13 11
Bass Grade 7

T 5 5 3 3 4 5 3 4 5 5 5 3 4 5 5 5 3 4 5 5 5 3 4 5 5
A 3
B

15
[67]
 Walkthrough

A Section (Bars 1–8) D Section (Bars 25–32)

This piece will require some stamina and consistency due The chord sequence will be familiar with much of the
to the 16th-note figures at high tempo. A relaxed approach bass line repeated from section B. There are some slight
will help and alternating the first and second fingers in the variations in the patterns but the eighth and 16th-note
picking hand will be essential to maintaining the pace. patterns will still need some work at slower tempos to
begin with.
Bars 1–4 | Eighth and 16th note phrases
Entry to the piece should be confident but relaxed to enable
execution of these 16th note phrases. Starting the first E Section (Bars 33–40)
phrase with the fourth finger in the fretting hand should The bridge follows the same chordal pattern as section C
help to set up the following phrases. The G minor feel is set with an almost identical bass line. Bar 37 has some slight
straight away with the Gm9 chord in the first bar. differences to bar 21 but the scale use remains the same. Try
to keep the consistency and stamina throughout this section.
Bars 5–8 | Octaves
Bar 6 features some octave work under the C 9 chord and
will require some tricky string skipping . Watch out for the F Section (Bars 41–49)
Abm9 chord falling on the ‘e’ of beat 3 in bar 8. The piece arrives at an instrumental solo with the opening
groove used as the backing. Watch for the Abm 9 chord on
the ‘e’ of beat 3 in bar 48 and the stop on beat 3 in bar 49.
B Section (Bars 9–16) This section is played twice through.
The intro chord sequence appears again with some repeated
phrases. There are some slight changes to the previous line
which will require some practice at a slower tempo to really G Section (Bars 50–57)
nail the note placement. The bridge section is repeated once again with an exact

RSL-858170122834 / 1 / shayne Addinall / [email protected]

repeat of section C.
Bars 9–12 | Repeated phrases
Some of the phrases here will be familiar as they are repeated
from the intro section. Watch out for the root, fifth, octave H Section (Bars 58–69)
pattern in bar 12 that has some variations in rhythm. The chords of the opening groove appear again in this
section with an exact repeat of the bass line through the first
Bars 13–16 | Repeated harmony time. The pattern adjusts at the second time bar and sets up
The chord sequence from bars 5–9 is almost identical in this the final bars of the piece. You will find that this closing riff
section (bar 16 changes). The octave patterns in bar 14 will appears to change in time signature but it actually just moves
need a relaxed approach to create a balanced tone and watch across the bar. This line needs to be played particularly
out for the quarter-note rest on beat 4 of bar 16. solidly as it is unison with other instruments.

C Section (Bars 17–24)

The bridge section begins with movement between two
dominant chords – C 9 & G13.

Bars 17–20 | Broken 16th note phrasing

The phrasing is slightly more relaxed although still features
16th note patterns with some use of the minor-major third
movement under the G 13 chord. There are some chromatic
movements going from the C 9–G 13 which work particularly
well in this style.

Bars 21–24 | Changes in harmony

The chord sequence changes a little here with some broader
b
chord extensions in place. Movement to the C 7 9 chord
Bass Grade 7

is pushed on the ‘a’ of beat 2 with a tie to beat 3. There is

another stop on beat 3 of bar 24.

16
 Ian Dury and the Blockheads

SONG TITLE: HIT ME WITH YOUR

RHYTHM STICK
ALBUM: RELEASED AS SINGLE
c 105 Pop/Rock
LABEL: STIFF Intro

œœœ œœœ
F m7

? bb b 44 ‰ . r
GENRE: ROCK DISCO A

WRITTEN BY: IAN DURY AND b œ

CHAZ JANKEL
PRODUCED BY: LAURIE LATHAM
T 3 1 1
A 3 3 1
UK CHART PEAK: 1 B 1

œ œ œ œ œ œ œ œ œ œ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

? bb b
BACKGROUND INFO would later become The Loving Awareness. This band

b
joined Ian Dury and Chaz Jankel who were managed
‘Hit Me With Your Rhythm Stick’ hit the number 1 by Pink Floyd’s original managers Andrew King and
spot in the UK charts in January 1979. The song was Peter Jenner. The amalgamation of these musicians
released as a single by Ian Dury and The Blockheads became Ian Dury and The Blockheads and they
and broke the band into the mainstream. The story quickly gained a reputation as one of new wave’s top
is that bassist Norman Watt-Roy heard the song had live acts on both sides of the Atlantic.
reached the number 1 spot while listening to a car T 3 1 1
1 3 3 1 1
3 3 1
radio and singer Ian Dury heard while on holiday A B Norman Watt-Roy worked as a session musician
in Cannes. during the 1970s and 1980s with artists including
[3] Nick Lowe, Rachel Sweet and Jona Lewie. He made
Ian Dury and The Blockheads were a successful an appearance with The Selecter in 1981 and cut
band associated with the new wave that followed some tracks for The Clash’s Sandinista! including
punk in the late 1970s. Amongst the band’s other hit ‘Magnificent Seven’ and ‘Hitsville UK’. He also
singles are ‘What A Waste’, ‘Reasons To Be Cheerful recorded for The Clash on the Cut The Crap sessions
Part 3’ and the classic ‘Sex & Drugs & Rock & Roll’. and, according to The Clash’s drummer Topper

b
Headon, Norman Watt-Roy is the bassist in the

œœœœ
F m7

œ œ ‰ . œr
Norman Watt-Roy’s iconic bass line in ‘Hit Me famous ‘Rock C
B The Casbah’ featured in Combat Rock.

? bb b œ œ Œ
With Your Rhythm Stick’ was allegedly inspired by He recorded all tracks on The Who’s Roger Daltrey’s

b
Jaco Pastorius – he had seen Weather Report recently solo album Parting Should Be Painless in 1984 and
and that created a strong impression on him. At has also worked with Nick Cave in the latter’s
the time Norman Watt-Roy was a respected session solo shows.
player having worked as a musician for some time.
He started by forming a soul band that toured US
military bases in Germany backing singers such as 3 1 1
T
Sonny Burke. By the early 1970s the band was known A 3 3
1 1 1
as Greatest Show On Earth, they had considerable B
Bass Grade 7

success in Europe and toured extensively. In 1972

Norman Watt-Roy joined a band called Glencoe that [5]

17
% Verse
 Hit Me With Your Rhythm Stick
Ian Dury and the Blockheads
Words & Music by Ian Dury & Chas Jankel
c 105 Pop/Rock

œ œ
œ œœ œ œ œœ œ œ œœ
Intro

? b b b 44 ‰ . œœœœœœœœœœœœœ
A F m7

b r œœ
œ œ
T 8 8
A 3 1 1 3 1 1 6
B 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8
1 4 1 1

œ œ.
? bb
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ

T 8 8
A 3 1 1 3 1 1 6
B 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8
4 1
[3]

RSL-858170122834 / 1 / shayne Addinall / [email protected]

Bb œœ
œœœœœœœœœœœ
F m7

? bb b œ œ Œ œœœœœœœœœœœœœ œ
C

b œ œ ‰ . œr œœ

T 8 8
A 3 1 1 3 1 1 6
B 1 1 3 3 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8 8
1 4 1
[5]

% Verse b
Fm
œ œ œ œ œ œ œ E /F Fm

? b b b .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
B

b
.
.
T 10 8 8
A 10 10 8 8
B 11 11 8 8 10 10 10 11 11 8 8 8 8 11 8 6
11 11 8 8 11 11 9
[8]

Db7
œ bœ œ œ œ œ œ
œ nœ œ bœ œ œ nœ œ #œ œ œ nœ œ œ œ œ bœ œ nœ œ
Fm

? bb b
b ¿ ¿ ¿
Bass Grade 7

¿ ¿ ¿
T 10 8 8
A 9 8 8 10 10 8 8
B 11 11 11 7 8 9 10 11 8 11 11 8 8 6 6 7 8

[10]
18 © Copyright 1978 Templemill Music Limited.
Warner/Chappell Music Limited.
All Rights Reserved. International Copyright Secured.
 b
œ bœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Fm E /F Fm

? bb b œ œ œ œ œ œ œ œ œ
b

T 10 8 8
A 10 10 8 8
B 11 11 8 8 10 10 10 11 11 8 8 8 8 11 8 6
11 11 8 8 11 11 9
[12]

Db7 Eb
? bb œ nœ œ bœ œ œ nœ œ #œ œ œ bœ œ œ œ œ œ œ œ œ œ nœ œ nœ
C/E

bb ¿ ¿ ¿

¿ ¿ ¿
T 9 8 8
A 11 11 11 7 8 9 10 11 6 6 6 6 6 6 6 6 6 5 6 7
B 8
[14]

Chorus
F G m7 F 7/A G m7 F7

? bb b œ œ nœ œ œ œ
C

Œ Œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

b œ œ nœ œ œ œ œ œ œ
T 3 5 7 5 3 3
A
B 1 3 5 5 3 1 1 1 1
[16]

F G m7 F 7/A G m7 F7

? bb œ œ nœ œ œ Œ œ Œ
bb œ œ nœ œ œ œ œ œ
T 3 5 7 5 3 3
A
B 1 3 5 3 1 1 1 1
[18]

To Coda fi
G m7 A b dim F 7/A Bb F 7/A A b dim G m7 Bb

œ
F C

? bb b œ œ œ nœ nœ bœ
b œœ œœ œ œ nœ œ œ œ nœ nœ bœ œ œ œ œ Œ œ œ ‰. r
œ
Bass Grade 7

T 3 5 6 7 8 7 6
A 1 1 3 3
B 1 1 3 3 4 4 5 5 6 6 5 5 4 4 3 1
[20]
19
 œ œ.
1.

? bb b œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
F m7

b œ œ œ œ œ œ œ œ œ œ

T 8 8
A 3 1 1 3 1 1 6
B 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8
4 1
[23]

Bb
œ œœ
? bb œœœœœ œœœœœ œ œ ..
F m7

œœœœ
C

bb œ œ Œ œ œ ‰. r œœœœœœœœœœ
œ
.
.
T 8 8
A 3 1 1 3 1 1 6
B 1 1 3 3 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8 8
1 4 1
[25]

Solo

2.

? bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
D
F m7

RSL-858170122834 / 1 / shayne Addinall / [email protected]

b œ œ œ œ

T 3 1 1 3 1 1
A 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 3 1 1 3 1
B 4 1 4 1
[28]

? bb œ œ œ œ œ œ œ œ œ œ
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

T 3 1 1 3 1 1
A 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 3 1 1 3 1
B 4 1 4 1
[30]

œ œ œ. Bb

? bb b œœœœœœœœœœœœœ œœœœœœœœœœ
C

b œœ œ œ Œ œ œ ‰. r
œ
Bass Grade 7

T 8 8
A 3 1 1 3 1 1 6
B 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8 1 1 3 3
4 1 1
[32]
20
? bb b œ
E Breakdown

b ˙. ∑
œ.
T 3
A
B
[35]

? bb ∑ Ó Œ ‰. r
bb œ
T
A
B 1
[37]

D.%. al Coda fi
œ œ œ
? bb b ⇥ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ ⇥ œ œ œ œ œ œ œ œ
F m7

RSL-858170122834 / 1 / shayne Addinall / [email protected]

b

T 8 8
A 3 1 1 3 1 1 6
B 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8 8
4 1
[39]

fi Coda
œ œ.
Outro/Chorus

? bb ⇥ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ ⇥ œ œ œ œ œ œ œ œ
F F m7

bb

T 8 8
A 3 1 1 3 1 1 6
B 3 3 1 1 3 3 1 1 3 1 3 3 1 1 3 6 8
4 1
[41]

Bb

? bb b œ
C F m7

b œ Œ œ œ ‰. r ⇥ j Œ Ó
œ œ.
> >
Bass Grade 7

T
A 1 1 3 3
B 1 1
[43]
21
 Walkthrough

A Section (Bars 1–7) Bars 20–22 | Chromatic movements

The constant 16ths through this piece will require stamina The octave work continues but now moves through some
and consistency. The first bar features a ‘push’ on the last chromatic movement in bars 20 & 21. The eighth note hits
16th note which will appear again throughout the piece. appear again in bar 22.

Bars 1–7 | 16th-note phrasing Bars 23–27 | Repeated phrases

The main groove is centred around the F minor The intro groove is established again in this first time bar
pentatonic scale in the lower octave. Correct fingering with a return to the verse at bar 8.
will be essential to play this line consistently with the
hand position shifting from fret 1 to fret 6 in bar 1. The
beginning of each bar has a 16th-note rest but the root D Section (Bars 28–34)
note is ‘pushed’ in the bar before. The eighth notes in bar 5 Bars 28–34 | Repeated phrases
will appear some more in the piece and provide some relief The repeated section moves to the second time bar at section
from the solid 16ths. D and the chorus/intro pattern is played for six bars. The
final bar features the eighth note hits that phrase with the
rest of the band.
B Section (Bars 8–15)
The hand position moves to the 8th fret on the A string to
begin the verse pattern an octave higher than the first section. E Section (Bars 35–40)
The breakdown section features just the drums for four bars
Bars 8–9 | F minor scale work with the bass returning on the ‘push’ of the final 16th in
The F minor scale is used to weave through the F minor bar 38. The main chorus groove is re-established in bar 39
chords with the ‘push’ still there at the end of each bar. and the piece returns to section B at the D.S. al Coda in bar
Alternating the first and second fingers of the picking hand 40. The whole of section B and C are repeated until bar 22

RSL-858170122834 / 1 / shayne Addinall / [email protected]

is essential. where the Coda marking directs to section F.

Bars 10–11 | Db mixolydian scale

The Db Mixolydian scale comes into play and compliments F Section (Bars 41–44)
the tonal quality of the Db7 chord. Use the ‘1 e & a’ counting The outro section is a repeat of the chorus groove for two
method to help place the mutes in this bar. In bar 12 the F bars with the eighth note hits in bar 43. The unison ending
minor pentatonic scale is featured again. features a ‘push’ on the last 16th of this bar and the final
accent on the ‘e’ of bar 44.
Bars 12–15 | Repeated phrases
Bars 12–14 see some repeated phrases from earlier on in the
verse with a change of chords in bar 15. This is matched with
solid 16ths on the Eb and an E under the C chord on beat 4
of the bar.

C Section (Bars 16–27)

The chorus section features octave work with combinations
of eighth and 16th-note phrasing throughout.

Bars 16–19 | Octave phrasing

The octaves need to be consistent here with some string
skipping when playing the two 16ths-one eighth note
combinations. These can be tricky phrases so a relaxed
technique and alternating fingers in the picking hand will
need to be in place. Bars 18–19 are almost identical to
bars 16–17.
Bass Grade 7

22
 D’Angelo

SONG TITLE: SPANISH JOINT

ALBUM: VOODOO
LABEL: VIRGIN
c 112 Neo-Soul
.œ F mœ/ ˙
GENRE: NEO SOUL / R&B / FUNK

? bb 44 œ . œ œ
69
Cm

WRITTEN BY: D’ANGELO AND

b
F
ROY HARGROVE
PRODUCED BY: D’ANGELO

T 5 3
UK CHART PEAK: NOT CHARTED
A 3 6
B

~~~~
~~~~ œ .
Cm

œœ œ.
? bb ˙ . ‰ J
b
~~~~~~~~

RSL-858170122834 / 1 / shayne Addinall / [email protected]

BACKGROUND INFO Palladino adds his phenomenally versatile playing
to the record. His lines are discretely influenced by a
‘Spanish Joint’ is featured on Voodoo by D’Angelo, Jamerson touch and the tonal quality and feel of his 8
10
released in early 2000. The record is regarded as a T delivery are unique.
milestone in the neo-soul genre and inspired a myriad
A
B
of different artists in the style and beyond. The record Charlie Hunter played eight string guitar, handling
won Grammy Awards for Best R&B Album and Best [4] both guitar and bass simultaneously. His bass line in
Male R&B Performance. ‘Spanish Joint’ is a melodic groove with undertones of
Latin and Cajun rhythms that sit well in the musical

. œ œ
œ œ.
Voodoo packs in a singular blend of funk, R&B and lyrical atmosphere of the record. ‘Spanish Joint’ is Cm
F m6/9

? bb .. œ . œ œ œ œ
and soul wrapped into a hypnotic and laid-back feel C m
a song about karma and was written by D’Angelo and

b
very much D’Angelo’s own. This is a critical element trumpet player Roy Hargrove who is also featured on
in his music and is something he has developed the record and provided the horn arrangements for
further on each of his releases. D’Angelo’s first record, the song. In production terms the sound of Voodoo is
Brown Sugar, successfully established this trend related to analogue recordings of the 1970s, in stark

.
in the context of traditional R&B song formats. In contrast to the digital production of much R&B music

.
Voodoo, a much-anticipated release after nearly 5 of the time.
years, D’Angelo pushed the boundaries of his own T 5 3 3
writing and produced a layered and at times more A 6 third record in 2015 after a
D’Angelo3released his 3
B
abstract set of compositions, paying homage to some long absence from the studio and stage. Black Messiah
of his heroes such as Prince, Curtis Mayfield, Miles [7] was met with universal acclaim and is testimony to
Davis, and Jimi Hendrix. He composed every part D’Angelo’s creative and conceptual prowess. 2.
on the record including the sequenced lines he later

. œ œ
gave to Pino Palladino to develop and record. The
F m6/9 C

? bb œ . œ œ œ œ ..
Cm

œ
J Dilla influenced drum programming and playing

b œ œ
adds a unique flavour and atmosphere to the record.
The rhythm section interacts in a highly original and
Bass Grade 7

effective way creating a new image of the relaxed feel

.
D’Angelo is credited with developing.

T 5 3
1
23.
A 3 6 3
B 3
 Spanish Joint
D’Angelo
Words & Music by Angela Stone,
Michael Archer & Roy Hargrove
c 112 Neo-Soul

? b b 44 œ . . F mœ / ˙
œ ˙. œ . F mœ / ˙
œ
œ œ œ œ
69 69

‰
Cm Cm

b J œ.
F
T 5 3 5 3
A 3 6 3 6
B

~~~~~~~~C m. F m6/9

œœ œœ . .
? bb ˙ . ‰ J œ œ œ œ ˙ ˙. Œ
b
8
~~~~~~~~
T 10 5 3
A 6
B
[4]

1.

? b .. œ . œ œ œ. œ œ œ. . œ œ
œ œœ .
œ œ œ œ
F m6/9 F m6/9 Fm /
r
69

œ œ œ œ
Cm Cm Cm

bb œ œ. œ œ. œœ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

.
.
T 5 3 5 3 5 5 3
A 3 6 3 6 3 6 1
B 3 3 3
[7]

œœœœœ
2.
# #

? b b œ . œ œ œ. œ œ .. œ . œ œ œ. œ œ j œ
F m6/9 F m6/9 G7 5 9

œ œ œ
Cm Cm Cm

œ œ R R‰ Œ
b œ œ œ
.
.
T 8 7 5
A 5 3 5 3 8 6 5
B 3 6 1 3 6 1 3
3 3 3
[10]

. . œ
? b .. œ . œ œ œ œ œ œ. œ œ œ œ œ œ.
A Cm F m7 Cm F m7

bb œ œ.

.
.
T 5
A 5 3 5 3
B 3 6 3 6
3
[13]

. .
? bb œ . œ œ œ œ œ œ. œ œ œ œ œ œ œ
Cm F m7 Cm F m7

b œ œ. œ
Bass Grade 7

T 5 3 5 3 5
A 3 6 3 6
B 3 3
[15]
24 © Copyright 2000 Polygram International Publishing Incorporated/Songs Of Polygram International Incorporated/Ah Choo Music Publishing/My Diamond Lady Music.
Universal Music Publishing Limited/Hardgroove Publishing.
All Rights Reserved. International Copyright Secured.
 #
B b m7 E b7 A b maj 7
œ œ
G7 5

? bb œ .
b b œ œ œ. œ œ œ
œ. œ œ œ œ
. œ œ œ.
T 1 3 6
A 1 4 6 6
B 4 4 3 6
[17]

# #
? bb œ . œ œ œ. œ œ œ œ r . r ..
F m7 G7 5 9

œ ‰ Œ œ ‰ Œ
Cm

b œ
.
.
T 0 0
A 1 3
B 3
3 3 3
[19]

b # # b # #
œ œœ œ œ œ œ œ œ . œ œ œ Rœ n œR œ œ œ b œ
? b œ œ œ R n œR
D m7 5 G7 5 9 C m7 D m7 5 G7 5 9

œ œœ R
B

bb bœ R œ

T 5 4 5 7 5 7 5 5 4 5 7
A 6 5 5 5 6 5
5 8 4 3 6 3 5 8 4

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B
[21]

7 b5 7 #5 # 9 B b m7 Eb9
œ~~~~~~ œ nœ œ œ œ
œ œ œœ
C m7 C m7

œ œœ R R
Dm G

? bb œ œ œ œœ ‰ œ bœ œ œ
œ
œ œ œ
b
~~~~~~ 5 4 5 7 5
T 5 3 8 10 6 5 5 5
A 3 6 6 8 5 8 4 3 6 3 1 6
B
[24]

# #
A b maj 7
.
G7 5 9 F m6/9

œ œ œ ˙.
Cm

? bb œ œ œ œ œ.
œ ˙ Œ
b œ. . œ œ œ.
T 5 3
A 6 3 6
B 4 4 3 6
[27]

œ œ œ. œ œ
F m6/9 F m6/9

œ.
Cm Cm

? bb œ . œ œ ‰. r
b œ. œ ˙ ˙. œ œ. œ
Bass Grade 7

T 5 3
A 3 6 3 6
B 3 1 4 3
[30]
25
 7 #5 # 9

? b b œ . œ œ œ. œ œ œ œ r œ œ
.
œ œ œ œ œ œ œ
.Gœ œ
œ œ
Cm Fm / 69 Cm Fm / 69 Cm

b œ œ. œ œ. œ œ œ
T 5 3 5 5 3 5 3
A 3 6 3 6 1 3 6 1
B 3 3 3 3
[33]

? b b œ . œ œ œ. œ œ œ. œ œ . F mœ œ
œ œ œ œ œ . F mœ œ
œ œ œ
C 7 7 7
Cm Fm Cm Cm

b œ œ. œ œ œ. œ
T 5 3 5 3 5 5 3
A 3 6 3 6 3 6 1
B 3 3 3 3
[36]

#
B b m7 E b7 A b maj 7

? b œ . œ œ œ. œ œ œ œ œ
F m7 G7 5

œ œ œ. œ œ
Cm

bb œ œ œ . b œ œ œ . œ œ œ. œ œ œ. œ
T 5 3 5 1 3 6
A 3 6 1 4 6 6

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 3 4 4 4 3 6
[39]

? b b œ . œ œ œ. œ œ œ
F m7 A7 5 D m7 G m7

œ œ r
Cm Cm

Œ nnb œ .
b œ œ nœ ‰ Œ œ œ œ. œ œ œ œ

T 5 3 5 7
A 3 6 3 0 5
B 3 1 5 3 5
[42]

œ œ . œ œ œ. œ œ œ œ . œ œ œ. œ œ
D m7 G m7

œ œ œ
D m7 G m7 D m7 G m7

? b œ.
œ œ œ. œ œ œ œ œ œ
T 2
A 7 7 5 7 3 5 5
B 5 5 8 5
1 5 3 5 5 3
[45]

# œœ~~~~~~~~~~
#
C m7 F9 B b maj 7 A7 5

? b œ. bœ œ œ. œ œ œ. œ
œ. œ œ œ œ œ œ
Bass Grade 7

6
~~~~~~~~~~
T 0 2 3 5
A 3 6 0 1 0
B 3 1 3
[48]
26
 . œ œ œ œ œ #
? b œ. œ œ œ œ œ œ œ œ. R œ
D m7 G m7 D m7 A7 9

œ J R ‰ Œ

T 10 9 7
A 7 5 7 10 8 7
B 5 8 5
5
[50]

b 7 #5 # 9 7 b5 7#5

œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
œ œœ œ œ. œ œ
E m7 5 D m7

? b .. œ œ
A Em A

R R bœ R R R R bœ
D

.
.
T 7 6 7 9 7 9 7 7 6 7 9
A 8 7 7 7 8 7
B 7 10 6 5 8 5 7 10 6

[52]

b #
. œ œœ œ œ œ œ
? œ. œ œ œ œ œ œœ œ œ R # œR œ
D m7 E m7 5 A7 5 D m7 C m7 F9

b œ œ œ bœ œ œ œ œ œ

T 2 7 6 7 9 7
A 7 5 8 7 7 7
5 8 7 10 6 5 8 5 3 8

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 5 6
[55]

# #
B b maj 7 A7 9 D m7 B b maj 7 A7 9

? b œ. œ œ œ œ œ .. œ . œ œ œ œ
. œ œ œ. œ œ. œ. œ ˙ . œ œ. œ
.
.
T
A 8 5 8 8
B 6 6 5 8 5 3 6 6 5 8
[58]

#
B b maj 7

œ œ œ. œ œ œ.
D m7 A7 9 D m7

? b œ. œ ˙ œ ˙
œ . œ œ œ. œ œ œ. œ œ.

T 7 5 7 5
A 5 8 8 5 8
B 6 6 5 8
[61]

#
B b maj 7 A7 9 D m(maj 7)

? b œ. œ œ œ
. œ ˙ œ œ œ œ œ. œ œ œ w
.
Bass Grade 7

T
A 8 5 0 5
B 6 6 5 5 8 1
[64]
27
 Walkthrough

Intro (Bars 1–12) B Section (Bars 21–35)

Bars 1–12 Setting the tone Fast moving syncopated lines.
The tune opens with a signature line. This is a Cm triad
moving to an Fm6/9 chord. The syncopation will require Bars 21–24 | Descriptive II V’s and subtle articulation
a smooth and accurate touch. It is important to deliver These bars feature a minor II V I sequence with a melodic
this line evenly throughout the song. The feel of the line line descriptive of chord content. The syncopation could be
is crucial to the style’s vocabulary. A relaxed and subtle tricky and will require well organised fingerings to deliver it
delivery will make it sit in the right place. accurately. The understated Creole hint reappears and adds
a more forward feel to the tune. Note the variations on the
Bars 4–5 | Double stop and vibrato Cm7 line in bars 22 and 24. The C on the last beat of bar 24
The double stop at the end of beat 4 in bar 4 will require will require a well-timed vibrato. The return to D after it
a little vibrato and quick movement in order to play the needs to be timely and smooth. Note how bar 26 condenses
Eb on the last 16th-note of beat 1 of bar 5 accurately and the harmony of bar 17 into two beats leading to Abmaj 7 and
softly. It is important to practice this technique in order G 7 in bar 27.
to bed it into your playing. Double stops and vibrato will
recur later in the tune. Bars 28–33 | Re-intro
This is known territory by now. Be aware of the subtle
Bars 7–12 | Developing the groove differences such as the low F in bars 30–31.
The opening line is gradually embellished by diatonic 16th
notes in varying syncopated figures. Make sure these are
well timed and delivered smoothly always ‘leading’ to the C Section (Bars 36–51)
original figure. Bars 36–43 | Variations on A and preparing for modulation
The line moves around the tonic and subdominant of the key
Bar 12 | Unison line adding further variations to the pick-ups leading to the Cm7.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

The diatonic run starting on the last 16th note of beat 1 will Bar 43 anticipates the key change by adding the dominant
# #
require accuracy and strong subdivision to place the off-beat of the forthcoming key (A7 9 5) on the last two beats of the
16th note on beat 3 in time. Practicing this bar separately bar. Be aware of the A natural on the leading run.
will be beneficial as it recurs later in the arrangement.
Bars 44–47
The modulation is to the key of D minor and the basic line
A Section (Bars 13–20) works similarly to the original. In bars 44 to 47 it descends
Bars 13–16 | Further rhythmic development from the root adding a novel approach to the feature line.
The original motif of Cm and Fm6/9 is developed by adding
further pick-ups to the next bar. Once again a smooth and Bars 48–51 replicate the harmonic movement seen before
timely delivery leading to the next chord is essential. leading to the dominant chord of the key. Be aware of the
double stop in bar 49, as before some subtle vibrato will add
Bars 17–19 | Harmonic development flavour. Make sure you time the D in bar 50 well. Bar 51 will
These bars will require you to move the original feature feature the same run played in bar 12 this time up a tone.
line to different chord changes. The Bbm7 is a non-diatonic
chord so it will require you to play a Db, make sure you have
a coherent fingering system to deliver it. Bar 17 shifts the D Section (Bars 52–66)
harmony down a tone as a bridge to bar 18 where the line is Further II Vs and out.
simplified by playing tonic and fifth then down a semitone
# #
to the root of the dominant chord (G7 9 5). This is a simple Bars 52–59 feature the fast pacing II V’s seen before now
passage but has an understated Creole feel that makes it a semitone up. There are variations to the line that require
distinctive and preempts some elements of the next section, attention to detail. Bar 59 has a half-note at the end of the
it is important to deliver it smoothly. bar. Make sure your re-entry is accurate. Count and listen
out for the other instruments.
Bar 20 | Rhythmic accuracy
The G hit on the second 16th note of beat 3 requires good Bars 60–66 feature a bump on the submediant (Bbmaj7),
#
awareness of subdivision. Counting subdivided beats in your dominant (A7 9) and tonic (Dm7) of the key. There are some
Bass Grade 7

head will help you place the note accurately. The section long ties to be aware in all of the section. Notice the use of
repeats, so be sure to time your re-entry well. This also C# as the last note of bar 65 anticipating the end chord of
applies for the entry into B. Dm(maj7).

28
 Alanis Morissette

SONG TITLE: YOU OUGHTA KNOW

c105 Pop/Rock
ALBUM: JAGGED LITTLE PILL
LABEL: MAVERICK/REPRISE
GENRE: ALTERNATIVE ROCK / Intro

? # ## # 44 .. ∑
GRUNGE A B 7sus 4

WRITTEN BY: ALANIS MORISSETTE

AND GLEN BALLARD

.
[Guitar & Drums]
PRODUCED BY: GLEN BALLARD

UK CHART PEAK: 22
T
A
B
.

F # m6
Verse
F # m7
? # ## # .. ⇥ ‰ j
B

œ ofœ
œ Know’ are¿a portrayal
œ ‘You Oughta œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

BACKGROUND INFO The lyrics of
an ex-boyfriend’s antics but Alanis Morissette never

.
‘You Oughta Know’ signified a turning point in confirmed whether this was autobiographical.

. ¿
Alanis Morissette’s career. She wrote the song in
collaboration with Glen Ballard whom she had met T At the time of the session Flea was well known
after his publishing company arranged a meeting, A for his work as bassist and co-writer in the Red 2
B 2 2 2 Hot 2
they connected straight away and began to write. Chili Peppers. This was a relatively quiet period in
Morissette had just finished a two record deal with [5] the band’s checkered history and his output included
MCA in Canada and was looking for a new direction. some work with the Chilies and various outings as
She eventually secured a deal with Maverick and a session musician. Flea’s hard hitting, prominent
began to record with producer Jimmy Boyle who gave
#
and highly energetic style made his inventive bass #
? # ## # j
B sus 4/F

⇥ ‰
the demo some tweaks and achieved an edgier sound. lines, and his
B/Fpersonality, stand out. His stamina

¿ œ œ œ
It was on his advice that Dave Navarro and Flea were during live shows is legendary. The Red Hot Chili

œ œ
called in to do the session. The original demo for Peppers went onto achieve phenomenal worldwide
‘You Oughta Know’ did not include guitar and bass so success with Californication and Stadium Arcadium.
Navarro and Flea were asked to develop their parts. Flea’s playing on both records is outstanding and
They jammed to the vocal until they found something cemented his reputation amongst the best and most
they were comfortable with. successful. He is responsible for awakening an entire

¿
T generation of young music listeners to the roll of
The single had a great deal of success worldwide A bass in popular music.
2 2 2
and moved Alanis Morissette from her initial pop B 2 2
style into an alternative rock sound that was very well
[7]
received in the post-grunge era. ‘You Oughta Know’
had much success in the US where it charted well

F # m6
in a variety of different genre charts including the

F # m7
? # ## # œ œ ⇥
Billboard Alternative Songs Chart where it spent five

‰ ¿
weeks on the top spot. The song won two out of three
Bass Grade 7

œ œ
Grammy award nominations, Best Rock Song and
Best Female Rock Vocal Performance.

¿
29
T 4 4
 You Oughta Know
Alanis Morissette
Words & Music by Alanis Morissette
c105 Pop/Rock & Glen Ballard
Intro

? # # # # 44 .. ..
A B7
B 7sus 4

∑ ∑ ∑ ∑

. .
[Guitar & Drums]

. .
T
A
B

Verse
F # m7 F # m6
? # # # # ..
B

⇥ ‰ j ⇥ ⇥ ⇥ ‰ j
œ œ ¿ œ œ œ ¿ œ œ œ. ¿ œ œ ¿ œ œ œ
.
. ¿ ¿ ¿ ¿
T
A
B 2 2 2 2 2 2 2 2 2 2 2 2 2
[5]

B/F # B sus 4/F #

? #### ⇥ ‰ j ⇥ ⇥ ⇥ ‰ j ..
œ œ ¿ œ œ œ ¿ œ œ œ. ¿ œ œ ¿ œ œ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

.
¿ ¿ ¿ ¿ .
T
A
B 2 2 2 2 2 2 2 2 2 2 2 2 2
[7]

F # m7 F # m6
? #### ‰ œ œ ⇥ ‰ ‰ œ œ ⇥ ¿ œ
œ œ ¿ œ œ œ œ œ œ
œ
T
A 4 4
¿ 2 2 ¿ 1
B 0 2
2 2 0 2 2 2 2
[9]

B/F # B sus 4/F # F # m7 F # m6

? #### ⇥ ¿ œ œ ⇥ ¿ œ œ ‰ œ œ ⇥¿ œ œ œ œ ⇥ ¿ œ œ œ œ œ
œ œ œ œ. œ œ œ
T
A 4 4
¿ 2 2
¿ 2 4 ¿ 4 4 2 2
B 0 2 0 2 0
2 0 2 2 2 2 2

¿
[11]

B/F # B sus 4/F #

? #### œ
⇥ ‰ J œ œ ⇥ ‰ Jœ ⇥ œ œ ⇥¿ œ œ⇥œ œ œ œ
œ œ ¿ œ œ œ œ ¿ œœ ¿ œ œ.
Bass Grade 7

¿
¿ ¿ ¿
T 2 1
A 4 2 4 4 2
B 0 4 4 4 2
2 2 2 2 2 2 2 2 2 2
[14]
30 © Copyright 1995 Vanhurst Place Music/Songs Of Universal Inc/Arlovol Music.
Universal/MCA Music Limited/Concord Bicycle Assets LLC.
All Rights Reserved. International Copyright Secured.
 Chorus
F#5
? # # # # ..
C E5 A5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
.
.
T
A
B 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 5 5 5 5 5 5 5 5
[17]

1. 2.

F#5

? # # # # œ œ œ œ œ œ œ œ œ .. œ œ œ œ ‰
B5 B5

j ‰ j Œ ‰ œ œ œ œ
œ nœ #œ J
.
.
T 7 7 7 7 1 2 4
A 2 2 2 2 2 2 2 2 0
B 0 1 2 4
[20]

Verse
F # m7 F # m6 B/F # B sus 4/F #
œœ œ
? #### œ rœ œ
‰ Jœ œ
D

œ œ ¿ œ œ œ œ ¿œœ R œ œ œ œ ¿ œœ œ
œ

¿ ¿ ¿
T 2 9 8 9
A 2 1 2 4
4 0 2

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 2 2 2 2 0 2 2 2 2 2 2 2 2
[23]

F # m7 F # m6
? #### ‰ j œ œ œ œ ‰ œj ‰ œj
œ œ œ œ œ ¿ œ œ œ œ ¿ œœ ¿ œ œ œ

¿ ¿ ¿
T 4 2
A 0 2 0 2 0
B 2 2 2 2 2 2 2 2 2 2 2 2 0
[26]

B/F # B sus 4/F # F # m7 F # m6

? #### ¿ œ œ œ œ ‰ œ
œ œ. ¿ œœ ¿ œ œ¿ œ œ œ. ¿ œœ ¿ œ œ œ. ‰ J œ œ

¿ ¿ ¿
¿ ¿ ¿
T 2 4 4 4 2
A 2 0 0 2 4
B 2 2 2 2 2 2 2 2 2 2 2
[29]

B/F # B sus 4/F #

? #### œ
¿ œ œ ‰ J œ ¿ œ œ ‰ jœ œ œ œ
¿ œ œ ‰ j
œ œ. œ œ. ¿ œ œ œ. œ
Bass Grade 7

¿ ¿ ¿
¿
T 2 4
A 4 4 2 4 4 7 6
B 0 2 7
2 2 2 2 0 2 2 2
[32]
31
 ? ####
F # m7 F # m6
œ >œP
‰ J œ ‰ ‰ œ Œ
¿ œ
T

œ œ. ¿ œ œ œ œ œ
P

¿
T

¿
T 2
A 4 2
B 0 4
2 2 2 2 2 2 2
[35]

B/F # B sus 4/F #

? #### ‰ œ
œ œ. œ œ ¿ œ ¿ œ œ. œ œ œ œ bœ nœ œ œ

¿ ¿
T
A 0 2 0 0 0 1 2 0
B 2 2 2 2 0 2 4 0
[37]

œ œ
Pre-Chorus
F # m7 F # m6
? #### œ œ œ œ œ
E

‰. r œ ‰ ‰ J
œ œ œ œ ¿ œ œ

¿
T 9 9 2
A 4 4 2
2 4

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 2 2 2 0 2
[39]

B/F # B sus 4/F #

œ nœ #œ œ ¿ œ
? #### ‰ œ
J œ œ œ œ œ. ‰ œ œ
œ œ. ¿ œ œ
¿
¿
T 2 9
A 4 2 4 4 4 7 7 9 10 11 7
B 2 2 2 2
[41]

F # m7 F # m6
? #### œ œ . ¿ œ œ ¿ œ œ œ #œ œ œ œ
œ œ. ¿ œ œ œ œ
¿ ¿
¿
T 4 4 4 4 2 4 2
A 4 2 0
B 2 2 2 2 2 2 2
[43]

B/F # B sus 4/F #

? #### ‰ j œ œ œ œ œ œ œ œ œ œ œ
œ œ. ¿ œ œ œ œ œ
Bass Grade 7

¿
T 2 4 4 2 2
A 2 4 4 2 4 2 0
B 2 2 2 2 2 2
[45]
32
 Chorus
F#5
? # # # # ..
F
E5 A5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
.
.
T
A 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
[47]

1. 2.

F#5
? # # # # œ œ œ œ œ œ œ œ œ .. œ œ œ œ ‰
B5 B5

j ‰ j Ó.
œ nœ #œ
.
.
T 7 7 7 7 1
A 2 2 2 2 2 2 2 2
B 0 1 2
[50]

Breakdown

? ####
G B 7sus 4 B7

[Guitar & Drums]

T
A

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B
[53]

Chorus/Outro
F#5
? ####
H
E5 A5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

T
A 0 0 0 0 0 0 0 0
B 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
[57]

F#5
? #### œ œ œ œ œ œ œ œ œ
B5 E5

œ œ œ œ œ œ œ œ nœ œ bœ
œ œ œ œ œ
T 7 7 7 7
A 2 2 2 2 2 3 2 1
B 2 2 2 2 2 2 2 2 0 0 0 0 0
[60]

F#5
? ####
A5 B5

œ œ œ œ œ œ œ œ œ œ œ œ ‰ œj ‰ n œj # œ Œ Ó
Bass Grade 7

T 1
A 0 0 0 0 0 0 0 0 2 2 2
B 0 1 2
[63]
33
 Walkthrough

A Section (Bars 1–4) E Section (Bars 39–46)

The opening section has four bars rest for bass while the The pre-chorus section features continued use of the
drums and vocals provide an intro. This section is repeated. previous scales and eighth and 16th-note work. Practice the
phrases at a slower tempo and with a metronome to get a
proper understanding of where the notes sit in each bar.
B Section (Bars 5–16)
The bass enters at bar 5 and features combinations of eighth
and 16th-note phrases centred around the F# Dorian scale. F Section (Bars 47–52)
The chorus section appears again and so do the solid eighth
Bars 5–8 | Eighth and 16th notes notes. Play these notes with conviction and watch out for the
The bass line is quite involved and integral to giving the stop on beat 1 of bar 52.
track movement. The bass stays on an F# but the rhythmic
phrasing really drives the section. Use the ‘1 e & a’ counting
method at a slower tempo to really place the 16th note G Section (Bars 53–56)
figures accurately. The line is repeated once more. The piece breaks down to a guitar and drums pattern with
the dynamic level rising towards the final chorus.
Bars 9–16 | Dorian scale
Some added movement on the bass matches the heavier
drum groove. The F# Dorian and minor pentatonic scales H Section (Bars 57–65)
are introduced to add some colour and variation here. The pumping eighth note figures return again and some
chromatic passing notes appear in bar 62 to imply change
to the A5 chord. This final chorus should be played heavier
C Section (Bars 17–22) than the previous chorus sections.
The chorus is established with some consistent eighth note

RSL-858170122834 / 1 / shayne Addinall / [email protected]

work in both the bass and guitar lines. This generates a
‘pumping’ feel and gives some relief to the broken 16th
passages of the verse.

Bars 17–22 | Power chords

The eighth notes should be solid and consistent in this
section. Watch out for the upward slide in bar 20 and the
rests in bars 21–22.

D Section (Bars 23–38)

The second verse begins and the use of the Dorian and
pentatonic scales continues. The hand position will need to
adjust when moving to higher parts of the range.

Bars 23–38 | Continued scale use and higher range work

The second verse offers continued variations of the F#
Dorian and minor pentatonic scales. The hand position will
need to adjust when moving to the higher range in bar 25
with the mutes being an integral part of the groove. There
are occasional repeated passages in this section but watch
out for the ‘pull and thumb’ technique that briefly occurs in
bar 36.
Bass Grade 7

34
 Snarky Puppy

SONG TITLE: LINGUS

ALBUM: WE LIKE IT HERE
LABEL: ROPEADOPE
GENRE: JAZZ FUSION c 131 Jazz Fusion (Half time feel)

? # 45 Œ Œ
A E 7sus 4

œ œ œ œ œ
œ œ
WRITTEN BY: MICHAEL LEAGUE
PRODUCED BY: MICHAEL LEAGUE

UK CHART PEAK: NOT CHARTED

T
A 2
B 0 0 3 5 5 3

?# œ Œ Œ Œ
œ
œ œBy taking a visualœ approach
œ inœthe studio.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

BACKGROUND INFO generated
and filming the band playing live (something they
‘Lingus’ is featured on Snarky Puppy’s We Like do exceptionally well), League reached a generation
It Here, released in 2014. The album was recorded T of listeners who access new music via YouTube.
live at Kytopia Studios in Utrecht, Holland, and A 2 the world
As a result, the band have been touring
the recording was filmed and posted on the band’s B continually
0 for 5 5 3 is a vast
3 a decade. Snarky Puppy
0 over
YouTube channel. [5] assembly of musicians, some more permanent than
others, many of whom were former students of the
It was an immediate success, and to date ‘Lingus’ University of North Texas.
has received over 14 million views – an astonishing

?# Œ Œ Œ
number for a jazz fusion record. Upon its release We The band has won three Grammy Awards and

œ œ œ œ œ œ
Like It Here reached the number 1 spot on the iTunes has since signed to Universal records. They have

œ
Jazz Charts. released 13 records to date. League has also been
instrumental in helping to promote the work
‘Lingus’ was composed by Michael League and and side projects of other musicians. His quartet
features many of his hallmark compositional traits Forq is worthy of note but he has also delved into
– a strong groove, intricate arrangements, a variety world music with BoKanté. Snarky Puppy have
of sections and some incredible improvisation, collaborated with many musicians including Jacob
T
including a phenomenal synthesiser solo by the now A Collier, David Crosby and Charlie Hunter.
2
legendary Cory Henry. Drummer Robert Searight’s B 0 3 5 5 3
0
performance is highly distinguished, and both Whilst touring, band members frequently give
[9]
musicians have since left the band and gone on to masterclasses, clinics and workshops. League and his
win Grammy Awards for their work. bandmates are very committed to music education.
alsoht
Straig
League feelregularly with non-profit
works

? # œ Œ ‰ œ ‰ œ ‰ œJ œ Œ ‰ œJ
Michael League is an highly accomplished bass organisations
C maj 7 helping the community through art.
B
player, composer and producer, but also a very smart

J J
and able promoter. He realised early on that if Snarky
Bass Grade 7

Puppy was going to reach a young audience, the visual

presence of the band was as important as the sound it

5 35
T
A 5 7
B 8
8
 Lingus
Snarky Puppy
Music by Michael League

c 131 Jazz Fusion (Half time feel)

? # 45
A
E 7sus 4

œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ Œ Œ Œ Œ
œ œ œ œ œ œ œ
T
A 2 2 3 2 2
B 0 0 3 5 5 3 5 5 3 5 3 0

?# œ œ œ œ œ œ œ œ
œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
T 4 4
A 7 5 7 7 5
B 2 2 3 2 2 7
0 0 3 5 5 3 5 5 3 5
[5]

?# Œ Œ Œ Œ Œ Œ Œ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

T
A 2 2 3 2 2
B 0 0 3 5 5 3 5 5 3 5 3 0
[9]

Straight feel

œœ
? # œ Œ ‰ œ ‰ œ ‰ œ œ Œ ‰ œ ‰ j ‰ œ œ Œ ‰ œ ‰ Jœ ‰ Jœ œ Œ ‰ Jœ ‰ Jœ ‰
B C maj 7 E sus 4 D 6/9

J J J J œ J J

T 4 7 9
A 5 5 7 5 7
B 5 7 5 5 7 5
8 8 5
[13]

œœ œ œ D b alt
œ œ œ œ >
D 6/9

Œ ‰ œ ‰ œJ ‰ Jœ œ Œ ‰ œ ‰ œj ‰ œ œ Œ ‰ Jœ ‰ J ‰ J œ ‰ J ‰ J
C maj 7 E sus 4 7

?# bœ
J J J
T 4 11
A 10 2 5 5 7 7 12
B 10 5 5 5 7 5 12
8 5 9
[17]

C maj 7
œ œ œ œ
D /
œ œ œœ E sus 4 69

?# œ Œ ‰ œ ‰ œ ‰ Œ ‰ œ ‰ œj ‰ œ œ Œ ‰ J ‰ J ‰ J œ Œ ‰ J ‰ J ‰
J J J œ J J
Bass Grade 7

T 4 7 9
A 5 5 7 5 7
B 5 7 5 5 7 5
8 8 5
[21]
36 © Copyright 2014 Gumuk Limited.
Universal Music Publishing Limited.
All Rights Reserved. International Copyright Secured.
?# ⇥ œ œ œ j
C maj 7

Œ ‰ œ ‰ œ ‰ J œ Œ ‰ œ ‰ œ ‰ œ
J J J J
T 10 2 5 0
A 10 5 5 0
B 8
[25]

˙. ˙
E sus 4

?#
C

∑ ∑ ∑

T 9
A
B
[27]

E sus 4 D sus 4 A sus 4 A 7sus 4

?#
E D/C G F

œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ
œ œ œ œ œ œ
P cresc.

T
A 3 3 3 3 3
B 0 0 0 0 0 5 5 5 5 5 3 3 1 1
[31]

œ œ œ œ
⇥ œ œ ⇥ œ œ œ Œ ⇥ œ
E sus 4 D sus 4/C D

? # .. ⇥ œ œ œ ⇥ œ
D

Œ Œ Œ ⇥ œ œ Œ Œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

œ œ
.
.
T 5 4 7
A 5 7 5 7 7
B 5 7 5 5
7 0 8
[35]

?# ⇥ œ œ œ ⇥ œ œ œ œ
A m7 F maj 7 E sus 4 D sus 4/C

Œ Œ ⇥ œ œ œ ⇥ œ Œ Œ ⇥ œ ⇥ œ œ Œ Œ
œ œ œ œ
T 5
A 5 7 5 7 5
B 7 7 5 7 5
5 7 0 8
[38]

?# ⇥ œ œ œ ⇥ œ ⇥ œ œ œ ⇥ œ œ .. 44
A 7sus 4 F maj 7

Œ Œ ‰ j
G

œ œ nœ ˙
.
.
T 5 7 5
A 7 7 5 7 5
B 5 3 1
[41]

? # 44 œ . œ Œ œ. œ Œ œ. œ ‰. œ ‰ œ œ Œ Œ ‰. r‰ j
N.C.

R J œ. œ œ. œ œ. œ œ œ œ
>
Bass Grade 7

T
A 7 7 7 7 7 7 7 7 7
B 0 0 0 0 0 0 0 0 0
[43]
37
 Walkthrough

‘Lingus’ delves into the world of odd time signatures, deftly C Section (Bars 27–34)
moving between a half time 5/4 dubstep feel to a straight 5/4 Bars 27–34 | Discipline, counting & dynamics
fusion groove. Pay close attention to the keyboard comping Letter C might appear straightforward, but beware of the
pattern and how it contributes to the overall outcome of temptation to apply expressive techniques (for example,
the half time feel in the rhythm section. As a suggestion, a bend or vibrato) to a long note such as this, when the
practice all sections slowly while counting out loud – this intention is that they are played without these decorations.
will enable you to develop a deeper understanding of the Holding one note for an entire bar requires a particular
groove, allowing you to be present in the performance. discipline, and an understanding of the bass guitar’s
fundamental purpose – to support the foundation of the
harmony and melody. After sustaining the E over the first
Section A (Bars 1–12) bar, three bars of rest follow and it is important to count the
Bars 1–12 | Playing odd time signatures in half time bars here in order to enter correctly at bar 31. The following
The A section is felt in half time. Listen closely to the bass four bars build dynamically into letter D.
drum – you will hear each two-bar phrase played on beat
1 and 5 in the first bar and resting in the second. This
may be misleading if you aren’t counting the five beats, D Section (Bars 35–42)
as an illusion of 4/4 is temporarily created as a result of Bars 35–42 | Grooving in 5/4
this pattern. Similarly, the counterpoint between the bass Letter D establishes more of a funky 5/4 feel that builds with
and drums (common in fusion) may lead you astray when a lot of energy. The entire section can be played in position
maintaining focus on the meter. Notice that the bass line is up to bar 42, where it shifts down to accommodate the low
played in position until you get to the melodic fill at the end F on the first fret. As a practice suggestion, slow this section
of bar 7 into bar 8, where slides are incorporated to create a down and count out loud to ensure accuracy of timing.
more natural and expressive sound.
Bars 43–46 | Ending

RSL-858170122834 / 1 / shayne Addinall / [email protected]

Be mindful that at bar 43 the time signature changes to 4/4!
B Section (Bars 13–26) This section is a unison ending that builds to a crescendo.
Bars 13–26 | Odd time syncopation
When segueing from section A into section B, be aware
of the change in feel. There is a sense of forward motion
throughout this section, as the upbeats in the bass line are
mostly accented. This creates another obstacle in 5/4, as it
suddenly becomes a lot more syncopated in contrast to the
A section. The 16th-note figure at the end of bars 16 and 24
(leading into bars 17 and 25 respectively) can be difficult
to execute after three bars of upbeat accents. Another key
point is bar 20, where the upbeats start on the ‘&’ of beat 2
rather than the ‘&’ of beat 3. It also emphasises a harmonic
colouration by accenting the D b 7(alt) chord on beat 5.
Bass Grade 7

38
 Dave Marks

SONG TITLE: REBORN

GENRE: MODERN ROCK
TEMPO: 83 BPM q = 83 Modern Rock
E/G #
KEY: A MINOR Bass Solo (8 bars)

? 44 ’ ’ ’ ’
A

’
Am
TECH FEATURES: 16TH-NOTE BASSLINES
SYNCOPATIONS
ARPEGGIO-BASED LINES
F
COMPOSER: DAVE MARKS T
A
B
PERSONNEL: DAVE MARKS (GTR)
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)

RSL-858170122834 / 1 / shayne Addinall / [email protected]

and vocals, and Dom Howard on drums) met at E sus 4

?’
OVERVIEW

’ ’ ’ ’
F

’
Teignmouth in Devon and formed in 1994. They
‘Reborn’ is a modern rock piece written in the released their first EP in 1998 and their second the
style of Muse. In tribute to a common motif woven following year. Their first album, Showbiz was also
throughout many of their songs, this piece features released in 1999, but again, sold only modestly. It was
powerful arpeggio-based riffs, open string 16th-note with their second album, Origin Of Symmetry (2001),
lines and heavily syncopated sections. You will need however, that Muse hit their stride. The same album
an aggressive tone in order to replicate the typical also saw Wolstenholme begin to make a serious
T
Muse sound, so try adding a little distortion. A impression on the bass playing community with his
B arpeggiated lines on the single ‘New Born’ and heavy
synth grooves on ‘Plug In Baby’.
[5]
STYLE FOCUS
Subsequent albums Absolution (2003), Black Holes
Alternative rock is a term used to describe And Revelations (2006) and The Resistance (2009)
groups who are focused more on artistic integrity have established the band as a world-beating act, and
than commercial success (although many do enjoy Wolstenholme as an exciting contemporary rock bass
successful careers). The role of the bassist varies player who is inspiring a new generation of bassists.

œ œ œ
widely through the many styles that are encompassed

œ
by alt rock. However, in groups such as Muse the bass

?Great examples ofœWolstenholme’s

B

œ inventive lines
player has a crucial and exciting role: playing complex Am
RECOMMENDED LISTENING

œ .
lines which often feature a heavy use of effects.

f
can be found on each Muse album. ‘New Born’, ‘Plug
THE BIGGER PICTURE In Baby’ and ‘Hyper Music’ from Origin of Symmetry
are highly recommended, as are ‘Time is Running
Muse are one of Britain’s most celebrated Out’, ‘Stockholm Syndrome’ and ‘Hysteria’ from 5
alternative modern rock groups and their bassist TAbsolution. ‘Hysteria’ is probably Wolstenholme’s most 7 7
Bass Grade 7

A 7
Chris Wolstenholme is popular among bass players. Bchallenging line, comprised
8 of continuous 16th-note
5
The band (featuring Matt Bellamy on lead guitar lines throughout many of the song’s sections.
[9]

39
 Reborn
Dave Marks

q = 83 Modern Rock

E/G # D/F #
Bass Solo (8 bars)

? 44 ’ ’ ’ ’
A
Am G

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F
T
A
B

?
F E sus 4 E7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[5]

RSL-858170122834 / 1 / shayne Addinall / [email protected]

œ œ œ œ œ œ E/G # œ œ #œ
? œ œ œ œ œ
B

œ œ œ
Am

œ. #œ. œ œ œ
f
T 7 4
A 7 5 5 6
B 7 7 7 5 7 7 5
5 8 8 4 7 7 4
[9]

?
G
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
D

nœ œ œ œ œ œ œ œ œ œ œ
T
A 10 10 10 10 10 10 10 10 5 5 5 5 5 5 5 5 5 5 5 5 5
B 3 3 3 3 3 3 3 3 0 0 0
[11]

?
F G

œ œ œ œ œ œ ¿ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass Grade 7

¿
T
A
B 1 1 1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3 3
[13]
40
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 #œ. œ ˙.
? ˙˙ .. œœ
Dm

‰ w
J
T 11 9 7
A 7 0
B 5

[15]

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?œ œ
C

œ œ œ œ œ œ œ œ œ œ œ
p
T 0 10 12 0 10 12 0 10 12 0 10 12 0 10 12 0 0 10 12 0 10 12 0 10 12 0 10 12 0 10 12 0
A
B
[17]

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?œ œ œ œ œ œ œ œ œ œ œ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

T 0 10 12 0 10 12 0 10 12 0 10 12 0 10 12 0 0 10 12 0 10 12 0 10 12 0 10 12 0 10 12
A
B
[19]

œ œ œ œ œ E/G # œ œ #œ
? œ œ œ œ œ
D

œ œ
Am

œ. œ œ #œ. œ œ œ
f
T 7 4
A 7 5 5 6
B 7 7 7 5 7 7 5
5 8 8 4 7 7 4
[21]

? œ œ œ œ œ œ œ œ œ œ œ œ
G D

nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass Grade 7

T
A 2 2 2 2 5 5 5 5 5 5 5 5 5 5 5 5
B 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0
[23]
41
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 ?
F G

œ œ œ œ œ œ ¿ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ

¿
T
A
B 1 1 1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3 3 3 3
[25]

?
Am C

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
T
A 0 0 0 0 0 0 0 0 0 2 2 2 3 3 3 3 3 3 3 3 3
B 0 0 0
[27]

F Fm

?’ ’ ’ ’ ’ ’ ’ ’

RSL-858170122834 / 1 / shayne Addinall / [email protected]

Develop

T
A
B
[29]

? .. œ œ œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ œ ‰ ..
E
Em

œ œ R œ œ R
. .
. .
T
A 7 7 7 7 7 7 7 7 7 7 7 7
B 0 0 0 0
[31]

? .. œ œ r‰ ‰ œ œ r‰ ‰ ..
œ œ œ œ œ œ œ œ œ œ œ œ
Bass Grade 7

. .
. .
T
A 7 7 7 7
B 0 0 0 0 0 0 0 0 0 0 0 0

42
[33]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Em

? .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
.
. 10
T
A
B 12 0 10 12 0 10 12 0 10 12 0 0 0 0 0 10 12 0 10 12 0 10 12 0 10 12 0 0 0 0 0
[35]

œ œ œ œ œ œ œ œ .
1.

? #œ œ œ œ # œ œ œ œ
B7

.
Am

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
.
.
T 7 7 7 7 10 10 10 10
A 6 6 6 6 9 9 9 9
B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
[37]

#œ œ œ œ
#œ œ œ œ œ œ œ œ œ œ œ œ
2.

? œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
B7

RSL-858170122834 / 1 / shayne Addinall / [email protected]

Am

T 8 8 8 8
A 5 5 5 5 7 7 7 7 10 10 10 10
B 7 7 7 7 9 9 9 9
5 5 5 5 8 8 8 8
[39]

? œ œ œ œ œ œ œ œ œ œ œ œ œ
G

nœ œ
Am E

œ. œ œ #œ œ œ
œ.
T 7 5 5
A 7 7 7 5 7 7 7 7 7 7 7
B 5 8 8 0 4 7
[41]

E/G #
U
G D F G Am

?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Improvise bassline

w
Bass Grade 7

T
A
B 5
[43]
43
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

A Section (Bars 1–8) D & E Sections (Bars 21–34)

The first section of this song is a bass solo. While the chords This section features parts repeated from earlier in the piece.
you are required to solo over are relatively simple, there are The final two bars here provide you with the opportunity
several slash chords (inversions) to consider. to develop the part. The E section features some heavily
syncopated lines.
Bars 1–8 | Bass solo
When constructing a bass solo for this section, it may help to Bars 29–30 | Developing a part
write out the chord tones available in each chord. Remember In these two bars, you can develop the part to suit your
that the inversion chords such as E/G # are simpler than they playing. Again, it is recommended that you first concentrate
seem. In this example, the chord is still E, although you may on the chord tones and then embellish your ideas from
wish to emphasise the G # in order to imply the inversion in there. Because these two bars are bringing a section to an
your solo. Once you know the chord tones, you can begin to end, you can afford to play melodically, creating a fill that
use them to piece together melodic phrases that fit well over finishes the section and sets up the next.
the chord progression.

F & G Sections (Bars 35–47)

B Section (Bars 9–16) This section features a demanding 16th-note groove that
The B section is a hard-hitting section that features a busy relies heavily on arpeggio based figures. The final section
bassline with many passages built on 16th-note grooves. reintroduces the main bass figure from earlier and offers
more opportunities for part development.
Bars 9–10 | Use of scale/arpeggio figures
The first two beats of each of these bars feature a motif that Bar 38 | Arpeggio
outlines the chords A m and E/G #. The second half of each In this bar, the bass guitar plays chord tones from the
bar contains a descending 16th-note line. The first uses the B 7 chord, beginning with the third, D #, to imply a first

RSL-858170122834 / 1 / shayne Addinall / [email protected]

A minor pentatonic scale for the A minor chord, and the inversion chord. The final note, C, is not played in the chord
second uses chord tones from the E 7 chord. (See Fig. 1 for a but its use in the bass guitar part implies that the chord has a
detailed illustration of this.) flattened 9th added.

Bars 11–12 | Even 16ths

These continuous 16th notes should be played at an even,
E/G # œ œ#œ
? œ≈ œ œ œ œœ œ
consistent tempo. Remember that even though there are a
œ
œ #œ. œ œ ≈ œ œœ
Am

œ. œ œ œ
lot of notes, the tempo is quite slow. It can be tempting to
rush these, but be sure to lock your part in with the drums
and play these evenly.
T 7 4
Bar 16 | Double-stop A
B 7
7 5
7
5
7 5 7
6
7 5
5 8 8 4 7 7 4
Following the powerchord in the previous bar, a double-stop
Notes: A C E A G E G E D C G# B E D B G# E D B G#
(two notes played together) is played in this bar. Together
with the F # on the G string, you should play the open D Fig. 1: Use of scale/arpeggio figures
string. This string should then continue to ring as you slide
the F # downwards first to the E, then to the D.

C Section (Bars 17–20) œ œ œ œ œ œ œ œ œ œ

The verse features another 16th-note bassline, this time one ?œ œ œ œ œ œ
that pedals off the open D string.

Bars 17–20 | Sixteenth-note bassline

T
This bassline is a continuous 16th-note line built on a A 0 10 12 0 10 12 0 10 12 0 10 12 0 10 12 0
B
repeating three-note motif consisting of open D string, the
C at the 10th fret, followed by the octave D. It is played five
Bass Grade 7

Groups: 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 4
times in each bar, with an additional open D played as the
final 16th note of the bar. You might find this easier if you Fig. 2: Sixteenth-note bassline
count it as “123, 123, 123, 123, 1234” (Fig. 2).

44
 Seeing Is Deceiving

SONG TITLE: SEEING IS DECEIVING

GENRE: ACID JAZZ
q = 98 Acid Jazz

œ œ œ œ œ ⇥ œ
TEMPO: 98 BPM
D/E
KEY: C MAJOR

? 44 ‰ .
A

TECH FEATURES: COMPLEX SYNCOPATED LINES R

F
FUNK GROOVES

COMPOSER: KIT MORGAN

7 7 9
T 9 9 9
A
PERSONNEL: KIT MORGAN (GTR) B
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)

œ. œ
FULL FAT HORNS (BRASS)

œ œ œ œ ‰.
œ
FERGUS GERRAND (PERC)
ROSS STANLEY (KEYS)
? R

RSL-858170122834 / 1 / shayne Addinall / [email protected]

OVERVIEW beats. Acid jazz often combines live musicians,
sampling and scratching courtesy of a live DJ. Early
‘Seeing Is Deceiving’ is an acid jazz tune written acid jazz groups included Galliano, Brand New
7 7 who released9
in the style of groups such as Incognito, Jamiroquai, Heavies, Incognito and Jamiroquai, 9 9
T 9
Young Disciples and Brand New Heavies. The bassline A their first recordings on the Acid Jazz record label in
on this track is challenging, with accents, syncopated B the early 1990s when the genre was at the height of
lines and an improvised bass solo. its popularity. Jamiroquai, Brand New Heavies and
[3]
Incognito have remained popular and continue to
tour and release albums.

n œ œ œ œ œ
STYLE FOCUS

œ œ œ
Acid jazz has been home to many fantastic bass

? œ. ⇥
Acid jazz is a popular style among bass players and players such as Stuart Zender (Jamiroquai), Randy
with good reason: like funk, which is a big part of acid Hope-Taylor and Julian Crampton (Incognito), and
jazz, the bass plays an important role. Typical acid jazz Andrew Levy (Brand New Heavies).
basslines feature complex syncopated funk fingerstyle
grooves, slap and pop lines, and opportunities to
play improvised solos. The harmony used in the style RECOMMENDED LISTENING
is heavily influenced by jazz, so more complex and 7 7 9 7
extended chords are used. 9 9 9
T Classic acid jazz albums
9 include Jamiroquai’s
AEmergency On Planet Earth (1993), including the
Btracks ‘Too Young To Die’ and ‘Blow Your Mind’,
THE BIGGER PICTURE and The Return of the Space Cowboy (1994), which
[5]
features ‘Mr. Moon’ and ‘Space Cowboy’. The Brand

œ
Acid jazz is a term first used by DJs Gilles Peterson New Heavies’ album Brother Sister (1994) is also

œ. œ œ œ œ œ
and Chris Bangs to describe a genre of music that highly recommended, with the stellar tracks ‘Dream

? ‰. R
developed in the late 1980s which incorporated On Dreamer’, ‘Spend Some Time’ and the title track.
elements of funk, jazz and hip hop. The genre is Finally, the Young Disciples album Road To Freedom
Bass Grade 7

typified by the use of jazz chords used in combination (1991) is a great insight into the genre, especially the
with funk grooves and sometimes looped hip hop hit single ‘Apparently Nothin’’.

45
7 7 9
T 9 9
A
 Seeing Is Deceiving
Kit Morgan
q = 98 Acid Jazz

œ œ œ œ œ œ œ œ œ œ ⇥ œ œ œ œ œ .
œ œ # œ. œ œ
D/E C/D
j
œ
? 44 ‰ .
A

R ⇥ ‰. R
J

F
T 7 7 9 7 9 9 7 9 9 7 9 11 7 9
A 9 9 9 9 9 9 9
B

œ. œ œ œ œ œ œ œ œ œ œ
? ‰. R œ œ. œ. #œ ‰ œ
D/E

J
T 7 7 9 7 7 7
A 9 9 9 9
B 5 5 6 7

[3]

j .
œ nœ œ œ œ œ œ œ œ œ ⇥ œ œ œ œ œ œ œ œ œ #œ œ
C/D
j
? œ.
œ
⇥ ‰. R

RSL-858170122834 / 1 / shayne Addinall / [email protected]

T 7 7 9 7 9 9 7 7 9 7 9 11 7 9
A 9 9 9 9 9 9 9 9
B
[5]

œ. œ œ œ œ œ œ œ œ œ œ
? ‰. R œ œ
F/G G/A

œ œ
>
T 7 7 9 7 7
A 9 9 9 9 7
B 5
3 5
[7]

B b maj 7
œ. œ.
œ œ œ œ bœ œ œ.
A m9

? ⇥ œ œ œ œ
B
j j
J ⇥
œ œ
œ œ bœ œ bœ

T 5 7 9 7 8 8 10 8
A 7 7 7 8 8
B 5 5 6 6
[9]

B b maj 7

œ œ œ bœ œ.
G m7 F maj 7 C maj 7

? œ ‰ œ œ ‰ œ bœ œ.
œ. J œ œ #œ
Bass Grade 7

T 5 3
A 5 3 5
B 5 4 3
3 0 3 4
[11]
46
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 B b maj 7
. œ.
nœ œ ⇥ œ œ œ nœ. œ œ œ œ bœ œ. œ œ
A m7

?
j j
J ‰
œ œ

œ œ bœ œ b œ.

T 5 7 5 7 9 7 8 8 10 8
A 7 7 7 8 8
B 5 5 6 6
[13]

? œ ⇥ œ œ œ œ j
G m7 F maj 7 C maj 7 G/A A/B

œ. œ bœ œ. œ ‰ œ œ œ

T 5 3
A 5 5 4 3 3
B 3 5 7
[15]

œ. œ >œ
œ œ
j
? ⇥ œ œ œ œj # œ .
E m9 D 11 E m9
œ
œ œ
C

œ œ. œ ‰
œ J
T 7 9 7
A 7
5 9 7 5 5 5 7

RSL-858170122834 / 1 / shayne Addinall / [email protected]

7
B 0 7 7
[17]

œ œ > >
? œ ⇥ œ œ œ œj # œ .
A m7 B m7 D 11 9

œ œ ⇥ œ ⇥ œ
A m/C Em

œ œ. œ. œ

T 2 4
A 5 7 9 7 0 2 3 5 7
B 7 7 7
[19]

œ œ œ œ œ œ
? ⇥ œ œ œ œ #œ.
D 11 G maj 7

œ.
j
œ ‰ œ œ. J
.
œ
J
T 7
A 7 7 5
B 5 5 7 9 7 5 5
7 7 7
[21]

#
? œ. œ œ. œ œ.
F maj 7 11 F maj 7 E m7

œ œ œ œ œ œ œ œ œ œ œ
. >
Bass Grade 7

T 5 5
A 5 5 2 2
B 3 1 1 1 1 1 1 1 0
[23]
47
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 #
Db7 9
œ bœ
¿ ¿ bœ bœ
D m9

? œ œ œ ‰ œ œ bœ œ œ ‰ j
œ nœ

¿ ¿
T 4 6
A 2 4 6
B 2 5 5 5 4
3
[25]

bœ œ œ nœ œ œ œ. b œ. œ. œ œ œ œ œ
C7 F9

? .. œ œ œ
D

. ‰ ‰ œœ œ œ œ bœ #œ œ nœ œ
> .
f
.
. 3
T 3 5 3 2 5 2 3 2 3 2
A 5 3 3 7
B 3 3 3 1
4 5 7 8
[27]

œ œ bœ œ œ bœ œ. œ bœ nœ nœ œ
? nœ #œ œ œ œ œ
C7

œ J ‰ ‰ œ œ
>
T 10 9 8 7 6 5 5 3 2 5
A 5
10 11 12 11 8 8 3 3 3

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B
[30]

œ bœ œ œ œ œ œ œ
F9

? œ œ œ bœ œ œ nœ œ
#œ œ
T 2 3 2 3 2 2
A 3 3
B 3 1 2 3
4 5
[32]

œ bœ œ œ. œ bœ œ bœ œ œ. nœ bœ œ C 11 C # 11
1. 2.

? nœ œ bœ œ Œ .. œ n œ bœ œ œ #œ

.
3

.
T 14 13 12 10 9 8 14 13 12 10 9 8
A 10 12 11 8 10 12 11 8 5 6
B
[34]

Bass Solo (16 bars)

? .. œ
E

‰ Û
D/E C/D

’ ’ ’ ’ ’ ’ ’ ’ ’ ’
J
F
Bass Grade 7

.
1° only

. 7
T
A
B
[36]
48
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 ? ’ ‰ Û ‰ Û
D/E C/D

’ ’ ’ ’ ’ ’ ’ ’ ’
J J
T
A
B
[39]

1. 2.

? ’
B 13 C7

.. ’
D/E F/G G/A

’ ’ ’ ’ ’ ’ ‰ Û ’ œ ⇥ bœ œ
J œ.
.
.
T
A 0 1 3
B 3
[42]

bœ œ œœœœ . b œ. œ. œ œ
œ œ œ
F9

? œ œ œ œ bœ œ œ
F

‰ ‰ œœ ‰ nœ œ
. . #œ œ
f
T 3 5 3 2 5 2 3 2 3 2
A 3 3 3 7
3 3 3 3 1

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 4 5 7 8
[45]

œ œ bœ œ œ bœ œ. nœ
? nœ #œ œ œ œ œ
C7

J bœ nœ nœ œ
œ ‰ ‰ œ œ
>
T 10 9 8 7 6 5 5 3 2 5
A 5
B 10 11 12 11 8 8 3 3 3

[48]

.
? œ ⇥ œ b œ. œ. œ œ œ œ œ
F9

œ œ b œ. œ œ nœ œ
#œ œ
T 2 3 2 3 2
A 3 3 7
B 3 1
4 5 7 8
[50]

œ bœ œ œ. œ bœ œ √
? nœ œ bœ œ œ nœ bœ œ œ œ n œœ œœ
C 7

‰. Œ
R
Bass Grade 7

T 14 13 12 10 9 8 15
A 7 8 7 10 14
B 10 12 11 8 10 10

[52]
49
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

A Section (Bars 1–8) Bar 30 | Sixths

During the intro, the bass guitar is the featured instrument A recommended fingering for this bar would be to start the
and plays a simple but heavily syncopated melody line. line with your second finger and use the one-finger-per-
fret system. This means that the F on the G string can then
Bar 2 | Grace notes be played with your second finger and the E can be played
There are several grace notes used throughout this section. with your first. Your left hand can then move down one fret
Remember that grace notes should be played quickly. In this to play the G # on the A string with your fourth finger, and
bar, the first grace note is used to slide up to the F # marked the E b on the G string with your first. A hand position shift
staccato. Be sure to keep this note short once you have placing your fourth finger on the F in beat 3 will enable you
played the grace note into it. A second grace note is then to play the remainder of the part using the one-finger-per-
played into the E on the fourth beat. fret system.

Bar 6 | Embellishments
There are some variations when the melody is played the E & F Sections (Bars 36–53)
second time. In this bar, the figure on the third beat is subtly This 16-bar section is an opportunity to put your soloing
different. After the D on the third beat there is now a B chops to the test. The F section of the song reprises the funk
before the grace note slide. groove from the D section.

Bars 36–44 | Slash chords

B Section (Bars 9–16) All of the chords here are slash chords. When thinking
This section features a classic acid jazz bass groove that about what scales to use, ignore the second note of the
makes use of chord tones and chromatic passing notes. chord symbol and make your choices based on the first note
because this is the name of the chord. You might want to
Bar 9 | Chord tones try using arpeggio based figures first and then add to these

RSL-858170122834 / 1 / shayne Addinall / [email protected]

The bassline in this section uses chord tones from the A m 9 using the appropriate scales.
chord. After playing the root on beat 1, the 5th and 7th are
used on beat 2, then the 9th is played on beat 3. The 5th and
root are used again on beat 4, and a B b is played at the end of
the bar anticipating the B b maj 7 chord (Fig. 1). j œ. ( B b maj 7)
œ œ œ
Anticipated

? ≈ œ œ œœ
A m9

œ œ bœ
C Section (Bars 17–26)
This section has a similar groove to the B section. T
A 5 7 9 7
B 7 7 7
5 5 6
Bb
Bars 17–24 | Anticipations Note: A E G E A B A E A
While the groove is similar to the previous one, note how Degree: 1 5 7 5 1 9 1 5 1 1

the chords change on the final eighth-note of the bar rather

than at the beginning. The bass follows this anticipation with Fig. 1: Use of chord tones
many root notes being played on the upbeat of beat 4. Be
sure to allow these to ring across the barline until the next
written rest or note.

F9
D Section (Bars 27–35)
? œ œ œ œ
The instrumental section is a great funk workout and
#œ œ nœ œ
features a challenging bass part with many slippery lines.
passing note
passing note
Bar 29 | Inversions T
The bass uses inversions to reinforce the F 9 in this bar A 3 7
B 4 5 7 8
(Fig. 2). On the first beat, the bass plays the major 3rd
Note: A F C A
followed by the root note above it. On the third beat, it plays
Bass Grade 7

Degree: 3 1 5 3
the 5th with the major 3rd. Play the notes on the E string with
either your third or fourth fingers, leaving your first and Fig. 2: Inversions
second fingers free to play the higher notes.

50
 The Pants Era

SONG TITLE: THE PANTS ERA

GENRE: METAL
TEMPO: 100 BPM
KEY: E MINOR q = 100 Metal

? # 44 r ‰ . Œ ⇥ ⇥ ⇥ ˙
A
N.C .

œ œ⇥œ œ œ
TECH FEATURES: UNISON RIFFS
ODD TIME SIGNATURES
SOLOING
f
COMPOSER: CHARLIE GRIFFITHS T
A
B 0 0 0 0 12
0
PERSONNEL: CHARLIE GRIFFITHS (GTR)
DAVE MARKS (BASS)
JASON BOWLD (DRUMS)

RSL-858170122834 / 1 / shayne Addinall / [email protected]

OVERVIEW Pantera. Their genre-defining album Cowboys From
Hell (1990) helped them to dominate the scene for

%
‘The Pants Era’ tips its hat to Pantera while the entire decade. Guitarist Dimebag Darrell and
acknowledging the work of bands like Avenged his drummer brother Vinnie Paul created a style of
Sevenfold, Gojira and Lamb of God, all of whom have aggressive yet precise riffing with an unparalleled
been influenced by Pantera’s groundbreaking style of rhythmic power that became the blueprint for the
G5 B

?Since# Pantera
E 5 used to this day.

.. disbanded in 2003 and Dimebag’s œ œ b

groove based metal. The bassline featured in this piece B
genre that is still

œ œ
is a challenging part that uses fast, syncopated lines,

untimely death in 2004, bands œ

œ œ œ œ œ œ œ
odd time grooves and quick, blues based riffs among
its techniques. like Lamb of God and
Killswitch Engage have filled the void, spearheading

.
a resurgence of interest in the genre. More recently,
STYLE FOCUS bands such as Meshuggah and Periphery have taken

.
the style to new, more rhythmically complex heights.
T
Metal comes in many shapes and sizes, but Pantera A 3 0
B Pantera bassist 0 0 0 3
0 0 extremely
0 remains 0
were one of the first to popularise ‘groove metal’, a 0 Rex0Brown
genre that combines bone-crushing unison riffs and popular
[5] among metal bassists and is regarded as one
aggressive vocals with shuffle grooves and rock blues of the pioneers of the groove metal genre.
influences. This riff orientated style has plenty for
bassists to get their teeth into, including fast unison
riffs, 16th-note grooves and opportunities to solo. RECOMMENDED LISTENING
Although many groove metal bassists play with a pick,
conventional fingerstyle is equally effective. Classic examples of Pantera’s unique brand of
groove metal include ‘Mouth For War’ and ‘Walk’
from Vulgar Display of Power (1992), plus ‘Revolution
THE BIGGER PICTURE Is My Name’ and ‘Goddam Electric’ from Reinventing
The Steel. Recommended tracks from Lamb Of God
Bass Grade 7

This style of metal was brought into the include the fan favourite ‘Redneck’ and ‘Walk With
mainstream in 1990 by American metal band Me In Hell’ from Sacrament.

? # ..
C
E5
51

œ œ œ
 The Pants Era
Charlie Griffiths

q = 100 Metal

? # 44 r ‰ . Œ ⇥
A

⇥ ˙ ⇥ ⇥ ⇥ ⇥ ˙ ⇥ ⇥ ⇥ ⇥ ˙ ⇥ œj . œ
N.C.

œ ⇥ ⇥
œ œ œ œ œ œ œ œ œ œ œ œ
f
T
A
B 0 0 0 0 0 12 0 0 0 0 12 0 0 0 0 12 3

% To Coda fi
Bb5 Bbm C#m Bb5
? # ..
E5 G5 E5

# œ œ .. b ˙ . œ
B

œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
. .
. .
T
A

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 0 0 0 0 0 0 0 0 3 0 3 0 6 0 6 0 0 0 0 0 0 0 0 6 0 6 0 9 0 9 6 12
[5]

? # ..
C
E5 G5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ .
.
.
T
A
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3
[8]

?# œ bœ bœ œ. # # # 78
E5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass Grade 7

T
A 7 4
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 6 0 3

52
[10]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 F#5
? # # # 78 j j j j j j 11
1/4 1/4 1/4 1/4 1/4 1/4

œ œ nœ . œ œ œ . #œ œ nœ . œ œ œ. œ œ # œ . œ œ œ . 16

T 1/4 1/4 1/4 1/4

A
B 2 2 3 2 2 3 2 2 3 2 2 3 2 2 6 2 2 6
[12]

nœ œ œ bœ nœ nœ
? # # # 16
11 j 44 œ nn#
1/4

œ
1/4

œ œ #œ . œ œ #˙

T 1/4 1/4 12
A 14 12
B 13 12 10
2 2 6 2 2 6 12 10
[15]

RSL-858170122834 / 1 / shayne Addinall / [email protected]

?#
D

œ œ nœ œ bœ œ œ œ nœ œ œ œ œ bœ œ œ
nœ œ nœ œ bœ nœ œ bœ.
N.C.

œ œ œ
T 0
A 7 5 5 1 1 2 1 0 5 7 5 7
B 0 0 0 7 3 3 6 6 5 5 6 5 3
[17]

bœ œ nœ œ œ
?# œ œ nœ œ bœ nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ bœ
œ œ œ œ œ œ
Bass Grade 7

T 15 14 14 12 12 9 9 7 7
A 5 15 14 12 9 8 7
B 7 5 5 5 7 7 5 0 10
0 0 0 7 6 7

53
[19]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 ?# œ œ nœ œ bœ œ bœ nœ œ œ œ nœ œ
œ œ œ œ œ n œ œ bœ. œ œ œ œ œ œ

T 0
A 7 5 5 1 1 2 1 0 5 7 5 7
B 0 0 0 7 3 3 6 6 5 5 6 5 3
[21]

œ œ œ nœ bœ
1.
j

?# œ œ nœ œ bœ nœ œ œ œ œ œ œ
œ
œ œ œ bœ
œ n œ œ ..
3

œ œ œ 3 3

.
3

.
9 11 9 7
T 5 9 8 7 5
A 7 5 5 5 7 7 5 0 7 6 5
B 0 0 0 7 6 7 7 5
[23]

œ œ œ œ œ bœ œ œ œ œ
2.

?# œ œ œœœ œœ œ
œ œ bœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ bœ œ œ nœ œ œ bœ œ œ.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

œ
œ
T 9 7 7
A 9 9 8 7 5 8 7 5 7 5
B 7 5 7 5 5 5 7 5 5 5
7 7 7 6 5 3 6 5 3 5 3 0 7 7 7 6 5 6 7 7 6 5 3
[25]

Bass Solo (8 bars)

Bb
? # ..
E

..
E5 A5 G5

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

. .
. .
T
A
B
[28]

D.%. al Coda fi
Bb
?#
Em G5 A5 A5 G5

œ œ œ ˙. bœ œ œ œ
œ œ œ ˙. œ œ œ ˙. œœ œœœ œ
Bass Grade 7

T
A
B 0 0 0 0 3 3 3 3 5 5 5 5 6 6 6 6 0 5 5 0 3 3
[32]
54
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 fi Coda
?#
E 5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ƒ
T
A
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[36]

?#
œ œ œ œ œ œ œ œ œ œ œ œ œ >œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
A
B 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
[37]

RSL-858170122834 / 1 / shayne Addinall / [email protected]

?# œ bœ bœ œ œ
œ bœ #œ œ œ bœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T
A 7 4 7 10 13 10
B 0 0 0 0 0 0 0 0 6 0 3 0 6 0 9 0 12 0 9 0
[39]

bœ
? # bœ œ œ Bb5
œ œ œ bœ A5 G5 E5
Œ
bœ. œ œ œ
œ œ œ œ œ
Bass Grade 7

T
A 13 16 13 10
B 12 0 15 0 12 0 9 0 6 5 3 0

55
[41]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

A Section (Bars 1–4) D Section (Bars 17–27)

The opening section of this piece features some 16 -note
th
This section features more complex unison riffing, including
syncopated parts and makes use of slides. some bars with unusual phrasing patterns.

Bars 1–3 | Syncopation Bar 20 | Phrasing

The rhythms on the third and fourth beats of these bars are When playing the descending 16th-note line in this bar, think
played on the syncopated 16th-notes for each beat (Fig. 1). of the phrasing of the notes as “123, 123, 123, 123, 1234”.
Playing a quiet ghost note directly on beat 3 will allow you to This phrasing pattern is made easier by the use of downward
accurately place the first 16th note, which falls on the second slides from the first note of each group of three.
16th-note subdivision of the beat.
Bars 25–27 | Unison line
This long unison line is constructed from the E blues scale
B Section (Bars 5–7) and features many twists and turns that will require you
This section features a 16th-note unison riff that is played to consider your fingerings carefully. This riff should be
with the guitar. practised at a slow tempo in order to find the best fingerings.
The tempo should be gradually increased afterwards, once
Bars 5–6 | Even 16th notes you feel comfortable with the fingerings.
This groove must be played tightly with the guitars: do not
rush or drag the line. It is common for riffs played off open
strings to speed up, so be mindful of this when playing the E Section (Bars 28–31)
ascending phrases at the end of each bar. This section is the bass solo and your opportunity to
improvise a suitable solo.

C Section (Bars 8–16) Bars 28–31 | Bass solo

RSL-858170122834 / 1 / shayne Addinall / [email protected]

This part of the song features another heavily syncopated riff When improvising ideas for the bass solo, you will find that
as well as some odd time signatures. the E blues scale will work well over each of the chords. One
option is to start with simple, melodic ideas and build your
Bars 8–9 | Eighth and 16th-note rhythms solo from there.
The first note is played directly on the beat and the second,
on the second 16th note just after. This second note should

? # r ‰.
ring until the third note is played just before the next beat. In
Œ ≈
N.C.

¿ œ ≈ œ œ ≈ œ
bar 9, ties are used to connect the rhythms.
œ
Bars 12–16 | Quarter-tone bends
Notes marked with an upward pointing arrow and ¼ symbol
¿
T
are to be bent upwards a quarter of a tone. This is a very A
B 0 0 0 0 0
small bend indeed, less than a semitone in pitch, so bend the
Count: 1 (2) 3 e (&) a (3) e (&) a
note only slightly.
Fig. 1: Syncopation
Bar 12 | Counting the 7/8 section
It may help to think in terms of 16th notes in this bar. Fig. 2
shows the bar divided into two ‘half bars’ of 7/16. This shows
how the pattern repeats and simplifies the counting. It is
important to ensure you count at the correct 16th-note speed
#5
? ### 7 j j
1/4 1/4
(as though you were counting “1 e & a 2 e & a”). As always, F

start slowly and gradually build up to speed. 8 œ œ nœ . œ œ œ.

Bar 15–16 | 11/16 bar
When playing the 11/16 bar, it will help you to ignore the T 1/4 1/4
A
time signature and simply continue playing the riff that was
established in the previous three bars. When the second A #
B 2 2 3 2 2 3
Bass Grade 7

Count (16ths): 1 (2) 1 (2) 1 (2) (3) 1 (2) 1 (2) 1 (2) (3)
is played, mentally count this as beat 1 (it is the first note of
the bar of 4/4), listen for the hi-hat on beat 2, then play the Fig. 2: Counting the 7/8 section
descending riff starting on beat 3.

56
 Thumb King

SONG TITLE: THUMB KING

GENRE: JAZZ FUNK q = 115 Jazz Funk

œP .
TEMPO: 115 BPM

ggg œ
E D
KEY: E MIXOLYDIAN
j
œ

? # ## 44 .. ggg œ
A

œ. J
TECH FEATURES: INTRICATE FINGERSTYLE
SLAP LINES

F P
10TH INTERVALS

COMPOSER: STUART CLAYTON

. 13 gg 110
. 0
11
T
A
PERSONNEL: STUART CLAYTON (BASS & KEYS) B
NOAM LEDERMAN (DRUMS)
ROSS STANLEY (KEYS)

P LH

n¿
E7 LH T

? # # ..
T

œ
B

œ
T † LH

# by Stanley Clarke, Larry Graham

T T

¿ ¿
œ ¿ it ¿further,œ creating ¿

RSL-858170122834 / 1 / shayne Addinall / [email protected]

OVERVIEW popularised and

f T HisLHpercussive
Louis Johnson and developed

LHwere Tthe ¿P LH T
. 42, somehow playing complex
‘Thumb King’ is a jazz funk tune written in the a 16 -note based slap style; a result of his original
th

style of bassist Mark King of Level 42. As is common training as a drummer. T Tlines

. started ¿ ¿
¿ 0instrumental
0 ¿out playing
¿ 5 7
with many of King’s pieces, the bassline uses a focal point for Level
complex 16th-note based slap groove. There are also Tgrooves while handling lead vocal duties.
bassA
some chordal sections and busy fingerstyle lines, all of Although
B the band
which are common in this genre of music. jazz funk music inspired by jazz luminaries such as hand
† Audibly mute string with left
Billy[3]
Cobham, Chick Corea, John McLaughlin and
Jan Hammer, they evolved into a slick, pop funk outfit
STYLE FOCUS and by the mid 1980s were enjoying mainstream
P LH

n¿
T
LH still

#
chart success. The majority of their hits were

? #
T

# œ œ
Jazz funk has its origins in the late 1960s and underpinned by King’s
T energetic
LH T slapT basslines.

œ ¿ ¿ œ ¿ ¿ ¿
evolved as the result of jazz musicians incorporating
elements of funk, soul and R&B into their music. The King’s influence as a bassist remains strong 25 years
bass guitar plays a prominent role in this style, more after Level 42’s heyday.

¿P LH T
so than the guitar, and the main melodies are often
played on synthesisers. Improvisation is an important T LH T
T LH T

¿ 5 7
RECOMMENDED LISTENING

¿ In0Love’¿, ‘Hot¿
part of the genre and many of the grooves and solos

Classic Level 42 tracks¿‘Lessons

found on jazz funk songs would have been largely T
improvised in the studio. A
B 0
Water’, ‘Something About You’ and ‘Running In The
Family’
[5]will give an insight into King’s inventive
THE BIGGER PICTURE playing in a pop context. For instrumental jazz funk,
Level 42 (1981), Strategy/The Early Tapes (1980) and
King has made his name as one of the most the live album A Physical Presence (1985) come highly T
A7

? # ##
important exponents of the slap bass technique. As C
recommended. Highlights drawn from theseLH albumsT
Bass Grade 7

œ ¿ ¿ œ ¿ ¿ nœ
LH T
T, ‘Sandstorm’ T

¿
frontman for the British jazz funk group Level 42, include ‘43’, ‘Mr. Pink’ , ‘Foundation And
King took the slap technique that had been Empire’ and ‘Heathrow’.

T T
57 T
T LH T T LH
T
 Thumb King
Stuart Clayton
q = 115 Jazz Funk

œ. n œP
G maj 7

œ œ œ œ œ œ œ.
E D A Play 4 times

œ
j
ggg œT œ
P P
œ
? # # # 44 .. n œT
T

ggg ..
A

gg œ œ gg œ
œ. gJ g œ
F P
. 13 gg .
P P
T T T

. 0 gg .
T 11 11 9 11 9 12
A 0 11 12 9
B 0 10

E7 LH T P LH T

? # # # .. n¿ nœ ¿ œ
T T LH T LH T

œ
B T T

œ œ ¿ œ
T T LH T LH T T T

¿ œ ¿ ¿
T † LH

¿ œ œ ¿ ¿ ¿ œ œ ¿
T T LH T T

œ ¿ ¿ œ ¿ ¿ ¿ ¿ nœ
f T LH T T LH T P LH T
. ¿ ¿ ¿
¿ 5 7 ¿ 5 ¿ 4 ¿ ¿ ¿5 7 ¿ ¿
T T LH T LH T T T T LH T LH T T T T LH T T

. 0 ¿ ¿ 0 ¿ ¿ 7 ¿ ¿ ¿ 3
T 5 4
A 5
B 5
[3] † Audibly mute string with left hand

LH T P LH T
œP œP .
? ### n¿ œ œ ¿ nœ ¿ œ ¿ ¿ œ œ œ #œ
T T LH T LH T

..
T

œ ¿ œ ¿ ¿
T T LH T LH T

¿ œ œ ¿
T LH T T T T

œ ¿ ¿ œ ¿ ¿

RSL-858170122834 / 1 / shayne Addinall / [email protected]

¿P ¿ ¿
P P
.
¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T LH T T T LH T LH T T T T LH T LH T T T

¿ ¿ ¿ ¿ ¿ .
T 7 9
A 5 4
B 5 4 5 7 7 9 9 11
0 0 5 7
[5]

P T
A7

? ### n¿ n ¿P œT œ œP
T

œ
C
T T

nœ #œ
LH

œ
T LH T T LH T T T LH T T T T

œ ¿ ¿ œ ¿ ¿ nœ œ ¿ ¿ œ ¿ ¿ nœ ¿
T T

¿
¿P ¿P
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T T T T T T T LH T T LH T T T T P T

¿
T 5
A 0 0 2 3 4 0 0 5 7 7
B 3 3
[7]

œ œ œT .
œ
P T

? # # # T LH T T n¿
T

œ œ
j
T T T T

nœ #œ
LH T T
œ
œ
LH

œ ¿ ¿ œ ¿ ¿ nœ œ ¿ ¿ œ œ ¿ ¿ ¿
T T T T T T T

¿
¿P
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T T T T T T T LH T T T T T T T T T

¿
T 7 9 7 7
A 0 0 2 3 4 0 0 7 9
B 3
[9]

P T

? ### n¿ n ¿P œT œ œP
T

œT
T T

nœ #œ
LH

œ
T LH T T LH T T T LH T T T T

œ ¿ ¿ œ ¿ ¿ nœ œ ¿ ¿ œ ¿ ¿ nœ ¿
T

¿
Bass Grade 7

¿P ¿P
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T T T T T T T LH T T LH T T T T T T

¿
T 5
A 0 0 2 3 4 0 0 5 7 7
B 3 3

58
[11]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 nœ
œ œ nœ œ œ œ œ œ
P T

? ### n¿ nnn
T

œ ¿ ¿ œ ‰
T T

œ nœ #œ
T LH T T LH T T T LH T T

œ ¿ ¿ œ ¿ ¿ nœ ¿
¿P
w/fingers

¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T T T T T T T LH T T

¿
T 5
A 5 7 7 5
B 0 0 2 3 4 0 0 5 7 7 5
3
[13]

? œ.
D
C maj 7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
¿ œ.
¿
T
A
B 8
10
10
¿ 10 10
8
10
8 8
10
10
¿ 10 10
8
10
8
[15]

? œ. #œ œ œ œ œ œ œ # œ œ œ œ œ œ œ Am
œ œ œ œ œ œ
7 7

.
Bm

¿ œ œ œ ¿ œ œ œ. ¿ œ. œ.

T
A 9
9
¿ 9 9 9 9
9
¿ 9 9 9 7
7
¿ 7 7

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 7 7 7 7 7 7 5 5 3
[17]

œ #œ #œ œ #œ œ >œ >œ
? œ œ œ œ ###
F add 9 E7

Œ ‰ ‰
N.C.

œ œ
j
œ
œ. J œ. ˙
T 7 6 9 9
A 3 3 5 3 2 6 7 8 9
B 3
1 0
[20]

‹ œœP œœ
T Play 4 times

œ nœ œ #œ n¿
P T P T P

œ
P T P

? # # # .. œ œ
T T T

..
E T

œ œ
T T LH T LH T

¿ œ ¿ ¿ œ œ ¿ ¿ ¿ nœ nœ œ #œ œ œ ¿ œ œ ¿ ¿ œ
T T T LH T

œ
. 1211 ¿P .
P

¿ ¿ ¿ ¿
T T T LH T T T T LH T LH T P T P T T T T P T P T

. ¿ ¿ ¿ ¿ ¿ .
T 13 4 4 5 [5] 6
A 12 5 5
B 5 4
0 0 5 7 3 3 [3] 4 [4] 5 5 7 0
[23]

Bass Solo (8 bars)

? ### ’
F
E m7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
F
Bass Grade 7

T
A
B
[25]
59
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 ? ### ’
E m7 C maj 7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[29]

? ### ’
E m7 D

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[33]

>œP >T >œP T> >œP >T œ>P .

? # # # .. > ..
G

‰ Œ ‰ Œ ‰ Œ
T
T T T T

œ œ œ œ œ œ œ ¿
f >
> > >
. T T T T T P T P T P T P
.
. 0 0 ¿ .
T 7 7 7 6

RSL-858170122834 / 1 / shayne Addinall / [email protected]

A
B 0 0 0 0 0
[37]

E m7

? ###
H T T T T

œ œ œ œ
LH T LH T LH T T LH T T

œ
T LH T T T LH T LH T

¿ ¿
T T LH T T

œ ¿ ¿ œ ¿ ¿ œ ¿ ¿ œ ¿ ¿ œ ¿ ¿ œ ¿ ¿ œ ¿ ¿

¿ ¿
T LH T T LH T T LH T T LH T T T LH T T LH T T LH T T LH T T

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T
A 5 5 5 5 4
B 0 0 0 0 0 0 0
[39]

n œP œP œ. œP
C maj 7 P

? ### n œ œ œ
¿ œ œ ¿
T LH T T T LH T T

¿ ¿ œ ¿ ¿ nœ œ ¿ ¿ œ ¿ ¿ œ nœ œ
LH T T LH T T T T T T T T

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T T LH T T LH T T T P T T T P T P T P
T 5 7 9 5
A 3 3 3 3 3 3 5 5 7 3
B 3 3
[41]

A m7

? ### T LH T T LH T T T LH T T LH T T T LH T T LH T T T LH LH T

œ ¿ ¿ œ ¿ ¿ nœ œ ¿ ¿ œ ¿ ¿ œ œ ¿ ¿ œ ¿ ¿ nœ œ ¿ ¿ œ ¿ ¿ œ
T T T
Bass Grade 7

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T T T LH T T LH T T T LH T T LH T T T LH T T LH T T
T
A 0 0 0 0 0 0 0 0
B 3 3 3 3
[43]
60
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 œP œP œP œP
D B

? ### œ nnn
T LH T T T T LH T T T

¿ ¿ œ ¿ ¿ œ œ ¿ ¿ œ ¿ ¿ œ
LH T LH T

œ œ ¿ œ ¿ œ œ
T T T T T T T

P P P P

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
T LH T T LH T T T LH T T LH T T T T T T T T T
T 4 4 4 4
A 5 5 5 5 5 5 2 2 2 2 2
B
[45]

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œ.
I
C maj 7

¿ œ. œ œ
w/fingers
T
A
B 10
10
¿ 10 10 10 10
10 12 10
10 10
8 8 8 8 8 8
[47]

? œ. #œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œœ œ
œ. œ œ
B m7 A m7

¿ œ œ œ . œ œ ¿ œ œ

T
A 9
9
¿ 9 9 9 9
9 11 9
9 9 7
7
¿ 7 7 7

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 7 7 7 7 7 7 5 5 5
[49]

œ
? œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ
C maj 7

œ. œ. ¿ œ œ œ. œ œ

T
A
B 7
7 9 7
7 7 10
10
¿ 10 10 10 10
10 12 10
10 10
5 5 5 8 8 8 8 8 8
[52]

#œ
? œ. #œ œ œ œ œ œ œ œ œ œ. #œ œ œ œ œ œ œ œ œ œ œ
Bm 7 A m7

¿ œ. œ œ œ œ

T
A
B 9
9
¿ 9 9 9 9
9 11 9
9 9 7
7
7
7 7 7 7 7 7 5 5 5 3
[55]

œ #œ >œ >œ
? œ œ œ œ
#œ œ #œ ‰
œ
F add 9 E7

œ œ Œ ‰
N.C.
j
œ
œ. J œ. ˙
Bass Grade 7

T 7 6 9 9
A 3 3 5 3 2 6 7 8 9
B 3
1 0

61
[58]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

A Section (Bars 1–2) improvise a suitable part. The G section consists of accented
The opening section of this piece is a chordal part built stabs that, once again, use slap technique.
predominantly from open string 10th intervals.
Bars 25–36 | Bass solo
Bars 1–2 | 10 intervals
th
The E dorian mode would be a good scale to use for the
The first chord should be played by plucking the note on the E minor 7 chords. This scale will work for all of the chords in
G string with your first finger, and the note on the E string this section except the C major 7, for which the lydian mode
with your thumb. The second chord can then be strummed: is recommended.
this is marked in the score and TAB with a vertical wavy
line. To strum the chord, flick your fingers downwards Bars 37–38 | Playing accents
across the strings. Your fingernails should make contact with The notes are played as short, loud accented notes. Keep
the strings. these staccato and listen closely to the drum part to be sure
you are locking in tightly with it. The low E notes at the
end of bar 38 are there for rhythmic effect and your thumb
B Section (Bars 3–6) should bounce off them in between the accented pops.
This section features the main groove of the piece, a
16th-note based slap groove.
H & I Sections (Bars 39–60)
Bar 3 | Left hand slaps The H section features another busy slap groove that
All notes marked LH are played as left hand slaps (Fig. 1). To supports the chord progression while also driving the piece
perform these, your fretting hand should strike the strings forward. The I section is a development of the D section.
forcefully enough to sound a ghost note. This technique is
similar to the way you would use your fretting hand to mute Bar 48 | Fingering
strings but done with enough force to play a ghost note. A recommended fingering for this bar would be your first

RSL-858170122834 / 1 / shayne Addinall / [email protected]

Isolate the first beat of the bar and turn this into an exercise. finger on the root (C), your third finger on the 5th (G) and
the 4th on the octave (C). Your fourth finger should then
slide up to the 9th (D) and back again.
C Section (Bars 7–14)
This section features a similar slap groove in A, again based
on the 16th note feel.
E7 LH T P LH

? ### n¿
T LH T LH T

œ ¿ œ ¿ ¿
T T
Bar 14 | Switching to fingerstyle
œ
T LH T T
This bar requires you to switch quickly from slap technique
œ ¿ ¿ œ ¿ ¿ ¿ œ ¿
to fingerstyle. As the slapped part is played off an open

¿P
string, you can have your fretting hand in position at the 5th

¿ ¿ ¿ ¿
T LH T T LH T LH T T T LH T LH T
and 7th frets ready to play the fingerstyle fill.
¿ ¿ ¿ ¿ ¿
T
A 5 4
B 0 0 5 7

D & E Sections (Bars 15–24) Fig. 1: Left hand slaps

The D section is played fingerstyle and is based heavily on
chord tones. The E section contains another complex slap
groove and includes double-stops.

‹ œœP œœ
Bar 23 | Double-stops
This new slap line opens with a double-stop (Fig. 2).
? ###
T LH T LH T

œ œ
T T

¿ œ ¿ ¿ œ œ ¿ ¿ ¿ nœ
This should be played by popping the D and G strings T T T LH T

simultaneously with the first and second fingers of your

picking hand. After the notes are popped, they are moved
œ
up one fret (via a slide) to become the 7th (D) and 3rd (G #) P

¿ ¿
T T T LH T T T T LH T LH T

¿ ¿ ¿ ¿
12 13
intervals of the E 7 chord. T
A 11 12
5 4
B
Bass Grade 7

0 0 5 7 3

F & G Sections (Bars 25–38) Fig. 2: Double-stops

The F section is the bass solo and presents your chance to

62
 Buena Havana

SONG TITLE: BUENA HAVANA

GENRE: SALSA
TEMPO: 204 BPM
q = 204 Salsa

jŒ
KEY: F MINOR

? bb b 44 œ . œ œ
A

œ
N.C .

b
TECH FEATURES: UNISON MONTUNO LINES

F
TUMBAO LINES

COMPOSER: NOAM LEDERMAN

T 3 1
A 3
PERSONNEL: KISHON KHAN (KEYS) B
HENRY THOMAS (BASS)
NOAM LEDERMAN (DRUMS)
FERGUS GERRAND (PERC)
RICHARD PARDY (SAX)
STEVE WALKER (TRUMPET)

E b/B b
ANDY CROMPTON (TROMBONE)

j Rican immigrants .

RSL-858170122834 / 1 / shayne Addinall / [email protected]

? influenced
Fm

b
B
OVERVIEW
b bbmusical œ montuno
œ contains
by Cuban and Puerto
œ and œ
œ.
arriving in New York. Salsa elements of
‘Buena Havana’ is written in the style of salsa artists Cuban styles including son
such as Buena Vista Social Club, Tito Puente and guaracha, but often contains elements of pop, jazz,
Tito Rodriguez. The bass plays an exciting role in this and R&B. As such, it is a fairly broad term that covers
piece, laying down chord tone based lines that are a range of styles.
heavily syncopated. T
A 3 large, commonly
Salsa bands are often quite 1
B consisting of1 a percussion section, acoustic or electric
STYLE FOCUS [5] bass, piano, guitar and horns such as trumpets,
saxophones and trombones. Rhythmically, salsa is
As with all Latin and Cuban derived styles, salsa often written in cut common time but it is founded
music features the bass in a prominent role with the on the clave rhythm. The clave is a syncopated two
instrument usually playing syncopated ‘tumbao’ bass bar rhythmic figure that is either played or heavily
figures beneath the melody sections, and complex implied. It can be played either as a 2:3 or 3:2

b b
unison ‘montuno’ lines with the piano. Although salsa grouping and provides the basis for all of the rhythmic

j
is traditionally played with an upright bass, an electric elements of the piece. Over this the bass commonly E /B

? bb b œ.
F m figure, which is a heavily syncopated

œ œ
bass guitar will do the job equally well if you opt for a plays a ‘tumbao’

b œ. œ
full and well-rounded tone with an emphasis on the repeating line that is often tied across the bar lines
bass frequencies. that makes it tricky to count.

THE BIGGER PICTURE RECOMMENDED LISTENING

The term salsa (meaning ‘sauce’ in Spanish) T Immerse yourself in classic salsa recordings ‘Ran
describes a style of music that is Cuban in origin and A Kan Kan’ and ‘Oye Como Va’3 by Tito Puente, ‘Las1
Bass Grade 7

often associated with dancing. The origins of the B Olas’ and ‘La 1
Guajira’ by bassist Israel ‘Cachao’ Lopez,
genre are found in the late 1960s and early 1970s, and ‘Quitate La Mascara’ by Adalberto Santiago.
[9]

63
 Buena Havana
Noam Lederman

q = 204 Salsa

? b b b 44 œ . j œ œ > > >œ >œ n˙

A

œ Œ Œ œ œ Œ Œ Ó
N.C.

b ˙
F
T 3 1
A 3 1 4 4 6 6 7
B

b b
E b/B b
? bb j j j œ œ. j
B Fm Cm G m7 5 C7 9

b b œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ

T 5
A 3 1 3 3 3
B 1 3 4
[5]

RSL-858170122834 / 1 / shayne Addinall / [email protected]

b b
E b/B b
? bb j j œ œ j
Fm Cm G m7 5 C7 9

b b œ. œ œ œ œ. œ œ œ œ. J œ œ. œ œ œ

T 5
A 3 1 3 3 3
B 1 3 4
[9]

b b
E b/B b
j j j j
? bb b œ ‰ œJ œ œ.
Fm Cm G m7 5 C7 9

b œ. œ œ œ œ. œ œ œ œ. œ œ œ œ

T 5
A 3 1 3 3 4 3
B 1 3 4 3
[13]

b b
E b/B b

? bb b j j j œ œ j
Fm Cm G m7 5 C7 9

b œ. œ œ œ œ. œ ‰ œ œ œ. J œ œ. œ œ œ
Bass Grade 7

T 5
A 3 1 3 3 3 3
B 1 3 4
[17]
64
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 b b
E b/B b G m7 5 C7 9

j‰ œ ‰ œ ‰ j ‰
Fm Cm

? b b b .. œ œ œ œ œ j
œ œ œ œ œ œ œ œ. n œ ‰ n Jœ ‰ œJ
C

‰
b œ œ œ œ J J œ
.
.
T 3 3 3 1 1 2 3
A 3 3 1 4 3 1 4 1 4 3 2
B 4 4 3 3 3
[21]

b b
E b/B b G m7 5 C7 9

j‰ œ ‰ œ ‰ j ‰ j œ
Fm Cm

? bb b œ œ œ œ œ j
b œ œ œ ‰ œ J J œ nœ œ bœ œ œ œ œ. n œ ‰ n œJ ‰ œJ ..

.
.
T 3 3 3 1 1 2 3
A 3 3 1 4 3 2 4 1 4 3 2
B 4 4 3 3 1
[25]

b
Fm C7 9 Fm

? b b b .. j j j j j
D Vary on repeat

b œ. œ œ bœ œ. œ œ œ œ. œ ‰ œ œ œ. œ œ œ œ
.
.
T
A 3 1 3 3 4 3

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 1 3 3 4 3
[29]

? bb b j j j ‰ ‰ jn œ œ œ j
‰ œj ..
Fm C7 9 Fm

b œ. œ œ œ œ. œ œ œ œ œ œ. œ œ

.
.
T 5
A 3 1 3 5 3 3 1
B 1 3 3 4
[33]

? bb b œ œP
E Fm C7 9 Fm

b œ Œ Œ Œ ‰ j Ó Œ Œ ‰ j
T T T T T T T T

œ œ œ œ œ œ
>
T T T T T T T T P
T 3
A
B 1 13 1 1 1 1 1 1
[37]

b
Fm C7 9 Fm

? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Improvise bassline

b
Bass Grade 7

T
A
B
[41]
65
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 ? b b b >œ
b

Ó. Ó ‰ œ ‰ Ó.
P C7 9

b œ
> >
P
T 3
A 3 3
B
[45]

b
Fm C7 9 Fm

? bb b Œ Ó Ó ‰ œ ‰ œ Œ Ó Ó Œ
b œ > > œ
>
T
A 3 3
B 1 1
[49]

b
? bb b Œ Ó Ó ‰ œ ‰ Œ Ó Ó Œ
C7 9

œ
Fm Fm

b œ > > œ
>
T
A 3 3

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 1 1
[53]

> > >

b
? bb b Œ Ó Ó ‰ œ ‰ Œ Ó ‰ œJ ‰ œJ œ Œ
C7 9

œ
Fm

b œ > >
>
T 3 3 3
A 3 3
B 1
[57]

b b
E b/B b
Bass Solo (16 bars)

? b b b .. ’
F
Fm Cm G m7 5 C7 9

b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

.
.
T
A
B
[61]

b b
E b/B b
? bb b ’ ..
Fm Cm G m7 5 C7 9

b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Bass Grade 7

.
.
T
A
B
[65]
66
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 b b
Fm E b/B b Cm G m7 5 C7 9

? b b b .. j j j œ œ. j
G Develop on repeat

b œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ
.
.
T 5
A 3 1 3 3 3
B 1 3 4
[69]

b b
E b/B b
? bb b j j œ œ j
G m7 5 C7 9

..
Fm Cm

b œ. œ œ œ œ. œ œ œ œ. J œ œ. œ œ œ
.
.
T 5
A 3 1 3 3 3
B 1 3 4
[73]

œ œ.
b
? bb b j œ œ œ œ œ. j
Fm C7 9

b œ. œ œ œ œ. J J œ œ œ œ œ

T 5
A 5 5 3
1 3 3 3 3

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B 1 4 3
[77]

b
Fm C7 9

? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Improvise bassline

T
A
B
[81]

b
? bb b ’
Fm C7 9

b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[85]

> >œ œ̆
b
? bb b ’ ‰ œ Œ
Fm C7 9

b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ J
Bass Grade 7

T 3 3 3
A
B
[89]
67
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

A Section (Bars 1–4) F Section (Bars 61–68)

The A section establishes the basics of the Latin bass groove This section is the bass solo and an opportunity for you to
and features some accented parts that are played with the solo over the chord changes.
drums and piano.
Bars 61–69 | Soloing
Bar 1 | Basic groove When putting together a bass solo for this section, it may
The rhythm used in this bar is reused throughout the piece help to make a note of the chord tones from each chord.
b
(Fig. 1). The notes should fall on beat 1, on the ‘&’ of beat 2, Some, such as the b 5 in the G m7 5 chord and the b 9 in the
b
and on beat 4. Remember that at 204 bpm the tempo is fast, C 7 9 chord (both are D b) will be particularly colourful,
so these notes will pass by quickly. providing options for you to consider for your solo. Beyond
that, the F natural minor, F minor pentatonic and F blues
scales are all good starting points for your ideas. Make sure
B Section (Bars 5–20) that your solo is in keeping with the style of the piece.
This section continues the bass figure from the intro, setting
up a tumbao rhythm.
G Section (Bars 69–92)
Bars 5–8 | Tumbao rhythm This final section returns to the tumbao line with more
This begins by developing the tumbao rhythm. After this, opportunities for you to develop the part.
each note is either tied across the beat or the bar, making it
quite difficult to read at first. It is recommended that you Bars 81–92 | Part development
write under each note the beat or half-beat it falls on, then By now you should be comfortable with the tumbao that was
count through the part slowly. established earlier in the piece. You can take this rhythmic
basis and develop to it to create your own part in this final
section. As the piece is drawing to a close, you can afford to

RSL-858170122834 / 1 / shayne Addinall / [email protected]

C Section (Bars 21–28) play a few more melodic fills. When doing so, consider the
This section features a fast, complex unison melody played chord tones available to you, the scales mentioned above,
with the piano. This is referred to as a ‘montuno’, which and the overall key of F minor.
is a common element of Latin music. Finding the right
fingerings is crucial to mastering this section.

? bb b œ . j œ
œ Œ
N.C.
Bars 21–24 | Fingerings
It is recommended that you fret the F in bar 21 with your b
first finger, the A b with your second, and the C with the first.
Your first finger will be ‘barring’ across the A and D strings
here. You will need to change your hand position for bar 22, T

however, placing your first finger on the B b on the upbeat

A 3 1
B 3

of beat 1. You should find that your fingers are well placed Count: 1 (2) & (3) 4

to play the next three bars using the one-finger-per-fret

method. You will need to switch back to the original hand Fig. 1: Basic groove
position at the beginning of bar 25 (Fig. 2).

D & E Sections (Bars 29–60)

The D section reuses the tumbao line from earlier in the E b/B b

j
Fm Cm

? bb b œ œ œ œ œ j
œ œ ‰ œ ‰ œJ ‰ œJ ‰ œ
song, but there are opportunities for you to develop this
further. The E section features accented hits played with the b œ
drums and piano.

Bar 37 | Slides T 3 3 3 1
A
This bar uses a descending slide. This is used as a decoration B 4
3 3
4 3
1 4 3

but you should still make sure that you play it with authority.
Bass Grade 7

Fingers: 1 2 1 1 1 1 2 1 1 1 4 3
In bars 41 to 44, you have the opportunity to develop this
part and you may wish to continue to incorporate slides into Fig. 2: Fingerings
your line.

68
 Rooster

SONG TITLE: ROOSTER

GENRE: JAZZ FUSION
TEMPO: 94 BPM
q = 94 Jazz

œ œ
KEY: G MINOR

? bb 44 Ó Œ
A

TECH FEATURES: 16TH-NOTE GROOVES

F
HARMONICS
PHRASING 3

COMPOSER: HENRY THOMAS T 0 3

A
B
PERSONNEL: STUART RYAN (GTR)
HENRY THOMAS (BASS) E m7
NOAM LEDERMAN (DRUMS) F ma j7

œ bœ œ nœ œ
3

œ œ
ROSS STANLEY (KEYS)
FERGUS GERRAND (PERC)
? bb ‰
œ

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OVERVIEW genre, such as pianist/keyboardist Joe Zawinul and
saxophonist Wayne Shorter, who formed Weather
‘Rooster’ is a jazz fusion tune written in the Report in 1970. After employing bassists Miroslav 2 2
style of the band Weather Report, with whom the 5 3 2 0
T Vitouš and Alphonso Johnson for the first half of
legendary Jaco Pastorius played bass in the 1970s. A the decade, Pastorius was hired in 1975 for the Black
This piece features a challenging line that includes B Market album (1976). 1
many of Pastorius’ playing characteristics: melodic
[4]
phrases, 16th note funk fingerstyle grooves, harmonic Pastorius was a virtuoso who grew up with R&B
decorations and double-stops. and jazz, developing an individual style that combined

œ nœ œ œ.
Am

œ œ
fingerstyleEfunk
m grooves with bebop soloing, and

J
chordal work that revealed his love of jazz harmony.

? bb
STYLE FOCUS Pastorius removed the frets from his bass, resulting
in the fretless bass tone he was renowned for. His

nœ
Jazz fusion describes music that evolved in the time with Weather Report catapulted the band to
1960s, fusing jazz with electrics like the bass guitar popularity with Heavy Weather (1977), a landmark
and synthesizers. The bass enjoys an equal role within 3 He remained
album for the band and Pastorius.
the genre, often playing melodic and chordal parts as with them until the early 1980s while also releasing
well as more traditional grooves. Like all styles that a second solo7 album, Word of Mouth (1981),7and 9
derive from or incorporate jazz, improvisation is an T playing on albums with Joni Mitchell,
9 including
important part of the jazz fusion genre. A Hejira (1976) and Shadows And Light10 (1980).
B 0

b Eb
[7]

√ ‚
THE BIGGER PICTURE RECOMMENDED LISTENING

‚‚ ‚ ‚
B maj7

‚‚ ‚
‚ ‚ ‚ ‚
Jazz fusion developed in the late 1960s, largely ‘Birdland’, ‘A Remark You Made’, ‘Teen Town’ and

? bb œ
through trumpeter Miles Davis’ experimental work ‘Havona’, all found on Heavy Weather, are essential

œ
on albums such as In A Silent Way (1969) and Bitches study pieces for bassists. Miles Davis’ albums In
Bass Grade 7

Brew (1970). Many of the musicians who worked A Silent Way and Bitches Brew are also excellent
on these seminal albums continued working in the examples of the genre.

NH 69
5 5
T 5
5 5 0
 Rooster
Henry Thomas

œ œ œœœ
#œ. œ œ nœ œ œ œ
q = 94 Jazz G m7 D7

œ œ œ ‰ œJ
j
? b b 44 Ó œ nœ
A
œ j
Œ
j
œ

F 3
Let ring

T 0 5 7 5 3 0 4 5
A 0 3 5 3 4 0 0 3
B

b
E b maj 7
œ >œ œ
F maj 7 E m7 5 C m7

œ œ bœ œ nœ œ œ œ œ œ
3 3

? bb œ œ œ œ œ. J bœ
‰ nœ
j
‰ œ œ
œ nœ J
T 5 3 2 0 2 2 0 7 12 8 10 8 7
2 5 10
A
B 1 0 11 8
[4]

b
Em
œ œ nœ œ œ. œ œ. bœ œ œ bœ œ .
A m7 5 C m9

? bb J œ ˙˙ . œ
œ. . ‰ J
nœ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

3

T 7 10 8 7 8
A 9 7 9 10 8 7 5 7
B 10 0 3
0
[7]

B b maj 7 E b maj 7 Eb Bb
√ F C

‚‚ ‚‚ ‚‚ ‚ ‚
? bb œ ‚ ‚ ‚ ‚ œ. œ œ œ œ œj ‰ œ
œ ˙. Œ œ
NH
F
T 5 5
A 5 5 1 3
B 5 5 0 6 1 3 3
6 3
[10]

? b œ œ œ œ œ œ
B

b œ ⇥œœœ⇥œ⇥¿œ œ ⇥œœœ œ⇥œœœ ⇥ œ

7

œ
Gm

⇥
œ œ œ œ ¿¿

¿ ¿¿
T 3
A 3 5 5 3 5
B 3 5 3 3 5 3 3 5
3 6 6 3 3 6 6 3 3 6 6
[13]

œ œ œ œ
? b ⇥ œ
b œ ⇥œœœ œ œ œ œ ⇥¿ œ œ œ ⇥ œ
⇥
œ œ œ œ œ ⇥œœœ œ œ œ
Bass Grade 7

¿
T 3 3
A 5 3 5 5
B 3 3 5 3 3 5 3 3 5 3
3 3 6 6 3 3 6 6 3 3 6 6

70
[16]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 œ œ . œ œ œ œ ‰ . Rœ œ œ œ œ
E b maj 7
? bb ⇥ œ œ œ ⇥¿¿œœ œ ⇥ œ œ œ ⇥œœœ œ
œ œ œ œ

¿¿
T 3 0 2 3 3
A 3 5 5 1 1 3
B 3 5 3 3 5 3 1 1 1
3 3 6 6 3 3 6 6
[19]

? bb œ ⇥ œ œ œœ œœœœ œ
œ ⇥ œ œ. œ ⇥ ¿ #œ
C m7

œ œ . ⇥
œ œ œ œ œ nœ bœ œ. œ œ

T
A 1 1 1 1
2 2 3 3 2 0
1 3 ¿ 4 5
B 3 2 1 3 3 3 3 1
3 3 3
[22]

œ œ
? bb ⇥œœ œ œ ⇥ œ ⇥¿ œ œ œ
G m7

⇥
œ œ œ œ œ œ ⇥œœœ œ œ œ œ ⇥ œ œ . œ

¿
T 3
A 3 5 5 3 5
3 3 5 3 3 5 3 3 5

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 3 3 6 6 3 3 6 6 3 3 6
[25]

? bb œ œ œ œ ‰ œ nœ œ œ. E b maj 7
œ œ
b œ. ⇥ œ œ œ ‰ . R œ œ œ œ œ. ⇥ œ œ
œ. œ œ œ œ œ œ nœ bœ
T 3 0 0 2 3 3
A 5 5 3 5 2 2 1 1 3 1 1 1
B 1 1 1 3 2 1
3 3 3 3 3
[28]

œœ œœ # œœ œœ œ œ œ œ~~~~
.
7 b5
# œ œ # œœ n n œœ œœ œœ # # œœ ⇥ n n œœ
? bb ‰ œ. ¿ ⇥
Am D7

œ. œ
~~~~
T
A
12
13
12
13
11
12
12
13
14 14 12 14
0 11 12
11
12
9
10 ¿ 11
12
10
11
9
10
B 0 0

[31]

? b b ‰ . œr nœ œ œ ⇥ œ #œ œ œ œ .
œ
C C7 G m7

⇥ œ ⇥ œ œ ⇥œœœ ⇥ œ œ œ # œ œ
nœ. œ ¿ #œ œ œ œ
Bass Grade 7

¿
T 2 2 3 3 4 5 2 3
A 3 0 3 3 5 3 3 4 5
B 0 1 2 3 3 3 3 6 6
[33]
71
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 nœ b >œ .
? bb œ œ œ œ ‰ œ œ œ . ⇥ b œ . bCœ
⇥ œ nœ œ œ ⇥ œ #œ œ œ œ
7

œ ⇥œ ⇥ œ œ
.
J nœ. œ ¿ #œ œ œ

¿
T 5 3 4 3
A 5 5 3 5 5 5 2 2 3 3 4 5 2
B 4 3 3 0 3 3 5
0 1 2 3 3
[36]

b œœ œœ # œœ œœ œ œ œ œ~~~~~
.
b
# œ œ # œœ n n œœ ˙˙
? bb ‰ œ.
A m7 5 D7

œ. œ
~~~~~
T 12 12 11 12 14 14 12 14 11 9
A 13 13 12 13 0 11 12 12 10
B 0 0

[39]

œ ⇥ œ œ œ œ œ œ œ œ œ œ
? bb ⇥ œ ⇥ œ ⇥ j ‰ œJ
3

œ œ œ œ ⇥ œ
D

⇥ ⇥
œ œ
T 12 15 12 5 3 12
A 12 15 5 3
10 13 15 5 3 1 3 12

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 1
[41]

√j b
E b maj 7
œ œœ œ œ. ‚‚ ·· œ nœ œ. bœ
G m7 F7 Em E m7 5

‚ · n œ
? b œ
b œœ œœ œœ ⇥ nœ œ œ bœ. œ 42
‰. nœ œ ˙ J
R NH
3

T 10 10 8 8 7 5 7 9 12 8
A 0 0 0 0 5 7 9
B 10 10 8 5 7 10
0 11 8
[43]

œ œ œ œ œ œ nœ
C m7 E m7

? b2 œ œ 44 œ œ #œ œ nœ w
b 4 nœ 3
3

T 8 8 10 7
A 9 7
B 10 9 7
8 0 10
[46]

Bass Solo (13 bars)

Eb B b sus 2
? b 2 4
E
C m(maj 7) B m9 G m11

b ’ ’ ’ ’ ’ ’ ’ ’ 4 ’ ’ 4 ’ ’ ’ ’
Bass Grade 7

T
A
B

72
[49]

© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 E m9 E sus 4 Eb Bb F C G m11

Û Û ÛÛ ÛÛ Û Û
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[53]

Eb Bb F C E b maj 7 Eb Bb F C D 7alt

Û Û ÛÛ ÛÛ Û Û Û Û ÛÛ ÛÛ Û
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[57]

œ œ œ œ œ œ œ œ
? bb ⇥ œ œ œ œ ⇥ œ
F

⇥ ⇥ ⇥ œ ⇥ ⇥ j ‰
G m7

œ œ œ œ œ
T 3 5 3
A 3 5 5 5 3
3 5 5 3 1 3

RSL-858170122834 / 1 / shayne Addinall / [email protected]

B 3 6 1
[62]

? bb œ œ œ œ ‰ œ œ œ œ. n >œ . bœ
C7

⇥ #œ. nœ ⇥ œ ⇥ œ œ œ
J nœ. œ ¿ #œ

¿
T 5 3 4 3
A 5 5 3 5 5 5
B 4 3 3 0
0 1 2 3 3
[64]

b œœ œœ # œœ œœ œ œ œ œ.
? bb œ ⇥ œ nœ œ œ ⇥ œ #œ œ œ œ
A m7 5
‰
. œ

T 12 12 11 12 14 14 12 14
A 2 2 3 3 4 5 2 13 13 12 13
B 3 3 5 0

[66]

# œ œ # œœ nn œœ ˙˙ œ ⇥ œ œ œ œ œ œ
œ
? bb œ . ⇥ œ ⇥ ⇥ ⇥
D7
Bass Grade 7

T 11 9 12 15 12
A 0 11 12 12 10 12 15
B 10 13 15

[68]
73
© Copyright 2012 Rock School Ltd. This music is copyright. Photocopying is illegal.
 Walkthrough

A Section (Bars 1–12) Bars 41–42 | Unison riff

This song opens with a melodic intro part, making the bass These bars feature a unison riff, the first part of which is
guitar the featured instrument. played with a heavily syncopated rhythm – the first four
notes are on the 16th-note syncopations of beats 1 and 2. Be
Bars 1–12 | Playing melodically sure to start this phrase after the downbeat of each beat and
This should be played smoothly and melodically. Observing listen closely to the recording for guidance.
slurs and slides is crucial to capturing the feel for this part.

Bar 10 | Natural harmonics E & F Sections (Bars 49–69)

Natural harmonics are used as a decoration in this bar This section of the song is the bass solo, and therefore
(Fig. 1). Be aware that harmonics do not share the same provides you with the opportunity to create an appropriate
pitch as their fretted notes. In bar 10, these harmonics are solo (in keeping with the style of the piece). The F section
part of the chord: G is the 13th, D is the major 3rd, and A is opens with the unison riff from earlier in the song and then
the major 7th. These harmonics should ring into the next bar, reintroduces some of the fingerstyle grooves.
where the bass note changes to E b. These notes then have a
different function: G is the major 3rd and D the major 7th. Bars 49–61 | Bass solo
When crafting your bass solo for this section, it may help to
make a note of the chord tones present in each chord. You
B Section (Bars 13–32) can then begin to create melodic phrases based on these.
Here a bubbling funk groove comes in courtesy of the bass. You may also want to think about which scales and modes
Syncopations are used as well as double-stops and ghost go well with each chord, and use these to add more flavour
notes, all of which are common elements of this style. to your solo. You should also spend some time listening to
the jazz fusion soloist greats including Jaco Pastorius and
Bar 13 | Ghost notes Alphonso Johnson for inspiration.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

This bar (and many others) features ghost notes written with
cross heads in both the notation and the TAB. They are to
be played almost as pitchless notes. The effect of using ghost
B b maj 7
√
notes is to add a percussive element to the line.
‚‚ ‚‚ ‚‚ ‚ ‚
Bars 31–32 | Double-stops
? bb œ ‚ ‚ ‚ ‚
Double-stops are used in this instance to add a chordal
element to the line, as each one makes use of chord tones œ
(Fig. 2). In bar 31, the first double-stop is E b and G, the
b NH
flattened 5th and 7th of the A m7 5 chord. This is decorated 5 5
T
by sliding down a semitone and back up. In the following 5 5

bar, the first double-stop is D and F #, the root and major 3rd
A 5 5 0
B 6

of the D  7 chord. This double-stop then slides downwards to

Degree: 13 3 7

the C and E, the 7th and 9th of the chord. Fig. 1: Harmonics

C Section (Bars 33–40)

This section is a continuation of the fingerstyle funk groove.

Bars 36–37 | More double-stops 7 b5

œœ œœ # œœ œœ œ œ œ œ~~~
.
At the end of bar 36 a double-stop containing D b and C b ? b ‰
Am

is used, descending a semitone onto the C and B b in the b œ. œ

following bar. The C and B b are the root and 7th of the C 7
chord. Approaching these from a semitone above is effective. ~~~
T 12 12 11 12 14 14 12 14
A 13 13 12 13
B 0 0

D Section (Bars 41–48) Degree: 1 b5

7 1 7 1
Bass Grade 7

This section opens with a two-bar unison riff followed by

another brief but melodic passage for the bass. Double-stops Fig. 2: Double-stops
are used again here, as are harmonics.

74
Technical Exercises

In this section the examiner will ask you to play a selection of exercises drawn from each of the five groups shown below.
Groups A and B contain examples of the modes and scales you can use when playing the pieces. Groups C and D contain
examples of the arpeggios and chords. In Group E you will be asked to prepare one stylistic study from the three printed.
The choice of stylistic study will determine the style of the Quick Study Piece.

You do not need to memorise the exercises (and can use the book in the exam) but the examiner will be looking for the
speed of your response. The examiner will also give credit for the level of your musicality.

Groups A, B, C and D should be prepared on the starting notes indicated. Before you start the section you will be asked
whether you would like to play the exercises along with the click or hear a single bar of click before you commence the test.
The tempo is q = 100.

Group A: Modes
One octave, two fingerings. To be prepared from the starting notes of F, B b, D and E b on the E string

1. Lydian mode (F lydian mode shown)

? œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
T 2 3 2
A 2 3 5 5 3 2
B 1 3 5 5 3 1

? œ œ œ œ œ œ œ œ œ
œ œ

RSL-858170122834 / 1 / shayne Addinall / [email protected]

œ œ œ œ
T 0 2 3 2 0
A 0 2 3 3 2 0
B 1 3 3 1

2. Phrygian mode (B b phrygian mode shown)

? bb b b œ œ œ œ œ œ œ œ œ œ
bb œ œ œ œ œ

T 6 8 6
A 6 8 9 9 8 6
B 6 7 9 9 7 6

? bb b b œ œ œ œ œ œ œ œ œ œ
bb œ œ œ œ œ

T 3
A 3 4 6 6 4 3
B 4 6 6 4
6 7 7 6

3. Jazz melodic minor scale (D jazz melodic minor scale shown)

œ nœ #œ œ œ œ œ
?b œ œ œ œ œ œ œ œ

T 11 12 11
A 10 12 14 14 12 10
B 10 12 13 13 12 10

nœ #œ œ œ œ
Bass Grade 7

?b œ œ œ œ œ œ œ œ œ œ

T 9 11 12 11 9
A
B 10 12
8 10 12 12 10 8
12 10 75
 Technical Exercises

Group B: Scales
Two octaves. To be prepared from the starting note of G

œ œ œ œ œ œ œ œ œ œ œ œ
1. Major scale (G major scale shown)
?# œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ

T 9 11 12 11 9
A 7 9 10 12 12 10 9 7
B 5 7 9 10 10 9 7 5
3 5 7 8 8 7 5 3

Group C: Arpeggios
To be prepared from the starting notes of F, B b, D and E b

1. Major 9 arpeggio (D major 9 arpeggio shown)

œ œ œ
? ## œ œ œ œ œ œ

T 9
A 11 11
B 9 12 12 9
10 10

2. Minor 9 arpeggio (B b minor 9 arpeggio shown)

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? bb b œ œ œ œ œ œ
bb œ œ œ

T 6 10 6
A 8 8
B 6 9 9 6

3. Dominant 9 arpeggio (E b dominant 9 arpeggio shown)

bœ œ œ
? bb œ œ œ œ œ œ
b

T 10
A 11 11
B 10 13 13 10
11 11
Bass Grade 7

76
 Technical Exercises

Group D: Chords
High register chords. To be prepared from the starting notes of E and A

1. Dominant 7 (E dominant 7 chord shown)

n ww
E7

? #### w

T 13
A 12
B 12

2. Minor 7 (A minor 7 chord shown)

ww
A m7

? w

T 17
A 17
B 17

3. Major 7 (A major 7 chord shown)

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ww A maj 7

? ### w

T 18
A 18
B 17

Bass Grade 7

77
 Technical Exercises

Group E: Stylistic Studies

You will prepare a technical study from one group of styles from the list below. Your choice of style will determine the style
of the Quick Study Piece.

1. Rock/Metal: pedal tones and legato phrasing

œ œ œ œ œ œ œ œ œ œ
q = 100 Metal

?4 œ œ œ œ œ œ
œ œ œ œ œ œ
N.C.

4 œ œ œ œ œ œ œ œ œ œ

T
A 0 0 14 15 0 12 14 0 10 12 0 8 10 0 7 8 0 0 7 8 0 5 7 0 3 5 0 0 2 3 2
B 3

? œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ #œ
œ
œ nœ
œ
œ œ
œ œ # œ œ.

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T
A 0 0 14 15 0 12 14 0 10 12 0 8 10 0 7 8 5 4 4 3 3 2
B 0 0 0 0 3 2 0
[3]

œ œ œ œ œ
? .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
.
.
T 5 0 5 4 4 2 5 0 10 9 9 7 7
A 5 7 5 3 2 5 7 10 9 9 7
B 0 0 0 3 2 0 0 0

[5]

? œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ Œ Ó
.
Bass Grade 7

.
.
T 5 0 5 4 4 2
A 5 7 5 3 2 3 2
B 0 0 0 3 2 0 3 2 0 5 3 0 0 3 0 2 3 2 0 0

78
[7]
 Technical Exercises

2. Funk: 16th-note slap grooves and string crossing

q = 105 Funk

œP œP
E9

? # # # 44 ¿ œ œ ¿ œ œ nœ ¿ œ œ ¿P œT œ T ¿P œT œ
LH T P T P LH T P T

œ
T T

¿ ¿ œ
LH

¿ ¿ ¿ ¿ ¿
T T P T T T

œ ¿ ¿ ¿
¿ ¿ ¿ ¿P ¿P
¿ ¿ ¿
T LH T P T T P T T P LH T P T P LH T T P T T T T

¿ ¿ ¿ ¿
0 ¿ ¿ ¿
T 9 7
A 5
B 4 5 5 7 9 11 7 9 5 7 5 7

œP œP
? ### ¿ œ œ ¿ œ œ nœ ¿ œ œ
T

œ.
LH T P T P LH T P

œ
T T

¿ ¿ œ ≈ r
LH

¿ ¿ ¿ ¿
T T P T T

œ ¿ ¿ œ
T LH T
¿P T T
¿P T T P LH T
¿P T P LH T T P T w/fingers

¿ ¿ 5 ¿ ¿ ¿ ¿

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¿ ¿
T 9 7
A 4 5 5 7 9 11 7 9 9
B 0 0
[3]

œ œ œ. œ
? # # # .. œ nœ ≈ R ≈ r œ #œ œ œ œ #œ ≈ œR œ œ #œ œ œ.
œ œ œ œ œ
.
.
T 7 9 7
A 5 0 7 8 9
B 7 9 10 11 9 7
0 5 6 7 0 0
[5]

œ œ œ œ #œ œ œ œ œ.
? ### n œ
œ ≈ R ≈ r #œ œ œ œ # œ ≈ œR ≈ R .. Œ Ó
œ œ œ œ œ œ œ
Bass Grade 7

.
.
T 7 9 7 13 11
A 5
B 7 9 10 11 9 12 13 14 13
0 5 6 7 0 0

79
[7]
 Technical Exercises

3. Jazz/Latin/Blues: natural harmonics and arpeggios

‚
q = 160 Latin
E b maj 7
‚ F6
‚ ‚
? b b 44 .. œ ˙ œ ˙

.
NH NH

.
T 5 7
A 5 7
B 6 6 8 8
Let harmonics ring where possible

B b maj 7 ‚ ‚ ‚
? bb œ ‚ ‚ G m9
‚ ..
˙ œ ˙
.
NH NH

.
T 7 5
A 7 5
B 5 5
6 6 3 3
[3]

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Eb
œ œ œ œ œ œ œ
j œ œ œ
Gm F Gm F

? b b .. ‰ œ œ œ œ œ

.
.
T 5 7
A 5 8 5 7 8 10 7
B 5 6 8 10 8
6
[5]

Eb Eb
œ œ œ œ
1.

? bb ‰ j œ œ œ œ
Gm F

œ œ œ œ œ œ ..
œ
.
.
T 5
A 5 8 5 7 8 5
B 5 6 8 6 5
6 6 3
[7]

B b maj 7
œ ‚‚ ··
? bb œ
2.

œ œ œ œ w
Bass Grade 7

NH

T 7
A 7 8 7
B 8 8
6

80
[9]
Quick Study Piece

At this grade you will be asked to prepare and play a short Quick Study Piece (QSP). Printed below are three examples of
the type of QSP you are likely to receive in the exam. You will be shown the test and played the track with the notated parts
played. Any bars that require improvisation will not be demonstrated. You will then have three minutes to study the test. The
backing track will be played twice more. You will be allowed to practise during the first playing of the backing track, with the
notated parts now absent, before playing it to the examiner on the second playing of the backing track.

The style of your QSP is determined by the stylistic study you selected in the technical exercise section. The QSP is in the
form of a lead sheet and it is up to you to create your own interpretation of the music in the parts marked for improvisation.

q = 125 Metal

? 44
N.C.

œ œ œ œ œ œ bœ œ bœ
œ œ œ œ œ œ œ œ œ œ œ bœ
T
A
B 0 3 0 7 0 7 6 6 0 5 0 3 0 3 0 7 0 7 6

Bb5
? œ bœ
G5

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œ œ œ œ œ ’ ’ ’ ’ ’ ’ ’ ’
Improvise bassline

T
A
B 6 0 5 0 3
[4]

Bb5
?’
E5 F5 E5

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[7]

A5 D5 E5 F5 E5 F5 E5

? Œ Ó
’ ’ ’ ’ œ œ bœ œ œ œ œ œ bœ œ œ œ
œ œ œ œ
> >
Bass Grade 7

T
A 1 1 1 1
B 0 3 0 1 0 3 0 1 0 0 0

81
[10]
 Quick Study Piece

q = 110 Funk
E/G #
?4 œ œœœ œœ œ
C E sus 4 Am

4 . œ. œ œ. œ œ œ œ œ œ #œ œ œ œ. œ.

T 7 7 7
A 3 3 3 3 2 7 7 7
B 3 3 0 0 5 4 0 5 5

? œ. œ ‰ œ # œ œ. œ
Dm G Am F

œ œ ’ ’ ’ ’ ’ ’ ’ ’
Improvise bassline

T 3 4 5 5
A 5 5
B 3 0

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[4]

?’
Dm G Am

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[7]

F Dm
œ Em F G C

? œ œ œ œ œ. œ w
’ ’ ’ ’ bœ nœ
œ œ œ œ œ #œ œ œ
Bass Grade 7

T 7
A 5 5 5 5 7 0 1 2 3
B 7 0 0 1 0 1 2 3

82
[10]
 Quick Study Piece

3
j
q = 125 Blues q q = q q
G7

?4 œ œ œ œ œ œ œ œ bœ œ œ œ œ
3

œ #œ œ œ œ œ #œ œ
3 3

4 œ œ œ bœ œ œ

T 5 5 3 3 5 3 5 5 3 3
A 3 4 5 5 4 3 3 4 5
B 3 3 3 3 6 3 3

? œ œ ‰ bœ.
C7

œ œ ’ ’ ’ ’ ’ ’ ’ ’
Improvise bassline

T 5 3
A 4
B 3 3

RSL-858170122834 / 1 / shayne Addinall / [email protected]

[4]

?
G7 D7

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B
[7]

C7 G7 Ab7 G7

? œ œ œ œ
œ #œ œ œ
3

’ ’ ’ ’ œ œ œ b >œ œ ˙
>
Bass Grade 7

T 5 5 3 3
A 3 4 5
B 3 3 3 3 4 3

83
[10]
 Ear Tests

There are two Ear Tests in this grade. The examiner will play each test to you twice. You will find one example of each type
of test printed below.

Test 1: Melodic Recall

The examiner will play you a two-bar melody with a drum backing using one of the following scales: F natural minor,
B b major pentatonic or D minor pentatonic. The first note of the melody will be either the root note or the fifth and the
first interval will be either ascending or descending. You will play the melody back on your instrument. You will hear the
test twice.

Each time the test is played the sequence is: count-in, root note, count-in, melody. There will be a short gap for you to
practise after you have heard the test for the second time. You will hear the count-in and root note for the third time
followed by a vocal count-in and you will then play the melody to the drum backing. The tempo is q = 90.

¿ ¿ ¿ ¿
q = 90

? b b 4 .. œ œ œ ‰ œ œ œ œ œ
bb 4 w œ œ œ œ œ œ
œ
œ œ œ ..
. .
. .
T 3 1 3 3 3 3 1
A 1 3 3 3
B 1 1 1 4 1 1 4 4

Test 2: Harmonic Recall

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The examiner will play you a tonic chord followed by a two bar chord sequence in the key of A major played to a drum
backing. The sequence will use the I, ii, iii, IV, V and vi chords. The ii, iii and vi chords can be either minor or minor 7
chords. You will be asked to play the root notes of the chord sequence to the drum backing in the rhythm shown in the
example below. You will then be asked to identify the sequence you have played to the examiner, including any chord
extensions. This rhythm will be used in all examples of this test given in the exam. You will hear the test twice.

Each time the test is played the sequence is: count-in, tonic, count-in, chords. There will be a short gap for you to practise
after you have heard the test for the second time. You will hear the count-in and tonic for the third time followed by a vocal
count-in and you will then play the root notes to the drum backing. You should then identify the chords including any chord
extensions. The tempo is q = 90.

¿ ¿ ¿ ¿ C # m7
q = 90

? # # # 44 .. | Û Û Û ÛÛÛÛ Û Û Û ÛÛÛÛ Û Û Û ÛÛÛÛ Û Û Û Û Û Û Û ..

A E D Bm
Bass Grade 7

84
General Musicianship Questions

In this part of the exam you will be asked five questions. Four of these questions will be about general music knowledge and
the fifth question asked will be about your instrument.

Music Knowledge
The examiner will ask you four music knowledge questions based on a piece of music that you have played in the exam.
You will nominate the piece of music about which the questions will be asked. In this grade you will be asked to identify
and demonstrate your answers on your instrument as directed by the examiner. The scale question at the end of the list of
subjects is mandatory.

In Grade 7 you will be asked:

■ The names of pitches

■ Any expressive musical marking found in the piece such as palm muting, accents, staccato, legato, slap (T) and pull (P)
markings and natural harmonics

■ Any dynamic marking found in the piece

■ One type of scale that can be used appropriately in the solo section of the piece you have played and its relation to the
underlying harmony of the piece

Instrument Knowledge

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The examiner will also ask you one question regarding your instrument.

In Grade 7 you will be asked to explain and demonstrate:

■ The function of the volume and tone controls on your bass

■ Where to find the same pitch on two different strings

■ The set up for the tone required for the piece you have played on the amp

■ How to achieve changes in tone in a song

Further Information
Tips on how to approach this part of this exam can be found in the Syllabus Guide for bass, the Rockschool Bass Companion
Guide and on the Rockschool website: www.rslawards.com
Bass Grade 7

85
 Entering Rockschool Exams

Entering a Rockschool exam is easy, just go online and follow our simple six step process. All details for entering online,
dates, fees, regulations and Free Choice pieces can be found at www.rslawards.com

■ All candidates should ensure they bring their own Grade syllabus book to the exam or have proof of digital purchase
ready to show the examiner.

■ All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

Bass Grade 7

86
Marking Schemes

Grade Exams | Debut to Grade 5 *

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15

Sight Reading
or 6 out of 10 7–8 out of 10 9 + out of 10
Improvisation & Interpretation

Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10

General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5

TOTAL MARKS 60%+ 74%+ 90%+

Grade Exams | Grades 6–8

RSL-858170122834 / 1 / shayne Addinall / [email protected]

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Technical Exercises 9–10 out of 15 11–12 out of 15 13 + out of 15

Quick Study Piece 6 out of 10 7–8 out of 10 9 + out of 10

Ear Tests 6 out of 10 7–8 out of 10 9 + out of 10

General Musicianship Questions 3 out of 5 4 out of 5 5 out of 5

TOTAL MARKS 60%+ 74%+ 90%+

Performance Certificates | Debut to Grade 8 *

ELEMENT PASS MERIT DISTINCTION

Performance Piece 1 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 2 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 3 12–14 out of 20 15–17 out of 20 18+ out of 20

Bass Grade 7

Performance Piece 4 12–14 out of 20 15–17 out of 20 18+ out of 20

Performance Piece 5 12–14 out of 20 15–17 out of 20 18+ out of 20

TOTAL MARKS 60%+ 75%+ 90%+

87
* Note that there are no Debut Vocal exams.
 Bass Guitar Notation Explained

Fmaj 7
w G9

?4 ww
4 ˙ Ó
Notes:

’ ’ ’ ’
THE MUSICAL STAVE
shows pitches and rhythms GA
and is divided by lines into E F
CDB
bars. Pitches are named after AG
the first seven letters of the
alphabet. Strings:
G
T 9
TABLATURE graphically D
A 7
represents the bass guitar
A
B 8
E 3
fingerboard. Each horizontal
line represents a string and Fourth string, 3rd fret Fmaj 7 chord in the 7 th position Solos and Cont. sim. sections
each number represents a fret. are shown in slash notation

Definitions For Special Bass Guitar Notation

HAMMER-ON: Pick the lower note PULL-OFF: Pick the higher note then SLIDE: Pick the first note and slide GLISSANDO: Slide off of a note at the
then sound the higher note by sound the lower note by lifting your to the next. If the line connects (as end of its rhythmic value. The note
fretting it without picking. finger without picking. below) the second note is not repicked. that follows is repicked.

? ? œ œ ? ? œ
œ œ œ œ

T T 3 2 T T

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A 0 2 A A A 5
B B B 5 3 B

SLAP STYLE: Slap bass technique is TAPPING: Sound note by tapping the DEAD (GHOST) NOTES: Pick the NATURAL HARMONICS: Lightly touch
indicated through the letters T (thumb) string – circles denote a picking hand string while the note is muted by the string above the indicated fret then
and P (pull). tap, squares a fretting hand tap. your fretting hand. pick to sound a harmonic.

? œ ¿ ¿ œ ‚
P

? #œ ? bœ œ œ ?
T P T

œ œ ‚
œ #œ
NH

¿ ¿
T P T P
T T T 5 T 12
A 2 4 A A A 12
B B 6 3 5 B 3 B
0 2 4

>œ ■ Go back to the sign (%), then play until

D.%. al Coda the bar marked To Coda fi then skip to
the section marked fi Coda.
(accent) ■ Accentuate note (play it louder).

œ.
■ Go back to the beginning of the song and
(staccato) ■ Shorten time value of note. D.C. al Fine play until the bar marked Fine (end).

U ■ Fermata (Pause) .. .. ■ Repeat the bars between the repeat signs.

Bass Grade 7

.. ..
1. 2. ■ When a repeated section has different
endings, play the first ending only the first
time and the second ending only the
second time.

88
Mechanical Copyright Information

What’s Going On
(Gaye/Cleveland/Benson)
EMI Music Publishing Limited

Only So Much Oil In The Ground

(Kupka/Castillo)
Sony/ATV Music Publishing (UK) Limited

Hit Me With Your Rhythm Stick

(Dury/Jankel)
Warner/Chappell Music Limited

Spanish Joint
(Stone/Archer/Hargrove)
Universal Music Publishing Limited/Hardgroove Publishing

Lingus
(League)
Universal Music Publishing Limited

You Oughta Know

(Morissette/Ballard)
Universal/MCA Music Limited/Concord Bicycle Assets LLC.

RSL-858170122834 / 1 / shayne Addinall / [email protected]

Bass Grade 7

89
 Introducing…
Rockschoo
new theorl’s
y
exams!

POPULAR
MUSIC THEORY
GRADES DEBUT–8

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OUT NOW!
Discover more at
www.rslawards.com/theory
Enter online at
www.rslawards.com/enter-online
 Become a more
confident, expressive
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Rockschool Popular Music Theory is the essential guide for contemporary
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The syllabus consists of 11 finely-tuned books:

Workbooks Debut to Grade 8. Each grade includes a sample paper

Guidebooks Split into two levels; Debut to Grade 5 and Grades 6 to 8

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Truly understand
musical theory
then apply your
knowledge using
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Discover everything you need to know The ideal preparation for students
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Regardless of your current level of technical The range of Workbooks, from Debut to
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Acquire a hugely impressive knowledge of:
6 Popular music composition Each book includes sample questions
6 Arranging and performance techniques for the following sections:
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RSL-858170122834 / 1 / shayne Addinall / [email protected]