chapter 1: beginners warm-ups for beginners objective: to

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C h a p t e r 1 : B e g i n n e r s Warm-Ups for Beginners Objective: To learn a method of playing two octave scales using different positions on the fingerboard What we will begin doing every time we pick-up the bass is develop a good habit of warming up before we start to actually play anything. This is a good idea for several reasons.......First of all, it increases the flow of blood to the hands which increases the temperature and helps the joints and muscles stretch and perform better. It also starts the process of getting the mind to focus and concentrate on playing ideas and finally it allows the union of the physical, mental and spiritual sides of the musical process to all come together. This is what most athletes do before any competition or exercise. Let's look at the Warm-Up for Beginners #1 and what we'll see is a scale pattern based on the C Major scale. We will be using the following fingering pattern (assigning one finger per fret) for major scales: 2-4; 1-2-4; 1- 3-4. This means that starting on the "A" string (with the second finger between the 2nd and 3rd frets) we will be playing the first note (C) of the scale, then play the second note (D) of the scale with the fourth finger (with the finger between the 4th and 5th fret). On the next string (D string) we will play the third note (E) of the scale with the first finger (between the 1st and 2nd frets) , the fourth note (F) of the scale with the second finger (between the 2nd and 3rd frets) and the fifth note (G) of the scale with the fourth finger (between the 4th and 5th frets). Finally, on the next string (G string) we'll play the sixth note (A) of the scale with the first finger (between the 1st and 2nd frets), the seventh note (B) of the scale with the third finger (between the 3rd and 4th frets) and the eighth note (C) of the scale with the fourth finger (between the 4th and 5th frets). Note that there are two positions that you can play this same scale in the same register and a third position in which you'll be playing it an octave higher. The first position starts on the A string and the second position has us starting on the E string (with the second finger playing "C" between the 7th & 8th frets). Using the fingering that I've notated in the diagram I want you to play the C Major scale in the first position then pause to reposition your hand and then play the C Major scale in the second position then pause again and play the C Major scale in the third position an higher octave. You should eventually be able to play this scale in all three positions comfortably at 96 bpm (beats per minute) shifting from one position to another without it feeling awkward and yet still sounding musical. Once you have mastered playing the C Major scale then we want to add another scale to increase our knowledge of the fingerboard. Next let's add the A Natural Minor Scale (which is the relative minor to C Major). We will use this scale as a way to link the two C Major scales together. First play the A Minor scale using the fingerings suggested in the Warm-Up for Beginners #2. We will be playing this scale in two positions and just like the C Major scale we should be able to play in both positions comfortably at 96 bpm shifting from one position to the other so that the transitions are smooth and it sounds musical. Now that you have learned to play the C Major scale and the A Minor scale let's combine the two. You'll see in the Warm-Up for Beginners #3 that we can start on the A string with the second finger on the note "C" and play the first five notes of the C Major scale which will bring you to "G" on the D string. Then transition to the next six notes (by shifting your left hand up the neck) which will be the beginning of the A Minor scale starting with the first finger on the note "A" on the D string and end with the fourth finger on the note "F" on the G string. Don't move your left hand, now try playing the same thing starting with the C Major scale on the E string. Play the first five notes of the C Major scale which will bring you to "G" on the A string and transition up the neck to the A Minor scale with the first finger on the note "A" and continue following the fingering to complete the second octave of the C Major scale as shown in the diagram. See if you can learn to play these two scales both ascending (going up the neck) & descending (going down the neck) in the key of C. I would try to set aside at least one hour each day to devote to this class in a quiet environment where you will not be interrupted. Don't only focus on what you are hearing and seeing but also listen to the music that you are creating as a whole. Once you have practiced this pattern start applying the same concept in the keys of "F Major/D Relative Minor", "Bb Major"/G Relative Minor, "Eb Major/C Relative Minor" & "Ab Major/F Relative Minor" as in Warm- Up for Beginners #4. When you go to warm-up in a new key please keep in mind that there are going to be certain notes that will not be natural anymore. I've included some patterns that show how to transition from the major scale to the relative minor scale and back to the major scale again to complete a two octave scale. Practice these everyday (before you start jamming with your band ) for 20 minutes and you'll eliminate

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Page 1: Chapter 1: Beginners Warm-Ups for Beginners Objective: To

C h a p t e r 1 : B e g i n n e r sWarm-Ups for Beginners

Objective: To learn a method of playing two octave scales using different positions on the fingerboard

What we will begin doing every time we pick-up the bass is develop a good habit of warming up before westart to actually play anything. This is a good idea for several reasons.......First of all, it increases the flow ofblood to the hands which increases the temperature and helps the joints and muscles stretch and performbetter. It also starts the process of getting the mind to focus and concentrate on playing ideas and finally itallows the union of the physical, mental and spiritual sides of the musical process to all come together. Thisis what most athletes do before any competition or exercise.

Let's look at the Warm-Up for Beginners #1 and what we'll see is a scale pattern based on the C Major scale.We will be using the following fingering pattern (assigning one finger per fret) for major scales: 2-4; 1-2-4; 1-3-4. This means that starting on the "A" string (with the second finger between the 2nd and 3rd frets) we willbe playing the first note (C) of the scale, then play the second note (D) of the scale with the fourth finger(with the finger between the 4th and 5th fret). On the next string (D string) we will play the third note (E) ofthe scale with the first finger (between the 1st and 2nd frets) , the fourth note (F) of the scale with the secondfinger (between the 2nd and 3rd frets) and the fifth note (G) of the scale with the fourth finger (between the4th and 5th frets). Finally, on the next string (G string) we'll play the sixth note (A) of the scale with the firstfinger (between the 1st and 2nd frets), the seventh note (B) of the scale with the third finger (between the 3rdand 4th frets) and the eighth note (C) of the scale with the fourth finger (between the 4th and 5th frets). Notethat there are two positions that you can play this same scale in the same register and a third position inwhich you'll be playing it an octave higher. The first position starts on the A string and the second positionhas us starting on the E string (with the second finger playing "C" between the 7th & 8th frets). Using thefingering that I've notated in the diagram I want you to play the C Major scale in the first position then pauseto reposition your hand and then play the C Major scale in the second position then pause again and play theC Major scale in the third position an higher octave. You should eventually be able to play this scale in allthree positions comfortably at 96 bpm (beats per minute) shifting from one position to another without itfeeling awkward and yet still sounding musical.

Once you have mastered playing the C Major scale then we want to add another scale to increase ourknowledge of the fingerboard. Next let's add the A Natural Minor Scale (which is the relative minor to CMajor). We will use this scale as a way to link the two C Major scales together. First play the A Minor scaleusing the fingerings suggested in the Warm-Up for Beginners #2. We will be playing this scale in twopositions and just like the C Major scale we should be able to play in both positions comfortably at 96 bpmshifting from one position to the other so that the transitions are smooth and it sounds musical.

Now that you have learned to play the C Major scale and the A Minor scale let's combine the two. You'll seein the Warm-Up for Beginners #3 that we can start on the A string with the second finger on the note "C" andplay the first five notes of the C Major scale which will bring you to "G" on the D string. Then transition to thenext six notes (by shifting your left hand up the neck) which will be the beginning of the A Minor scalestarting with the first finger on the note "A" on the D string and end with the fourth finger on the note "F" onthe G string. Don't move your left hand, now try playing the same thing starting with the C Major scale on theE string. Play the first five notes of the C Major scale which will bring you to "G" on the A string and transitionup the neck to the A Minor scale with the first finger on the note "A" and continue following the fingering tocomplete the second octave of the C Major scale as shown in the diagram. See if you can learn to play thesetwo scales both ascending (going up the neck) & descending (going down the neck) in the key of C.

I would try to set aside at least one hour each day to devote to this class in a quiet environment where youwill not be interrupted. Don't only focus on what you are hearing and seeing but also listen to the music thatyou are creating as a whole.

Once you have practiced this pattern start applying the same concept in the keys of "F Major/D RelativeMinor", "Bb Major"/G Relative Minor, "Eb Major/C Relative Minor" & "Ab Major/F Relative Minor" as in Warm-Up for Beginners #4. When you go to warm-up in a new key please keep in mind that there are going to becertain notes that will not be natural anymore. I've included some patterns that show how to transition fromthe major scale to the relative minor scale and back to the major scale again to complete a two octave scale.Practice these everyday (before you start jamming with your band ) for 20 minutes and you'll eliminate

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"Gorilla Grip" which is what happens when you start playing intensely without warming up and the muscles inyour hand start cramping.

What you should notice after the first few weeks of warming-up before you play is that playing the bass isn'tsuch a physical struggle anymore. Even those of you who have small hands will notice thedifference............Good Luck and remember at anytime should your hand start to hurt or you feelcramping........STOP PLAYING !!.....relax for a few minutes and then continue.......................this is not a testto see how strong you can be. It is a way to improve your ability to play the instrument............. Enjoy TheJourney !!

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C h a p t e r 1 : B e g i n n e r sBlues Bass

Objective: To learn the 12 bar blues form with roots and triads

It is absolutely necessary that every bassist learn the basic 12 bar blues form because no matter what styleof music you ultimately wind up playing you'll eventually be using this form. Usually we refer to a song formthat has been in place since the earliest rural blues started with the basic I-IV-V chord progression. Thesechords actually are from the three primary triads of the major scale (tonic, sub-dominant and dominant). Inthe Key of F these chords would be F (tonic), Bb (sub-dominant) and C (dominant). What really makes thesesound more interesting is when we add the flat 7th scale degree to each chord. This gives the "bluesy"quality to the music and adds a little tension to the progressions.

If we look at Example #31-1 we will see the basic blues form which consist of the first four measures with theI chord (tonic), then two measures with the IV chord (sub-dominant) again followed by two measures of the Ichord, followed by two measures of the V chord (dominant) and ending with two measures of the I chord.Play the bass part and notice that you are only playing the arpeggios of each chord. This twelve bar chordprogression repeats itself over and over again and if you listen carefully the sound that the form produces willhave a certain melodic quality to it that you can almost hum to yourself. After a while you should be able tosing this "form melody" in your head no matter where you are: driving a car, in the shower, riding a bicycle,etc. Once you can recall this form and hum it to yourself without losing your concentration at any time (nomatter what you are currently engaged in) you are ready to progress to the next step. The ability to have theindependence of having one theme repeating itself in your head while you are doing or playing somethingtotally different and not getting lost in the song form is what our goal should be. A bassist that can alwaysmaintain the song form (or arrangement) with confidence while still supporting the music with improvisationalskills is worth their weight on gold to any ensemble. It is this confidence that will allow the other musicians tofeel free to express their ideas while knowing that they can depend on you to outline the song form at alltimes.

Another version of the blues form is accomplished by altering a few of the chord progressions as in Example#31-2. What we have done is made the song form a little more interesting by creating better harmonicinterest by introducing the IV chord briefly in measure two then returning to the I chord. In the tenth measurethe IV chord is reinstated after the V chord before returning to the I chord in the eleventh measure. Finally inmeasure twelve we create a turnaround with the V chord which sets up the form to be repeated again.

After you are comfortable with this alternative version try mixing the two by playing the first form fromExample #31-1 and then playing the song form in Example #31-2. You should progress to the point whereyou can recall either of these song forms while doing or playing something else. Once you reach this pointwe can start walking through the chord progressions using different notes to begin certain (ex: measure #3,#6, #8, #10, #11) measures that don't lead to the next progression in the song form. A lot of bass playersalter the root note of the next chord and unless everyone in the ensemble is comfortable with that, it willcreate a feeling of uncertainty and then it will sound like we are playing Jazz and not Blues.

The teacher should have each individual student play through the basic 12 Bar Blues form to determinewhere they are in their musical development in interpreting chord changes. Take special care to not let anymusician just go through the motions of just playing a bunch of notes. It's very important that a bassist isn'tconveying the message to the other musicians and the audience that they are treating the playing of musicas if it was a daily job. They should always be ready to express the necessary emotions needed tocommunicate this music no matter how many times they must repeat the blues form. This is a very specialrole of providing the foundation that all of the other musicians will depend on so never take it for granted !!

Soloing over Blues Changes: I wanted to touch briefly on this subject because in the past the bass wouldnormally just play a supportive role in this music. However, as the skills of many bassist have increased sohas the opportunity to solo.

Let' s look at playing a solo like we would learning to speak a new language and so we will take theapproach of repeating phrases over and over again until we get comfortable with them. By repeating thesame rhythmic idea throughout a song, you learn how shapes and ideas can follow each other. The rhythmwill become redundant, but it will challenge your ability to use your imagination and ear to develop ideas.

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Start by repeating the rhythmic ideas in Example # 31-3 all the way through a 12 bar blues in the key of Bb.The note choices are up to you and if you find that you have to stop and figure out how to play an ideasomewhere on the neck, then you are doing exactly what's required to become a fluent improviser (soloist).The teacher should have each student play through one chorus while they get use to developing theirrhythmic idea. Eventually, as they become more fluent, they should be able to play more choruses withoutrunning out of ideas. By limiting ourselves to the same rhythmic phrase, it makes it easier to study how theharmony is developing without worrying about rhythmic development (we will cover this in a later lesson).This is the surest way to give your note choices purpose, and it also makes for some pretty predictablesounding practice. Try to remember that good solos are not usually not predictable as they make creativeuse of rhythm, as well as harmony (shapes), in the development of ideas. If you want to include differentrhythms in your ideas, then it's better to begin with a small number of notes. Good luck and alwaysremember to have fun!!

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C h a p t e r 1 : B e g i n n e r sRhythm & Sync: Eighth Note Grooves

Objective: To discuss the importance of playing eighth note grooves with dynamic articulation

One of the important things about playing Eighth Note Grooves is to make sure that you are always playingWithin The Pocket. What I mean by that is to always be aware of where the top and bottom (the 1 & 2 & 3 &4 &) of each beat is pulsating. This will tend to vary slightly with each drummer that you play with becausewe are all human beings and part of the beauty in that is that we are all different. So try to feel where thedrummer is placing the feeling of the beat by listening to the Bass Drum, Hi Hat and Snare Drum. It is usuallyone of these or a combination of these three that will provide you with a pulse that will allow you to lock ontothe exact feeling of the beat or time. We also need to be aware of making sure that we know which patterns,scales or chords we are working with so that we are not just playing a bunch of notes for the sake of keepingtime. Remember that part of our role is to be a bridge in the rhythm section that will connect the harmony onone side and the rhythm on the other..............by playing on both side simultaneously and accurately, wecreate the feeling necessary for being a great groove player.

Most of the music from the 1960's and 1970's produced songs that featured the bassist playing patterns thatwere based around eighth note grooves. If you go back and listen to recordings by Donald "Duck" Dunn(Stax Volt), James Jamerson (Motown), Bootsy Collins (James Brown), Larry Graham (Sly Stone) you willhear some of the best examples of this style of playing. What made some of these bass parts so special wasthe bassist ability to play a deep groove that also had some type of melodic hook. The bass line would besimple enough to attract the ear of the average person who had no special musical education but knew fromlistening to enough records that something very special was taking place and it made then fall in love withthe whole song.

When playing some of the patterns in Example #4-1 try different approaches to playing. Example: Use yourindex and middle fingers on your left hand to fret the notes and the ring and pinky finger to help mute thestrings by resting them on the strings. Also try lifting the finger on the left hand away from the fret but stillallow it to rest against the string. The sound that you will hear will be a "ghost" note which is an verynecessary part of playing eighth note grooves. If you can keep the groove going with your right hand andghost with the left hand, the rhythmic momentum becomes an undeniable sound and feeling. Finally tryaccenting different notes (ex: 2nd & 6th notes; 1st & 5th notes; 4th & 8th notes; 3rd & 7th notes) in eachmeasure while you are playing these examples. This should help strengthen your control of dynamics.

I personally have developed a style of muting and playing eighth notes that may also be applied. Try to playExample #4-2 the way that you would normally play it then try this approach. Lay the fleshy part of yourthumb (just below the joint in the middle of the thumb) in your right hand on the "E" string while your middleand index fingers in the left hand play the notes in the pattern. As you move across the strings (from the "G"string to the "D" string to the "A" string, etc) allow the "pointer" finger in your left hand to lay across thestrings that you just previously played while at the same time fingering the notes in the left hand. As youmove back across the strings (from the "A" string to the "D" string, etc) use the thumb to mute the "E" stringand continue to mute the strings that were previously played.

I have made Example #4-2 a little more involved so make sure to take your time and start practicing theseslowly. Please note that I have not shown you where to shift the position of your left hand because thesefingerings are only a guide. Feel free to start using your own fingerings that might eventually become morecomfortable for you.

Of course, feel free to experiment and try any technique that works especially best for you. The importantthing here is to have a point of departure in your daily musical vocabulary.

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By Alphonso Johnson

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C h a p t e r 2 : I n t e r m e d i a t e sWarm-Ups for Intermediates

Objective: To learn a method of transitioning up and down the fingerboard in different keys

As I stated in the Warm-Ups for Beginners, it's important to properly prepare the hands before we startplaying any music. What we will do in this lesson is continue from the lesson with the beginners and make ita little more challenging. The object here will be to play the exercises through different keys without stopping.This should help with developing our ability to hear changes of pitch when the key changes and also itshould give us some tools to comfortably play up and down the fingerboard.

In the warm-up exercises for beginners we concentrated on just playing two octave scales using the relativeminor to transition up and down the fingerboard. In this exercise we will be playing scales from the lowestpossible note to the highest possible note that is within (diatonically) that particular scale. If you have a 4string bass and the lowest possible note is "E" we will start playing the C Major scale with the open "E"string. In our fingering we should continue using the same pattern as before (2-4; 1-2-4;1-3-4) for the majorscales and the same pattern as before (1-3-4; 1-3-4; 1-3) for the relative minor scales.

You'll see in Warm-Up for Intermediates #1 that we'll start playing the C major scale with open B (for fivestring bass players) then using the 1st and 4th fingers play "C" and "D" then transition down a whole stepand play E, F & G (on the B string), then cross over to the E string and play the A Minor (Relative Minor) asbefore.Connect all of the notes using the C Major and A Minor to transition up the fingerboard as far as youcan go in the key of C Major. If you don't have a five string bass then start with the open "E" string and playthe F & G with the 1st and 4th fingers then continue with the A Minor as demonstrated. When you aredescending try to continue connecting the relative minor and major scales to connect all of the notes untilyou reach the last note which will be your open string. I've also included the same approach to ascendingand descending in F Major (D Relative Minor).

Now that you have made a successful transition in the key of C Major let's try playing along with the Warm-Up for Intermediates #2. This will take us through G Major/E Minor; D Major/B Minor; Bb Major/G Minor; EbMajor/C Minor. The important goal here is to be able to play these without stopping at a tempo that iscomfortable for you. Try to make sure that you are listening to every note and playing them all as musicallyas possible. This is not just an exercise but a beginning passage to playing music that involves the physical,mental and spiritual sides of your being there all at the same time. If you make a mistake then stop andmake a mental note so you'll know which note it was and maybe try to think about why you playedit...........did you lose your concentration ? ......did you forget which key you were playing in ?.............beinghonest in your self-evaluation will help you to pay attention so when you come back to the same spot againyou'll avoid making the same mistake because now you'll be aware of it !!

Finally, I've included some rhythmic variations in Warm-Up for Intermediates #3 which should help keep youengaged with this development and not get too bored. So often we get the technical skill accomplished butlose sight of the musical development that is taking place so by varying these patterns rhythmically weshould stay inside of what is taking place musically. You'll notice that I haven't put any fingerings in thetablature because at this point you should have figured out what the sequence is for each major and minortransition no matter what key in which you are going to play. Start off slow until you get the feel of what youare playing musically and then try to ................Have Some Fun With It !!

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C h a p t e r 2 : I n t e r m e d i a t e sRhythm & Sync: Phat Bottom

Objective: To study the stylistic approach of the music that relies on the bassist to provide a Phat Bottom.This is typically found in R&B ballads and some contemporary Pop music.

For this lesson I would like to use two CD's as a reference: Sending Love To Everyone by Narada MichaelWalden and Sons Of Soul by Tony Toni Tone

On Sending Love To Everyone let's listen to the track "My Desire Is You" and follow the written chart inExample #3-1. You'll notice that what really holds the track together is the bass and the bass drum. Theyreally are playing different rhythmic patterns yet both instruments are effectively driving the rhythm section byhaving a little dialogue with each other. If we were able to isolate just the bass synth and the bass drum andlisten to them separately we would be able to hear how they are laying down the groove but at the same timeplaying their own individual melodies. This is a very effective way to have a big sounding bottom to therhythm section. By having this dialogue between the two lower instruments we spread the lower frequenciesand make it much more interesting for the listener.

On Sons Of Soul let's listen to the track "Lay Your Head On My Pillow" and follow the written chart inExample #3-2. Just as in the previous example, we'll see that the bass guitar and bass drum follow a generalpattern but dance around with each other. Notice how the bassist (Raphael Wiggins) makes use of the allholes in the arrangement to effectively play fills without overplaying and distracting from the vocal melodies.

It takes a lot of patience to play these types of grooves because they are so simple. It is also the sign ofmaturity when a bassist can play this style without losing their own personality or compromising thecomposition.

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C h a p t e r 2 : I n t e r m e d i a t e sRhythm & Sync: Shuffle Articulation

Objective: To examine an approach to playing Shuffle Feels and applying some dynamics in the articulation

In playing the first shuffle feel we want to be in two places at one time. That is.......we want to play a rhythmwith the drummer that feels like we are playing a straight quarter note feel while at the same time playing offbeat eighth notes that provide syncopation and counterpoint.

Look at Example #5-1 and you will see the first part of the shuffle feel which is the straight quarter notes. InExample #5-2 we can see the second part of the phrase which are the syncopated eighth notes. When wecombine the two in Example #5-3 we should start to feel the difference in the pulse between this feeling (witha triplet feel) and the feeling of playing just straight eighth notes. We should play only the first and last notesof each triplet (ghost the middle or second notes) and it should feel and sound as evenly played as theprevious four measures with the emphasis on the first downbeat of each eighth note triplet.

Example #5-4 will give you some different approaches to playing the same musical phrase with differentfeelings. These should work independent from the drummers beat. In other words, you should learn to playthese with the same amount of conviction no matter which beat the drummer is playing. Always start outslowly to get the mechanics of counting and executing the notes properly then try to play the music as steadyas possible. Your quarter notes should always fall right on the beat with the metronome.

Finally, be sure to read and apply the dynamic markings that are a very important part of the music. They willact as a guide to let you know when to play soft (piano) or loud (forte) and different variations and degrees ofdynamic articulation.

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C h a p t e r 2 : I n t e r m e d i a t e sRhythm and Meter

Objective: To learn how to play with rhythmic facility using subdivisions of the meter

There are very distinct differences between Rhythm and Meter and we need to learn how to apply both.Meter corresponds to the measurements of time and rhythm is based on time that is determined bycharacter, purpose, speed and intensity. Meter provides us with an outline of the beats, accents and restswith no conception of harmony or melody. It is derived from divisions of time into very distinctly relatedintervals (hours, weeks, seconds, etc). Rhythm on the other hand weaves freely around the divisions ofmeter either reinforcing or opposing those divisions of time. How these two relate and interact with eachother form one of the most important ways that we create music.

If we look at the bar lines in Exercise #7-1 we can see and hear from playing the musical phrase that theyserve the purpose of letting us know the metric order of the notes since it is marking the place of the metricaccent which in this case is always just after the bar line. Now look at and play Exercise #7-2 and notice thatwhen we play the accents, both the 3/4 measures and the 4/4 measures should sound the same. There aretimes when we will be reading music in 4/4 but improvising the feeling from the 3/4 example to give theimpression that the meter has changed by actually altering the rhythm with accents on the notes. This canalso be done by multiplying (a quarter note times 2 equals a half note) or dividing (a quarter note divided by2 equals two eighth notes) the meter so that we can play against the time without disrupting the flow of themusic. Have the students play the bass pattern in Example #7-3 and see if they can recognize and name thetwo different meters that are taking place.

Before I said that we can give the impression that the meter has changed by altering the rhythm withdifferent accents on the notes. We were using two methods.........either we used Multiplication or Division.This is how we construct what we will call Compound Measures. That is when we double or triple certainmetric units we can say that we multiplied but when we divide them into two or three parts we say that wedivided.

At this point I would suggest that you get some manuscript paper and write a musical phrase that usessubdivisions of the meter. Afterwards you should play it to confirm that you understood this lesson. Quiteoften we will learn something but not really understand it until we apply it to something that is real!!

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By Alphonso Johnson

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C h a p t e r 3 : A d v a n c e dWarm-Ups for Advanced

Objective: To learn a method of transitioning up and down the fingerboard in different keys using arpeggios

We'll approach this lesson assuming that you've already completed the Warm-Ups for Intermediates sectionsuccessfully. Often our ego gets in the way and we want to get some gratification by doing somethingquickly. But I can tell you now that unless you have completed the previous section you will not be able tocomplete this lesson successfully. So please make sure that you are comfortable playing the Warm-Ups forIntermediates before playing this section.

What we will be doing is using the technique from the Intermediate Warm-Ups which had us playing from thelowest possible note to the highest note in each key. For every note that you play in each scale there is anarpeggio (major, minor or diminished triad) that accompanies that note. Look at Warm-Up for Advanced #1and you'll see that for every arpeggio that you play in the key of "C" creates a certain shape (in the left handfingering) across the fingerboard. Each of these shapes should be memorized because what we will see isthat these shapes remain the same no matter which keys we are playing. After a while you should be able tofocus more on the sound and musicality of what you are playing rather than the specific individual notesbecause now you are hearing implied chord progressions. I've found this helpful whenever I'm sitting in witha group that has charts that I've never played before. I can follow the chord progressions by using theshapes rather than trying to remember every note in the chord.

Now that we've learned the shapes from the arpeggios in the key of "C" lets start using them up and downthe neck in different keys. You'll see in Warm-Up for Advanced #2 that we are ascending and descending onthe fingerboard in the same key but transitioning to the next key without stopping. As you are playing eachtriad it might help to actually call out it's name just before you play it. This is important because it gives us theability to start recognizing chord progressions over the entire fingerboard. A good warm-up will take youthrough the cycle of fourths without stopping. After taking a short break you should complete the cycle offifths.

Next we are going to play the arpeggios by alternating ascending/descending on each arpeggio. As inWarm-Up for Advanced #3 you should start ascending on the first arpeggio and descending on the next andcontinuing on until you've reached the last possible arpeggio. Then without stopping continue back down thefingerboard in the same key until you've reached the lowest possible arpeggio again and start ascending upthe fingerboard in the next key. Don't forget to call out the names of the triads as you travel through theprogressions in each key. Once you're comfortable with these going through the Cycle of Fourths and Cycleof Fifths you should try adding the 7th degree to each arpeggio as in Warm-Up for Advanced #4. Make sureyou pay close attention to the dynamic markings !!

Finally, as you can see in Warm-Up for Advanced #5 we'll use the same process of ascending/descendingexcept this time we are going to go up the fingerboard in one key and travel down the fingerboard in the nextkey. We'll be playing the arpeggios using the 7th's. You should have already learned the shapes by now andif you played through the last lesson you should have already learned to hear the sound of the new keysbefore you actually play them.

I find these useful to help me quickly focus on the instrument when I need to warm-up in a situation wherethere is very little time. Often when I'm doing a clinic or a concert there will be many distractions before yougo and play. So I always try to give myself an hour before that is my private time to go and relax and gathermy thoughts alone before I have to perform. After going through just one cycle it's refreshing to see how toall comes back together and creates a feeling of unity between you and your instrument.....................GoodLuck and Have Fun!!

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C h a p t e r 3 : A d v a n c e dSoloing With Jazz Progressions

Objective: To learn concepts for soloing with jazz chord progressions

This lesson we will try to focus on what are known as "Jazz Licks" because these are primarily phrases thatare from jazz compositions and solos which over the years have been used by many great musicians. Eachstudent should try to use them in several different ways by:

1) Learn each example one at a time and then use against a chord progression (II-V) like the one on the loopprovided in Master Class for Improvisation #1.

2) By changing any A to Ab in these examples, they can be used for the chord progression Ddim to G7instead of D-7 to G7. Play through Master Class for Improvisation #2 using this approach.

2) Transpose the examples up a whole step to create a (III - VI - II - V ) chord progression. Try combiningtwo different patterns instead of transposing the same one and apply them against the loop provided inMaster Class for Improvisation #3.

4) Play the same notes from the examples but vary the syncopation of the phrasing. You should try andexperiment with as many rhythmic variations as you can handle

Finally, apply the above suggestions to each song loop (from Adrian's Tent & Nothing Personal) so that youcan get a feel for how to start thinking independently about which choices you want to make. Quite often wefind that learning something and then applying it can be two totally different processes. After you feelcomfortable soloing with a few licks from the examples start using them during your next gig.............you'll beamazed at how quickly you can build your musical vocabulary!!

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C h a p t e r 3 : A d v a n c e dConcepts for Soloing

Objective: To continue with concepts for soloing applying the Mixolydian, Diminished, Whole Tone andAltered Scales

This week we will finish our study of applying jazz licks by adding another twist. We will play the II-V-I chordprogressions but we will substitute some different scales in place of the V progression.

Since the Mixolydian is based on the 5th scale degree it makes sense that we could use this mode as asubstitute for the V chord progression. So in the key of C major we can use a Mixolydian jazz lick in place ofthe G7 chord during the song. Example #43-1 has one jazz lick that we can use. Learn to play it first andthen when you are comfortable playing it at tempo try using it in a song that has II-V-I changes.

Next is the G# Diminished Scale which we are substituting for the G7. I have listed four different ones inExample #43-2 so learn all of them and then try substituting them for a G7 chord during a jazz composition.

Then we have the Whole Tone Scale which is based on playing successive intervals that are a major 2ndapart or based on the augmented chord which is root, major 3rd and raised 5th. Learn to play Example #43-3and then substitute these whole tone jazz licks in place of the G7 chord during a song.

Finally we have an Altered Scale which can also be used as a substitute for the G7 chord. In Example #43-4I've listed two jazz licks that work well in place of G7.

Each student should be at the point in their soloing now that they are not playing any notes that aren'tconnected harmonically to the key that they are in or aren't connected to the harmonic structure of the chordchanges that they are playing. If you can still hear wrong notes that are a result of guessing and searchingfor something to play then review the examples and try to memorize a few licks. Then only play those licksuntil you develop the discipline that will become necessary in order for you to start soloing successfully. It'sokay to experiment but you should be at a place in your music now that you can do it without constantlyguessing!!

By Alphonso Johnson

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