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How To Play The Electric Bass
ELECTRIC BASS LINES NO. 3
by CAROL KAY E
EXCELLENT INTERVAL AND NOTE READING STUDIES
© Copyright 1971 by Carol Kaye
International Copyright Secured Printed in U.S.A. All Rights ReservedNo part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher.
carolkaye.com
Introduction
At the time of this writing, the Electric Bass has reached proportions of importance never visualized before by bass players. lt has opened new possibilities for the musician in execution and has a vital role in EVERY phase of music. Rock launched this electric 'board' and at first, String Bass players became reluctant to spend their valuable time away from their 'live' instrument. In time, they surprisingly found a certain amount of pleasure on this box and have repeatedly requested new material for applicable study.
The contents of this folio consists of:
Basic Theory in two positions to be practiced in every key
Positional Scales to give the reader confidence as he learns good fingering habits
Basic Major and Minor (Blues) Chord changes for all situations
Interesting Scale and Walking Practice Material designed to assist in learning the whole neck.
You will find a mixture of suggested Rock in a few Etudes. Fingerings vary according to tempo, size of hand and neck. I have attempted to write correct fingerings for “normal” conditions and the exercises are excellent for building chops in weak fingers. Remember to point the left thumb toward the nut, keeping it slightly in back of the first finger and pivoting to force the front of the hand to shift. The String Bass method of keeping the left thumb with the second finger prevents freedom on the Electric Bass (see “How To Play The Electric Bass”). Indicated fingerings are combinations of String Bass and Guitar fingerings.
Special thanks must be given to Ed Gilbert, Frank Carroll, Dave Hersher and other onderful students who encouraged me to write this subject matter. I hope it furthers your musical knowledge and abilities.
Yours,
Code to Symbols
Cmaj7 Major Seventh which may be written CM (big M) or C (seven with a slash)
Cm Minor which may be written C– (with a dash)
C , C 7 Dimished (zero)
Cm7 5 May be written C (zero with a slash) or Cm7-5
C7 5 9 Flats can be substituted with dashes (C7-5-9)
C+ Means augmented
sus (Also “add”), means additional note not spelled in the chord.
Minor Keys are written usually in 3rd keys, i.e.:
Gm written in the key B major
Cm written in the key of E major
Fm written in the key of A major
Em written in the key of G major
C m written in the key of E major
Am written in the key of C major
Chord Theory
MAJOR CHORDS
MINOR CHORDS
Key of C
Key of G
Key of D
Key of A
Key of E
Key of B
Key of F
Key of F
Key of B
Key of E
Key of A
Key of D
Key of G
Scale Practice
Happy Together
by CAROL KAY E
EXCELLENT INTERVAL AND NOTE READING STUDIES
© Copyright 1971 by Carol Kaye
International Copyright Secured Printed in U.S.A. All Rights ReservedNo part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher.
carolkaye.com
Introduction
At the time of this writing, the Electric Bass has reached proportions of importance never visualized before by bass players. lt has opened new possibilities for the musician in execution and has a vital role in EVERY phase of music. Rock launched this electric 'board' and at first, String Bass players became reluctant to spend their valuable time away from their 'live' instrument. In time, they surprisingly found a certain amount of pleasure on this box and have repeatedly requested new material for applicable study.
The contents of this folio consists of:
Basic Theory in two positions to be practiced in every key
Positional Scales to give the reader confidence as he learns good fingering habits
Basic Major and Minor (Blues) Chord changes for all situations
Interesting Scale and Walking Practice Material designed to assist in learning the whole neck.
You will find a mixture of suggested Rock in a few Etudes. Fingerings vary according to tempo, size of hand and neck. I have attempted to write correct fingerings for “normal” conditions and the exercises are excellent for building chops in weak fingers. Remember to point the left thumb toward the nut, keeping it slightly in back of the first finger and pivoting to force the front of the hand to shift. The String Bass method of keeping the left thumb with the second finger prevents freedom on the Electric Bass (see “How To Play The Electric Bass”). Indicated fingerings are combinations of String Bass and Guitar fingerings.
Special thanks must be given to Ed Gilbert, Frank Carroll, Dave Hersher and other onderful students who encouraged me to write this subject matter. I hope it furthers your musical knowledge and abilities.
Yours,
Code to Symbols
Cmaj7 Major Seventh which may be written CM (big M) or C (seven with a slash)
Cm Minor which may be written C– (with a dash)
C , C 7 Dimished (zero)
Cm7 5 May be written C (zero with a slash) or Cm7-5
C7 5 9 Flats can be substituted with dashes (C7-5-9)
C+ Means augmented
sus (Also “add”), means additional note not spelled in the chord.
Minor Keys are written usually in 3rd keys, i.e.:
Gm written in the key B major
Cm written in the key of E major
Fm written in the key of A major
Em written in the key of G major
C m written in the key of E major
Am written in the key of C major
Chord Theory
MAJOR CHORDS
MINOR CHORDS
Key of C
Key of G
Key of D
Key of A
Key of E
Key of B
Key of F
Key of F
Key of B
Key of E
Key of A
Key of D
Key of G
Scale Practice
Happy Together