Classic Funk and R&B Grooves” for Bass By Josquin des Pres PAGE TRACK INTRODUCTIONTUNING Eee seeped coccec ‘A FEW WORDS ABOUT MUTING AND STRING-RAKING, 4 String-Muting Exercises (Examples 1-2) 4 23 String-Raking Exercises (Examples 3-5) Coe. 4-6 Basic Motown and Pop and R&B (Examples 6-11) Boece 7-12 Early Motown (Examples 12-16) 8 ‘ A317 Intermediate Funk and Fusion (Examples 17-29) 9 ++ 18-80) Intermediate Motown Styles (Examples 30-33) 12 31-34 Fusion (Example 34). . 13 35 "70s Funk (Examples 35-38) 14 36-39 Funk and Fusion (Examples 39-44), 15 40-45 More ‘70s R&B (Examples 45-50) 17 46-51 ‘Advanced '70s Funk and Fusion (Examples 51-52) 19 52-54 Funk With a Swing (Examples 53-56) ce 20. : 55-58 Acid Jazz Meets Funk (Examples 57-60)......... Seppeeeeee eee 59-61 Late "60s Pop Groove (Example 61) ....- ee ee More Advanced Funk and Fusion (Examples 62-76) 26 : -+ 677 Solid R&B Groove (Examples 77-80) ........... eee oe Pulling All Stops (Advanced) (Examples 81-94) S 30! 5 82-95 Examples for 5-String Bass (Examples 95-96) : 34 96-97 Disco (Example 97) aa ee 98 ‘The Blues Side of R&B (Example 98) 36. 99 ‘The CD was recorded, mixed and mastered at Track Star Studios, San Diego, CA, Josquin des Pres, Bass; “Zack Naor, Drums; Jordan Dalrymple, Drums; Jon Malfox, Drums. Project Managers: Aaron Stang and Colgan Bryan Al artst photographs courtesy of Ebet Roberts Fender Precision bass courtesy o Rich Siage, Fender Musial Instruments Corp. At Layout. Ken Rehm g (©2000 WARNER BROS, PUBLICATIONS. All Rights Reserved Any oupicaton, adaptaion or arrangement of the compositions contained inthis cotecton requires the written consent of the Publisher No part of ths book may be photocopied oF reproduced in any way without permission Unauthorizec uses are an wangement of the U.S. Copyright Act and are punishable bylaw.String Muting and Ral A FEW WORDS ABOUT STRING MUTING AND STRING RAKING String muting is one of the most useful techniques available to develop a solid groove. Also known as ‘muffling, or ghost notes, string muting creates a hollow percussive sound that can add an exciting percussive sound to your bass lines. Here is how it works: Step 1: For example, fret a “C" note (3rd fret on the A string) and then pick it with your right hand. The result should be a clear, sustained note. Step 2: While keeping the left hand in the exact same position, release the pressure just enough so that the string no longer touches the fret. Use more than one left-hand finger to avoid har- monies. Step 8: Attack the string with the right hand. The resulting sound should be a muffled, percussive, undefined note with no sustain As far as the right hand is concerned, pull on the string using your index finger (i) or middle finger (m). Don't pluck! After striking a string, your follow-through should result in your finger resting on the next lower string, This is called a rest stroke. It is similar to the technique used to play upright bass or classical guitar In music notation, muted notes are indicated by substituting Xs for noteheads. To get the desired combination of notes and thuds, apply and release the left-hand finger pressure as indicated by the Xs and noteheads. STRI MUTING EXERCISES Practice this exercise on a €D Example 1 ae note until you are familiar with its rhythmic content, Oo eee ee ee Apply the previous exercise to all 4 strings of your instrument. Play this pattern twice, then move up chromatically, in % steps (a % step equals 1 fret). DP. Example 2String Muting and Rakin TR String raking occurs when a succession of notes is played over more than one string in a descending fashion, usually ending with a regular sustained note. Play each pattern twice, then move up chromat- ically, in % steps (a % step equals 1 fret). RAI {€B Example 3: Eighth Notes @) -3 by ' bx DP boa] SP Example 5: Sixteenth Notes Ve? [4 jEEE a eT) SD Example 6: In the style of 70s Motown, Pop, and R&B ook ee il os D Example 9: in 10 i 4 Se Pe 1 lr ae 1 } i.Basic Motown, Pop, and R&B PD Example 10: In the style of '70s R&B group War r ca fie MESSE] I ; — 2 | er | cD Example 11: Early 70s R&B ballad groove ar —— EL AT Witt eresDP Example 12: Basic R&B groove in the style of James Jamerson 94) Jae SS Ae Z Eta td — | (€D Example 14: This is the kind of bass line you would hear behind Curtis Mayfield ee pS | ——_ | (€D Example 15: This is the kind of bass line you would hear behind Marvin Gaye ‘6 = frre ) )UT ea a PB Example 17: This is the kind of bass line you would hear behind The Ohio Players oe « B 7 . 4 m4, ag pa 4 SS PD Example 18: Early '70s Oakland funk groove a PD Example 19: Funk meets fusion in the Bay Area eo 24 + - - ¢ a) ? ae ? ' : . fo, . a 5 PD Example 20: In the style of a Jerry Jemmot bass line 2t br V4 0 ed ye xe x fey pee oe oA = te eee cor F = | I | ‘ ose] . cE; sae ls es 5 x =| ee 7 ooeey aIntermediate Funk, Fusion D Example 21: '70s R&B meets hip-hop feel 22 ' oe : tore [oa rR Lg pes CP Example 22: in the style of Verdine White 23/ i 0 SS Uo SS ES DP Example 23: In the style of Alphonso Johnson 2a’ s Fae pees ——) =< 3-4 [ses = =| €D Example 24: Philadelphia funk groove 28 BT 4 To) ey a fs —— €P Example 25: Mid '70s simple fusion bass line p ia yz b fe oye ; PSUT Na a €PD Example 26: Basic R&B groove in the style of James Jamerson ar 5 3 ete CD Example 27: '70s funk meets disco. poe | dade bf pp bee a €D Example 28: In the style of Verdine White 29 7 a 4 ae ypoae oele ° ae ] oc: VE =] fe sory oe ele a a = Cs — =— oe J | 48 ony I | oe S19 7a s a ro r A 8Tree ed SD Example 30: In the style of Carol Kaye SY |Deqe Fr or ferns oS Seo eS SSS (CD Example 31: In the style of Carol Kaye (more advanced) ‘a! yiPD Example 34: In the style of Jaco Pastorius 38 Swing feel 2: 4 " ° «x be I Dp pe a ey | Ae. kee le. id , gi I 7 8 eos negates | Jaco Pastorius’70s Funk (€D Example 35: '70s funk meets disco (more complex) 86 87 94 Siete eka i | Bsns rat a7 a7 . =a | Set ote I Bas Lae PD Example 36: '70s funk meets disco (even more complex) Ste fq I Aq BI \ 7 | | : 7 wo ba a tae Sj — €D Example 37: In the style of Verdine White 38° A or 9 4 709 [=e eee I 1. a, os, ‘39, E7 AT — -= WA ose ee ly i & : [i 7 art, sr (fife oar ie ——fae a SD Example 39: In the style of Jaco Pastorius eer: pl tel OAL btsFunk and Fusion BD Example 43: Oakland funk/fusion in the style of Paul Jackson Naa’ fe | 5 yr fo oh «(op jg ee 5 4d Papas pe oil : oe pete | ee | 16OETA aT td €D Example 45: More in the style of '70s R&B group War m7 94 Sp ae 6B Example 47: Early '70s R&B ballad bass line “ae a GCe At SP Example 48: Philadelphia blue-eyed soul “49 5 2 feel = = 9:4; 0 go HEH 4 a eexee yt J exe A | 8 ; 4x2 lo . axe SD Example 49: British-style blue-eyed soul 50” ‘ F oe [24 e+ stTA 5 5-3 Ee —* Dla = opie ey sa ee a l | ss 1 9 348 -UT eA a ea €D Example 51: '70s fusion/funk-style bass line ‘Se’ ET 7 7 BT p4be @ pa 7P be t (ae t=» be 4 ) 4 . pe | a[Funk With A Swing J SD Example 53: In the style of Alphonso Johnson (early Weather Report) sa’ Swing fet me 3: 4 ae = ‘ dee py Rhee ’ =: F4d Me Rite | S I ‘a - * ‘ ope efor oy... z if tp ts | = =! => = T x4 1 5-6 1 ey ae het SP Example 54: More in the style of Alphonso Johnson (early Weather Report) = . - = ep? a = rae? & aoe 3 [= a5 | 5 i «43 r43 = ° aaa g ery tt ¢ = = xe = Pe xo ¢ = 3 a. : = ras x13 20€D Example 55: Late ‘70s fusion/funk bass line “BE Swing feel R + 4% yo ft es ot - to = rar. fo Fe : = 4 = = > = co x7 eset 7 ses ‘| - 5 5 l 6 5 €D Example 56: More in the style of Alphonso Johnson (early Weather Report) ‘s7 Swing feet gf ¥ p14 f. x bee ote * 3 a — Alphonso Johnson 24rT Jazz Meets Funk D Example 57 A 1 I 8 : ; : o | soe ts a vewi se” = 1 5 p45 5 53 5 . 5 oe a i €D Example 59 6o 4 87 Pt if FAs 2° oe pe teeie | I 7 | 7 i i 7 = 5 oe ial _ 5-7 17. yee | ee ia s 7 oe sees! i 7 x 7 G6 22Late ’60s Pop Groove PD Example 61: Late '60s funk/pop bass line oe Cm = On lp ae | 4 ——— = == = _— I 7 ; 5 23 232 5 3 232 Pg 5 *—s 5 s—" "5 5 fa 3 Se. y ~ F. . . ai ‘ B. B. icheronMore Advanced Funk and Fusion SD Example 62: More funk meets disco 63’ by €D Example 65: In the style of Paul Jackson 6B amEP a el a ld | = mo exee te 4 36