Chapter 5, EXERCISES, Page 1, General Introduction Table of Contents Exercises GENERAL INTRODUCTION... 3 PLAYING IN STYLE... 4 CLASSICAL...4 BLUES...6 JAZZ...10 ROCK...16 HIP HOP AND AFAR...21 FOLK MUSIC...25 STANDARD BASS PHRASES... 28 BLUES, STANDARD PHRASES...28 JAZZ, STANDARD PHRASES...29 ROCK, STANDARD PHRASES...30 HIP HOP AND AFAR, STANDARD PHRASES...31 FOLK MUSIC, STANDARD PHRASES...32 SIGHT-READING... 33 CLASSICAL...34 JAZZ...37 ROCK...41 HIP-HOP AND AFAR...48 FOLK MUSIC...58 HARMONIZING A TUNE... 59 FUNCTIONAL EXERCISES...60 TRANSITIVE EXERCISES...60 NON-FUNCTIONAL HARMONIES / FREE TONALITY...60 THE HARMONY EXERCISES...60 FUNCTIONAL EXERCISES...61 TRANSITIVE EXERCISES...63 BASS SOLOS... 68 INDEX EXERCISES... 81
Chapter 5, EXERCISES, Page 2, General Introduction All Aspects of ROCK & JAZZ Volume 2 The Electric Bass SCALES AND CHORDS 5 of 7 Documents ISBN 87-88619-70-2 2 nd Edition, 1 st Issue Summer 2001 Produced in Denmark Digital Books is a trademark of NORDISC Music & Text, Ryparken 6, 1. th., Copenhagen 2100 Kbh. Ø www.nordisc-music.com Text, notes and musical examples: Copyright H.W. Gade 2001 Illustrations, layout and concept, original text Copyright H.W. Gade 1984-85/2001 All rights reserved. Copying or reproduction in full/in extension not allowed. No public hire of the material allowed without the written permission of the publishing house.
Chapter 5, EXERCISES, Page 3, General Introduction General Introduction The exercises of mine are small pieces introducing various styles, standard phrases on the bass, technically demanding sight-reading pieces and solos for bass. The bass player, who has learned the notes and the basic bass techniques, should start with the style and sight-reading examples straight away, whereas bass players who are not that keen on note reading might prefer the standard phrases as a shortcut to styles and bass phrases. I once spent 4-5 years learning all these phrases the hard way, i.e. stealing them from other bass players live and on record. The phrases come in handy when you are about to play in an unknown style. You are also supposed to know most of these standard phrases to play on your own without notes. In other words, knowledge accumulated by bass players through the last 100 years. A NOTE All musical examples written and orchestrated by H.W. Gade 1972-2001 The standard phrases, though, belong to all musicians. Another NOTE All the Bass Parts are written for a 5-string bass, but should be pretty easy to adopt to a 4-four string model
Chapter 5, EXERCISES, Page 4, PLAYING IN STYLE PLAYING IN STYLE The following style examples are mostly taken from real life compositions, opposite to the simple style examples in the All Aspects of ROCK & JAZZ /1 Music Theory. They can be used as examples of bass playing in various styles or as short sightreading pieces. CLASSICAL Style Exercise 1, Debussy Style (Impressionist) Level: Demanding A typical impressionist style piece for strings, using only whole note scales Listen: style_1.mid Score: style_1.pdf Excerpt from the opera The Burning Lands H.W. Gade 1993, 2 nd Act, 6 th Scene.
Chapter 5, EXERCISES, Page 5, PLAYING IN STYLE (Styles, Classical) Style Exercise 2, Avant-garde Classical Level: Demanding A harmonically and rhythmical advanced piece for Symphony Orchestra Listen: style_2.mid Score: style_2.pdf Excerpt from the Choir work Morungen Lieder H.W. Gade 1989-91, Vrouwe Mîne swaere sich.
Chapter 5, EXERCISES, Page 6, PLAYING IN STYLE BLUES Style Exercise 3, Slow Blues Level: Moderately advanced A slow blues evolving into a Minor / Major chorus Listen: style_3.mid Score: style_3.pdf Excerpt from the Rock Opera Swastika H.W. Gade 1974/99, 1 st Act, 5 th Scene.
Chapter 5, EXERCISES, Page 7, PLAYING IN STYLE (Styles, Blues) Style Exercise 4, Blues Boogie Level: Simple A song from the repertoire of rock band Shepherd Moons Listen: style_4.mid Score: style_4.pdf Excerpt from Schizophrenia H.W. Gade 1974
Chapter 5, EXERCISES, Page 8, PLAYING IN STYLE (Styles, Blues) Style Exercise 5, Double Boogie Level: Easy A typical Double Boogie rhythm (8 beats in 2 bars) Listen: style_5.mid Score: style_5.pdf From the first volume of the Bass Book H.W. Gade 1985.
Chapter 5, EXERCISES, Page 9, PLAYING IN STYLE (Styles, Blues) Style Exercise 6, Straight Blues Level: Simple Recorded live (the notes look strange) on double bass Listen: style_6.mid Score: style_6.pdf Excerpt from Wrong Number Blues H.W. Gade 1991.
Chapter 5, EXERCISES, Page 10, PLAYING IN STYLE JAZZ Style Exercise 7, Ragtime, Level: Simple A somewhat odd example of Ragtime, written in 1974, for double bass Listen: style_7.mid Score: style_7.pdf Excerpt from the rock opera Swastika H.W. Gade 1974-99, 1 st Act, 7 th Scene.
Chapter 5, EXERCISES, Page 11, PLAYING IN STYLE (Styles, Jazz) Style Exercise 8, New Orleans Classical Level: Simple An attempt to catch the bass feeling in New Orleans Listen: style_8.mid Score: style_8.pdf The style example is written especially for this book H.W. Gade 2001.
Chapter 5, EXERCISES, Page 12, PLAYING IN STYLE (Styles, Jazz) Style Exercise 9, Swing (Boogie) Level: Simple Another example of a live recorded MIDI file, the notes look ugly but it sounds live Listen: style_9.mid Score: style_9.pdf Excerpt from the rock opera Frozen Positions H.W. Gade 1995-2001, New York Boogie Woogie.
Chapter 5, EXERCISES, Page 13, PLAYING IN STYLE (Styles, Jazz) Style Exercise 10, Beebop Level: Simple to play but complicated Chords A hardcore bebop instrumental like in the later 1940-ies Listen: style_10.mid Score: style_10.pdf Excerpt from the rock opera Frozen Positions H.W. Gade 1995-2001, 3 rd Act, 1 st Scene
Chapter 5, EXERCISES, Page 14, PLAYING IN STYLE (Styles, Jazz) Style Exercise 11, Cool Jazz Classical Level: Simple Typical mid 1950-ies Bossa Nova inspired Cool Jazz Listen: style_11.mid Score: style_11.pdf Excerpt from the rock opera Frozen Positions H.W. Gade 1995-2001, 3 rd Act, 2 nd Scene The River
Chapter 5, EXERCISES, Page 15, PLAYING IN STYLE (Styles, Jazz) Style Exercise 12, Free Jazz Level: Demanding Free Jazz is theoretically always improvised. This is only a suggestion / hint of the style. Listen: style_12.mid Score: style_12.pdf From the first volume of the Bass Book H.W. Gade 1985.
Chapter 5, EXERCISES, Page 16, PLAYING IN STYLE ROCK Style Exercise 13, Rhythm & Blues Level: Medium A modern R&B rhythm with octave based figures Listen: style_13.mid Score: style_13.pdf Written for the 2 nd Edition of the Bass Book H.W. Gade 2001
Chapter 5, EXERCISES, Page 17, PLAYING IN STYLE (Styles, Rock) Style Exercise 14, Rock n roll Level: Simple A special but simple variant of a Rock n roll tune Listen: style_14.mid Score: style_14.pdf Excerpt from Sea Cruise IV H.W. Gade 1979.
Chapter 5, EXERCISES, Page 18, PLAYING IN STYLE (Styles, Rock) Style Exercise 15, Classic Rock Level: Simple Tight rock song with some interesting chord progressions Listen: style_15.mid Score: style_15.pdf Excerpt from the Rock Opera Swastika H.W. Gade 1974-99, 1 st Act, 17 th Scene
Chapter 5, EXERCISES, Page 19, PLAYING IN STYLE (Styles, Rock) Style Exercise 16, Symphonic Rock Level: Demanding A typical passage from my 1974 rock opera Swastika, at the height of the Symphonic Rock craze (Genesis and Yes were BIG!). Listen: style_16.mid Score: style_16.pdf Excerpt from the Rock Opera Swastika H.W. Gade 1974-99, 1 st Act, 5 th Scene
Chapter 5, EXERCISES, Page 20, PLAYING IN STYLE (Styles, Rock) Style Exercise 17, Grunge Rock Level: Rhythmically challenging. An ultra short heavy rock / grunge song Listen: style_17.mid Score: style_17.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 1 st Act, 2 nd Scene
Chapter 5, EXERCISES, Page 21, PLAYING IN STYLE HIP HOP AND AFAR Style Exercise 18, Hip-Hop Level: Medium Close to the border between modern R&B and Hip-Hop Listen: style_18.mid Score: style_18.pdf Written for the 2 nd Edition of the Bass Book H.W. Gade 2001
Chapter 5, EXERCISES, Page 22, PLAYING IN STYLE (Styles, Hip Hop and Afar) Style Exercise 19, Funk Technical Level: Medium Slow funk in diminished scales Listen: style_19.mid Score: style_19.pdf Excerpt from Funk Opera Stella H.W. Gade 1998-99, 1 st Act, 3 rd Scene A Mortal God
Chapter 5, EXERCISES, Page 23, PLAYING IN STYLE (Styles, Hip Hop and Afar) Style Exercise 20, House Level: Demanding A little game with a simple 3 chords progression Listen: style_20.mid Score: style_20.pdf Written for the 2 nd Edition of the Bass Book H.W. Gade 2001
Chapter 5, EXERCISES, Page 24, PLAYING IN STYLE (Styles, Hip Hop and Afar) Style Exercise 21, Trance Level: Simple My first Trance Instrumental Listen: style_21.mid Score: style_21.pdf Written for the 2 nd Edition of the Bass Book H.W. Gade 2001
Chapter 5, EXERCISES, Page 25, PLAYING IN STYLE FOLK MUSIC Style Exercise 22, Bossa Nova Level: Medium Bossa Nova and folk ballad in a very tight and sparse arrangement. Listen: style_22.mid Score: style_22.pdf Instrumental version of Tragedie H.W. Gade 1992, original text by Nis Petersen
Chapter 5, EXERCISES, Page 26, PLAYING IN STYLE (Styles, Folk) Style Exercise 23, Folk Ballas Level: Medium A Folk Ballad in waltz, broken by strong 6/8 syncopes Listen: style_23.mid Score: style_23.pdf Instrumental version of Da jeg var ung H.W. Gade 1992, original text by Nis Petersen
Chapter 5, EXERCISES, Page 27, PLAYING IN STYLE (Styles, Folk) Style Exercise 24, Country Blues Level: Demanding A basic country blues bass, as they used to make them in Texas in the 50 es Listen: style_24.mid Score: style_24.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 1 st Act, 2 nd Scene
Chapter 5, EXERCISES, Page 28, STANDARD BASS PHRASES STANDARD BASS PHRASES The standard phrases in this book are but a few examples of the thousands of phrases in rock and jazz. Nevertheless, they should be sufficient for the beginner, making it easier to start playing in a band. In a couple of years, the bass player will have developed his/her own style - or stopped playing the bass. Phrases, you see, can be a good tool for the novice, but the sooner you start playing yourself the sooner you become a good musician. The phrases are not part of specific chord progressions, but can be employed with various chords. If the phrase does not fit certain chords, for example minor or major seven, a note will be made below the phrase. All the phrases are shown in A-major. BLUES, STANDARD PHRASES
Chapter 5, EXERCISES, Page 29, STANDARD BASS PHRASES JAZZ, STANDARD PHRASES
Chapter 5, EXERCISES, Page 30, STANDARD BASS PHRASES ROCK, STANDARD PHRASES (See also All Aspects of ROCK & JAZZ /1 Music Theory, Scales, Melodic Outline)
Chapter 5, EXERCISES, Page 31, STANDARD BASS PHRASES HIP HOP AND AFAR, STANDARD PHRASES
Chapter 5, EXERCISES, Page 32, STANDARD BASS PHRASES FOLK MUSIC, STANDARD PHRASES
Chapter 5, EXERCISES, Page 33, SIGHT-READING SIGHT-READING The sight-reading exercises are real life examples similar to the style examples but much longer and often rather complicated. This is not beginner s stuff but a challenge to the ambitious bass player. Listen to the music and choose the examples you like best. After you have learned to play them, move on the other examples and play them as well. After you have learned all the examples, forget them and make your own music with your band instead.
Chapter 5, EXERCISES, Page 34, SIGHT-READING CLASSICAL Sight-reading exercise 1, Instrumental, Level: Simple This piece was originally written for strings, but playing a double bass voice is a useful experience even for an electric bass player Listen: read_1.mid Score: read_1.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 1 st Act, 1 st Scene
Chapter 5, EXERCISES, Page 35, SIGHT-READING (Sight-reading, Classical) Sight-reading exercise 2, I think the Pretty Colour Level: Medium A typical musical duet with a slight jazz touch Listen: read_2.mid Score: read_2.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 3 rd Act, 3 rd Scene
Chapter 5, EXERCISES, Page 36, SIGHT-READING (Sight-reading, Classical) Sight-reading exercise 3, The Laughter of the Night, Level: Medium An unusual way of arranging a folk ballad, check this out Listen: read_3.mid Score: read_3.pdf Instrumental version of Nattens latter H.W. Gade 1976/2000, original text by Nis Petersen
Chapter 5, EXERCISES, Page 37, SIGHT-READING JAZZ Sight-reading exercise 4, Ragtime, Level: Simple A happy ragtime improvisation as it used to be played in the 1920-ies Listen: read_4.mid Score: read_4.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 2 nd Act. 1 st Scene
Chapter 5, EXERCISES, Page 38, SIGHT-READING (Sight-reading, Jazz) Sight-reading exercise 5, Banana Strut, Level: Medium A tribute to Josephine Baker in Charleston Style Listen: read_5.mid Score: read_5.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 2 nd Act, 1 st Scene
Chapter 5, EXERCISES, Page 39, SIGHT-READING (Sight-reading, Jazz) Sight-reading exercise 6, New York Boogie Woogie, Level: Medium A happy 1949-style swing / boogie Woogie song Listen: read_6.mid Score: read_6.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 3rd Act. 1 st Scene
Chapter 5, EXERCISES, Page 40, SIGHT-READING (Sight-reading, Jazz) Sight-reading exercise 7, I wonder where my Baby, Level: Simple Another 1949-style song, this time ultra short Listen: read_7.mid Score: read_7.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 3 rd Act, 1 st Scene
Chapter 5, EXERCISES, Page 41, SIGHT-READING ROCK Sight-reading exercise 8, Life is bout a Feast, Level: Simple A Rock n roll song in Boogie Woogie rhythm with lots of 1/4 triplets Listen: read_8.mid Score: read_8.pdf Excerpt from the Rock Musical Rococo H.W. Gade and Jesper Morville 1980-92, 1 st Act, 7 th Scene
Chapter 5, EXERCISES, Page 42, SIGHT-READING (Sight-reading, Rock) Sight-reading exercise 9, It could be a whole lot worse, Level: Simple A straight rock song from the early 1980-ies Listen: read_9.mid Score: read_9.pdf Excerpt from the Rock Musical Rococo H.W. Gade and Jesper Morville 1980-92, 2 nd Act, 16 th Scene
Chapter 5, EXERCISES, Page 43, SIGHT-READING (Sight-reading, Rock) Sight-reading exercise 10, Hunting the Dragon, Level: Medium A slow rock song in the characteristic Limbo rhythm invented by Bo Diddley in 1950-ies. Listen: read_10.mid Score: read_10.pdf Excerpt from the Rock Musical Rococo H.W. Gade and Jesper Morville 1980-92, 3 rd Act, 6 th Scene
Chapter 5, EXERCISES, Page 44, SIGHT-READING (Sight-reading, Rock) Sight-reading exercise 11, Oh, these Chimneys, Level: Demanding The tragic first scene in 2 nd Act of Swastika, based on Nelly Sachs poem on the Concentration Camps - Houses of the Death - and the fate of the Jewish Nation during the evil years. Listen: read_11.mid Score: read_11.pdf Excerpt from the Rock Opera Swastika H.W. Gade 1974/99 Original text by Nelly Sachs, 2 nd Act, 10 th Scene.
Chapter 5, EXERCISES, Page 45, SIGHT-READING (Sight-reading, Rock) Sight-reading exercise 12, Refugees Level: Medium A sad yet hopeful hymn of the war refugees fleeing all over Europe in 1945 Listen: read_12.mid Score: read_12.pdf Excerpt from the Rock Opera Swastika H.W. Gade 1974/99, 2 nd Act, 16 th Scene.
Chapter 5, EXERCISES, Page 46, SIGHT-READING (Sight-reading, Rock) Sight-reading exercise 13, Love s so Easy, Level: Simple A slow country / jazz inspired love ballad Listen: read_13.mid Score: read_13.pdf Love s so Easy H.W. Gade 1992
Chapter 5, EXERCISES, Page 47, SIGHT-READING (Sight-reading, Rock) Sight-reading exercise 14, The Last Love Affair, Level: Simple Melodic love song in 3/4 time. Listen: read_14.mid Score: read_14.pdf The Last Love Affair H.W. Gade 1980
Chapter 5, EXERCISES, Page 48, SIGHT-READING HIP-HOP AND AFAR Sight-reading exercise 15, Christmas, Level: Medium Another reggae, this time a Christmas reggae, ho, ho, and a merry time to thee... Listen: read_15.mid Score: read_15.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 1 st Act, 1 st Scene
Chapter 5, EXERCISES, Page 49, SIGHT-READING (Sight-reading, Hip-hop and Afar) Sight-reading exercise 16, Limbo, Level: Medium A sort of Bossa Nova. Listen: read_16.mid Score: read_16.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001
Chapter 5, EXERCISES, Page 50, SIGHT-READING (Sight-reading, Hip-hop and Afar) Sight-reading exercise 17, Grand Finale, Level: Virtuoso Funk song with some intricate bass and drum playing in several compound meters Listen: read_17.mid Score: read_17.pdf Grand Finale H.W. Gade 1980
Chapter 5, EXERCISES, Page 51, SIGHT-READING (Sight-reading, Hip-hop and Afar) Sight-reading exercise 18, Embracing You, Classical Level: Medium Up-tempo funk song with room for improvisation and riffs in Dorian mode Listen: read_18.mid Score: read_18.pdf Embracing You H.W. Gade 1990
Chapter 5, EXERCISES, Page 52, SIGHT-READING (Sight-reading, Hip-hop and Afar) Sight-reading exercise 19, Settle Down / Leaving Home, Level: Medium Funk / groove song improvising over a small bass and drum loop Listen: read_19.mid Score: read_19.pdf Excerpt from the Rock Opera Frozen Positions H.W. Gade 1995-2001, 1 st Act, 2 nd Scene
Chapter 5, EXERCISES, Page 53, SIGHT-READING (Sight-reading, Hip Hop and Afar) Sight-reading exercise 20, Herod Level: Virtuoso Funk scene from the Science fiction Opera of mine, Stella. Technically extremely demanding - if you read and play this at first sight, you are very good. Listen: read_20.mid Score: read_20.pdf Excerpt from the Funk Opera Stella H.W. Gade 1998-99, 2 nd Scene.
Chapter 5, EXERCISES, Page 54, SIGHT-READING (Sight-reading, Hip Hop and Afar) Sight-reading exercise 21, Simeon, Level: Medium Another song from Stella, this time a slow 9/4 ballad (!) in a rolling funk rhythm Listen: read_21.mid Score: read_21.pdf Excerpt from the Funk Opera Stella H.W. Gade 1998-99, 2 nd Scene.
Chapter 5, EXERCISES, Page 55, SIGHT-READING (Sight-reading, Hip Hop and Afar) Sight-reading exercise 22, The Crypto Zoological Institute, Level: Demanding A song in South African High Life rhythm. Listen: read_22.mid Score: read_22.pdf Excerpt from the Funk Opera Stella H.W. Gade 1998-99, 4 th Scene.
Chapter 5, EXERCISES, Page 56, SIGHT-READING (Sight-reading, Hip Hop and Afar) Sight-reading exercise 23, A Purple Glare Level: Demanding Nothing less than the End of the World, seen from the view of an advertising agency. Fast and funky. Listen: read_23.mid Score: read_23.pdf Excerpt from the Funk Opera Stella H.W. Gade 1998-99, 4 th Scene.
Chapter 5, EXERCISES, Page 57, SIGHT-READING (Sight-reading, Hip Hop and Afar) Sight-reading exercise 24, Do you want the total war? Level: Virtuoso The infamous speech at the Sports Palace in Berlin 1942. The bass is extremely difficult to play. Start slowly and expect 1-2 weeks or more just to learn the basic parts of the bass. Listen: read_24.mid Score: read_24.pdf Excerpt from the Rock Opera Swastika H.W. Gade 1974/99, 2 nd Act, 13 th Scene.
Chapter 5, EXERCISES, Page 58, SIGHT-READING FOLK MUSIC Sight-reading exercise 25, Forgive us our Sins, Level: Simple A neo-classical ballad in a somewhat solemn style based on the Danish poet Nis Petersen s touching poem on the grownups miserable understanding of children s fantasies and dreams. Listen: read_25.mid Score: read_25.pdf Instrumental version of Forlad os vor skyld H.W. Gade 1976, original text by Nis Petersen
Chapter 5, EXERCISES, Page 59, HARMONIZING A TUNE HARMONIZING A TUNE This is a short introduction to the noble art of harmonizing a vocal melody. There are exercises in different keys in both functional and transitive harmony environments. It is a practical tool when the band starts writing your own tunes or the keyboard player has forgotten the notes and nobody remembers the chords to the interlude. IMPORTANT You must have read the All Aspects of ROCK & JAZZ /1 Music Theory or a similar music theory book plus the first 4 chapters of this book before you start learning the harmonizing techniques. Harmonizing a tune can be a very complicated affair. I will never forget when I was supposed to arrange the famous Billie Holiday song My old Flame back in 1988. I simply could not figure out the chords, even with the record playing along with the piano (I was saved by a choir arrangement of the song, where I could spell out the chords from the voices!). Bass players, as well as guitarists and keyboard players, should have a basic knowledge of setting chords to a melody. The complexity of the task depends on the degree of transitivity in the tune. The more transitive *) the tune is, the more likely it is that there will be surprising chords hidden in the functional modulations. That is a poor consolation, of course, to the unfortunate bass player sweating over an incomprehensible tune and its hilarious and unexpected natural harmonies. *) Transitive harmonies, see All Aspects of ROCK & JAZZ /1 Music Theory, Chapter Harmony
Chapter 5, EXERCISES, Page 60, HARMONIZING A TUNE FUNCTIONAL EXERCISES The first goal is returning to the tonic chord, which means designing an elegant and simple cadence progression. - You can use a standard cadence ostinato (see All Aspects of ROCK & JAZZ /1 Music Theory, Harmony), if that is appropriate according to the style. - or, you can extend the harmonies according to your style and liking, only remember to end with a cadence. TRANSITIVE EXERCISES Here come the problems: 1 Start analysing the keys of the tune. 2 Having finished the analysis, determine a suitable chord to end key I. 3 The function shift of the chord to key II can be found / selected in the function shift table in All Aspects of ROCK & JAZZ /1 Music Theory, Harmony. Or you may figure out a new and exciting functional shift yourself (preferable). 4 Follow this method with the next keys, each key modulating into the next key through a functional shift. 5 Within each key, you may either use functional cadences or extended, free chord as explained in the previous section. 6 The last chord in the last key can either be the tonic of the key or a finale in free style. NON-FUNCTIONAL HARMONIES / FREE TONALITY These seemingly complicated musical forms are surprisingly easy to harmonize, as the tune will often be based on a unison theme or ostinato figure, typically in the bass. THE HARMONY EXERCISES Exercises 1-4 are functional exercises. They are relatively simple and exercise 1, in addition, has a 2-part tune to ease the harmonizing. Exercises 5-10 are not easy or obvious. I am quite sure that the talented student will come up with harmonies radically different from my own original chords. But this is exactly the challenge with transitive harmonies, the many possible solutions and the freedom. Before exercise 5, I have included a tonal analysis of a transitive melody to show how to figure out the keys.
Chapter 5, EXERCISES, Page 61, HARMONIZING A TUNE FUNCTIONAL EXERCISES Exercise 1 Exercise 2
Chapter 5, EXERCISES, Page 62, HARMONIZING A TUNE (Functional Exercises) Exercise 3 Exercise 4
Chapter 5, EXERCISES, Page 63, HARMONIZING A TUNE TRANSITIVE EXERCISES Tracing the Keys of a Transitive Tune Exercise 5
Chapter 5, EXERCISES, Page 64, HARMONIZING A TUNE Exercise 6
Chapter 5, EXERCISES, Page 65, HARMONIZING A TUNE Exercise 7
Chapter 5, EXERCISES, Page 66, HARMONIZING A TUNE Exercise 8
Chapter 5, EXERCISES, Page 67, HARMONIZING A TUNE Exercise 9 Exercise 10
Chapter 5, EXERCISES, Page 68, BASS SOLOS BASS SOLOS A number of bass solos to learn by heart or for sight-reading. They are all written especially for this book. I have tried to come up with some artistically right solos where the virtuoso part of soloing is kept on a minimum, giving way for the melodic and the organic build-up of the solo. Opposite the sight-reading exercises, which can be played on your own, the solos should be played with a good drummer and a guitar / piano player to produce the harmonies. The bass is a social instrument even when playing solo. These are my prewritten solos. Enjoy and learn what you can. And afterwards, you should make your own bass solos, which will be much better than mine, right?
Chapter 5, EXERCISES, Page 69, BASS SOLOS (Bass Solos) Solo 1, Rock A medium tempo melodic solo Listen: solo_1.mid Score: solo_1.pdf The solo is based on the song Invitation to a voyage H.W. Gade & Jesper Morville / C. Baudelaire 1979
Chapter 5, EXERCISES, Page 70, BASS SOLOS (Bass Solos) Solo 2, Rock A medium tempo rock solo Listen: solo_2.mid Score: solo_2.pdf The solo is based on the song Animal Mother H.W. Gade 1974/2000
Chapter 5, EXERCISES, Page 71, BASS SOLOS (Bass Solos) Solo 3, Ballad Very slow solo using a 2 lines system with Treble and Bass Clefs Listen: solo_3.mid Score: solo_3.pdf Bass solo H.W. Gade 1985
Chapter 5, EXERCISES, Page 72, BASS SOLOS (Bass Solos) Solo 4, Old Danish Children s Song A funky version of the only traditional Danish song in 5/4 time. The Solo can be played by two bass players or (if you rehearse for a very long time) by one virtuoso alone Listen: solo_4.mid Score: solo_4.pdf Bass solo variations H.W. Gade 1985/2001
Chapter 5, EXERCISES, Page 73, BASS SOLOS (Bass Solos) Solo 5, Bass Solo in Compound Meters Solo with both very fast and very slow movements Listen: solo_5.mid Score: solo_5.pdf The solo is based on the song Angst H.W. Gade 1974
Chapter 5, EXERCISES, Page 74, BASS SOLOS (Bass Solos) Solo 6, Solo in Boogie Rhythm with Artificial Harmonics The very high notes in the end of the solo should be played with third or fourth based artificial harmonics (see Chapter 2 for technical details) Listen: solo_6.mid Score: solo_6.pdf The solo is based on the song The Shadow H.W. Gade 1975
Chapter 5, EXERCISES, Page 75, BASS SOLOS (Bass Solos) Solo 7, Slow Blues Very fast blues solo Listen: solo_7.mid Score: solo_7.pdf Bass solo H.W. Gade 1985
Chapter 5, EXERCISES, Page 76, BASS SOLOS (Bass Solos) Solo 8, Rock Fast solo in classic rock / blues style Listen: solo_8.mid Score: solo_8.pdf Bass solo H.W. Gade 1985
Chapter 5, EXERCISES, Page 77, BASS SOLOS (Bass Solos) Solo 9, Ballad Melodic solo in minor scale Listen: solo_9.mid Score: solo_9.pdf The solo is based on the song So much H.W. Gade 1979, original text by Nis Petersen
Chapter 5, EXERCISES, Page 78, BASS SOLOS (Bass Solos) Solo 10, Rock Very fast rock solo Listen: solo_10.mid Score: solo_10.pdf Bass solo H.W. Gade 1985
Chapter 5, EXERCISES, Page 79, BASS SOLOS (Bass Solos) Solo 11, Rock Ballad A melodic solo over transitive harmonies Listen: solo_11.mid Score: solo_11.pdf The solo is based on the song Cold as Ice H.W. Gade 1975/82
Chapter 5, EXERCISES, Page 80, BASS SOLOS (Bass Solos) Solo 12, Improvisation in Rock A very fast solo, including an artificial harmony and a Cm (maj7) chord on the bass (!) Listen: solo_12.mid Score: solo_12.pdf Bass solo H.W. Gade 1985 The last two chapters of this bass teaching book will be all about practical matters and your coming life as a professional musician. Home
Chapter 5, EXERCISES, Page 81, Index Exercises Index Exercises A Avant-garde, 5 B Ballad, 26, 71, 77, 79 Beebop, 13 Blues, 6, 7, 8, 9, 16, 27, 28, 75 Boogie, 7, 8, 12, 39, 41, 74 Bossa, 14, 25, 49 C Charleston, 38 Chords, 13 Classic, 18 D Dorian, 51 F Fast, 56, 76 Folk, 25, 26, 27, 32, 58 Funk, 22, 52, 53, 54, 55, 56 G Grunge, 20 H Harmonics, 74 Harmonizing, 59 Hip-Hop, 21 House, 23 J Jazz, 10, 11, 12, 13, 14, 15, 29, 37, 38, 39, 40 M Moderately, 6 Musical, 41, 42, 43 N New Orleans, 11 Non-functional, 60 O Opera, 6, 18, 19, 20, 22, 27, 34, 35, 37, 38, 39, 40, 44, 45, 48, 49, 52, 53, 54, 55, 56, 57 R R&B, 16, 21 Ragtime, 10, 37 Rock, 6, 16, 17, 18, 19, 20, 27, 30, 34, 35, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 52, 57, 69, 70, 76, 78, 79, 80 S Simple, 7, 9, 10, 11, 12, 13, 14, 17, 18, 24, 34, 37, 40, 41, 42, 46, 47, 58 Slow, 6, 22, 75 Swing, 12 T Transitive, 59, 60, 63 U Up-tempo, 51 V Virtuoso, 50, 53, 57