Walking Bass Technic

5/10/2018 Walking Bass Technic

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TABLE OF CONTENTSAbout the AuthorIntroduction . . . .On reading this book

Playing tips. . . . .Proper technique for playing the bass violin

Left hand and ann positionsRight hand technique.

Chapter I - Key of C ....

vvii.i.i.1.1.1 1.1

Section ASection B - Skips- Section C - Ghost Skips- Section D - Pull-off Skips, Slurred Skips, Syncopated Rhythms- Section E - Triplets- Section F - Combined Techniques from Sections A - E

Chapter II - Key of F. . . . . . . . . . . . . . . . . . . .. 44- Section A- Section B - SkipsSection C - Ghost SkipsSection D - Pull-off Skips, Slurred Skips, Syncopated Rhythms- Section E - TripletsSection F - Combined Techniques from Sections A - E

Chapter III - Key of E~. . . . . . . . . . . . . . . . . . . . 56- Section A- Section B - Skips- Section C - Ghost Skips- Section D - Pull-off Skips, Slurred Skips, Syncopated RhythmsSection E - Triplets- Section F - Combined Techniques from Sections A - E

Chapter IV - Key of A minor . . . . . . . . . . . . . . . 68- Section p . . .- Section B - Skips


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ABOUT THE AUTHOR

Although internationally acclaimed as a "jazz" bassist,Mike Richmond has performed in symphony orchestras,folk groups, fusion bands, and Broadway show bands.He has been a member of the CBS orchestra in LosA.ngeles, and has conducted on NBC TV. He recently.placed the late Charles Mingus as bassist and musicaldirector of the Mingus Dynasty.Of the four albums Mike has recorded as a leader,

"Dream Waves" (Inner City 1065) was chosen in the 1979Downbeat Readers' Poll as one of the top ten albums ofthe year. In the same poll, Mike placed in the acousticbass, electric bass, and composer categories. "SwingJournal" of Japan heralded Mike Richmond as one ofthe finest bassists to emerge in the seventies.

Over forty of Mike's original compositions appear onthe more than fifty albums he has recorded. He has per-formed his compositions, while with Stan Getz, on boththe Tonight Show and the Dick Cavett Show.

Middle Eastern and Indian melodies and .narrnonieshave influenced many of Mii..e's improvisations andcompositions, and in 1980 Mike was invited to appear as., guest soloist with Ravi Shankar at a recorded concertBombay, India (Jazzmine-Polydor 2392-523).

In addition to the Mingus Dynasty, Stan Getz, andRavi Shankar, Mike has performed with such art sts asJack DeJohnette, Hubert laws, Pat Metheny, ElvinJones, John Abercrombie, Dizzy Gillespie, Billy Eckstine,Horace Silver, Gil Evans, Chet Baker, Chico Hamilton,Buddy DeFranco, Thad Jones, Hank Jones, Mel Lewis'Big Band, Glenn Miller Band, Sir Roland Hanna, WoodyHerman, Toots Thielemans, Bobby Timmons, SonnyStitt, Tommy Flanagan, Joe Henderson, Milt .Jakson,Tom Harrell, Pepper Adams, Arnie Lawrence, ,aborSzabo, Roland Kirk, Randy Brecker, Mike Br icker.Phil Woods, Bill Watrous, Joe Farrell, Steve ! .uhn,

Jeremy Steig, Billy Hart, Dave Liebman, Bob Broomeyer, Richie Cole, Jimmy Knepper, and Marion McP;Jrland. Mike is presently performing solo bass concertsana concerts with his own duo and trio.

Since 1974 Mike has been conducting a series of clinicworldwide, from Denver University to the Cairo Conservatory of Music in Egypt. The clinics include walking balines, as treated here in Modern Walking Bass Technique(Ped Xing Music), rhythm section concepts for baand other instruments, soloistic concepts, musical formmelodic content, and chord substitutions. The clinics aconducted informally, with ample time for questions ananswers and the natural give and take so necessary tomusician's development.

Mike Richmond received his Bachelor of Music Education Degree with classical study in bass violin (EdwardArian-Philadelphia Orchestra) from Temple University.He continued to study with Mr. Arian in graduate schooIn addition to his classical studies, Mike studied jazbass with Jimmy Garrison, the renowned bassist witJohn Coltrane.

Upon graduation from Temple, Mike taught music ithe public school systems in New York and Pennsylvania.He has been a member of the string faculty at the StatUniversity of New York, and presently conducts clinicsand teaches privately, both string and electric bass.Affiliations include: International Society of Bassists

Nationa! Association of Jazz EducatorAmerican Federation of Musicians

For further information on clinics and concerts, write to:Ped Xing MusicP.O. Box 628Englewood, New Jersey 07631


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INTRODUCTION

"Walking Bass" refers to the quarter note lines playedby the jazz bassist. These bass lines are constructedusing scales, arpeggios, chromatic alterations and modes.The fundamental principle of a walking bass line is toestablish a harmonic and steady rhythmic foundation forthe jazz ensemble. This rhythmic foundation creates apulselike.that of &heart beat, pumping renewed life intothe rhythm of the music. It also allows the other musiciansto float along with the rhythmic undercurrent it creates.

In order to make the traditional quarter note walkingbass line more interesting rhythmically, it is necessary tointroduce various rhythmic elements such as skips, slurs,triplets, ties and syncopated rhythms. These are executedwith various combinations of right and left hand finger-ings. These added 'rhythmic devices punctuate the bassline and enhance the groove. It should be noted that whilethese figures create more percussive effects, the overallfeel of the line should be smooth and even. These devicesmust be used at the proper tempos because if played outof context they will disturb the rhythmic flow and upsetthe forward motion of the line.

As we apply the various rhythmic embellishments tothe walking bass line itis most important that the modernswing feel is maintained. Rhythms such asnhouldbe felt and played J~j) which is in keeping withthe triplet swing feel this book emphasizes.


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ON READING rms BOOKACCIDENTAL RULESAccidentals ( # ~ q ) placedbefore a nete are gooofor that bar "only." Accidentals are applied to all octaveswithin the bar.FINGERINGS - CHAPTER IIn Chapter I the left hand fingerings are given for [0]Slurred Skips and [E] Triplets. In the following chaptersthese fingerings will bechosenbythe reader.ELECTRIC BASSFINGERINGSWhen reading these bass lines on electric bass the thirdfinger on the left hand can be used when the fourthfinger is written, allowing the fourth finger to extend therange of the left hand.

PLAYING TIPS


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PROPER TECHNIQUE FOR PLAYING THE BASS VIOLiNLeft Hand and Arm Positions

The left arm is almostparallel to the ground,allowing the left hand tobe placed properly overthe fingerboard.

In thumb position neverrest the left arm on theshoulder of the bass.Only the 1st, 2nd, & 3rdfingers of the left hand areused in thumb position.

Position of the thumbbehind the fingerboard.


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Right Hand TechniqueTo execute the rhythmic techniques in this book the useof the 1st and 2nd fingers on the right hand is necessary.They are alternated on the same string and adjacentstrings.


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IC ' G o - i C "IJ i J J J *) I J # J . 1 - - - + I J r r p c I r ~ r J r

Ci F#o C ' "I r J P F i j F I ( ~ - r r I r r r rD - 1 G ' iI r r r r I r J r J C " A i ~i G 'I I p J J b I ,~ JI I I I

J t p r J I J r p r J I J J ~ J _ J I J # J r r. . . . , C '7 A 'I r rtf I~fq f t it 1 ft f t I*f t f b r~-i

~- - l 'I r r r J I J J J J I J : J ; r I r If ~ 1 =

..'i. ~lit ~f tit i f t f. f 1 F t ~f t Iff t k rC ' 1


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1 / ' " G - ' c , ' 1 & ' 1r J J ~ J I J ;r p r I J r r ' r I r ; t r r fgC~ 8 " ' 7 E " A - i p - 7 G O O ; C "It r r i r I ~ r ir ;t. I r ~ f., I r - " r b3, rj I I IF " C " E ' a " iI.J b r J I ( ~ ) . I r b l ~ ,rr J r I , F r r r I II I

y - 7 G o '7 C " 7 C#o ~-'7 (}"r r r J I J ; J ; I J r # J c I r r ~ rc' ~_1 J > # D E - 7 C' ~

I t f t f I# t ~f f fit f I I f ~ f r b ep ' " G ' 7 C " ~.' G o '

# J # J b , I ~ ~~ ,r I r J I r r ~ t:F -t I tI l l- c i C "I F ~ O G -j C 1

_I

~ b~ r ~ r I it ,I F P I r ' e r It t =I ~ I! t I- ! I I- IF 7 C 7 -7 A '~ r r 5 - 1 r i . , ~ J I J j) J q ) I ~ J J # JI J)-1 G - 1 -7 E ~l 1 > - 1 G '7r r I ." , E -t I ~ b ~ ~. b , r l2fr f = r r ~--;-J I I


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SKIPS

The skip is the sixteenth note of the dotted-eighth six-teenth notefigure andhasthe feeling of a person 5'


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When the skip precedesa note from the string below, the1st and 2nd fingers of the right hand can be used to playthe skip and the following note.L.H. 4 1 2 0 0, . t b. r bg I p = = JR.H. 2 2 2 2

When a skip stays on the same string different combina-tions of the 1st and 2nd fingers of the right hand areused.

L.H. 0 1 1 2 4 L.H. 0 2 4r # . r I I M E ' r ~~, ' 0 . I , : F - .d 3R . H . 2 R . H . 2 2

L . H . 0 4 L . H . 0 2 4, : F r I I :r r r t C ' - . r FR . H . 2 2 2 2 R .H : ? 2 2


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c , " F " C ' G - ' 7 C "J _ tq;~l : r J ~J ~ J I J r r l r ! I 2 r J ~CF ' 7 C " E ' " A 'r r b r 9 r I t it tt t ( 9 ) t f f it Iff b r r b t lD 7 G ' C 1 A ' p - ' G ' 7r r r # r I C ! ; J ; I J ~; J i jal A b j ~ nJ J r r I r # (J r q r I r h r U ~ r I J r t1 S, . . " t " e - i A 'F ' t J )" r I k r r (1'( I r r r riB 1 W

D ' G /7 C' A ' ~-? ( ; . ' 70 , r r tf ~ r IF # E ' f [ r It P f r b F j I r [ Q JC ' l c ; . , , ' 1 C "

I tJ tt; J I J r D O ' b J I J J ~J ~J I Dp J ~ J-I '7

I ~1 J J r i b ; r lr (J I ~1 f fj I [ ; 1 f ' o ~ =16


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Y ' ts C ' ; E p i , ' D ' i : , . , . .c : : r r r ~ r I c t J r ~ r bd J V F I ttr ~ t f f r

F ' F # o C 1I J J b F ijF I ( { ; fa) I J r

r t' C 1r r 1 6 # & ) 1 J p Je - 7 A 1

~ J IJdBJbRI~ . . . , . G o " C " A ' l > - " G o '

C r ) 4 . J b J I J , ) J J I J F r b r I r ~fj ! JC ' 7 F " I G o - '7 C . . , G o b "I a 1 r i F c : 1 1 r b r r p m I0 J r ~ r I J r tt)

F 1 F~~ e - ~ A 1I J J J b e I if r t P f \ ~ ) f t #U r I r rt r 9 . . , &' C ? P ~p 1 > . ' G 'I r G t F c t I r tt ~ r Itt f Q f I e & J J rc . ( . \ B "; E ' ~7rt raJ I J O F - tt I' ~ rp "i G J 7 C ', f b ~ r JI r Q & , I ,:~ jII 17

1 > . ' & .7 ( , , ,

, ~ r I o f b f ttlI


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GH()ST SKIPSGhost skips are rhythmically played like skips but do nothave a definite pitch. They have a very crisp sound of asnap or a click, creating a very percussive effect.When the ghost skip is played on the samestring or on thestring above the following note, the left hand appliesslight pressure (tl"">'3eft hand does not press the stringcompletely to the fingerboard) to the open (ghost) stringwith the same finger to be used on the followi'-'d note.The ghost skip is marked with an "X" on the staff forthe open string that is ghosted. In the followingexamples the left hand fingering for the ghost skip ismarked inside a circle. Right hand fingerings for theghost skip are the sameasfor the skip.This example demonstrates the ghost skip on the samestring as the following note.The 2nd finger of the left hand applies slight pressure tothe 0 string before fingering the E on the same string.

L.H. 4 0 (3 ) 2~~ ~ -El r I IrR.H. 2 1 2 1


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The 4th finger of the left hand applies slight pressure tothe G string at the first joint. This allows the 4th fingerto be in position to finger the F on the 0 string withoutexcessmovementfrom the ghostedstring.

L.H. 0 (3 ) 4 2 0f ) : - . g r I Id il- rR.H. 2


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This example demonstratesthe ghost skip on the stringbelowthefollowing note.

L . H . 2 0 0 2 4

, : r Q r r I - r I IR . H . 2 1 2The 2ndfinger of the righthand picks the openD (ghost)string.

In the same motion, theside of the 1st finger onthe right hand immedi-ate/y applies pressure tothe 0 string, cuttingoff the tone as it picks thefollowing openGstring.


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" " - ,- . . . .-~,l"J~",,,,'"J\ " ' --. -. . . . . . . . . . . . .


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C " E' A ' 7IrQ r F I(f & ) J r~ .. 7

I r , G o ' E 7 A i ' P -1 & 7U J ' J J j J IP J J P g I a & J . ~ JC " F 1 c i ( ; - - 7 C 1

~ J r fa t " I r J b i 1 , J I J 11d~ I j & r J ~ rI C f J k. 9 -I I F . # O C 7 E - i A '1I r r i r , I C ' ! r I J i , r :tI

C 1

I rQr rf 14 ~ ;U l (j F C i t ~ r

G - ' C 7I r br j ;b t It r b t~F i C 1 , p i A '

I r J & r r Ij J d J I - - - ' f ;~~c;aI' It h r ( h e22


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fi:' . v ~~ )II' 'wir r Em I [J J ~-J I f? ~ J J ; f J I fJiJ P JC " F ' b C ' c , , " " G '1b~ J. .I. ~ ~l::pJ flj F I a L T- L I F r L J r I (f 1 J 1F 7 F ~ O C ' 7 A '

I ; J J be I I e r Q r I r f t t l f t f l l t b~D - 1 G o ' C " ~oi G 'E : #t t 2 [ I ~ !t r r I r t r b e I r r ~ HF 1 C '

I ( & r IT ~ r I J ~J J . j b J I J r r J E o ' A 'IjE p ; J rD . . 1 & '7 C' A ''IT E E t Ib P f t ~t ( b r ( } ~ rC ' p.i G o ' C" G - 7 G ~ 1t ~.rdt h r b (j I ? ) & J ; J I ~ r r 'e I c : r L rF ' 7 C 1 8 ' g b ' 7 R '- - 1 t h & r I r t / t z y r I J t ( J I~a~~J

A b A 1 > . 7 & ' 7 C '7 eire D ' " G - '

& F ~ J J b e I r P l J r J I J r 3 @ 9 I 9& 3 ~ r23


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PULL-OFF SKIPS; SLURRED SKIPS; SYNCOPATED RHYTIIM

PULL-OFF SKIPS

A pull-off skip is a note picked with the left hand only.Oneway to executea pull-off is by picking the sixteenthnote (openstring) after fingering the dotted eighth noteon the same string. After the pull-off, the following note(thesameopenstring) ispickedwith the right hand.

1In the following example 0 indicates the 1st finger ofthe left hand picking the open Gstring.

L.H. 4 ~~ 2 1 6 0, : t r ~f I F I I4R.H. 2 2 0 2

The following sequence of pictures demonstrates themovements required to executea pull-off, and should bethought of asonefluid motion.


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The tst finger of the left hand fingers the Ab on the Gsuing as the 1st finger of the right hand picks the Gstring.

~-"'''''''''-i 6.H. : 1 : 0'~ I, ~ :~, ! I II ! .R.H. 1 I 0 2I I& .. _ . .. . _ . .. .. .1


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The 1st finger of the left hand picks the G string as theright hand lifts off the G string.

L .H . 1 : - - - - , - - : 0b E ' ! 0 :, ; I : I r I I :R .H . . 0 2, - - _ . . _ -

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The pull-off is completed with the 1st finger of theright hand picking the open G string .

. . . . _ _ . . . . .1 .H. 1 00 ~f ,,~ I ! F I I IR.H. L . .1 _ _!

27


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The puff-oft is most commonly used on the G string butit is also possible on the 0 and A strings. Pull-ofts are notused on the E string because it is difficult to achieve theproper clarity due to the thickness of the string.The l st, 2nd, and 4th fingers of the left hand are used forpull-ofts, but only the tips of the fingers are used on theD and A strings to avoid hitting the adjacent strings.Pull-efts from the 0 and A strings are executed with thesame left and right hand movements as the pull-oft onthe G string.The following pictures demonstrate other positions of theleft hand when pulling-off on the same string.


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Pull-off skips are also played from the D string to theG string. They are executed with the left hand pickingthe G string after fingering a note on the D string.In this example, the left hand fingers the F#on the Dstring with the 4th finger, then picks the G string withthe same finger.

L.H. 0 2 4 4 009 : r r r f E " I I F I IR.H. 2 2 0 1The following sequence of pictures demonstrates themovements required to execute this type of pull-off.


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The 4th finger on the left hand fingers the F# on theo string as the 1stf inger on the right picks the 0 string.

, ,L.H.: 4: 40 0, ,' ; t l ,2 : 1 * [ " 1 1 I r,R.H . :,

I Io 1

31


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After fingering the F# on the 0 string, the 4th finger onthe left hand picks the G string as it slides across, withthe right hand lifting ofi the D string in the same motion .

.------.: 4 ~L.H. 4: 0 : 0,:trill I ~ I IR.H.

: : - : i

: 0 :, ', ', '.-- . . - -~


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This type of pull-off is completed with the 1st finger ofthe right hand picking the open G string following theskip. As it picks the G string it also presses against theopen D sl:ing to deaden it.

L.H. 4 4o i-- ........."',: 0 :I i F ! I IdR . H . o . .: 1 :. .! . . . . . . . .. . . . _ J

33


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The 1st and 2nd fingers of the left hand are also usedto pull-off from the Dstring.


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SLURRED SKlPSA slur indicates when tones are connected srnoothlvwithout a break. A slurred skip is a skip that is slurredto the following note.

When the same finger on the left hand is marked overnotes connected by a slur, they are played by pickingthe sixteenth note with the right hand and then slidingthe sixteenth note with the left hand to the followingnote without picking it with the right hand.In this examp e, the 2nd finger of the left hand slidesfrom the Bb tc the Be. The right hand does not pick theB q . ' .

L . H . 2 1 2 2 2r b e [fsf J : r I IR . H . 2 2 2 0

SYNCOPATED RHYTHMSThe figures } I J andnJ are common rhythmicalterations which suspend the time briefly. These syn-copated rhythms give the feeling of anticipation andcreate tension which is resolved when the walking lineis continued.

L . H . 4 0 2l, : J ' ~. J # J I IR.H. 2


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I ; p J * ; I J ~ J @J .C '1 " ~-7 A 'b . 0I t r r Ct I r r r i ? g g

P - 7 &'r r r r Ir r A ' D ' & '7-1 I I a0 ~ rr r I r p r J J & . I , r p rjC " 1 I I I I b ( )J r t;ij I r if r q r I r 50 r ~ r I J r r k r

F '~ G J . J r I b e r J J c ."I J r ,)C '1 A ' ' T ' I . ' G o 7)I Z Z 0o. , _I rL t~L

oI~f It P ( r ' ( I I IIrDja~~o

4 , . . . . - . . . 4

J J b r i j r I r (J i r 1 r r r"

136


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r r rI1j; -j J J Ij7 g F E I f a : J . : =F '7 " C ,1 ~. ,":tI ! . . . . 1 1 0 1:; rto Dr J bU r I J J i J J J I; J ; ; I ~ r & r Q. G ,1

",., 4 4 . . - . . . 4 . 2 . 1 . Z . C ' 7y t :~P~ tT) . r r 1 " 1ft E 1 4 t I r rF 7

c' ])-7l. ~ z, f ,-I,# J r ITI' G i r r I r J ; ) I I II J ij~J @

'-"& . . , C 7I r tt t

, - 1 1 ' - ' 7I I I c rJ J - n i J I J J J J} 11 bN ) n T , d ') ~ r. _ . . . . . . _ . . , .37


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I L:'---_J

When playing triplets in the walking bass line, slurs canbe used. in this example the right hand does not pick thesecond note of the slur as the left hand fingers bOlh notes.This is also known ashammering a note.

L.H. 2 4 0 2 0~ # J iaJ I I~: r. 3R.H. 2 2 0 2

PULL-OFFS are used in triplets and can be played overthe bar line.

L.H. 0 4 4 1 009~ F I f ~ r I E r YF r,_) 3R.H. 2 2 2 0 1ARPEGGIOS are often incorporated into triplets usingopen strings whenever possible.


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\.


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ElC '1

J~7 C7, r r 'r I r f r r r !t r". I

~-7

L a J-.JE " ? A 'r ~ r I r P ( ~ . c t ! i3 1..)- .1

I 4 Ir ~ r g( It f t ift 1 ft r tit f ~fU r3

C ' 1 ~"7 A "t b E t I t p J b J J I J J J J I l F - b r Ji G , 7 - 7r r r I r r , , I C ! 1 Jj J c"

F ' 0 C ' 7 f " ' 1J b r 9 r I L t I r t p I r r r ~ I ~ b t40


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C ' 7! J t # = r

J r t r

, , r WI ;& 7 , , 7 A '

I r r ,It I r ~ r C & J' II JF ' c ; . ' "j r if r , I b r r ' r r

c' C ,O } . .7 1 > ' ~ e - " " ~~(J ,~: C'1oJ r i r p I r r i f t r I r r if E r r I r w W f J P J

41


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The bass lines in this section are composed with thetechniques demonstrated from section (A) to (E).

c "

F 7I r ~ t J ~ J ~ 3 J

C' ~-1 A 7I J r (j J Ii ~OJ if)

I r ' r C 7 A 7 D - 7 G1

I t F r bij I f] 5 3 p;F 1 F i f o C ~ 2. i - o f-'~ A ~, r J J r I'a J J r I Q Q ' (f Ld=! r r b ~

42


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L + I ~ oH r L ! J a d Ir (J r I T8' E b I J' r '1 ilJ J . I ,$C ' 7 G o - 7 C 1I @pijJ Fn' 3 e V 1I ~ f ~fP~

c'I Ii r r f r I C ! r r rid b e E ! " I 1 ~ --- - --- ---- ----:' J V~

F ' r I O C " 1 e " 7 A 7, ) J J fj I & if r t p I,;;, I c h r (j r~"7 G - ' C ' 7 p . , ' 1 1 > ' " ~b1:r # J Jj r ' r r (f J I J) J .b J I j I r E P O ~J': ; t jc ~ , 10 B ' 1 ' A ' " A b ' 7 p b ..7 G PE lt t i l ! P I t 2 J . f= ~J31; F W J ib ; 9 ; rF ' /'7 A " pb1~ r f !k I U t P f " 1 , t r b f F i r ~ F P O UI-' (;1 C" A - 1 P - ' ? " , '

I I " I I c," 0" t = 3 0 ~ . o , _t ' i;E 1 J ? ; J I J J ; J ; I J -5) &(f I r tr e f" - 3 ~ 43


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IIr r I r c - ' F'J J J I J ~ ; fjJ

1

F 'r f P f I t J . ;A ' " ]f7 c ; . . ' c~I J b r r iJ I; b r J r I

, i r r r I r ,i, 1 I tr br ~ F I r ) : > ,I r r r I(

-1

IE - 1 A ' 1 D " ' 1 &-1 c . - ' F 7~~r~j~t~1~f~r~r~~tIt P f r 9 { It~r ~ ~

S C I F 1 p 7r 9 r t I t r r r I" b. r JI I44


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8 ~ 7 B O F 1 A . .1J ,if I a ~ J , ; W ;$, . J J I J ~.JI I i , II3 JG o O , C . i A - 1 D 1 G ' " C 7E I IJ -r "

~. .=:J J J r I r r r ~t I r : I fij ;J rI ! JF 1 8 'e t f I J J I ; q ; ~, I J t r b r I r t~ JJ , I1 IJ 3S b 7 t : 7 A - 1 p 7tD r q s , 1F ,r I 'f r r I r r r r IIG o - ' C ' F ' 7 p 1 G - 7 C ' 7

J J , J ~ # J . , r I r & r . , I r I r t r f [ ! J ~I t i t: 7 ! J

1, - 1.,

F 1 A . .7 p 'I q r f t, I ftt J f ~~F ? A b ?

I r J b s J53J iG b1 C "

I b - . - - q , ~- r = = t = I--r-'C_-


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B ~ 7r , r r 5 0 F ' A " ' 7 1 > 7I t q t J q J r . n I J J J ) I J & ~ r t olIt .l'

F 1

c '

54

G -7 C 7

f 7I t t t J ; E _ J3A - , p1 ,

I J ~J r E r ~


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& - 7; = ; J

C 7 C 1 p 7 G r - ? C 1;J I ;ff J r I ,J r J I ;, J 1IF 1: ) r J , ~ I; J ; q ; I J r b r _J I J r r rS b 1 8 0 F ' 1 ~7: [ r ~ r : ' ' r ~ I J r r ~ r I r r t't1 - . r ~ # J - -

G o - 1 C 7 F 7 p ' G . .1 c , '; r rE I F r J r I r r r - t I r ~ r f : tF ' -t f t f Iff t fit f f fit r t ~ r

f g o ; : , A -1 p 7r 9 ( t f r Itt t r I r ~f t - ~ r&-1 C 7 F 7 & - 7 G P 7r r r ~~ I r J r F I r r b r r I ~t ;J rIF 1 A . .1 D ' 1 G - 1 c . ' F 7r r r # r I r b e ~, I r b , J i! I r J J # Jr I I' 3 b C i g F 1 7 ,b'1 D 7r ~ ~ ~~ ~ S ' ( D ) . b r ~~, t I r r I r r t: I ' . ,I I j(;-1 e " F ' 7 G ' C 7 r r ~ r I r J J - - - k I I = 1! I r J ;r b J+ ".


45/80

SKIPS

1 :~t; U r r I r t r t I IT 4 - - t fit r b g (S b 7 F 7 A " 7 p 7, 1 r r r I 2 r r Q ~ r I J t r ~r I r &f] fj JG - ' 1 C ' 7 F '; J ti ~ J I J # J d r I r rF 7 B b 7 g o c -; r J J I J r 9 f ! J I J r

B b 7 B t 7 P 1. " F 1 1 9 ~ I r t J q r r J It r

,~,I I G ' c 7Ir'dJlp 7r r I r r Ie) & r

r f , rI Ig o F i

I b m g t . : f t tit r46

A -7 1 ; 1r tit r r F(]


46/80

i~ "I r", A ~ 7 ( , . . . .1 " " ! ,.:'- " ,~ J I J I ,r &+ I p~ r ,tJ, i I J

'I. ,r & 0 = l i t : r ~ ; I J I "." b.If I6~' f1J r tIt I f t t r t b f I t F; - 7t t (f b r

A - 7 D 'i t b E t - r - tl~9(

C ' F 1 l > ' (,--7 C 7I J l l 1 p J I ) J i~ l I J 5 ~ J r# ' IF 7r b r f1b r I J J ) , ) I J J t J e I D1 ) J

~ b 7 5 D

J r P O J I~lt rF 7r I J t g r j 1 1 1 ) ) r

C 7 F 7 ( $ " 7 C 'I J " I , r ,~f, I r 9 r !b . I II I I . : a' : " 1 C -1 F1

g J r _ J I J E t b E I r b r E 1 . J I J j J J q J~~7 A . .7 ~1~ I' I P f ~ r r I ( 9 ) ( r t t# t 1 ft 1# 1-~ r: r _ _; - ' 7 C ' 7f ~ ' ,tt0b r I i J r ,0r

F ? D 7 G - 7 C ' 1f r ~ . . ,(j I E t b f J ~ J II i47


47/80

GHOST SKIPS

F ' 7l i ) J G q J I : J i s d r I r J b ? j r I J r k r ~ rI b ' 7 8 F ' I A ' " D '~tt j ; t tit p ~ g ~ tit r ( J r I r b r Q ~ J

C 7 A - 7 l > - 7 G -1 C 7J ~) I J t . x #. I ,r ~ r {} I Q i,J t I I t

' 7

J J 8 I J J J J I : J r E J # r I r b~ J i~D 7 B O F7 A -7 )'7. r ~fj I r r ~ ! I t J l i t ~ I U # t t g - r -

r" ( r r r I lJ r J r F 1 Fjo & - 7 C 7I , r if ! t > < I c : r r JIr - 7 C)

J f Q # J I J J , ; f] I J , J J I J r A,;F ' A - 7 1 > 'r P p r I Lb. :if ~ , I J ;J r J I c ~ ;l~#~, --j~ . I I4B


48/80

G -7 C ' 7 G o - 7 C 7I ; r r r I f i t ; ~ j r It J ; lj I r k r ( } J

F 7 E ' " A ' D . . 7 D b ? C . . 1 p ' 7I ; r r i F I E J H,; I r r P i j ' r I J ~ . r S rS b ' B ~ ~ F " ~?f:.,'" !: ' # l_ ' p ,I r r ~ r r I~&t b fiE t t J r r I t h r r

G o - ' c' F ' v a ? G ' G D ?I r f i t r t I ~ it tf , I r it r I r J ~ r & rI~ t P b " & It r f # r lOt (j i n I r J n* J

S b 1 B b . . ' A -"I ~'7+ P i + f=#+ t = t 4 f 1I r r f~ I kt i ' t r I r r & r E I & r :j:::G o - ' A -7 J ) ' l & -1 C 1

If f { j ~ r It J i i , r Ii r r ~ r Irt J r rI:~ , . , F ' 7 ~~o G - ' G #O ~,I ~ , I ~ r I r ~ r rf b r I ~ ~ J =; J $ ; f c~; # J - - S(# J 3i J r r; I~; r U J I J E ' A - " ~'7r r r I 59 r r r

G - - 1 C i A - 7 f/i G - 7 C ' 7I b r J on ; I fjJ J J I J iJ = r } L ) + f l q J ~ 1


49/80

[Q JPULL-OFF SKIPS; SLURRED SKIPS; SYNCOPATED RHYTJIMS

G o - ' ))1 G-' C 7J ) r r I r r tit , t r r : f ' rJ,La r r i '

S h ' F 1 , I Co' ) r r r I r 'tJ r b~ I P J . J i F J

I I oo; ~ J ; j I fj J ; ~ ;

\ -7. .o r r h J I J J J ~J7

r J J, .'7

r tf r

)iJ b r A -I ,r I r P q ; ~. J...__"F ' ~.1 L > 't % % ., "I J t J I J b r , IIF 7 ~7 D b ' C ?

I J ,r J I b J ~[f;;J ~)

50


50/80

L ; . '! r t r I\I r r r ~ ; f 1B ~ 7;r r rG - - ' C '1 A - ' 7 ~-7 G - 7 C 7

A ' "I J J J JF ' D-'

1 > 7

I D !J ~b~ .4 4 0; r E l~ I ~ r r J ;f' 7., I' 0oJ f] J J G - . ' 1 C ' 1I J r J r I r j J b J I ; Wi

s ~ " 1 E l F " A -7 l Y '2 2 .. " . , . . . . . . " ,- . . . . - . . j I~U~~:r; f ~ r~ r ~ 1r ~ l J ~ rtf Itt t L r c d I r r if & g

J . - ' 7 C 7 A " ~ ~ . .7 & -7 C 7'l.2-C "l.C ,,0

" Q C

~ ~ - ~ ~ r ~ r ~ I ~ & r ~ J ~ J ~ I ~ J ~ J l J J ~ b J ~I..,.;"


51/80

TRIPLETS

C-1

J I' ~ , j r - I jF ?

p r g , It ; 1 1;~~! i _ ~ t:/& - 7 C ?r r ; , ; I J r, ~ 7r f b f q r

jA ' P - 7 D ~ 7 C - 1 F 7~# t It; r ~ ~ k~1 t ~~~A " " D - ' & - ' 7 c'r & I f l ! t : J r ~ J I J _ J J b J I

gp b 7 G o b ?I " , b e T O Ia _

52


52/80

r - J J J r I t tt1 r q r I t J iJ tit r r fF 1 3 C = 7 F 7P f - q

; r F 1r r I T f r j ,; fp+ ~ J J I J r b e L JA -fjI G - ' C 7 A ' " D 1 G o - 1 C 7~ J J r I rE r ~ r I J t t ~ ~ rE n ) ~ r

J 3F 1 6 1I r t~;3A - 1 D ' 7It~ff p t yJ~7 ~; r r r . I ~r r r r I ~ ) r r r rC ' 7 F '

B b ''tt; r r F 1 A ~ 7 p 7I g r f t b~ I J t J r b E!~7 A b 7

I r J ~.h J53


53/80

F 7 I I 0oJ r J J I f j JF 1 A . . , ~ '7

a r t t f t t J t t r I~r r V1 > ' G -1 C 7

F 7

4 4 ~oI r (it r I b r ,I I

I e t i J r _ ;3A - ' 1 ) 1

I V J. J ~ J I J i J r ~ r : r54


54/80

M~ 1I I (_ I

~ " 7

I r , J JF 1 D - '

, I 0oIJt!UJd3~ - , C '

o j r F't tit ~rt- I r ; J G - . . 7 C ' 7J b J I p ', J j


55/80

' A l--

A b 11 $ r b r E l t

mS b -1 E p 7r ~ r t I r r ~tf If 9 1 : t t

rE b 7 c "

p r f 1ft ~fr I t P f - r - P f !~-7

I r rtfE~1 C1 ~ -7 8 b 7t b t I f S f t~f I t b t r r

1 r r if r I r J i r I r ; J ~ J I; ~t r 9 JA b 1 G o o ? C "

_ I r r r I b r { r r I ( q ) r r r r I ~ r P C J ;F - 7 6 b 1 E ~ 7 ~ . , B b iJ J r r I r 8 r r t I f r ~ r ~ r I r b r r b r

G o ' C -1 f1 S b . . '1 E~1r , ; I J b r r ~ J I; r r r jG ~ 7

( '\q i f --fL~ I; C 1 I :==t r I i r J r 1

56


56/80

G o " ?I I ' r

F -7 p tD & - 7

I r r ' r r I r rI

A ~ 7 ft r rA b -1 G . .7 C ?f I P t b t ~ r I r t r b t I t r

I b 1

.t r ' r tit ~tr r I r r r ~ I r r r g rA b 1 , b 1 a . - ' C 7:t r r D r I'~' I ' J I j -t I ~ ~t = _ r : E ._ ; q J i j) J r ;(-7 6 b 7 E ~ e 0 ~ -1 B b ?, J J ~ r r I r r r ' r I r r ~ r r I r J J r

b 7 ~ . . 1 6~?I r r r b r I r f r ~A b 1 A ~ . .7

r b e r ~ r I r b t r r: r g r r t I r r r r

'f'I I

E ~ 1 C " F -7 B ~ 7I r j r J q r I r ~ f r +

& - 7 C 'I , , b f I t ":L I I r I rE ~ 1

I r r r rE 7~ ~.L'_ l_ ~ '_I 9 - ;+F = ~ - i.;---r r -:::_~


57/80

SKIPS

e b 1 e b . .7 E b 7, b t , . ' l~:ijtb e r J b J ' J J I r ' r r 1::t E , 1 :tp r F - ;A b 1 A f E b1 G o - ' C 7

- J J (f J ' ~ J J if J F ' r r l1 J I J b r J ~F ' " B P 1 b ' 1 c . ,r r r o r ' r P t r r , r r Uh) ~.1 g b 7I J b J a r

r .. F ~ C i E b 7I r r i r ! t J I r q r

A b 1:1 r r ' ( E h 7 G o b 7, J t; ' r r I r e r r , b t r E 1 b rE 1 E b 1 S~7r r r q r I t t J i 0 ' r r t b t I (j q r f J tF' & 7 E b 1 B ~ - 7 E b 1~~~f , t b t r r ,d ~ r r : J b r I r ~ Q f r J

A b 1 b e b 1 G o . . " C 1. J C 1 b r r Ir L 1 ttl r r r r iO i~ t 1 ~

58


58/80

P - ' 7 G - 1I r . ; J ,JJ , r r

F - - 7 S b1 e b 7 G b 1 ~ -7 E 7-( t f ~ i f r t; P I I E f P f ; m 1ri ~U~E b 1 A b 1 A O B b - 1 E ~ 7 A 1r - r P( f 2 t I J & b e ~ r I r q r r 1: I P U c ' J fA b 1 A ~ E ~ 1 &.7 C 1J ) ,) J I q J . J j; ~ J J 1 J r r I i - I r b t l t t tF - 1 B b 7 &-1 c ' p . .7 6 b 7

b ' !r r F r 1 r J e J r l C ! h ~ J ~ E 1 1 [ & rE ~ 7 R ~ 7 eb 1$ ~ h ~l:" Et t r I r b~ t1p~ I r ~ r J t r t 1 O f L1 / ~ r :A b 1 E b 1 C 't ('~tt It q ! t ~ f: ! f f f q t Iff f It

G - ' 7 C 7 ~7 B ~ ' 1I r C t tb f I tD r tt k l


59/80

GHOST SKIPS

E ~ 1 P t b 1 E b 1 f 3 b - 7 e : b79 : 6 1 b q , t f I f L r t , b t If b t tb t I t] b r r ~

A b ' 1 C ~ i ~ i 1 > b 7 C 7[ E ! J i j f J r I E 1 ~ r (f & J I J r t t J d ~ I {bitt ~ r J qF " 7 B b 7 E~7 ~o ~-7 8b7, r E t ( ) b t I f i t J J r I r r 9 r (f I ( } b J t J ~ re b 7 C 7 F -7 B ~ 7 Eb7 e ! - 7 A 7E 1 ~ r J r I r q r r t 1 r P t x tI (j r ~ rA b ' A t P G : 7 C 7- ' 1 t f t I~t t f tiL t r r It J Q D

G - - 7 G - b 7 F - ' ? E 7r r r E J I r ~ r r if I r f i J p r , i r f Y t ~ r

: b 7 A b 1 A b " S b - , E b 77 J r b b F I J t P f l t J I J r & I f I r f t1 q r~b1 A ~ " 7 D p 7 " . . .7 C 7~v r~ rC}~I ~ r~s~r ~r~1b ~ t~r~btijJ~;t~1r r t r

60


60/80

e b ? C-'I r r (J ~ r 1 1 f t ~ rA ~ A ~I r t i = ~ r I ! r f & E G - 7 C 1f F ( f 2 r J5 h J

E 1 E b 7 e h . .7 E ~ 7I B;J r g r I A J ~ rq J I t 1 - ~ r f J JjJ r r A O f~1 G,1 C 1

_ _ _t = _ J - + - B - - " ' * - ' 7 _ ' - - " - - ' - - " - q r - - - - + - r _ w _ ~ I J F ~ . ~ ' Q q @ J J 6 J


61/80

[Q ]PULL ..OFF SKIPS; SLURRED SKIPS; SYNCOPATED RHYTHMS

._",~ b 7c ; . Ito 110+" "I r t t r r I U r r . ,G - 7 C 7

I F #t f t t t , . r ~ EF - /

62


62/80

~r r que r IE b 7r '(

~..1 e b 1 ~1 I I ~.7- r r r ~ r I" r r ' r I r f r r i I r r

, b l '~ r Ig b 7, ~Ie b 7 D . .1 G - 7 C - ' 7 F 7 B ~ " 1 ~ 7r r tjlt I f ~ r r ~ J I J kif- b J I J 5 t ~ q J .

F ' "

C ~ 7 ~.7 C 7I' aI ~I r J F tJ I r ) J fr g V 7r J r

A b 1rtf t 1 1 ~t~-1 B b 1

if t~tlr r

I r r IE b 1 G o - 7 C 7I q $ I f r J - 1 o f ; 1 c 4Tf :q f


63/80

v.ien piaying these two bars it is necessarv to place asironqer accent on beats two arid four. This makes therepeated notes more interesting and adds to the groove.

L.H. 1 1 1 1> '>- - g ; ~ b b F F F FR . H. 1 2 1 2

1 1 1 1";> >I F f r r I f

1 2 1 2e b '7 S b - ' E ~ ' i) : h t t r b t ! r r r r 2lJ 0= J~ J I J k r f 1 r 9

J. . .

E b 7 C ?h r ~ r I r q r tb U r r r r r # r I r 3 F & l JI~7I

E : ~ 7 1 > 7If. , t I b f fa J tI I Irs

64


64/80

Sb7 c b 7 C ' i F 7 ~ b 7. " "r & J I J t ,' r I r t r b r I r & J ) r~ I6~'7 E ~ 7

F - 7E r i l J= r r r r Ir r . r r

F ' " g b 7rr t f l f~rfE ~ & 7r r r f t r : I r f f 9 (A b1

lt f ~t I t bt r r

f : : : t I: : I 1 r q , ' mJ r ~ p r q J : ~ ~

I r r r r I 9 r ~ r J r

F - ' 1


65/80

The sixteenth note of the pull-off skip can be tied tothe following open string.

LH. 1 4 2 1 6 0, : ~ k t J U ~Q '~fE E F

oI I

R.H. 1 1 2 1 2 1 0 B b - 7

66


66/80

A '

I r ( J u J .A ".- rl a " ~ (

A b 1 44" 4 4 ~ E ' ~ 7. b ~ E J(j J t1 , I r J ~$im J J jJG ' " C ' "

I J E i l t J ~JC : " 7 , I 0 B b ?r i j r r ~ I r J r r i j r I r . , r t


67/80

IV

, r t r I r t r r A - 7I ' r r r I e J r J

I ' r r It( ~I: ~ r - -- r . I .. . A - 1t f t i t t f I 1 ft t r I r ~ r b rr J J E 'I I , . I I A ' "J J I J J ~ r I # f - e r I EA - 1r ;1:. r r ItI~-, A ,1

, I r r r I r r J ;F r 68


68/80

& < " E 1 A . . 1 "; jr F r r I r J . , = t = T J J ~;)=fj J , ) JA - ' , f ~ A '

~ J J ' r I r r~ 1: t r I r J r b "II ID - ' ~.'1t 1 7 J I ; ~,J I r ~ r r I r b rI J I ;

B~ E , ' A ' " E 'J t # t- $J r r i e I r :t ;J , J ; r , t FA " ' ' ' A ?r f r ~ I r i! b r r I r b e = t I J ; ~~I , I

1)-' t i . . ,

r t t I . , E t : P t It - t # , - : r I r r . . b .r I I J I I I( ) r J E 7 A " ' f E 'r r r J I ;J $) ) IJ if l-t J I J r i F )I~ . .,J r r b r I t J r ~ I ~ -t (II- ~ , J ~ ~ rI I I IID - 7 A " "

- r ~ - c t~ It r r r I r J J J I J J : J J8~ E ' 1 > - 1 E 7) ;J , I r t J J I , r J J I J , F 7 la tI I I I


69/80

~.SKIPS

R ' "7t D * J J J I J r i r r I r J ' e 'f r I r r [f bA . . ,P-1 ~ b .

~ . . " - I r ( tt IF fJ t t I r "rE~ = IF:. : : E r r 3 =E ' [3-7 E 1 A - 1 r>-7 E 7r J a J I; ~ r ~ I t.J J J r I r r (j.J

" A . . 7 A 7

a ~0 r I tJ F r r I J r 01 I J r r E tD - 1 A - 'r r r t i T f P I t ~tt r ;~ rf i t I f J r EA - ' E '

t r I P f tr ft fit t r r I t # t f &B "

IA - 7

70


70/80

fl D . .7,~U r r P c [u p r A - 7 7r - ; hQ r J J I ;. j J J ~ _- j - - ~I J j ;tp I J j J # ; i J 1~91 J J *3i.r r

A ' "' ((Jrr I rjJr A 7I J - 1 if ) J I J r b & # J

D - - 1 , tJ ~t t ~t fr F ~ I FA - '

1 r t r o r F i r r ttt8' . 7 , 4 . . , E 7g ttl 1 ft r r ~ r 1 r J . r ' F I r & r t1 JA - 1J r at 1 r C t ttl f t r s r r I J F J b rD-' A - ', r J J I, It @ J 1 J r 1 F i g 3 J J jJ:t - r I -- - - - - F " b - - _

s . e - 1e J J J 1 r J r I f I r J ri r -=r ; i J J n J


71/80

r ->.::rlC 7G;\C"~.'''''~;-I'~ a S f : : : . - L Ski~i Vvr--'Ii~:ii C,J;; Lli.: P!d"r'ed in a i ;::. ::.,:_ :::r~:j._":can (:,lIse preceea a nlgner pn::cneo flOleiower position two strings above the ghost skip, can also (than the actual pitch of the ghosted string) played onbe played on the s~ring above in a higher position. a lower string in a higher position.

Ar - - - 11 a

I [" f F I ,j2 1 2 2

or--------lL.H. 2 4 2

R.H. 1 2A - I9 : 1 r r Q r I r E 1 J ;

6 '"C J JA - I

r rD - 7h r8 4

P U

A -1If r t r

A iI E _ J J ,JI I' p, .. r b w: ~ F d I

E 7I fa J ) r iJ E J r 4 E r

J r I E t x J ~ J ,I [j J" < : iE ' A .'1

I ; J i] I I rI . .A - IpC J r I J A r r

A ' 7~ : t o

I ~ Ie i r ~

I , ' ~ foj,;' J


72/80

_ _ _ .5~ ; E' . A - i g r P E 1gQd I , J r 8 ' # J I J f J 1 J I {1M;~;A - ' 1

E J r E J I e I'(f J r~-'1f f l r [ rA - 1t J : . t. I

I r t 1 < r tI r r J (p-'I . x t t

A 'I r 1 J J I J r ~(jf J~ . .~IftJrrtlGr~tl

A -i E 7

l e e r e r IJ en;D - 7 A . . 7t r r (j I B $ ( r J I J c f i t r 1 & r r J

' 7 ] > - '7,J @ ,f A JI r I I r Ii

E ' 1r 1A 'r J

s~ E 'I J J :t I


73/80

[illPULL-OFF SKIPS; SLURRED SKIPS; SYNCOPATED RHYTHMS

~-7k r J

Z 2 0oI tl r b r r I r r J b rI I '-' '-' r I

s f 2 ; . r r

A -7I lot I 0 0 0l e r F trr1 > - '4",'t r l

I r 1; ,J1 r, 7r r

E " " A 'If f P U t If r~ . .,--.. I ,J r I (f t J I J r II A . .7 1 > -'7 '

. e r a I J J I I r ,rI (; c c ;tI . . _ . . . . .

A -7 A ' lt 9 I J ; [ J J , . b a Pa - II . . . . . . . . . . . . . . I I I

, I 0()lli

8 ?. r r ~ r r '-t J . J b r I r J

74


74/80

B~i J ~=f=r r jj

, b~ .../~"'7 .I. ~ b 2.~;Or ~ F J I; r - ( ; t o r i tJ b r JA

- . ,1

D - 7

t t U r I r J

I, J iJr IB E '. . ,

I r r r LA 'I J Q!J tI J 1: b.e 1 .s E 7I ,;, rI

A - ' 1

I J J , I IA 7


75/80

1he note following a pull-off is not always an openstring.

L.H. 1 4 4 1 J 1 1 1 2~:t r t f r J I E E i I I3 3R .H. 1 2 1 2 0 2 1 1 1

8~J r ,I,I IA - '

I J r r ' r

E ' D - 'I r r r b . I r J ,I fII r r J J])-1r< t u ~ r L I r I~ tt

I r u l J ,JJ

Ir r tftf. 3A - '

Itt t r I' f ' B f PA " 7E1fj J j (0 I J t it J

. : J~ . , G o '1

r r r I f I L & r ~ r

A - ' E 'I r r ~ r r

F~

c - F ~I r J 1 - r I r In J J


76/80

J J r rA ~ 7J J ; r

6~

r f tt

I J r ' r ' r I r r r rG o 'I t f t # t I F f o r w J Je : " jA - 'fI r Er r ! I , r r . ,j3

A 7I J Q } i W rJf'~-I J r r b.t

F A E 'I J , J r

I J r ,, I I rs-' E "

f r~ ~ E ',~t~l!


77/80

A - 19 1J r Or;

The bass lines in this section are composed with thetechniques demonstrated from section (A) to (E).

A ?I r I t J i tl r r1 4 - 7 A b ' ~7 G b 1

I fIt J s J r I r ; P J rI "J. IT r I ~ 1 , , - . . . . .t f E J : d r r E ' 7r I r J fila

A - 7 p - 7 A - - iIJ r t J I r r ~ l it 1ft t - - -~ - ~ ~ or It;rr~1 j

A - 7 A 'I J { U J I J r F 1 ; F r I r r t t # tA " 7 D " 7 e ' 7 A - 7 A ' 1

I ~ J J , J I IT #~ rtfl I J r f i t : J I J C ! r & - + - - r _ _JD . . 7 A - 7 I I

r rtf I f a l l J ; ! l J I J ti ~ . r I r J t1 J! 3


78/80

H ~ ' 7 A . . 7 1 ) - " E '1[ t 1 r # , # T O : t n#0 IJ r r 1 I A If r r dI r .._, I 3A - '1 2 . 1" I I ~ .~ ~

Ip J r G r I ( ] i f - a r I BJ # P . J Ipn J r7\ ..1 E 7 A - 7v # f . , _ _I G c r t I t f 5t! tit r i r - I J J JJ ~ JB ~ E " A . . 7 B~ E ') J d r h 1 1 r t# r I r r F ' f ~ r I r J r ? j JI I ()

(JI 'r (J r1 > - ' 1

t t,,. I I -I ~ : E IA -7 2.:,,, . z . . z . "" "r t r I J U ( J U I E J J ' r u JQ.~ E 7

J J ij# I rI J. A - 7 s E ' 7f ' f I e I 'P J ; J I J J F ,JA . .1

- J . J J $ f ) J I J . J J < A t r I JA ' 1

t r J IJ (p4t lTC 7 1\-7". v I I t >

I " " " "? IE b e t ' " b E J # J cC i B 6 7

I ftj J J 1 ; : 3 J I d =


79/80

heard on tre following selected discography of MikeRichmond.Mike Richmond:"Dream Waves" -Inner City 1065Mike Richmond: "For Us" -SteepleChase 1101Mike Richmond: "Colors of a Dream" -InternationalPhonograph, Inc. 1003

Mike Richmond: "East Side/West Side" -Owl 024Stan Getz: "Another World" -Columbia 35513Stan Getz: "The Bestof StanGetz" - Columbia 36403Stan Getz & The Bob Brookmeyer Sextet: "Academy ofJazz" - Poljazz681

Hubert Laws: "Say If with Silence" -Columbia 35022Hubert Laws: "A Hero Ain't Nothin' but a Sandwich"-Columbia 35046

Jack DeJohnette: "Untitled" -ECM 1074Jack DeJohnette: "New Rags" - ECM 1103Mingus Dynasty: "Live at Montreux" -Atlantic 16031Ravi Shankar: "Jazzmine" - Polydor 2392-523GeorgeAdams & Dannie Richmond: "Hand To Hand"-Soul Note 1007George Adams & Dannie Richmond: "Gentleman's Agreement"-Soul Note 105Dannie Richmond: "Ode to Mingus"-Soul Note 1005Gil Evans: "Synthetic Evans" - Poljazz636GeorgeGruntz & Elvin Jones: "GGCJB"-MPS 0979GeorgeGruntz: "The First 10 Years"-MPS 0068-290Chico Hamilton: "Live at Montreux" -Stax 5520FrancoAmbrosetti: "Close Encounter" - Enja 3017Franco Ambrosetti with Phil Woods: "Heartbop"-Enja 3087

Eric Kloss: "Now" - Muse 5147Eric Kloss: "Celebration" - Muse 5196Andy Laverne: "Another World" - SteepleChase1086Andy Laverne: "Mythology" -International Phonograph,Inc. 1002

Tom Harrell: "Aurora" -Adamo 9502Tom Harrell: "Minds Ear" - RCAJim McNeely: "Rain's Dance" -SteepleChase 4001Jim McNeely: "The Plot Thickens" - Gatemouth 1101Harris Simon: "New York Connection" -OverseasKUX-143-V

Harris Simon: "Swish" -Overseas KUX-150-VBuddy DeFranco: "Borinquin"Sonet 724Bill Watrous: "Tiger of SanPedro" - Columbia 33701Toshiko & Lew Tabackin: "Salted Gingko Nuts"-RCA6031Ted Curson: "I Hear Mingus" - Interplay 7729

Richie Havens: "The American Game"-cArista 5724


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