ELECTRIC BASS LINES NO. 3

by CAROL KAYE

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 thiselectric "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 totempo, 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 wonderful 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

ELECTRIC BASS LINES NO. 4

by CAROL KAYE

© Copyright 1971, 1986, 2004 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

Foreward by Ray Brown

As a bass player, having worked side by side with Carol Kayeon numerous Movie and TV calls and recording sessions, Ihave come to know how great she is on this instrument andwhat contributions she has made. Also having John Clayton asa student for the past year, I have seen great strides, and what ismore important, the future progress he will be making. Irecommend this book highly as I do all of the Carol Kayematerial.

Introduction

This folio represents various types of tunes, mostly in the Soul style of music, of myoriginal bass lines from the indicated hit records. They represent much of what is beingwritten today in the studios for Electric Bass players although some of the tunes had nobass lines written and were improvised lines on my part at the time of recording them(from l965 through 1971). The rest had skeleton parts written which I had to "improve"upon to help make the recording feel good. Today’s musician is called upon to readmore and more and so I felt that this book was necessary for practice. The hit recordsare all familiar and the parts will be good for sight-reading practice as well as study incontinuity. It would be a good idea to purchase these records to play along with. Thetempo indications are approximate as the band rushes and drags in spots, feel was theutmost important thing. The bass doesn't sound very distinct on the earlier recordings ason the later ones, but one can play along with these and benefit by it.

Lately, it has been pleasurable to hear so many fine bass players play so tastefully in allof the new great Rock groups. One of which is John Clayton, Ray Brown's protege whoI am proud to say, mine also. He assisted me in the music preparation of this book andmy heartfelt thanks go to him for the arduous work he has done. We both hope you likethis book and that it will be a challenge and a pleasure to play.

Sincerely,

John Clayton, 1972 combo winner of the Pacific Coast jazz Festival contest (The JohnClaytonTrio). Worked with Louis Bellson, Herb Ellis, Craig Hundley, and Monte Alexander.

John Clayton went on the road in the I970s playing elec. bass with the great Count BasieOrchestra, finished his university education, married and had 2 wonderful children, oneof whom, Gerald, is also making a name for himself in jazz piano. John has had a greatmusical career and jazz recordings producing some fine jazz CDs with his famous band,the "Clayton Hamilton Orchestra", along with his brother Jeff Clayton and JeffHamilton. Be sure to catch them and get the CDs, see John’s website at:www.johnclaytonjazz.com. I owe a lot to this uniquely talented person not only for hiswork on this book, but also for his enduring friendship, a quintessential great musician.

Boots

Back In My Arms

Out of My Head

Good Vibrations

If I Could Build My Whole World Around You

Wichita Lineman

I Chose to Sing the Blues

You’ve Made Me So Very Happy

Don’t Change on Me

Understanding

I Was Made to Love Her

This was recorded with Stevie Wonder present as a young man. He often tells his band “it was Carol Kaye who recorded bass on IWMTLH”. The first riff was written and the

very first bar was written as well as the Db and Eb triads. The rest I improvised according to the style they wanted. It’s very easy to play fast 16th notes with lots of

definition with the hard pick, flat wrist picking with the beat technique I’m know for, no problem – I had been playing quite a few dates that way. I’ve always picked close the

end of the neck, where you get the best sounds – other dates producers wanted a “picky” kind of sound. As an in-demand studio bassist, you had to be able to produce all kinds of sounds, ranging from the bassiest of the sounds (listen to my sound clips on Library on my website www.carolkaye.com) to the clickiest of sounds (“Mission Impossible”

etc.).

The date was one of the “cash-dates” we did unfortunately. Sometimes our group of hit-making union musicians would do “cash-demo” dates and then insist that company jointhe Musician’s Union but we didn’t do that with this company – and soon we understoodas they played “demos” for us to copy a style from, that these were not demo dates buthit tracks we were recording for them. You never make demos from demos, you makehit tracks like what Mr. Gordy wrote in his bio book “all the great tracks coming fromLA in 1964”. Motown has always had offices out here in LA since 1962-63 (Sunset-Vine Towers building, 2 floors of suites of offices), and when someone finally reportedthese dates to our Union, suddenly Motown “announced they were moving to LA”.

I remember this bass line, have always written about this and other recording in my1969 cassette bass course and described how Detroit musicians started Motown withtheir fine hits in my many seminars and teachings since 1969 but that we did sone goodrecording for then too out here in LA. When I saw Stevie Wonder at a recent NAMMTrade Show, he immediately hugged me and we chatted a while. He verified that Irecorded this hit with him, and that I had played on a few other recording of his for thatperiod of time also. I enjoyed playing bass with him at a mid 1960s Shrine Auditoriumconcert – Leonard Feather wrote a review of this show where I played guitar with theOliver Nelson big band, guitar with the Jimmy Smith Jazz Trio and bass with “LittleStevie Wonder”. The crown went wild, it was a memorable night. CAROL KAYE

Feel So Bad

Willie

Feelin’ Alright