Table Of Content

Sight Reading for the Electric Bassist Book 1 by Jayme Lewis Cover Photo and Interior Photos by Kimberlee Miller Cover design by Jayme Lewis Illustrations by Jayme Lewis Copyright © 2012 by Jayme Lewis All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the publisher except by a reviewer who may quote brief passages in a review. Sight Reading for the Electric Bassist Book 1 by Jayme Lewis 5 About the Author Jayme Lewis began playing music at a very young age; his mother began teaching him piano at the age of four and he quickly began to show both talent and love for music. Jayme’s father taught him how to play bass at the age of seven and he has pursued the instrument ever since. He has been privileged to have studied bass with such virtuosos as Victor Wooten, Steve Bailey, Anthony Wellington, Mike Pope, Adam Nitti, Gerald Veasley, Oteil Burbridge, Chuck Rainey, Oscar Mesa and Bunny Brunel. Jayme holds both an Associates Degree in Music from Moorpark College and a Bachelor’s Degree in Music from California State University of Northridge. Jayme spends the majority of his time touring with the Jayme Lewis band, teaching bass online at www.labasslix.com, and producing artists out of his recording studio, Second Story Studios. Visit Jayme on the web at www.jaymelewis.com 6 Sight Reading for the Electric Bass: Book 1 Notes on the Staff Musical notation is written on a music staff, and appears as five parallel lines stacked on top of each other. A bass player reads from the bass clef ( ), and ? each note is placed in one of two places: either on a line or on a space. ? Solo Bass The Line Notes w w ? w w w w w E G B D F A C w w Solo BL?ainsse no?tes havew a staff-linew going direcwtly through wthe middle of the note head. w NoticFe how theyA skip from liCne to line aEs they moveG up the staBff. D ?? ww w ww w ww w ww w ww w ww w ww w EE F GG A BB C DD E FF G AA B CC D The Space Notes w w ?? # w # w # # w # # w w F A C E G B D ? Solo BS??apssac#w#e# notwes canw be fowund iwn the wspacew betwween twwo linwes on wthe stwaff. Nwoticew h#o#w## they Eskip frFom spGace tAo spaBce asC they mD ove Eup. F G A B wC D w ? w w w ?? #w### w ###### ######## ########## E G B D F A C You will need to know these while working in this book, so get very comfortable w w w?ith them now. Don’t worry, it’s not asw hard as youw think; If I arrange them all w to??ge##wth####e#r# #o#n onew staff you’ll see that they actually move in alphabetical order. nnnn#n#n#n#b F A C E G B D ??? #bwE### wF wG wA#b#b###wB wC wD #b#bw#Eb### wF wG wA #b#b#bb#w#B## wC wD ? # # # # # # ?? #bb#b#b#### nnnbnbnbnnbbb ? # # # # # # # ? b b b b b b b b b b ? #### ##### ###### ####### ? b b b b b b b b b ? ####### nnnnnnnb ? b b b b b b b b b b ? b b b b b b b b b 7 Notes on Bass Guitar Here are two diagrams of some of the notes found on your bass guitar neck. These will be covered in more detail in the individual lessons in this book, but this page will serve as a master reference. Natural Notes & Sharps 1 2 3 4 5 6 7 8 9 10 11 12 G G A A B C C D D E F F G G # # # # # D D E F F G G A A B C C D D # # # # # A A B C C D D E F F G G A A # # # # # E F F G G A A B C C D D E E # # # # # Natural Notes and Flats 1 2 3 4 5 6 7 8 9 10 11 12 G A A B B C D D E E F G G G b b b b b D E E F G G A A B B C D D D b b b b b A B B C D D E E F G G A A A b b b b b E F G G A A B B C D D E E E b b b b b Notice that some frets are represented by a flat symbol and some are b represented by a sharp symbol . This is because some notes have two different # names. Flats and sharps are commonly referred to as accidentals. Notes without the accidentals are called natural notes. 8 Sight Reading for the Electric Bass: Book 1 1) ? 44 w w ˙ ˙ w w w ˙ ˙ w ? w w ˙ ˙ w ˙ ˙ ˙ ˙ w w 2) ? 44 ˙ ˙ w ˙ ˙ w ˙ ˙ w ˙ ˙ w ? ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ? ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ? w w ˙ ˙ ˙ ˙ w w w 3) ? 44 ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ œ œ ? œ œ œ œ w œ œ œ œ ˙ ˙ œ œ œ œ ? ˙ ˙ œ œ œ œ œ œ œ œ ˙ œ œ ˙ ˙ 4) ? 44 œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ ? ˙ ˙ ˙ œ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ ˙ The Key of C Major - No Accidentals 9 ? œ œ œ œ œ œ œ œ œ w œ œ œ œ ˙ œ ˙ ˙ ? œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ? ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ w œ 5) ? 44 œ œ œ ˙ œ œ œ ˙ œ ˙ œ ˙ œ ˙ œ ? œ œ œ œ ˙ ˙ w œ œ œ ˙ œ ˙ œ ˙ œ ? œ œ ˙ œ ˙ œ œ œ œ œ ˙ w ˙ 6) ? 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ w œ œ œ œ 10 Sight Reading for the Electric Bass: Book 1 7) ? 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? œ œ œ œ œ œ œ œ œ œ œ œ w œ œ ˙ œ œ ˙ ? œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ 8) ? 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ ˙. œ œ œ œ ? 44 œ œ œ œ ˙ ˙ œ œ œ œ w œ œ œ œ œ œ ˙ ? œ œ œ œ w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ œ ˙ ˙