EXTREME SLAP
BASS -
A DICTIONARY OF
GROOVES
BY
JOHN M.
SHAUGHNESSY II
©2001 JOHN M.
SHAUGHNESSY II
FORWARD
Welcome to the first edition of Extreme Slap Bass! This book is the result of two years
of work. When I originally started, I had no idea how large the finished product would
turn out to be (The original manuscript is over 50 pages long, and contained 2 CDs of
examples!). For that reason, I have chosen to release it on CD-ROM. The CD contains
the book (in PDF Format) with 175 examples (in both standard notation and Tab), as well
as the audio examples in MP3 Format. You will need the Adobe Acrobat reader to view
the examples (available as a free download from many sites – try
http://home.cnet.com
).
You will also need an audio player capable of playing MP3 files (most players already
support this format).
In 15 years of teaching bass, I would say that the number one request from students is
to “Show me how to do that slap stuff”. I got tired of writing the same examples over
and over, so I decided to collect my favorite licks and techniques in one book. My
approach is a little different from other method books, however. Instead of lots of talking
and a few examples, I have chosen to present a lot of variations on basic techniques and
scales. For you ex-drummers, you will notice that the organization is similar to a drum
method book (I consider slap bass to be a form of “melodic drumming”, but that
discussion is for another book). Because I have kept the dialog to a minimum, I would
not consider this a book for beginners; you should have some idea of basic slap technique
(There are many excellent books, videos and instructors out there that can show you the
basics).
Also, this is not the last word on slap bass playing. There are as many different styles as
there are bass players. I grew up listening to the players of the 70’s/80’s, so my style
tends to reflect that. If you don’t like something, feel free to change it to fit your style.
One more thing: Although you may steal these riffs for your personal use (I got lots
more), The material on the CD is copyrighted and may not be reproduced without
permission. Any questions, comments, typos, etc. may be reported to me at
johngoogleplex@carolina.rr.com
That’s it! Have fun gettin’ your groove on!
HOW TO USE THIS BOOK
You can think of this book as a dictionary that you can use to create your own basslines.
There is no “right” way to do it – you can go through a page at a time, or skip around and
practice the examples that grab you – it’s up to you. Also, try changing keys, tempos, and
shifting the beat around – say, staring an example on a pickup instead of a downbeat, or
beat 2 instead of beat one. The possibilities are endless!
Although this book was written for four string bass, 5,6 and 7 string players can move
the examples up or down a string as needed.
The audio examples are recorded in groups of 10 (1-10, 11-20 etc.). There is a click
track in the right channel, which can be removed by turning down the volume. Also the
examples are recorded as data, so they will not play in many home stereo systems.
The Tab examples are in standard (EADG) tuning, and the special symbols I have used
are explained in the table of symbols ahead.
Finally, if anyone is thinking of “sampling” these riffs for their own compositions,
remember this material is copyrighted (please email me for permission first). Be advised
that there is some bleed-through of the click track into the bass tracks as well.
I have organized the examples in this book into eight sections, each of which represents
an element of slap bass technique:
Section 1: Octaves - Octaves are the heart of slap-and-pop technique. You can create an
infinite number of ideas from a single octave by varying the rhythm, tempo, and R.H.
thumb/pop combinations. The examples here show some commonly used rhythms and
ideas.
Section 2: Hammer on/Pull off - Hammer ons and pull offs are produced and controlled
by the left hand. Strong fingers will help to control the speed and intensity ( Tip: pull
down a little when releasing a pull off to keep it going). The examples feature many
different combinations, including cross-string hammering, trills, and open string pedals.
Section 3: Rhythm Patterns - This section contains many common patterns and
techniques that I find useful in my own playing. These patterns can be mixed with any of
the other elements presented here to create endless possibilities. Some of the techniques
presented are the left hand choke, use of the left hand thumb to fret notes, single string
slap/pop, and “paradiddles” (a syncopated pattern used by drummers that I have adapted
for bass. Ex. 64-69 feature this pattern.).
Section 4: Pentatonic Scales – Pentatonic Scales are probably the most widely used
scales in slap bass playing. They are easy to play, work well in many musical situations,
and are ideal for use with hammer ons and pull offs. The three pentatonic types used here
are the minor (C,Eb,F,G,Bb), major (C,D,E,G,A,C), and “blues”-a pentatonic minor scale
with an added chromatic note (C,Eb,F,F#,G,Bb).
Section 5: Dorian and Mixolydian Modes – These scales are THE sound of Funk bass
playing. Listen to songs such as “Fire” by the Ohio Players, “We want the Funk” by
Parliament or “Around the World” by the Red Hot Chili Peppers and you’ll hear these
scales in action. Note that the Dorian (C,D,Eb,F,G,A,Bb,C) and the Mixolydian
(C,D,E,F,G,A,Bb,C) are identical except for the third note; they are often used together in
the same riff, as well as combined with the Pentatonic minor and “Blues” scales.
Section 6: Dominant 7
th
- Dominant 7
th
chords (C,E,G,Bb = C7) are easily identified by
the dissonant sound of the third and seventh notes (In a C7, these would be E and Bb.),
also called the “tritone”. Many of the riffs in this section make use of this tritone through
double-stops (two notes played at once), and arpeggios (chord notes that are played one
at a time).
Section 7: Natural and Harmonic Minor Scales – These scales became popular in slap
bass playing in the 1980’s, and are used in many R&B and Gospel tunes today. These
scales are identical with the exception of the seventh note, which is raised a half step in
the Harmonic Minor (Natural Minor: C,D,Eb,F,G,Ab,Bb,C; Harmonic Minor:
C,D,Eb,F,G,Ab,B,C).
Section 8: Chord Progressions – Although a thorough discussion of harmony is beyond
the scope of this book, I have presented some of the common chord progressions used
with slap bass playing. These progressions tend to cycle; that is, they repeat the same
sequence of chords over and over again in the tune.
Å
â
t
H
H
t t
H
H
t
5
7
5
7
t
P
P
t t
P
P
t
5
7
5
7
t
T
t
T
t
T
t
T
5
7
5
7
t
P
t
P
t
P
t
P
5
7
5
7
Å N t N t
5
7
¸ ˝
5
7
¸ ˝
t
T
N t
T
N
5
N
5
N
t t t t
5
7
5
7
t
T
t
P
t
T
t
P
3
5
3
5
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5
7
5
7
ø
ø
ø
ø
t t t t
5
7
5
7
1/2
t
1/2
3
é
é
Table of Symbols
Shaughnessy-iii
Pull off:
Slap (Thumb):
(These symbols are displayed on top staff only)
Pop:
Muted (Ghost) Notes:
( )indicates fret number of
muted note
Left Hand Choke:
Slide:
C
C
C
C
or
or
S
S
S
S
Left Hand Thumb
(when fretting notes):
*
*
*
*
(FS)
Fingerstyle (No Slap/Pop):
Repeat (number of
times): (4 X)
Pitch Bend:
Double Repeat ( repeat previous
two measures)
Hammer-on:
Å ä
â
ä
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t b«
7
Octaves
Shaughnessy-1
1
2
3
4
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Shaughnessy-2
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9
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13
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Shaughnessy-5
17
(FS)
18
19
20
Å
ø
ø
t
T
H
t d d t
T
H
t c t
T
H
t t
T
H
t
5 7
H
5 7
H
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7
H
5
7
H
ø
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t d d t
T
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t c t
T
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t t
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5 7
H
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5
7
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Å
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td d t
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td "t
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1
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3 1
H
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1
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3
t
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c b«
3
Shaughnessy-6
21
22
23
24
Hammer 0ns/Pull Offs
Å
ø
ø
H
toI
T
t t
T
H
toI
T
t t
T
H
toI
T
t t
T
t
T
H
7
5
H
7
5
H
5
3
5
ø
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toI
T
t t
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toI
T
t t
T
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toI
T
t t
T
t
T
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7
5
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5
3
5
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ø
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t
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P
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T
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t c t
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t
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3
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5
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3
ø
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Å
ø
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t
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P
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7
P
5
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5
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5
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5
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5
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5
7
P
5
t
T
b«
5
Shaughnessy-7
25
5
5
3
5
5
3
26
27
28
Å
ø
ø
t
P
P
t t
T
t
P
t t
T
t
T
H
t
t
T
d
7 5
7
5
7
5
7
5
ø
ø
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P
t t
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t t
T
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H
t
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d
7 5
7
5
7
5
7
5
Å
ø
ø
P
toI
T
t t
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t
T
t
T
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T
c
P
3
5
3
5
1
11
ø
ø
P
toI
T
t t
T
t
T
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t
T
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c
P
3
5
3
5
1
11
Å
ø
ø
ø
ø
t
T
H
t
P
t
H
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H
t
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t
H
t
P
t
H
t
P
t
H
t
3
H
5
3
P
H
5
3
P
H
5
3
P
5
H
3
P
5
H
3
P
5
H
3
P
5
H
3
P
5
H
Å
ø
ø
t
T
H
t
P
t
H
t
P
t
H
t
P
t
H
t
P
t
H
t t
P
t
T
2
H
3
P
2
H
3
P
2
H
3
P
2
H
3
P
2
H
3
P
2
5
ø
ø
t
T
H
t
P
t
H
t
P
t
H
t
P
t
H
t
P
t
H
t t
P
t
T
2
H
3
P
2
H
3
P
2
H
3
P
2
H
3
P
2
H
3
P
2
5
Shaughnessy-8
29
30
5
5
31
32
Å
ø
ø
t
T
P
t N
T
t
T
P
t N
T
t
T
t
T
t
T
P
"t t
T
5
P
4
5
¸ ˝
5
P
3
5
¸ ˝
5
3
3
P
1
3
ø
ø
t
T
P
t N
T
t
T
P
t N
T
t
T
t
T
t
T
P
"t t
T
5
P
4
5
¸ ˝
5
P
3
5
¸ ˝
5
3
3
P
1
3
Å
ø
ø
!t
T
H
t
P
t t
T
H
t t
T
H
t t
T
3
H
4
P
3
3
H
5
3
H
5
3
ø
ø
!t
T
H
t
P
t t
T
H
t t
T
H
t t
T
3
H
4
P
3
3
H
5
3
H
5
3
Å
ø
ø
t
T
P
t d d t
T
P
t c t
T
t
P
t
H
5
3
P
5
3
P
3
5
H
3
P
ø
ø
t
T
P
t d d t
T
P
t c t
T
t
P
t
H
5
3
P
5
3
P
3
5
H
3
P
Å
a
a
Shaughnessy-9
33
34
35
Å
ø
ø
t
P
H
t
P
t
e t
T
e t
T
c c
7
H
9
P
7
5
7
ø
ø
t
P
H
t
P
t
e t
T
e t
T
c c
7
H
9
P
7
5
7
Å
ø
ø
t
T
H
t t
T
t
P
t
T
t
P
t
T
P
t N
T
N
P
!t
T
P
t N
T
N
P
t
T
P
t
0
H
2
2
4
2
4
2
P
0 2
¸ ˝
2
¸ ˝
4
P
0 2
¸ ˝
2
¸ ˝
2
P
0
ø
ø
t
T
H
t t
T
t
P
t
T
t
P
t
T
P
t N
T
N
P
!t
T
P
t N
T
N
P
t
T
P
t
0
H
2 2
4
2
4
2
P
0 2
¸ ˝
2
¸ ˝
4
P
0
2
¸ ˝
2
¸ ˝
2
P
0
Å
ø
ø
"tt
P
H
«t d tt
P
H
t c t
P
P
t
H
t
3
3
H
5
3
3
H
H
5
5
P
3
H
5
ø
ø
"tt
P
H
«t d tt
P
H
t c t
P
P
t
H
t
3
3
H
5
3
3
H
H
5
5
P
3
H
5
Å
ø
ø
tI
T
d
t
P
t
e
t
P
b
3
7
9
H
7
tI
T
d
t
P
t
e
t
P
b
5
7
9
H
7
Shaughnessy-10
36
37
38
39
Å tI
T
d
t
P
H
t
e
t
P
c d "tI
T
2
7
H
9
7
6
ø
ø
tI
T
d
t
P
H
t
e
t
P
c d tI
T
5
7
H
9
7
5
t
T
b«
3
Å
ø
ø
ø
ø
Û
Û
t
T
H
t t
T
t
T
P
t
P
t
Û
Û
t
T
H
t t
T
t
T
P
"t t
P
Û
Û
t
T
H
t t
T
t
P
t
T
P
t
Û
Û
t
T
H
t t
T
t
T
P
t
P
t
0
H
2
2
4
P
2
P
0
0
H
3
3
5
P
3
P
0
0
H
5
5
7
P
5
P
0
0
H
3
3
5
P
3
P
0
t
T
b«
3
Shaughnessy-11
(39)
40
Å
ø
ø
ø
ø
t
T
N
N
T
N
P
N
T
N
P
t
T
N
N
T
N
P
t
T
N
N
T
N
P
t
T
N
0
N
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
N
0
¸ ˝
0
¸ ˝
0
N
0
¸ ˝
0
¸ ˝
0
N
Rhythm Patterns
Å
ø
ø
ø
ø
t
T
H
t N
T
N
P
N
T
N
P
t
T
H
t N
T
N
P
t
T
H
t N
T
N
P
t
T
H
t
3
H
5
5
¸ ˝
0
¸ ˝
5
¸ ˝
0
¸ ˝
3
H
5
5
¸ ˝
0
¸ ˝
5
H
7
5
¸ ˝
0
¸ ˝
5
H
7
Å
ø
ø
ø
ø
t
T
P
t N
T
N
P
N
T
N
P
t
T
P
t N
T
N
P
t
T
P
t N
T
N
P
t
T
7
P
5
7
¸ ˝
5
¸ ˝
7
¸ ˝
5
¸ ˝
7
P
5
7
¸ ˝
5
¸ ˝
5
P
3
5
¸ ˝
5
¸ ˝
5
Å
ø
ø
ø
ø
"t
T
H
t N
T
"t
P
N
T
t
P
t
T
H
t N
T
t
P
!t
T
H
t N
T
N
P
t
T
H
t
1
H
3
3
¸ ˝
3
3
¸ ˝
3
1
H
3
3
¸ ˝
3
1
H
2
3
¸ ˝
3
¸ ˝
1
H
3
Shaughnessy-12
41
C
C
C
C
(4 X)
42
(4 X)
43
(4 X)
44
(4 X)
Å
ø
ø
ø
ø
"t
T
N
T
" N
P
N
T
N
P
t
T
N
T
N
P
N
T
N
P
t
T
H
t
1
1
¸ ˝
3
¸ ˝
1
¸ ˝
3
¸ ˝
3
3
¸ ˝
3
¸ ˝
3
¸ ˝
3
¸ ˝
3
H
5
Å
ø
ø
ø
ø
t
T
N
N
T
t
P
N
T
t
P
t
T
H
!t N
T
N
P
t
T
H
t N
T
N
P
t
T
0
N
0
¸ ˝
7
0
¸ ˝
7
5
H
6
6
¸ ˝
7
¸ ˝
5
H
7
7
¸ ˝
7
¸ ˝
3
t
T
b«
0
Å
ø
ø
ø
ø
t
T
H
!t N
T
N
P
N
T
N
P
t
T
H
t N
T
N
P
1/2
t
T
t
T
5
H
6
6
¸ ˝
7
¸ ˝
6
¸ ˝
7
¸ ˝
5
H
7
7
¸ ˝
7
¸ ˝
1/2
3
0
Å tY
T
5
ø
ø
t
T
H
t N
T
N
P
N
T
N
P
t
T
t
T
H
t N
T
N
P
N
T
N
P
t
T
5
H
7 7
¸ ˝
7
¸ ˝
7
¸ ˝
7
¸ ˝
5
5
H
7 7
¸ ˝
7
¸ ˝
7
¸ ˝
7
¸ ˝
5
ø
ø
t
T
H
t N
T
N
P
N
T
N
P
t
T
t
T
H
t
t
T
t
T
¸ ˝
5
H
7
7
¸ ˝
7
¸ ˝
7
¸ ˝
7
¸ ˝
5
5
H
7
0
5
¸ ˝
Shaughnessy-13
45
(4 X)
46
C
(4 X)
47
(4 X)
48
(TO CONTINUE)
(4 x)
Å
ø
ø
ø
ø
t
T
N
t
T
N
t
T
N
t
T
t
T
N
t
T
N
t
T
t
T
N
t
T
N
0
N
0
N
0
N
0
0
N
0
N
0
0
N
0
N
t
T
b«
0
Å
ø
ø
ø
ø
t
T
N
N
T
t
P
N
T
t
P
t
T
N
N
T
t
P
t
T
N
N
T
t
P
H
t
0
N
0
¸ ˝
2
0
¸ ˝
0
0
N
0
¸ ˝
2
0
N
0
¸ ˝
2
H
0
t
T
b«
0
Å
ø
ø
ø
ø
t
T
N
N
T
t
P
N
T
!t
P
N
T
N
P
N
T
N
P
t
T
N
T
N
P
t
T
0
N
0
¸ ˝
7
0
¸ ˝
6
0
¸ ˝
7
¸ ˝
0
¸ ˝
7
¸ ˝
5
5
¸ ˝
7
¸ ˝
3
t
T
b«
0
Å
ø
ø
t
T
t!t
P
"t
T
" t#t
P
t
T
tt
P
tt
5
5
6
4
4
5
3
4
3
5
4
ø
ø
t
T
t!t
P
"t
T
" t#t
P
t
T
tt
P
tt
5
5
6
4
4
5
3
4
3
5
4
t
T
b«
5
Shaughnessy-14
49
C
C
C
C
C
C
C (4 X)
C
50
C
C
(4 X)
51
C
(4 X)
*
52
*
*
*
*
*
S
S
*
*
*
*
*
*
S
S
*
*
Å
ø
ø
t
T
t
P
P
t
H
t
P
t
H
t
t
T
t
P
P
"t d
5
5
P
4
H
5
P
4
H
5
3
4
P
3
ø
ø
t
T
t
P
P
t
H
t
P
t
H
t
t
T
t
P
P
"t d
5
5
P
4
H
5
P
4
H
5
3
4
P
3
Å
ø
ø
ø
ø
t
T
t N
T
" N
P
N
T
N
P
t
T
H
t N
T
N
P
t
T
H
t N
T
N
P
t
T
1
3
3
¸ ˝
3
¸ ˝
3
¸ ˝
3
¸ ˝
3
H
5
5
¸ ˝
3
¸ ˝
3
H
5
5
¸ ˝
3
¸ ˝
3
Å
ø
ø
ø
ø
t
T
t
T
"t
P
N
T
N
P
"t
T
t
T
"t
P
t
T
t
P
t
T
t
P
3
3
3
3
¸ ˝
3
¸ ˝
4
4
4
4
4
3
3
Å
ø
ø
ø
ø
"t
T
"t
d
tI
T
t
"t
T
H
"t N
T
N
P
t
T
2
4
2
4
2
H
4
4
5
2
"t
T
b«
4
Shaughnessy-15
53
*
*
*
*
*
*
*
*
(4 X)
(4 X)
(4 X)
54
S
*
*
S
*
*
*
*
*
*
55
*
*
*
*
*
*
*
*
*
*
*
*
*
*
56
*
*
*
*
S
S
*
S
S
*
*
*
Å
ø
ø
t
T
!t
T
t
T
"t
"t
T
P
t
t
T
P
t
It
T
d
3
4
5
6
6
6
6
ø
ø
t
T
!t
T
t
T
"t
"t
T
P
t
t
T
t
It
T
P
d
3
4
5
6
6
6
6
Å
ø
ø
ø
ø
t
T
t
P
t
T
"t
P
t
T
t
P
t
T
t
P
t
N
T
t
T
3
5
3
3
3
5
3
3
1
¸ ˝
1
Å
ø
ø
ø
ø
t
T
t
P
t
T
t
P
t
T
t
P
t
T
t
P
t
T
t
P
t
T
t
P
t
T
t
P
t
T
t
P
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Å
ø
ø
ø
ø
t
T
H
t N
T
t
P
N
T
t
P
N
T
t
P
N
T
t
P
N
T
N
P
t
T
H
t
P
t
5
H
7
5
¸ ˝
5
7
¸ ˝
7
5
¸ ˝
5
7
¸ ˝
7
5
¸ ˝
5
¸ ˝
5
H
7
P
5
Shaughnessy-16
57
*
*
*
*
*
*
*
*
58
*
*
*
*
*
*
*
*
*
*
*
*
(4 X)
(4 X)
(4 X)
(4 X)
59
60
Å
ø
ø
t
P
P
t N
T
t
P
N
T
t
P
d d
"tY
P
N
T
t
P
d
12
P
10 10
¸ ˝
12 10
¸ ˝
10
15
15
¸ ˝
15
ø
ø
t
P
P
t N
T
t
P
N
T
t
P
d d
"tY
P
N
T
t
P
d
12
P
10 10
¸ ˝
12 10
¸ ˝
10
15
15
¸ ˝
15
Å
ø
ø
"t
T
H
t c
t
P
P
"t t
T
t
P
P
tI d
1
H
3
5
P
3
3
5
P
3
ø
ø
"t
T
H
t
c
t
P
P
"t t
T
t
P
P
tI d
1
H
3
5
P
3
3
5
P
3
Å t
T
H
t N
T
t
P
0
H
5
5
¸ ˝
7
ø
ø
ø
ø
t
t
T
H
t N
T
t
P
t t
T
H
t N
T
t
P
t
t
T
t
H
N
T
t
P
t t
T
H
t N
T
t
P
7
0
H
5
5
¸ ˝
7
0
H
3 3
¸ ˝
5
0
H
3
3
¸ ˝
5
0
H
5
5
¸ ˝
7
Å
ø
ø
ø
ø
N
T
N
P
N
T
N
T
N
P
N
T
N
T
N
P
N
T
N
P
N
T
N
T
N
P
N
T
N
T
N
P
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
Shaughnessy-17
61
62
63
64
(4 x)
(4 x)
(4 x)
(4 x)
Å
ø
ø
ø
ø
t
T
t
P
t
T
t
T
t
P
t
T
t
T
t
P
"t
T
"t
P
t
T
t
t
P
t
T
t
T
t
P
3
5
3
3
5
3
3
5
1
3
1
1
3
1
1
3
Å
ø
ø
"t
T
H
t c e
t
P
t
T
t
T
tY
P
d
1
H
3
5
3
3
5
ø
ø
"t
T
H
t c e
t
P
t
T
t
T
tY
P
d
1
H
3
5
3
3
5
Å
ø
ø
ø
ø
N
T
t
P
N
T
N
T
t
P
N
T
N
T
t
P
N
T
t
P
N
T
N
T
t
P
N
T
N
T
t
P
7
¸ ˝
7
7
¸ ˝
7
¸ ˝
5
7
¸ ˝
7
¸ ˝
7
7
¸ ˝
7
7
¸ ˝
7
¸ ˝
5
7
¸ ˝
7
¸ ˝
7
Å
ø
ø
ø
ø
N
T
t
P
N
T
N
T
t
P
N
T
N
T
t
P
N
T
t
P
N
T
N
T
t
P
H
t
7
¸ ˝
7
7
¸ ˝
7
¸ ˝
5
7
¸ ˝
7
¸ ˝
7
7
¸ ˝
7
7
¸ ˝
7
¸ ˝
5
7
t
T
b«
5
Shaughnessy-18
65
(4 X)
(4 X)
(4 X)
(4 X)
66
67
68
Å
ø
ø
ø
ø
t
T
"t
P
N
T
t
T
t
P
N
T
t
T
t
P
N
T
t
P
t
T
H
t N
T
t
P
t
T
5
3
5
¸ ˝
5
3
5
¸ ˝
5
3
5
¸ ˝
3
3
H
5
3
¸ ˝
3
3
Å tZ
P
7
ø
ø
ø
ø
t
T
H
t
t
T
H
t e t
T
c
«t
T
t
P
¸ ˝
3
H
5
3
H
5
3
1
7
t
T
b«
5
Å tZ
P
5
ø
ø
t
T
t
T
!t
T
H
t t
T
d« tZ
3
3
1
H
2
3
5
ø
ø
t
T
t
T
!t
T
H
t t
T
d« tZ
P
3
3
1
H
2
3
5
t
T
b«
3
Å
ø
ø
ø
ø
t
T
t
T
d tI
T
d tI
T
d tI
T
3
3
3
3
3
d tY
T
H
t
t
T
c
3
H
5
3
Shaughnessy-19
69
(4 X)
(4 X)
70
71
72
(3 X)
Å
ø
ø
t
T
t
T
d "tY
T
d tY
T
d tY
T
3
3
1
3
5
ø
ø
d tY
T
d "tY
T
d tI
T
t
3
1
3
Shaughnessy-20
73
(4 X)
Å
ø
ø
t
T
H
t e
t
P
e
t
P
c c
3
H
5
7
5
ø
ø
t
T
H
t e
t
P
e
t
P
c c
3
H
5
7
5
Å
ø
ø
t
T
H
t
t
P
d t
P
c "t
T
t
P
t
3
H
5
7
5
6
5
P
3
ø
ø
t
T
H
t
t
P
d t
P
c "t
T
t
P
t
3
H
5
7
5
6
5
P
3
Å
ø
ø
t
T
H
t
t
P
H
t t
P
c t
T
H
t N
T
t
P
3
H
5
5
H
7
5
5
H
7
7
¸ ˝
5
ø
ø
t
T
H
t
t
P
H
t t
P
c t
T
H
t N
T
t
P
3
H
5
5
H
7
5
5
H
7
7
¸ ˝
5
Å
ø
ø
t
T
t "t
T
H
t N
T
" N
P
t
T
H
t N
T
N
P
t
T
1
H
H
3
1
H
3
3
¸ ˝
3
¸ ˝
3
H
5
5
¸ ˝
3
¸ ˝
1
ø
ø
t
T
t "t
T
H
t N
T
" N
P
t
T
H
t N
T
N
P
t
T
1
H
H
3
1
H
3 3
¸ ˝
3
¸ ˝
3
H
5
5
¸ ˝
3
¸ ˝
1
Shaughnessy-21
74
75
S
S
S
S
76
77
Pentatonic Scales
Å
ø
ø
d t
T
"t t
P
P
t
H
H
t t
T
t t
T
t
T
t
T
5
6
5
3
5
3
5
3
5
ø
ø
d t
T
"t t
P
P
t
H
H
t t
T
t t
T
t
T
t
T
5
6
5
3
5
3
5
3
5
Å
ø
ø
toY
"t t t
H
H
t
P
P
t t t t t
P
P
t t t t d
8
7 5 7 5
7
5
7 7 5
7
5
5
ø
ø
toY
"t t t
H
H
t
P
P
t t t t t
P
P
t t t t d
8 7
5
7 5
7
5
7
7
5
7
5
5
Å
ø
ø
" toI
P
t t
P
t
T
t
P
t t
T
t
T
H
H
t
12
10
12
10
12
10
12
ø
ø
" toI
P
t t
P
t
T
t
P
t t
T
t
T
H
H
t
12 10
12
10
12
10
12
Å
ø
ø
t
P
"t t
P
P
t
H
H
t
P
t
H
H
t t
P
t t
T
c
5 6
5 3 5 3
5
3
5
ø
ø
t
P
"t t
P
P
t
H
H
t
P
P
t
H
H
t t
P
t t
T
c
5
6 5 3
5
3
5
3
5
Shaughnessy-22
78
S
S
S
S
79
S
S
S
S
S
S
S
S
(FS)
S S
S S
7
S
S
S
S
S
S
S
S
7
80
13
13
81
Å
ø
ø
!t
H
t t t
H
t t t
H
t t t
H
t t t#t t
6
H
7
5
6
H
7
5
6
H
7
5
6
H
7
5
6 5
3
ø
ø
!t
H
t t t
H
t t t
H
t t t
H
H
t t t#t t
6
H
7
5
6
H
7
5
6
H
7
5
6 7
5
6 5 3
Å
ø
ø
t
T
P
"t t
T
e "t
T
e t
T
e «
"tY
T
tI
T
d
5
P
3
5
4
3
1
3
ø
ø
t
T
P
"t t
T
e "t
T
e t
T
e «
"tY
T
tI
T
d
5
P
3
5
4
3
1
3
Å
ø
ø
t
T
H
H
t N
T
t
P
N
T
t
P
t
T
H
H
t N
T
t
P
N
T
t
P
t
T
H
H
t N
T
t
P
3 5
5
¸ ˝
3
5
¸ ˝
3
3 5 5
¸ ˝
3
5
¸ ˝
3
3 5
5
¸ ˝
3
ø
ø
t
T
H
H
t N
T
t
P
N
T
t
P
t
T
H
H
t N
T
t
P
N
T
t
P
t
T
H
H
t
P
P
t
3 5 5
¸ ˝
3
5
¸ ˝
3
3 5 5
¸ ˝
3
5
¸ ˝
3
3 5 3
Å
ø
ø
t
T
t d "tI
T
N
T
" N
P
t
T
N
T
N
P
t
T
H
H
t
1
H
H
3
1
1
¸ ˝
3
¸ ˝
3
3
¸ ˝
3
¸ ˝
3 5
ø
ø
t
T
t d "tI
T
N
T
" N
P
t
T
N
T
N
P
t
T
H
H
t
1
H
H
3
1
1
¸ ˝
3
¸ ˝
3
3
¸ ˝
3
¸ ˝
3 5
Shaughnessy-23
(FS)
82
S
S
S
S
83
84
(4X)
85
Å
ø
ø
"tt
P
H
t d d tt
P
H
t c t
T
H
t
3
3
H
5
3
3
H
5
3
H
5
ø
ø
"tt
P
H
t d d tt
P
H
t d t
P
"t t
P
t
H
t
3
3
H
5
3
3
H
5
5
6
5
P
3
H
5
Å
ø
ø
ø
ø
t
P
P
P
"t N
T
t
P
N
T
t
P
t
T
H
H
t N
T
t
P
"t
T
H
H
t N
T
N
P
t
T
5
3
5
¸ ˝
3
5
¸ ˝
3
3
5
5
¸ ˝
3
1
3
3
¸ ˝
3
¸ ˝
3
Å
ø
ø
t t d« tJ t t d "t
H
H
t
3
3
3
3
3
1
3
ø
ø
t t d« tJ t t d "t
H
H
t
3
3
3
3
3
1
3
Å
ø
ø
"toY
t "t t t «t t t t d
3
1
3
3
1
1
3
1
ø
ø
"toY
t "t t t «t t t t d
3
1
3
3
1
1
3
1
Shaughnessy-24
86
S
S
S
S
87
(4 x)
88
(FS)
(FS)
S
S
89
4
S
S
4
Å
ø
ø
t
P
P
"t t t t
P
P
t t t "t
P
P
t "t tI d
5 3
5
3
5 3
5
3
4
3
1
3
ø
ø
t
P
P
"t t t t
P
P
t t t "t
P
P
t "t tI d
5 3
5
3
5 3
5
3
4
3
1
3
Å
ø
ø
H
H
!toY
t t t #t t t t t t t t
12
10
12
10
12
10
12 10 8
10
ø
ø
H
H
!toY
t t t #t t t t t t t t
12
10
12
10
12
10
12 10 8
10
Å
ø
ø
t t d«NJ t te «
"tI
3
3
3
¸ ˝
3 3
1
t t d«NJ t t e «
tI
3 3
3
¸ ˝
3 3
1
t t d«NJt te «
"tI
3 3
3
¸ ˝
3
3
1
ø
ø
t t d«NZ t t"t tId
3 3
5
¸ ˝
5 3 1
3
Å tI
3
ø
ø
H
H
!toY
t t t t t t d tI
7
5
7
5
5
5
3
ø
ø
H
H
!toY
t t t t t c c
7
5
7
5
5
Shaughnessy-25
90
(FS)
(FS)
(FS)
(FS)
91
11
11
92
93
6
6
Å tI
3
ø
ø
!toY
t t t
P
P
t t t d tI
7
5
7
5
5
5
3
ø
ø
!toY
t t
"t
P
P
t
P
P
t tY d c
7
5
8
7
5
Å
ø
ø
t t t t t t t t t t
3
3
0
3
0
3
3
0
3
0
ø
ø
t t t t t t t t t t
3
3
0
3
0
3
3
0
3
0
Å
ø
ø
t t t t t t t t t
3
3
0
0
3
3
0
H
3
0
ø
ø
t t t t t t t t t
3
3
0
0
3
3
0
3
0
Å
ø
ø
t t d« NI t N t
!t t
3
3
3
¸ ˝
3
3
¸ ˝
3
8
H
9
ø
ø
t t d« NI t N t
!t
H
t
3
3
3
¸ ˝
3 3
¸ ˝
3
8
H
9
Shaughnessy-26
94
S
S
6
S
S
6
(FS)
(FS)
(FS)
(FS)
95
96
97
Å
ø
ø
t
T
N
N
T
t
P
N
T
t
P
t
T
H
t N
T
N
P
t
T
H
t N
T
N
P
!t
T
0
N¸˝
0
¸ ˝
7
0
¸ ˝
7
5
H
7 7
¸ ˝
7
¸ ˝
5
H
7
7
¸ ˝
7
¸ ˝
4
ø
ø
!t
T
t
H
N
T
N
P
N
T
N
P
t
T
H
t N
T
N
P
t
T
H
t N
T
N
P
1/2
t
T
4
H
5 5
¸ ˝
7
¸ ˝
5
¸ ˝
7
¸ ˝
5
H
7 7
¸ ˝
7
¸ ˝
5
H
7 7
¸ ˝
7
¸ ˝
1/2
3
t
T
b«
0
Å
ø
ø
t
T
t
P
N
T
t
T
!t
T
t
T
t
T
t
T
H
H
«t
T
0
9
0
5
4
5
4
5 7
H
ø
ø
t
T
t
P
N
T
t
T
!t
T
t
T
t
T
t
T
H
H
«t
T
0
9
0
5
4
5
4
5 7
H
Å
ø
ø
t
T
t
T
t
T
!t
T
t
T
d
t
P
t
0
7
5
4
5
7
H
9
ø
ø
t
T
t
T
t
T
!t
T
t
T
d
t
P
t
0
7
5
4
5
7
H
9
Å
ø
ø
t
t !t t t t t
7
5
4
5
4
0
(FS)
ø
ø
t
t t !t t d t t
H
7
5
4
5
5
H
7
Shaughnessy-27
98
C
C
99
100
101
Dorian and Mixolydian Modes
Å
ø
ø
ø
ø
t
T
t
P
t«
T
t«
T
t«
T
t«
T
"t
T
H
H
«t
3
5
3
5
2
3
1
3
Å
ø
ø
t
T
t
P
t
T
t
P
!t
T
!t
P
t
T
«t
P
7
9
5
7
4
6
5
7
ø
ø
t
T
t
P
t
T
t
P
!t
T
!t
P
t
T
«t
P
7
9
5
7
4
6
5
7
Å
ø
ø
t
T
H
H
t N
T
N
P
N
T
N
P
t
T
H
H
t N
T
N
P
!t
T
H
H
t N
T
N
P
t
T
7 5
7
¸ ˝
5
¸ ˝
7
¸ ˝
5
¸ ˝
5 7 7
¸ ˝
5
¸ ˝
4 5 5
¸ ˝
5
¸ ˝
3
ø
ø
t
T
H
H
t N
T
N
P
N
T
N
P
t
T
H
H
t N
T
N
P
!t
T
H
H
t N
T
N
P
t
T
7 5
7
¸ ˝
5
¸ ˝
7
¸ ˝
5
¸ ˝
5 7 7
¸ ˝
5
¸ ˝
4 5
5
¸ ˝
5
¸ ˝
3
Å t
T
H
H
t
3
5
ø
ø
ø
ø
t
T
t
T
d t
T
H
H
t N
T
" N
P
t
T
H
H
t N
T
N
P
t
T
H
H
t
3
3
2
3
3
¸ ˝
3
¸ ˝
2
3
3
¸ ˝
3
¸ ˝
3
5
t
T
t
T
b«
3
3
Shaughnessy-28
102
(4 X)
(4 X)
103
104
105
Å
ø
ø
ø
ø
t
T
N
N
T
!t
P
N
T
t
P
N
T
t
P
N
T
N
P
t
T
H
H
t N
T
N
P
t
T
0
N
0
¸ ˝
6
0
¸ ˝
7
0
¸ ˝
6
0
¸ ˝
6
¸ ˝
5
7
7
¸ ˝
7
¸ ˝
0
Å
ø
ø
ø
ø
t
T
t
T
t
P
N
T
t
P
N
T
t
P
e N
P
!t
T
H
H
t N
T
N
P
t
T
H
H
t
7
7
9
7
¸ ˝
7
7
¸ ˝
9
7
¸ ˝
6
7
7
¸ ˝
7
¸ ˝
6
7
Å
ø
ø
H
H
toI
P
!t t
T
t
T
d !t
T
H
H
t e t
T
c
6
7
5
4
5
5
ø
ø
H
H
toI
P
!t t
T
t
T
d !t
T
H
H
t e t
T
c
6
7
5
4
5
5
Å
ø
ø
t
t t t t t !t «t
5
7
5
4
5
4
4
5
ø
ø
t
t t t t t !t «t
5
7
5
4
5
4
4
5
Shaughnessy-29
106
C
C
(4X)
(4X)
107
108
5
5
109
(FS)
Å
ø
ø
H
!t
oY
t t t t!t t !t t d« !NJ t t d
H
7
5
7 5
6
7
4
5
4
¸ ˝
4
5
ø
ø
H
!t
oY
t t t t!t t !t t d« !NJ t t d
H
7
5
7 5
6
7
4
5
4
¸ ˝
4
5
Å
ø
ø
t
T
t
P
t
P
H
t e t
P
e t
P
e N
P
!t
T
H
t t
T
3
5
3
5
2
3
5
6
2
3
ø
ø
t
T
t
P
t
P
H
t e t
P
e t
P
e N
P
!t
T
H
t t
T
3
5
3
5
2
3
5
6
2
3
Å
ø
ø
t t
H
H
!toI
t t t t
« t« t«
3
3
2
5
3
2
5
ø
ø
t t
H
H
!toI
t t t t
« t« t«
3
3
2
5
3
2
5
Å
ø
ø
t
T
t
P
t
T
!t
T
t
T
t
T
t
T
«
!t
T
0
2
5
4
5
4
5
4
ø
ø
t
T
t
P
t
T
!t
T
t
T
t
T
t
T
«
!t
T
0
2
5
4
5
4
5
4
Shaughnessy-30
(FS)
(FS)
110
6
6
111
112
1
1
113
Å
ø
ø
t
T
H
H
t N
T
" N
P
!t
T
H
H
t N
T
N
P
t
T
t
T
t
T
H
H
t d
2 3
3
¸ ˝
3
¸ ˝
1 2
2
¸ ˝
3
¸ ˝
1
3
1
3
ø
ø
t
T
H
H
t N
T
" N
P
!t
T
H
H
t N
T
N
P
t
T
t
T
t
T
H
H
t d
2 3 3
¸ ˝
3
¸ ˝
1 2 2
¸ ˝
3
¸ ˝
1
3
1
3
Å
ø
ø
t
T
t
T
d
tI
T
tI
T
d d t
P
H
H
t
1
3
1
3
2
3
ø
ø
t
T
t
T
d
tI
T
tI
T
d d t
P
H
H
t
1
3
1
3
2
3
Å
ø
ø
ø
ø
t
T
N
N
T
t
P
N
T
!t
P
N
T
t
P
N
T
N
P
t
T
H
H
!t N
T
N
P
t
T
H
H
t
0
N
0
¸ ˝
7
0
¸ ˝
6
0
¸ ˝
7
0
¸ ˝
7
¸ ˝
5
6
6
¸ ˝
7
¸ ˝
5
7
Å
ø
ø
!t
oY
T
t
t
P
#t
T
t
P
!t
T
!t
P
!t
P
«t
T
7
9
5
7
4
6
6
5
ø
ø
!t
oY
T
t
t
P
#t
T
t
P
!t
T
!t
P
!t
P
«t
T
7
9
5
7
4
6
6
5
Shaughnessy-31
114
115
116
C
C
(4X)
S
S
117
6
S
S
6
Å
ø
ø
t t d
t t
d« tZ
t t t
5
5
7 7
5
7 5
7
ø
ø
t t d
t t
d« tZ
t t t
5
5
7 7
5
7 5
7
Å tJ
T
5
ø
ø
t
T
H
H
t e
t
P
e
t
P
c d« tJ
T
3
5
5
7
5
ø
ø
t
T
H
H
t e
t
P
e
t
P
c d« tJ
T
3
5
5
7
5
t
T
b«
5
Å
ø
ø
!t
P
H
«t d t
T
H
t c t
T
6
7
5
7
5
ø
ø
!t
P
H
«t d t
T
H
t c t
T
6
7
5
7
5
Å
ø
ø
t t e t e t e t t t e t e t e t
1 3
3
3
3 1 3
3
3
3
ø
ø
t t e t e t e t t t e t t t t
1 3
3
3
3 1 3
3
2
3
1
Shaughnessy-32
(FS)
(FS)
118
119
120
121
(4X)
Dominant 7ths
Å
ø
ø
t
t
!t
!t
!t
t
t !t t t !t tY d
4
3
5
4
6
5
5
6 7
5
6
7
ø
ø
t
t
!t
!t
!t
t
t !t t t !t tY d
4
3
5
4
6
5
5
6 7
5
6
7
Å
ø
ø
t
P
P
t d d t t t!t t t
5
3
5
3
2
3
5
ø
ø
t
P
P
t d d t t t !t t t
5
3
5
3
2
3
5
t b«
5
Å
ø
ø
t
T
H
t
H
d d t
T
H
H
t tY d t
P
H
H
t
d
3 5
5
7
5
7
ø
ø
t
T
H
H
t d d t
T
H
H
t tY d t
P
H
H
t
d
3 5
5
7
5
7
t
T
b«
5
Å NZ
4
¸ ˝
ø
ø
t t t tt e
t tI d d«
NZ¸ ˝
4
5 3
5
3
3
4
¸ ˝
ø
ø
t t t t te
t tI d d«
NZ¸˝
4
5 3
5
3
3
4
¸ ˝
Shaughnessy-33
122
123
(FS)
(FS)
(FS)
124
125
Å
ø
ø
!t
P
H
H
t N
T
t
T
e t
T
e t
T
e t
T
e t
T
tI
T
d
3 4
3 3
5
3
5
3
3
ø
ø
!t
P
H
H
t N
T
t
T
e t
T
e t
T
e t
T
e t
T
tI
T
d
3 4
3 3
5
3
5
3
3
Å
ø
ø
ø
ø
"t
T
H
t N
T
t
P
N
T
t
P
N
T
t
P
t
T
H
t N
T
t
P
N
T
t
P
N
T
t
P
1
3
1
¸ ˝
2
1
¸ ˝
2
1
¸ ˝
2
1
3
1
¸ ˝
2
1
¸ ˝
2
1
¸ ˝
2
t
T
b«
3
Å
ø
ø
t t
t t et et et e tZ d
3
3
5
3
5
2
3
5
(FS)
(FS)
ø
ø
t t
t t et etet e tZ d
3
3
5
3
5
2
3
5
t b«
3
Å
ø
ø
t t
t t et d« tJ tt!tt
3
3
5 3
5
2
2 3 4 5
ø
ø
t t
tt et d« tJ tt!tt
3
3
5 3
5
2
2 3 4 5
t b«
3
Shaughnessy-34
126
127
(4X)
128
129
Å
ø
ø
P
!t
H
t N
T
N
P
T
N N
P
t
T
H
t N
T
N
P
t
T
H
t N
T
N
P
t
T
3
H
4
5
¸ ˝
5
¸ ˝
5
¸ ˝
5
¸ ˝
3
H
5 5
¸ ˝
5
¸ ˝
3
H
5 5
¸ ˝
5
¸ ˝
3
ø
ø
P
!t
H
t N
T
N
P
N
T
N
P
t
T
H
t N
T
N
P
t
T
H
t N
T
N
P
t
T
3
H
4
5
¸ ˝
5
¸ ˝
5
¸ ˝
5
¸ ˝
3
H
5 5
¸ ˝
5
¸ ˝
3
H
5
5
¸ ˝
5
¸ ˝
3
Å
ø
ø
t
T
d t
T
H
t N
T
N
P
t
T
H
!t N
T
#N
P
t
T
H
t
0
5
H
7
7
¸ ˝
0
¸ ˝
5
H
6
7
¸ ˝
0
¸ ˝
5
H
7
ø
ø
t
T
d t
T
H
t N
T
N
P
t
T
H
!t N
T
#N
P
t
T
H
t
0
5
H
7
7
¸ ˝
0
¸ ˝
5
H
6
7
¸ ˝
0
¸ ˝
5
H
7
t
T
b«
0
Å
ø
ø
!t t
e t e t e!t et t t t
6
7
5
7
4
5
3
5
ø
ø
!t t
e t e t e!t et t t t
6
7
5
7
4
5
3
5
Å
ø
ø
A
c
c
d
!tY t !t
0
11
12
13
ø
ø
«|
«|
d
tY
| t
Y
t
t
d
d
0
14
13
0
Shaughnessy-35
130
131
(FS)
132
(FS)
133
(Let Ring)
(4X)
Å
ø
ø
t t d d t td
tY t !t
5
5
5
5
9
10
11
ø
ø
t t d d t t d
tY t !t
5
5
5
5
9
10
11
tY d b«
5
Å
ø
ø
t
T
"t
T
tI
T
d d t
T
H
!t N
T
N
P
t
T
H
#t
5
4
3
3
H
4
4
¸ ˝
5
¸ ˝
3
H
5
ø
ø
t
T
"t
T
tI
T
d d t
T
H
!t
T
N
T
N
P
t
T
H
#t
5
4
3
3
H
4
4
¸ ˝
5
¸ ˝
3
H
5
Å
t t
5 3
ø
ø
tI d c t t d tI
5
5
5
3
ø
ø
«|
t t t
5
3
tI d b«
5
Å
ø
ø
t !t t t t t t t t
H
t d
5
4
5
3
5
3
5
3
H
5
ø
ø
t !t t t t t t t t
H
t d
5
4
5
3
5
3
5
3
H
5
Shaughnessy-36
134
(FS)
(FS)
(FS)
135
136
137
Å
ø
ø
t
T
!t
T
tI
T
d tY
P
d
!tt
P
t!t
e t
3
4
5
5
11
10
12
11
5
ø
ø
t
T
!t
T
tI
T
d d t
T
"t t
P
P
t
H
H
t
3
4
5
5
6
5
3
5
Å tZ
P
5
ø
ø
t
T
t
T
"tt
P
H
H
#t
et
P
t
T
t
T
«
"t «t
P
t
P
3
3
3
3
4
5
3
3
3
3
5
ø
ø
t
T
t
T
"tt
P
H
H
#t
et
P
t
T
t
T
«
"t «t t
P
3
3
3
3
4
5
3
3
3
3
5
tI
T
d b«
3
Å
ø
ø
t
T
t
T
!tt
P
t!t t#t t!t
t
T
t
T
t#t
P
t!t t#t
0
0
11
10
12
11
11
10
12
11
0
0
11
10
12
11
11
10
ø
ø
t
T
t
T
!tt
P
t!t t#t t!t
t
T
t
T
t#t
P
t!t t#t
0
0
11
10
12
11
11
10
12
11
0
0
11
10
12
11
11
10
t
T
b«
0
Shaughnessy-37
138
S
S
S
S
S
S
S
S
S
S
S
S
S
S
S
S
139
140
Å NZ
P
7
¸ ˝
ø
ø
t
T
t
T
t
T
t
T
tI
T
d d«
NZ
P
5
5
7
7
8
7
¸ ˝
ø
ø
t
T
t
T
t
T
t
T
tY
T
d d« NZ
P
5
5
7
7
8
7
¸ ˝
t
T
b«
5
Å
ø
ø
"tt
P
H
H
«t d
t
T
H
H
t N
T
N
P
"t
T
t
T
t
T
3
3
5
1
3 3
¸ ˝
3
¸ ˝
1
3
5
ø
ø
"tt
P
H
H
«t d
t
T
H
H
t N
T
N
P
"t
T
t
T
t
T
3
3
5
1
3 3
¸ ˝
3
¸ ˝
1
3
5
t
T
b«
3
Å
ø
ø
d tY
T
!t
T
H
H
t (t
T
t
T
t
T
H
H
t
7
6
7
8
7
6
7
ø
ø
t
T
b«
5
Å
ø
ø
t
T
t
T
t
T
e t
T
e
t
T
t
t
T
5
5
8
7
7
9
7
ø
ø
T
t t
T
t
T
e t
T
e
t
T
t
t
T
5
5
8
7
7
9
7
Shaughnessy-38
141
142
143
(4X)
144
S
S
S
S
Minor-Natural, Harmonic, Minor 7th
Å
ø
ø
t
T
t
P
d N
T
N
P
t
T
H
H
t
P
P
t t
T
H
H
t
5
H
7
7
¸ ˝
9
¸ ˝
7
8 7 5
7
«
"t
T
tI
T
t
T
!t
T
6
6
H
5
4
é
é
ø
ø
t
T
b«
5
Å
ø
ø
P
t
oY
t t
H
t
oY
P
t t
H
t
oY
P
t t
T
H
10
9
H
9
7
H
7
7
ø
ø
t
oY
P
t t
H
t
oY
P
t t
H
t
oY
P
t t
T
H
10
9
H
9
7
H
7
7
|
T
b
5
Å
ø
ø
t
T
t
T
t
T
e t
T
e t
T
H
!t
H
t t
P
5
5 8
7
5
H
6
H
7
5
ø
ø
t
T
t
T
t
T
e t
T
e t
T
H
!t
H
t t
P
5
5 8
7
5
H
6
H
7
5
Å
ø
ø
t
T
H
H
t c d tY
T
d tY
T
3 5
3
5
c
d "tY
P
P
P
t t
T
3
2
3
é
é
ø
ø
t
T
b«
5
Shaughnessy-39
145
146
9
7
5
9
7
5
147
148
Å
ø
ø
ø
ø
t
T
t N
T
" N
P
N
T
N
P
"t
T
N
T
N
P
t
T
H
H
t N
T
N
P
t
T
1
H
H
3
3
3
3
3
1
1
3
3
5
5
3
3
t
T
b«
3
Å
ø
ø
t
T
t
T
t
T
!t
T
t
T
t
T
8
7
5
4
5
5
ø
ø
t
T
t
T
t
T
!t
T
t
T
t
T
8
7
5
4
5
5
t
T
b«
5
Å
ø
ø
«t
T
t
T
tZ
P
d« c t
T
H
H
t
P
P
t
5
5
7
3
5
3
ø
ø
"t
T
e e t
T
e «tI
T
t t
T
1
1
0
3
t
T
b«
5
Å
ø
ø
t t d t t
P
P
!t t d t t
7
7
7
7
6
6
7
6
ø
ø
P
P
(t t d t t
P
P
!t t #t t
5
5
5
5
4
4
3
2
Shaughnessy-40
149
(4 X)
(4 X)
(4 X)
150
151
(FS)
152
Å
ø
ø
t
T
H
t e "t
T
e t
T
d t
T
t
T
3
H
5
1
3
5
3
ø
ø
t
T
H
t e "t
T
e t
T
d t
T
t
T
3
H
5
1
3
5
3
Å
ø
ø
"|
|
T
P
t
t
t
T
t !t
T
3
3
3
3
˛ ˇ
1
1
¸ ˝
2
ø
ø
"|
|
T
P
t
t
t
T
t !t
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3
3
3
3
˛ ˇ
1
1
¸ ˝
2
t
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b«
3
Å
ø
ø
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P
P
t
H
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P
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T
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T
d
3
P
5
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3
1
5
3
ø
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P
P
t
H
t d "tY«
P
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T
d tI
T
d
3
P
5
H
3
1
5
3
Å
ø
ø
t t"t t d tY d
"tY
3 5 6
3
5
3
t t t t t c
5
3
5
t t "t t d tY d
"tY
3
5
6
3
5
3
ø
ø
t t t t tc
5
3 5
Shaughnessy-41
153
154
155
156
(FS)
Å
ø
ø
t
T
N
T
N
P
N
T
N
P
t
T
N
T
N
P
t
T
N
T
N
P
t
T
¥
0
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
3
3
¸ ˝
0
¸ ˝
5
5
¸ ˝
0
¸ ˝
2
t
T
N
T
N
P
N
T
N
P
N
T
tt "t"t tt
0
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
0
¸ ˝
9
9
8
8
7
7
é ø
ø
é
Å
ø
ø
t
T
"t
" t
P
d« "NZ"N
P
"t
T
tt
P
d« NZN
P
15
15
13
13
11
˛ ˇ
13
13
11
15
13
˛ ˇ
ø
ø
t
T
"t
" t
P
d
P
t
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tY t
c
13
15
13
15
17
Shaughnessy-42
157
(R.H. Strum)
(R.H. Strum)
158
S
S
(2 X)
Å
ø
ø
t«
T
t»
T
D
min7
t
T
t
T
t
T
t
T
t
T
t
T
5
5
3
3
2
2
5
5
ø
ø
t
T
t
T
t
T
G
7
t
T
t
T
t
T
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T
t
T
3
3
2
2
3
3
4
4
t
T
b«
5
Å
ø
ø
t
T
« t
T
»
D
min7
t
T
t
T
t
T
t
T
t
T
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T
5
5
3
3
2
2
5
4
ø
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t
T
t
T
t
T
G
7
t
T
t
T
t
T
t
T
P
P
t
3
3
2
2
5
5
8
7
t
T
b«
5
Å
ø
ø
t
T
« t
T
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T
G
7
t
T
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T
t
T
t
T
t
T
3
3
5
5
6
6
7
7
ø
ø
t
T
t
T
"t
T
t
T
C
7
t
T
t
T
"t
T
t
T
8
8
6
6
5
5
4
4
t
T
b«
3
Å
ø
ø
"t
T
H
"t d
B
"
min7
t
T
H
t e
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P
e t
P
c
4
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6
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Shaughnessy-43
159
(simile)
(simile)
(simile)
160
161
162
Chord Progressions
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Shaughnessy-44
163
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Shaughnessy-45
(FS)
167
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169
170
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(FS)
(FS)
(FS)
(4X)
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Shaughnessy-46
171
(FS)
(FS)
(FS)
172
173
174
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1
Shaughnessy-47
175
ABOUT THE AUTHOR
John Shaughnessy has been playing bass professionally for almost 20 years, and
teaching bass for 15 years. Over the years, he has performed everything from rock and
country, to jazz and funk.
John holds an A.S. in Electric Bass Performance from Villa Maria College, (where he
studied with former Spyro Gyra bassist Jim Kurzdorfer), as well as a B.A. in music from
the University of Buffalo.
Currently, John maintains an active performance and teaching schedule in the Charlotte,
NC area , where he leads his own jazz/funk group, JS:3 (www.js3jazz.com).
John may be reached by email at
johngoogleplex@carolina.rr.com
or
js3jazz@carolina.rr.com
Document Outline
- Cover
- Forward
- How To Use This Book
- Table of Symbols
- Octaves
- Hammer ons/Pull Offs
- Rhythm Patterns
- Pentatonic Scales
- Dorian & Mixolydian Modes
- Dominant 7ths
- Minor-Natural. Harmonic, Minor 7th
- Chord Progressions
- About the Author
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