THE PRACTICE

ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 1

THE PRACTICE Module 1: Retraining
Your Brain and
ACCELERATOR Shifting Your Mindset
PROGRAM In this Module you’ll be introduced to

Scott
WITH principals that will revolutionize the way you
approach your practice routine.

Devine We will delve into the Pareto 80/20 principal,

Parkinson’s Law and how to apply these
concepts to reach your bass goals in the most
efÏcient way.
 Module 1: Summary

Retraining Your Brain and Shifting Your Mindset

The most common question I get from students is how many hours a day they
should be practicing if they want to get better on their instrument as quickly as
possible. Practicing for hours and hours a day might make you feel like you are
living up to the musical super-hero myth, but making your practice time as
productive as possible is much more important than simply racking up endless
hours. This includes creating a structure in what you practice, when you practice
and how long you practice for.

In this module I’m going to get you on the road to doubling your progress in the
practice room and in the quickest amount of time.

Lesson 1: The 80/20 Principle

• How do we improve as musicians?
• The art of active listening.
• Real world playing & the law of the vital few.
• The 80/20 rule explained.

Lesson 2: The 20% Framework

• Understanding Pareto’s principle.
• The secret to maximizing the 20%.
• How to identify your most important goals.
• Applying a practice framework.
• The 20% Framework:

Lesson 3: Parkinson’s Law

• How often should we practice?
• Make less time available to get more done.
• How Parkinson’s Law works in real life.
• And how you can use it to do the impossible.
 Module 1: Summary

The 20% Framework

1. Fingerboard Visualization and Application
2. Technique
3. Groove and Time
4. Language and Transcription
5. Diatonic Harmony
6. Genres and Repertoire
7. Play!
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 2

THE PRACTICE Module 2: Fretboard
Knowledge,
ACCELERATOR Visualization &
PROGRAM Application
Scott
WITH
In this Module we are going to explore the

Devine fingerboard in a new way.

We will cover essential arpeggio fingerings
and applications, continuous arpeggio
exercises, walking bass lines and bass line
creation.
 LESSON 1 - MODULE 2

Essential Arpeggio Fingerings

In this part of the lesson we are going to learn all the chords derived from the
major scale (also known as diatonic chords), specifically from C major.

C D E F G A B
Maj7 m7 m7 Maj7 Dom7 m7 m7(b5)
Each chord type (major, minor, dominant and half-diminished) has 3 different
fingering patterns, resulting in 12 different shapes that we need to learn.

In the following exercises we will focus on the main notes of each chord, also
known as Chord Tones (CT). They give each chord their signature sound and are
constructed by the root note (R), the third (3), fifth (5) and seventh (7).

Exercise 1 - First finger position

C Major 7 - Chord Tones (07:20)
? 4 .. œ œ œ œ œ œ
4 œ œ ..

CT: R 3 5 7 R 7 5 3
Fingering: 1 4 2 1 2 1 2 4
T . 4 5 4 .
A 5 5
B . 3 7 7 .
C Dominant 7 - Chord Tones (08:47)
? 4 .. œ œ bœ œ bœ œ
4 œ œ ..

CT: R 3 5 b7 R b7 5 3
Fingering: 1 4 2 1 4 1 2 4
T . 5
3 5 3
5
.
A . 3 7 7 .
B
 LESSON 1 - MODULE 2

C Minor 7 - Chord Tones (09:50)

? 4 .. œ œ bœ œ bœ œ
4 bœ bœ ..

CT: R B3 5 B7 R B7 5 B3
Fingering: 1 4 3 1 4 1 3 4
T . 5
3 5 3
5
.
A . 3 6 6 .
B

C Minor 7 b5 (half-diminished) - Chord Tones (11:28)

? 4 .. œ bœ bœ œ bœ bœ
4 bœ bœ ..

CT: R B3 b5 B7 R B7 B5 B3
Fingering: 1 4 2 1 4 1 2 4
T . 4
3 5 3
4
.
A . 3 6 6 .
B

Exercise 2 - Second finger position

C Major 7 - Chord Tones (13:18)
? 4 .. œ œ œ œ œ œ
4 œ œ ..

CT: R 3 5 7 R 7 5 3
Fingering: 2 1 4 3 4 3 4 1
T . 9 10 9
.
A . 7 10 10 7 .
B 8
 LESSON 1 - MODULE 2

C Dominant 7 - Chord Tones (14:09)

? 4 .. œ œ bœ œ bœ œ
4 œ œ ..

CT: R 3 5 B7 R B7 5 3
Fingering: 2 1 4 2 4 2 4 1
T . 8 10 8
.
A . 7 10 10 7 .
B 8

C Minor 7 - Chord Tones (14:29)

? 4 .. œ œ bœ œ bœ œ
4 bœ bœ ..

CT: R B3 5 B7 R B7 5 B3
Fingering: 2 1 4 2 4 2 4 1
T . 8 10 8
.
A . 6 10 10 6 .
B 8

C Minor 7 b5 (half-diminished) - Chord Tones (15:03)

? 4 .. œ bœ bœ œ bœ bœ
4 bœ bœ ..

CT: R B3 b5 B7 R B7 B5 B3
Fingering: 3* 1 4 3 4 3 4 1
T . 8 10 8
.
A . 6 9 9 6 .
B 8
 LESSON 1 - MODULE 2

Exercise 3 - Fourth finger position

C Major 7 - Chord Tones (16:35)
? 4 .. œ œ œ œ œ œ
4 œ œ ..

CT: R 3 5 7 R 7 5 3
Fingering: 4 3 1 4 4 3* 1 3
T . 5 9 10 9 5
.
A . 7 7 .
B 8

C Dominant 7 - Chord Tones (17:50)

? 4 .. œ œ bœ œ bœ œ
4 œ œ ..

CT: R 3 5 B7 R B7 5 3
Fingering: 4 3 1 4 1 4 1 3
T . 5 8
5
8 5
.
A . 7 7 .
B 8

C Minor 7 - Chord Tones (18:26)

? 4 .. œ œ bœ œ bœ œ
4 bœ bœ ..

CT: R B3 5 B7 R B7 5 B3
Fingering: 4 2 1 4 1 4 1 2
T . 5 .
A 5 8 8 5
B . 6 6 .
8
 LESSON 1 - MODULE 2

C Minor 7 b5 (half-diminished) - Chord Tones (18:47)

? 4 .. œ bœ bœ œ bœ bœ
4 bœ bœ ..

CT: R B3 b5 B7 R B7 B5 B3
Fingering: 4 2 1 4 1 4 1 2
T . 4 8
5
8 4
.
A . 6 6 .
B 8
 LESSON 2 - MODULE 2

Getting Started with Arpeggio Application

In Lesson 2 we are going to take the arpeggios that we’ve learned in the past
lesson and apply them to a chord sequence. We will be working over one of the
most popular chord sequences known as the I - VI - II - V. If we play it over C major
it will look like this:
| Cmaj7 | A7 | Dmin7 | G7 |
I VI II V

One of the most common chord substitutions is making the VI chord a dominant
7 instead of the diatonic VI minor 7.

Our goal is to navigate through the chord sequence and apply the different
fingerings that correspond to each chord type.

Exercise 1 - First finger position (02:26)

C maj7 A7
˙
œ œ œ œ œ
˙
?4 .. œ œ œ # œ œ œ œ œ œ œ
4 œ

T . 5
4 5 4
5 5 7 5
A . 3 7 7 3 7 7
B 5 9 9 5

D min7 G7
œ ˙
œ œ œ
?œ œ œ œ
œ ˙
œ œ œ œ œ ..
œ œ

7
5 7 5
7 3 5 3
.
5 8 8 5
3 7
5 5
7 3
.
 LESSON 2 - MODULE 2

Exercise 2 - Second finger position (05:25)

C maj7 A7
˙
œ œ œ œ œ
˙
?4 .. œ œ œ # œ œ œ œ œ œ œ
4 œ

T . 9 10 9 5 7 5
A . 7 10 10 7 4 7 7 4
B 8 8 5 5

D min7 G7
œ ˙
œ œ œ
?œ œ œ œ
œ ˙
œ œ œ œ œ ..
œ œ

3 7
5 7 5
7 3 3 5 3
.
5 5
3
2 5 5 2
3
.

Once you feel comfortable with these fingering positions, experiment by playing
the arpeggios on different octaves.

Exercise 3 - Fourth finger position (06:16)

C maj7 A7
˙
œ œ œ œ œ
˙
?4
4 .. œ œ œ # œ œ œ œ œ œ œ
œ

T . 2
A 5 9 10 9 5 2 5 5 2
B . 7 7 4 4
8 8 5 5

D min7 G7
œ ˙
œ œ œ œ
? œ œ œ œ œ œ œ ˙
œ œ œ œ
..

7 10
7
10 7 9
7 10 12 10 7
9
.
10
8 8
10
10 10 .
 LESSON 2 - MODULE 2

Exercise 4 - Mixing the fingering positions

Variation 1: First five frets (7:00)

C maj7 A7
˙
œ œ œ œ œ
˙
?4 .. œ œ œ # œ œ œ œ œ œ œ
4 œ

T . 2 5
4 5 4
5 2 2 5
2
5 2
A . 3 3 4 4
B 5 5

D min7 G7
œ ˙
œ œ œ
?œ œ œ œ
œ ˙
œ œ œ œ œ ..
œ œ

3
2 5 7 5 2
3 3 5 3
.
5 5
3
2 5 5 2
3
.

Variation 2: Frets 3-7 (11:08)

C maj7 A7
˙
œ œ œ œ œ
˙
?4
4 .. œ œ œ # œ œ œ œ œ œ œ
œ

T . 4 5 4
A 5 5 5 7 5
B . 3 7 7 3 4 7 7 4
5 5

D min7 G7
œ ˙
œ œ œ
?œ œ œ œ
œ ˙
œ œ œ œ œ ..
œ œ

3 7
5 7 5
7 3 3 5 3
.
5 5
3 7
5 5
7 3
.
 LESSON 2 - MODULE 2

Variation 3: Frets 5-10 (7:00)

C maj7 A7
˙
œ œ œ œ œ
˙
?4 .. œ œ œ # œ œ œ œ œ œ œ
4 œ

T . 5 9
5
9 5 5 7 5
A . 7 7 3 7 7
B 8 5 9 9 5

D min7 G7
?œ œ œ œ
œ œ œ
œ ˙ œ œ œ œ œ œ œ ˙ ..
œ

7
5 7 5
7 5 9
7
5 5
.
5 8 8 5 8 8
10 7
.

Variation 4: Frets 7-12 (15:00)

œ œ œ œ #œ ˙
C maj7 A7 # œ œ
œ ˙
?4 œ œ œ œ œ
4 .. œ œ œ

A7
T . 9
A 9 10 9 7 11 7 7
B . 7 10 10 7 10 10 7
8 8 9

D min7 G7
˙
œ œ œ œ œ
œ ˙
œ œ œ œ œ œ
? œ œ œ œ ..

G7
7 10
7
10 7 9
7 10 12 10 7
9
.
10
8 8
10
10 10 .
 LESSON 2 - MODULE 2

Variation 5: Frets 8-14 (16:07)

C maj7 A7 # œ œ œ œ œ œ œ ˙
˙
?4 œ œ œ œ œ œ
4 .. œ œ œ

A7
T . 9 10 9 11
9 12 14 12 9
11
A . 10 10 12 12
B 8 12 12 8

D min7 G7
˙
œ œ œ œ œ œ
œ ˙
œ œ œ œ œ
? œ œ œ œ ..

G7
10 12 10 9 12
10 12 10
12 9
.
10
8 12 12 8
10
10 10 .

∑
 LESSON 3 - MODULE 2

Continuous Arpeggio Exercises (AKA The Ball Buster)

In Lesson 3 we are going to work on continuous arpeggio exercises. These
exercises revolutionized the way I learned my scales/arpeggios. We are going to
use the same chord progression from the previous lesson:

| Cmaj7 | A7 | Dmin7 | G7 |
C A D G
Available notes E C# F B
of each chord: G E A D
B G C F

We are going to focus on the first five frets of the neck, so practice the chord
progression by playing the lowest to the highest note possible of each chord:

Warm-up Exercise (17:48)

C maj7 A 7

?4 œ œœœ
4 .. œ œ œ œ œœœ .. .. # œ œœœœœœ ..
œœ œœ œœœ œœœ

T . 2 5
4 5 4
5 2
. . 2 5
2
5 2
.
A . 2 3 3 2 . . 4 4 .
B 0 3 3 0 0 3 5 5 3 0

D min7 G7
? .. œ œ œ œ œ .. .. œœœœœœ ..
œ œ œ œ œ
œ œ œ œ œœœ œœœ

. 3
2 5 2
3
. . 3 5
4
5 3
.
. 1 5
3 5 5 3
5 1
. . 1 3
2 5 5 2
3 1
.
 LESSON 3 - MODULE 2

Exercise 1: Second Finger Position - 8 notes (20:00)

C maj7 A7 D min7 G7
?4 œ œœœ œœœ œ œ œœœœ œ
œ œ
4 œ œ # œ œ œ œ œ œ
œœ œœœ œœœ

T 4 5 2 2 5 2
A 2 5 5 2 3 3 3
B 2 3 4 3 5 5 2 2 5
0 3 5 3 0 3 5 3 1 3

C maj7 A D min 7
G 7 7

?œ œ œ œ œœ œ œ œ œ œœœ œœœœœ
œ œ œ œ œ œ #œ œ œœ œœ œ
œ

4 5 4 2 5 2 4
5 5 2 2 5 3 3 5 5 3
3 2 4 5 3 2 5
5 3 0 3 5 5 1 3

C maj7 A7 D min7 G7
?œœ œ œ œœœ œ œœœ œœ
œ œ œ œ œ œ #œ œœ œœœ œ œœ
œœœœ

2 2 5 2
2 2 5 5 2 3 5 3
3 2 2 3 4 4 3 5 5 2 2
3 0 3 5 1 5 3 1 3

C maj7 A7 D min7 G7 C maj7

? œ œ œ œ œ œ œ œ #œ œ œ œœœœ
œ œ œ œœ w
œœœœœœ œœ œ œœ
œ

4 5 4 2 5 2 4 5
2 5 5 2 2 3 3 3 5
3 4 4 5 3 2 5
5 3 0 3 5 5 3 1 3
 LESSON 3 - MODULE 2

Exercise 2: Second finger Position - 4 notes (24:20)

C maj7 G A7 C maj A D min7
D min G 7 7 7 7 7

?4 œ
4 œ œ # œ œœœ œœœœ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
œœ œœœ œ

T 2 5 2 2
A 2 5 3 2 5 5 2 3 5
B 2 3 4 5 2 2 3 4 3 2 5
0 3 3 1 3 5 1 5

C maj7
A 7
D min7 G7 C maj7 A7 D min7 G 7
C maj7
? œ œ œ œœ œ œœœ œ œ
œ œœœ
œ
#œ œœ œœœœ œ œ œ œ œ #œ œ
œ
œ w

4 5 4 4 2 5 4
5 2 3 5 5 2 3 5 3
4 3 5 3 2 4 5 5 3
5 3 1 5 3 0 3 5

Exercise 3: First Finger Position - Frets 3-7 (29:30)

C maj7 A D min œ 7
G 7 7

?4 œ œ œ œ œœ œ œ œ œ œ œ œ œ œœœ
4 œ œ #œ œ œ œ œ œ œœœ œœ
œ

T 4 5 4 5 7 5 4 7 4
A 5 5 5 7 7 3 3 5
B 3 7 7 4 4 7 5 3 5
5 3 5 5 3 7

C maj7 œ A7
G C maj D min7 7 7

? œœœ # œ
œœ œœœ
#œ œ œ œ œ
œ œ œ œ œœœ œ œ ˙.
œœœœœ œœœœ

6 5 7 5
5 5 7 7 5 3 7 7 5 3 3 5
7 3 3 7 7 4 3 5 5 5 3
7 3 7 5 7 3 7
 LESSON 3 - MODULE 2

Exercise 4: Fourth finger Position - Frets 5-9 (31:20)

œ œ
? 4 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
4 œ œ

T 5 6 7 5 7
A 5 9 9 5 5 7 7 5 9 9 5
B 7 7 7 8 5 5 8 8
7 8 9 5 9 8 5 8

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

5 6 5 7 5 7 5
5 9 7 5 7 7 5 9 9 5 5 9
7 7 7 7 8 8 5 5 8 7 7
8 7 8 9 5 9 7 8 7 8

œ œ œœ œœœ
œœœœ˙
#œ œ œ œ œ œ
? œ #œ œ œ œ œ œ œ œœ œ

6 5 7 5 7
7 5 7 7 5 9 9 5
7 7 8 8 5 5 8 7 5
9 5 9 7 8 7 8

You can explore different fingering positions, fretboard areas and chord
progressions elevate the difÏculty of these exercises.
 LESSON 4 - MODULE 2
Walking Bass Lines Application
In Lesson 4 we are going to use walking bass lines as a tool to learn and visualize
the fretboard. We will use the same chord sequence as the previous lessons and
gradually increase the complexity of our lines.

| Cmaj7 | A7 | Dmin7 | G7 |
Exercise 1: Roots & 5ths (05:00)
ã120
C maj7 A7 D min7 G7
?4 ˙
˙ ˙ ˙ ˙ ˙
4 ˙ ˙

T 2
A 3 5 5
B 3 5 5 3
C maj7 A7 D min7 G7
?˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

2 2
5 2 5
3 5 5

C maj7 A7 D min7 G7
?˙
˙ ˙ ˙ ˙ œ œ œ œ
˙ œ. J

2 5
3 5 5 5
3 5 5 3 3
7 7 7 7
C maj A D min G
?˙ ˙ ˙ ˙ ˙ ˙
˙ œ œ

2
5 2 5
3 5 5
5 3
 LESSON 4 - MODULE 2

Exercise 2: Roots & 3rds (11:05)

ã120

˙
C maj7 A7 D min7 G7
? 4 .. ˙ ˙ #˙ ˙ ˙ ˙
4 ˙

T . 2
A 2 3 5
B . 3 4 5 2

C maj7 A7 D min7 G7
˙
?˙
˙ #˙ ˙ ˙
˙ ˙

4
3 4 5
0 5 1 3

? ˙
C maj7 A7 D min7 G7
˙ ˙ #˙ ˙ ˙
˙ ˙

5
2
4 5 2
5 1 3

˙
C maj7 A7 D min7 G7
˙ ˙
œ œ #œ ˙ ˙
3
?œ
˙ #˙ ..

4 .
1 2 3 5
3 3 5 4 5 .
5
 LESSON 4 - MODULE 2

Exercise 3: Roots - 3rd | 3rd - Root (15:14)

ã120

˙
C maj7 A7 D min7 G7
˙ ˙ ˙ ˙
? 4 .. ˙
4 #˙ ˙

T . 2 4
A 2 3 5
B . 3 4 5

C maj7 A7 D min7 G7
?˙ #˙ ˙ ˙ ˙ ˙
˙ ˙

3 4 5 2
0 5 1 3

˙
7 7 7 7
C maj A D min G
?˙ ˙ ˙ ˙ ˙
#˙
˙

2 4
3 5
3 4 5
0

? ˙ #˙
C maj7 A7 D min7 G7
˙ ˙ ˙
˙ ˙
œ œ
œ
..

5 6 2 .
2 3 5
5 2 5 .
3
 LESSON 4 - MODULE 2

Exercise 4: Root - 3rd - 5th (18:35)

ã120
C maj7 A7 D min7 G7
? 4 .. œ œ œ Œ œ Œ œ œ
œ Œ
œ Œ
4 œ #œ œ œ

T . 2
A 2 5 2 3
B . 3 4 5 2 5
5 3
C maj7 A7 D min7 G7
?œ œ œ Œ œ œ œ
œ #œ Œ œ Œ œ œ œ Œ

2
2 5 2 3
3 4 5 2 5
5 3
C maj7 A7 D min7 G7
? œ œ œ Œ œ
#œ œ Œ œ Œ œ œ Œ
œ œ œ

5 2
2 5 2 5
4 5 2 5
1 5
C maj7 A7 D min7 G7
?œ œ œ Œ œ œ œ œ
#œ œ Œ œ œ Œ œ œ œ œ œ ..

2 2 .
2 5 2 3 5 5
3 4 5 2 5 2 .
3 5
 LESSON 4 - MODULE 2
Exercise 5: Root - 3rd - 5th - Chromatic Approach Note
Variation 1: Chromatic note below (20:25)

ã120
C maj7 A7 D min7 G7
? 4 .. œ œ œ # œ œ
#œ œ œ œ œ
œ #œ œ
4 œ œ œ

T . 1 2 2
A 2 5 2 3 4 5
B . 3 4 4 5 2 5 2

C maj7 A7 D min7 G7
?œ œ œ œ ..
œ œ #œ œ #œ œ œ œ #œ œ œ œ

2
.
3 4 4 5 2 5 2 .
0 3 4 5 1 5 2 3
 LESSON 4 - MODULE 2
Exercise 5: Root - 3rd - 5th - Chromatic
Variation 2: Chromatic note below and above (24:33)

ã120
C maj7 A7 D min7 G7
? 4 .. œ œ œ #œ œ
#œ œ bœ œ œ œ bœ w
4

T . 1 2 2 1 0
A 2 5 2 1 0 3
B . 3 4

C maj7 A7 D min7 G7
?œ œ bœ œ œ bœ œ
œ #œ œ #œ œ œ œ bœ
œ

2 1 0
2 1 0 3
3 4 2 5 4
0 3 4 5

C maj7 A7 D min7 G7
?œ œ bœ œ œ œ bœ œ œ
œ œ bœ œ #œ œ œ

3 7 6 5
3 4 7 6 5 2 5 2
0 3 6 5

C maj7 A7 D min7 G7
?œ œ œ #œ œ œ œ œ bœ ..
#œ œ œ œ bœ œ œ

1 2 .
2 5 2
3 4 4 5 2 5 4 .
1 5 4 3
 LESSON 5 - MODULE 2
Bass Line Creation Application
In Lesson 5 we are going to apply what we’ve learned so far into bass line
creation. Spend time experimenting with these exercises and remember to clap
the rhythms to internalize the time.

| Cmaj7 | A7 | Dmin7 | G7 |

Exercise 1: Roots (01:48)

C maj7 A7 D min G7 C maj7 A7 D min7 G7
? 4 .. œ œ ‰ ≈ r Ó œ . ≈ œr Œ œ œ ‰ œ œ ‰ ≈ œr ‰ ≈ Rœ Œ ≈œœ ≈œ ≈œ ‰ œ œœ
4 œ

T . 5 5
2
5 5 5
A
B . 3 3
5
5
3
3 3
5
5 5 5
3

C maj7 A7 D min7 G7 C maj7 A7 D min7 G7

œ
? œ . œ œ Œ ‰ . r œ œ . ≈ œ ≈ ‰ . r œ œ œ ‰ . r ‰ . Rœ Œ
œ œ œ œ œ. œ ≈ œ œ ≈ œ . . œ œ . ..
J œ œ

5
5
2
5
.
3 3 3
5 5
3 5 5
3 3 3
3 3
5
5 5 5
3 3 3
.

Box Shape and Extended Box Shape - I VI II V (24:33)

? 4 .. œ .. .. œ œ œ ..
4 œ œ œ œ

T . . . 7 5
.
A . 3 5 . . 3 5 .
B 5 3
 LESSON 5 - MODULE 2
Exercise 2: Root - 5th
C maj7 A7 D min G7 C maj7 A7 D min7 G7
œ
? 4 .. œ œ ≈ œ Ó ≈ œ œ œ ‰ œ œ œj ‰ ‰ œ œ œ œ ≈ œ œ œ Œ ≈ œ œ œ œ œ . œ ≈ œ œ œ
4 œ œ

T . 5
2 5 2 5
A
B . 3 3 3
5 5
5
5
5
3
5 3 3
3
3
5 5
5 5
5 3 3
5
3

C maj7 A7 D min7 G7 C maj7 A7 D min7 G7

œœ
?œ œœ Ó ≈ œ œ œ œ œ Œ ≈ œ œ œj ‰ ‰ ≈ œr ‰ ≈ œ Œ œ ≈ œ ≈ œ œ œ œ œ œ œ ..
œ R œ œ

5
5 5 5 2
2
5 5
.
3 3
5
5 5
5
5 5
3
3
5
5 5
5
5
3
5
3
3 .
 LESSON 5 - MODULE 2
Exercise 3: Root - 5th - Chromatic
Variation 1: Four chromatic notes from below to the root (10:00)

C maj7 A7 D min7 G7
?4 ≈
4 œ # œ œ .. œ œ ≈ # œ œ # œ œ œ ≈ œ œ # œ œ œ ≈ œ œ # œ œ œ ≈ œ # œ œ
œ

T . 2 3 4 5
A 0 1 2 . 3 3 2 3 4 5 5 5 0 1 2
B 2 3 4 5 5 3

C maj7 A7 D min7 G7
? œ œ ≈ #œ œ #œ œ ≈ œ ≈ ≈ œ œ #œ œ œ ≈ œ œ #œ œ œ .
œ œ œ #œ œ .

4 5 6 7 2 3 4 5
.
3 3 7 2 3 4 5 5 5
3
0 1 2 .

Variation 2: Three chromatic notes from below to the root (11:25)

C maj7 A7 D min7 G7
œ #œ œ œ ≈ ≈
œ œ #œ œ œ ≈ œ ≈ #œ œ œ ‰ #œ œ
?4 ‰ .
. œ œ ‰
4 #œ œ

T . 5 6 7
A 1 2 . 3 3 7 3 4 5 5 1 2
B 5 1 2 3 3

C maj7 A7 D min7 G7
?œ œ ≈ ≈ œ ≈ œ ≈ œ ≈ #œ œ œ ‰ ≈ œ œ ..
œ #œ œ œ #œ œ œ œ

2
2
3
.
3 3
3 4 5
3 4 5 5
1 2 3 3
5
3
.
 LESSON 5 - MODULE 2
Exercise 3: Root - 5th - Chromatic
Variation 3: Three chromatic notes from above to the root (12:05)

C maj7 A7 D min7 G7
? 4 ‰ œ b œ .. œ œ ≈ œ œ bœ œ ‰. Œ ≈ œ bœ ≈ œ œ
4 bœ œ Œ. R œ œ

T . 3
A
B 5 4 . 3 3
7 6 5
7 6 5
5 4 3
5
3

C maj7 A7 D min7 G7
≈ œ #œ Œ. ≈ œ œ ≈ œ
?œ œ œ bœ œ ‰. bœ
œ Œ œ
R œ

5 6 7 7 6 5
3 3 7 6 5 5 5
3

C maj7 A7 D min7 G7
?œ œ ≈ œ ≈ ≈ bœ œ ‰. ≈ œ bœ œ ≈ œ ≈ œ ≈ œ œ œ
œ bœ œ ‰. R œ R

5
3 3 7 6 5 2 5 5
7 6 5 5 5 4 3 3

C maj7 A7 D min7 œ bœ œ G7
?œ œ ≈ . œ bœ œ œ
œ œ ≈ œ œ ≈ œ œ œ ..
bœ
œ #œ œ Œ

9 8 7
7 7 6 5
.
3 3
3 4 5
7 6 5 5 5 5
3
5 .
 LESSON 5 - MODULE 2
Exercise 4: Root - 3rd - 5th - Chromatic (22:05)
C maj7 A7 D min7 G7
œ # œ œ œ # œ œ ≈ œ œ # œ ≈ œJ œ œ œ œ # œ œ ≈ œj . Œ
? 4 .. œ .
4

T . 5 6 7
2
3 4 5
A . 3 5 6 7 2 3 4 5 5 5
B 3

C maj7 A7 D min7 G7
œ #œ œ œ #œ ≈ œ œ #œ ≈ œ ≈ œ œ œ œ œ œ Œ ≈œœ
?œ œ
œ œ

5 6 7 7 3
3 5 6 7 2 3 4 4 5 5 3 5 5
5 3 3

C maj7 A7 D min7 G7
œ #œ œ œ #œ ≈ œ œ #œ ≈ ≈ œ œ œ œ
?œ œ œ
Ó
œ œ #œ œ

2
5 6 7
3 5 6 7 2 3 4 4 5 5 3
1 0 2 3

C maj7 A7 D min7 G7
? œ œ #œ œ œ bœ œ ≈ œ bœ œ
œ œ œ œ œ œ #œ œ ≈ ≈
œ œ œ œ ..
œ œ

9 8 7 7 3 3 3
.
3 5 6 7
5
6
5
6 5
0 1 0 2 3
5
3
.
 LESSON 5 - MODULE 2

Exercise 5: Root - 3rd - 5th - 7th - Chromatic (27:00)

Best ways to apply the chromatic approach notes by chord type:

| Cmaj7 | A7 | Dmin7 | G7 |

Chromatic to: Chromatic to: Chromatic to: Chromatic to:

• Root • Root • Root • Root
• Third • Third (up) • Third (down) • Third (up)
• Fifth • Fifth • Fifth • Fifth
• Seventh • Seventh • Seventh
 Appendix - MODULE 2

In this section you’ll find some recommended jazz standards that you can use to
apply the exercises we’ve worked on in this module. They are grouped in three
levels. So select one, pick a tune and start applying everything you’ve learned
throughout Module 2.

Level 1 (I’m just starting out with these exercises)

Tune Up
Miles Davis

E min7 A7 D maj7
? bb b 4 .. ’ ’ ’ ’
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
D min7 G7 C maj7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b
C min7 F7 B maj7 G min7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
1.
7 b
E min F7 B maj7 A7
? bb
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
2.

E min7 A7 D maj7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
 Appendix - MODULE 2

AUTUMN LEAVES
Johnny Mercer
b b
C min7 F7 B maj7 E maj7
? b 4 .. ’ ’ ’ ’
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
A `7 D 7( 13) G min6
? b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
b
A |7 D 7( 13) G min6
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
C min7 F7 B maj7 E maj7
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b7
A min7 ( 5) D 7( 13) G min G F min7 E7
? b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
A min7 ( 5) D 7( 13) G min6
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 Appendix - MODULE 2

BLUE BOSSA
Kenny Dorham

C min7 F min7
? bb 4
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
D |7 G 7( 9) C min7
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b b7 b
E min7 A D maj7
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b b b b
D min7 ( 5) G 7( 9) C min7 D min7 ( 5) G 7( 9)
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
 Appendix - MODULE 2
Level 2 (I’m a bit more experienced)

ALL THE THINGS YOU ARE

Hammerstein & Kern
b b7 b
F min7 B min7 E A maj7
? bb 4
bb 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
D maj7 D min7 G7 C maj7
? bb b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b
C min7 F min7 B E maj7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b
A maj7 A min7 D7 G maj7
? bb b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A min7 D7 G maj7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
# b b b
F min7 ( 5) B 7( 9) E maj7 C 7( 13)
? bb ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7 b
F min7 B min7 E A maj7
? bb b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
D maj7 D min (maj7) C min7 B `7
? bb
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7 b b b
B min7 E A maj7 G min7 ( 5) C 7( 9)
? bb
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 Appendix - MODULE 2

THERE WILL NEVER BE ANOTHER YOU

Warren / Gordon
b b b
E maj7 D min7 ( 5) G 7( 9)
? b 4
bb 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7
C min7 B min7 E
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7(#11) b
A maj7 D E maj7 C min7
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7
F7 F min7 B
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b
E maj7 D min7 ( 5) G 7( 9)
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7
C min7 B min7 E
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7(#11) b b
A maj7 D E maj7 A min7 ( 5) D7
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7 b7 b b7
E maj7 A G min7 C7 F min7 B E maj6 B
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 Appendix - MODULE 2

THE DAYS OF WINE AND ROSES

H. Mancini
b7(#11) b
F maj7 E A min7 D 7( 9)
? 4
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
G min7 E maj9
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A min7 D min7 G min7 G min7/F

? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
E min7 ( 5) A 7( 9) D min7 G7 G min7 C7
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7(#11) b
F maj7 E A min7 D 7( 9)
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
G min7 E maj9
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
A min7 D min7 D min7/C B min7 ( 5) E 7( 9)
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
A min7 D min7 G min7 C7 F6 G min7 C7
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 Practice progression package

BEAUTIFUL LOVE
Victor Young
b b
E min7 ( 5) A 7( 9) D min7 (D7)
?b 4 .. ’ ’ ’ ’
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
G min7 C7 F maj7 E min7 ( 5) A 7( 9)
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
1.
b7 b
D min G min7 B A 7( 9)
?b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
D min G 7(#11) E min7 ( 5) A 7( 9)
?b
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
2.
b7 b
D min G min7 B A 7( 9)
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b7(#11) b
D min B7 B A 7( 9) D min
?b ’ ’ ’ ’
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 Appendix - MODULE 2
Level 3 (bring it on... I’m ready for this crazy challenge)

STELLA BY STARLIGHT
Victor Young
b b
E min7 ( 5) A 7( 9) C min7 F7
? b 4
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b b7
F min7 B E maj7 A
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b b b7
B maj7 E min7 ( 5) A 7( 9) D min7 B min7 E
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b
F maj7 E min7 ( 5) E maj7 (#11) D 7( 9)
? bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
G 7( 13) C min7
? bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7(#11) b
A B maj7
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b b
E min7 ( 5) A 7( 9) D min7 ( 5) G 7( 9)
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b
C min7 ( 5) F 7( 9) B maj7
? bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 Appendix - MODULE 2
GIANT STEPS
J. Coltrane
b7 b
B maj7 D7 G maj7 B E maj7 A min7 D7
?4
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b7 b #7 b7
G maj7 B E maj7 F B maj7 F min7 B
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b # #7
E maj7 A min7 D7 G maj7 C min7 F
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b7 b # #7
B maj7 F min7 B E maj7 C min7 F
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

COUNTDOWN
J. Coltrane
b b7 b
E min7 F7 B maj7 D G maj7 A7 D maj7
?4
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b
D min7 E A maj7 B7 E maj7 G7 C maj7
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b b
C min7 D G maj7 A7 D maj7 F7 B maj7
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7
E min7 F7 B maj7 E
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 2 - BONUS LESSON

 Bonus lesson - MODULE 2

The Modes
The most important scale you need to know is the Major scale. If we take a C
major scale, each note has a chord derived from it:

C D E F G A B
Maj7 m7 m7 Maj7 Dom7 m7 m7(b5)
Each chord has a perfect scale that goes with it. They’re also known as Modes or
Chord Scales and they are all derived from the Major scale:

Cmaj7 Dmin7 Emin7 Fmaj7 G7 Amin7 Bmin7(b5)

Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian
These are the notes contained in each Mode of the C Major scale. They all follow
the same secuence, but with a different starting point:

Ionian
C D E F G A B
Dorian
D E F G A B C
Phrygian
E F G A B C D
Lydian
F G A B C D E
Mixolydian
G A B C D E F
Aeolian
A B C D E F G
Locrian
B C D E F G A
 Bonus lesson - MODULE 2

Continious Scale Exercise

Choose a series of random major chords, select an area of the neck that you’ll be
working on (in our case it will be within the first five frets) and play the major scale
that corresponds to each chord. Follow the same direction and shift every 8
notes.
Variation 1: 8 notes per chord (29:07)
b
C maj7 A maj7 F maj7 B maj7
? 4 œ œ œ œ œ œ œ œ bœ bœ œ œ bœ bœ œ bœ # œ œ # œ # œ #œ œ
4 œ œ œ œ œ œ œ bœ œ #œ

T 2 4 5 3 1 1 3 4
A 2 3 5 5 3 1 1 2 4
B 3 5 4 3 1 0 0 1 2 4
3 1 0 1 3

b b
D maj7 G maj7 A maj7 B maj7
? œ œ #œ œ œ #œ b œ œ # œ # œ œ œ œ œ œ œ bœ œ
œ œ bœ bœ œ œ œ bœ bœ œ œ bœ œ œ

2 1 2 4 2 1 0
5 4 2 2 4 3 1 0
5 4 2 1 2 4 5 3 1 0
5 4 2 1 2 4 3

b b
E maj7 G maj7 D maj7 E maj7
? œ # œ œ œ œ œ œ œ bœ bœ œ bœ
#œ # œ bœ œ bœ bœ bœ œ bœ bœ œ œ bœ
#œ œ œ #œ œ œ œ

2 4 5 4 2 1
1 2 4 5 4 3 1 0 1
0 2 4 4 3 1 1 3
2 0 2 4 4 2 1 2 4
 Bonus lesson - MODULE 2

Variation 2: 4 notes per chord (42:33)

b b
C maj7 A maj7 F maj7 B maj7 D maj7 G maj7
œ bœ œ œ
? 4 œ œ œ œ œ bœ bœ œ œ #œ #œ œ
4 œ œ #œ œ bœ bœ bœ bœ

T 0 1 3 5 3 2
A 2 3 5 3 2 1
B 3 5 4 2 1 2 4
5 3 2 3 4

b b b
A maj7 B maj7 E maj7 G maj7 D maj7 E maj7
? œ œ #œ #œ œ bœ bœ nœ #œ œ #œ #œ nœ
œ œ œ bœ œ œ bœ bœ œ œ bœ
*played different
on video
1 2 3 1 0
2 4 4 2 1 1
5 4 3 2 1 3 5
5 3 2 1 2 4
 Bonus lesson - MODULE 2

Modes Exercise
In this exercise we will work on the Modes in a different way. We will change the
mode throughout the exercise but each mode will maintain the same root (in this
case E). Work on each Mode in (at least) two different fingerings.
E Ionian
Major 3rd, Major 7th
E Dorian
Minor 3rd, Minor 7th, Natural 13
E Mixolydian
Major 3rd, Minor 7th

Exercise 2: E Ionian, Dorian and Mixolidyan (46:15)

E maj7 (Ionian)
?4 ’ ’ ’ ’ ##
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

T
A
B ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
E min7 (Dorian)
? ## ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ###

’ ’ ’’ ’ ’ ’’ ’ ’ ’ ’ ’ ’ ’ ’
E 7 (Mixolydian)
? ###
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 3

THE PRACTICE Module 3: Technique
In Module 3 we are going to talk about

ACCELERATOR technique. This is an important aspect of our

bass playing because it’s the way we produce

PROGRAM sound out of our instrument.

Throughout this module we will talk about

Scott
WITH posture, fretting hand, plucking hand,
fingering systems, dynamics and

Devine
articulations.
Since this is such an important aspect of our
playing, you can spend more time on this
segment of your practice routine than the
other 6 categories.
 LESSON 1 - MODULE 3

THE FOUNDATIONS - DAILY ESSENTIALS

In Lesson 1 we are going to talk about the foundational aspects of bass
technique. Even though these exercises take time to sink in, once they are
incorporated into your technique you’ll be able to apply them on everything you
play.

Fretting hand essentials (02:07)

• Drop the wrist down so you can have a wider separation between your fingers.
This will allow you to play difÏcult bass lines more easily.
• A small gap should form on your fretting hand (from your thumb to your index)
indicating that your wrist is down.

Plucking hand essentials (06:41)

• Avoid having an extreme curvature in your wrist. This may cause serious
injuries in the future.
• Use your forearm as an anchor point to relieve some pressure on the wrist and
also gain more control over your plucking hand.
• Use your thumb as a secondary anchor point. You can rest you hand on the
tug bar, pickup or the strings.
• If you’re playing near the bridge, raise your elbow to alleviate the curvature of
your wrist.

Bass strap height (08:34)

• Your bass height has to be such that your bass is in the same position while
standing up and sitting down. Having different heights causes an overall
change of posture and thus a change in your technique.
• Your wrists are a great indicator of the correct height for you. So be mindful of
any extreme curvatures so you can avoid them.
• Maintain a 90° angle on the knees while sitting down. Avoid having your knees
raised above your hip.
 LESSON 1 - MODULE 3
Muting - Fretting and plucking hand (14:05)
Plucking Hand Muting:

• The Jaco Pastorious method: Use your ring and pinky fingers to mute your E
and A strings.
• Movable anchor: Use your thumb to mute the lower strings. Rest on the E
string while playing on the A string; rest on the A string when playing on the D
string; rest on the D string while playing on the G string.

Movable anchor exercise - C major Scale (15:37)

œ œ œ œ œ œ œ œ
?4 .. œ œ œ œ œ œ œ œ œœœœ˙ ..
4 .

T . 7 9 10 9 7 .
A 7 9 10 10 9 7
B . 7 8 10 10 8 7 .
8 10 10 8

• Floating thumb: Your thumb glides across the strings as a muting device.
You’re not anchoring on the strings. You’re using the left side of your thumb to
dampen the lowers strings.

Fretting Hand Muting:

• Index finger muting: Use the left side of your index finger to dampen the
higher strings.
• Middle/ring finger muting: You can use you index and middle fingers to mute
the lower strings.
• Using these techniques in conjunction can produce a muted bass tone
(similar to adding foam beneath the strings on the bridge).
 LESSON 1 - MODULE 3
Rest Stroke - Free Stroke (24:00)
• Rest stroke: When you pluck a note, your finger moves through the string to
rest on the string beneath it. If you’re playing the E string, then your finger
rests on your thumb. I recommend having this method as your primary
stroke.
• Free stroke: When you pluck a note, your finger doesn’t rest on the string
above or the thumb. It moves into thin air.

Rest/Free Stroke Exercise: C major Scale (28:17)

œ œ œ œ œ œ œ œ
?4 .. œ œ œ œ œ œ œ œ œœœœ˙ ..
4 .

T . 7 9 10 9 7 .
A 7 9 10 10 9 7
B . 7 8 10 10 8 7 .
8 10 10 8

Practice Posture (29:15)

• A Drum stool can be a great seat for practice.
• Remember to have a straight back and maintain a 90° angle at the knees.
• Avoid having your knees above the level of your hips.

Practice these foundational exercises daily until you feel comfortable with them.
 LESSON 2 - MODULE 3

FINGERING SYSTEMS - DAILY ESSENTIALS

In Lesson 2 we are going to talk about different fingering systems and when to
apply them. It’s through observation and experimentation that you discover
which system to use on a particular bass line.

One finger per fret system

The one finger per fret system consists of assigning each finger to a particular
fre. A great example of how this system can be applied is the major scale:

Exercise 1: C major scale (03:50)

?4 œ œ œ œ œ œ
4 œ œ

2 4 1 2 4 1 3 4
T 7 9 10
A 7 8 10
B 8 10

Fretting finger

? œ œ œ œ œ œ œ œ

4 3 1 4 2 1 4 2
10 9 7
10 8 7
10 8
 LESSON 2 - MODULE 3
The 4 + 2 System (03:50)
The 4+2 system is an extension of the one finger per fret system and it allows you
to expand the range of available notes without changing your hand position.

It uses the same fingering as Exercise 1, but we use our index finger to expand
the pattern while ascending and the pinky to expand the pattern while
descending. We will use this system over a C major scale:

Exercise 2: 4+2 system

œ œ #œ œ œ œ œ œ
?4 œ œ #œ œ œ œ #œ œ
4

T 6 7 9 10 9 7
A 6 7 9 10
B 6 7 8 10
8 10

bœ œ œ œ bœ œ
? œ œ bœ œ œ Ó

11 10 9 7
11 10 8 7
11 10 8
 LESSON 2 - MODULE 3
The Box System (08:40)
The box systems primarily uses the index and pinky fingers to play bass lines. It is
one of the most common systems used for groove playing.

In Exercise 3 we will play an A minor pentatonic scale using this system:

Exercise 3: A minor pentatonic scale

œ œ œ œ œ œ œ
? 4 .. œ œ
4 œ œ œ œ œ œ œ ..

4 1 4* 4 1 4 1 4* 4 1 1* 4 1 4 1 1*
T . 5 7 9 7 5 .
A 5 7 7 5
B . 3 5 7 7 5 3 .
5
Pinky shift Index shift

If I have to play 3 notes within the box system I use index, middle and pinky
fingers as my default choices.

Two songs that you can apply this technique over are “Lady Marmalade” by
LaBelle and “I Want You Back” by the Jackson 5.
 LESSON 2 - MODULE 3
Primary Shifting Fingers
Using primary shifting fingers is a great systematic way of navigating the
fretboard. We will use our index and pinky finger to shift within our bass lines,
scales or grooves.

In Exercise 4 we will play an A minor pentatonic scale. Every time you play with
your index finger you’re going to shift (with the same finger) to the next available
note:

Exercise 4: A major scale using index for shifting (13:30)

œ œ œ œ
4 œ œ œ
? ###
4 .. œ œ œ œ œ œ œ œ

2 4 1* 1 2 4 1* 1 2 4 1* 1 2 4* 4
T . 6 7 9 11
7 9 11 13 14
A . 4 5 7 9
B 5 7

œ œ œ œ œ
? ### œ œ œ œ œ œ œ
œ œ œ ..
4 3 1* 1 4 3 1* 1 4 2 1* 1 4 2 1
14 13 11 9
12 11 9 7
.
11 9 7 5
9 7 5
.
 LESSON 2 - MODULE 2

Exercise 5: A major scale using pinky for shifting (14:40)

œ œ œ œ
4 œ œ œ
? ###
4 .. œ œ œ œ œ œ œ œ

2 4* 4 1 2 4* 4 1 2 4* 4 1 2 4* 4
T . 7 9 11 12
9 11 13 14
A . 5 7 9 11
B 5 7 9

œ œ œ œ œ
? ### œ œ œ œ œ œ œ
œ œ œ ..
4* 4 2 1 4* 4 2 1 4* 4 2 1 4* 4 2
14 13 11 9
12 11 9 7
.
11 9 7 5
9 7 5
.
 LESSON 3 - MODULE 3

PLUCKING HAND - DAILY ESSENTIALS

In Lesson 3 we are going to talk about our plucking hand. We‘ll be working on
ascending and descending lines, alternate and economy plucking, how to play
large intervals and also how to play broken intervals.

Ascending linear lines

We need to be able to play with alternate fingering on our plucking hand over any
ascending linear line. In exercise 1 we will play a C major scale, so pay close
attention to your plucking hand fingering pattern and make sure you’re
alternating in a systematic way:

Exercise 1.1: C major scale I-M (01:15) I = Index

M = Middle
œ œ œ œ œ
?4 .. œ œ œ œ œ œ Ó ..
4 œ
I M I M I M I M I M I M
T . 7 9 10 .
A 7 9 10
B . 7 8 10 .
7 8 10

Exercise 1.2: C major scale M-I (02:31)

œ œ œ œ œ
?4 .. œ œ œ œ œ œ Ó ..
4 œ
M I M I M I M I M I M I
T . 7 9 10 .
A 7 9 10
B . 7 8 10 .
7 8 10
 LESSON 3 - MODULE 3

Descending linear lines

In this segment we are going to focus on descending linear lines. We are going to
work on alternate plucking and also on economy plucking. Remember it’s not
about the scale; it’s about your fingering pattern.

Exercise 2.1: Alternate plucking (06:42) I = Index

M = Middle

? 4 .. œ œ œ œ
˙
œ œ œ œ œ ..
4 œ œ œ
I M I M I M I M I M I M I
T . 5 4 2 .
A 5 3 2
B . 5 3 2 .
5 3 1 0

Exercise 2.2: Economy plucking I-M (07:48)

œ œ
˙.
œ œ œ œ
? 4 .. œ œ œ œ ..
4
I M I I M I I M I I M

T . 10 9 7 .
A 10 9 7
B . 10 8 7 .
10 8

Exercise 2.3: Economy plucking M-I (14:32)

œ œ
˙.
œ œ œ œ
?4 .. œ œ œ œ ..
4
M I M M I M M I M M I

T . 10 9 7 .
A 10 9 7
B . 10 8 7 .
10 8
 LESSON 3 - MODULE 3
Larger Intervals
In this part of Lesson 3 we are going to practice our plucking hand technique
over larger intervals, specifically arpeggios. Remember to practice the arpeggios
starting on your index and middle finger.

Exercise 3.1: C major arpeggio - economy plucking (12:58)

œ œ œ
? 4 .. œ œ œ œ œ w ..
4
I M I M I I I M M
T . 7 .
A 9 9
B . 7 10 10 7 .
8 8

Exercise 3.2: C major arpeggio - economy plucking (15:50)

œ œ œ
? 4 .. œ œ œ œ œ w ..
4
M I M I M M M I I
T . 7 .
A 9 9
B . 7 10 10 7 .
8 8
 LESSON 3 - MODULE 3
Exercise 3.3: Complete C major chord arpeggio sequence I-M (17:12)
œ œ œ œ œ œ
?4 œ œ œ œ œ œ œ œ
4 œ œ

I M I M I I I M I M I M I I I M
T 4 5 7 9
A 5 7 9 10
B 3 7 8 5 7 10 12 8

œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
? œ

I M I M I I I M I M I M I I I M
10 12 14 16
12 14 15 17
10 14 15 12 14 17 19 15

Exercise 3.4: Complete C major chord arpeggio sequence M-I (18:31)

œ œ œ œ œ œ
?4 œ œ œ œ œ œ œ œ œ œ
4
M I M I M M M I M I M I M M M I
T 4 5 7 9
A 5 7 9 10
B 3 7 8 5 7 10 12 8

œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
? œ œ

M I M I M M M I M I M I M M M I
10 12 14 16
12 14 15 17
10 14 15 12 14 17 19 15
 LESSON 3 - MODULE 3
Broken Intervals
Broken intervals are a great way of playing scales in a non-linear fashion and it
will allow you to learn new note patterns. In this exercise we will play a C major
scale in broken thirds. This exercise is tricky, so pay close attention to your
plucking hand.

Exercise 4: C major scale in broken thirds (21:49)

? 4 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
I M M I M I M I I M I M I M M I
T . 7
A 7 9 7 10 9 10 7
B . 7 8 7 10 8 10
8 10

?œ œ œ œ œ œ œ œ œ œ œ œ ..

M M I I M I M M I I M I

9 7
.
10 8 10 7 8 7 .
10 8 10 7

Experiment with different intervals such as 4ths, 5ths, 6ths and 7ths. When I’m
skipping strings I use alternate plucking. When I descend on consecutive strings I
use economy plucking.
 LESSON 4 - MODULE 3
ARTICULATIONS - DAILY ESSENTIAL
In Lesson 4 we are going to work on essential articulations. Articulations will
allow you to play a bass line in many different ways (without changing a note). We
will talk about hammer-ons, pull-offs, slides, burps and stings.

Hammer-ons
Exercise 1: Hammer-ons (04:45)
bœ nœ bœ nœ bœ nœ bœ nœ bœ œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ œ
? 4 .. .. .. .. .. ..
4

T . 8 9 8 9 8 9 8 9 . . 8 10 8 10 8 10 8 10 . . 8 11 8 11 8 11 8 11 .
A . . . . . .
B

Exercise 1.2: Hammer-ons over C major - ascending (08:37)

œ œ œ œ œ
?4 .. œ œ œ œ œ œ J ‰ Ó ..
4

T . 7 9 10
7 9 10 .
A . 7 8 10 .
B 8 10
 LESSON 4 - MODULE 3

Exercise 1.3: Hammer-ons over C major pentatonic - ascending (12:8)

œ œ œ œ
? 4 .. œ œ œ œ ..
4

T . 7 9 .
A 7 10
B . 7 10 .
8 10

Exercise 1.4: Hammer-ons over C minor pentatonic - ascending (12:58)

œ bœ œ ˙
? 4 .. œ bœ œ œ bœ
4 ..

T . 8 10
8 10 12 .
A . 8 10 .
B 8 11
 LESSON 4 - MODULE 3

Pull-offs

Exercise 2: Pull-offs (15:16)

bœ nœ bœ nœ bœ nœ bœ nœ bœ œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ œ
? 4 .. .. .. .. .. ..
4

T . 8 9 8 9 8 9 8 9 . . 8 10 8 10 8 10 8 10 . . 8 11 8 11 8 11 8 11 .
A . . . . . .
B

Exercise 2.2: Pull-offs over C major - descending (17:40)

œ œ œ œ
?4 œ œ œ œ œ j
4 .. œ œ ‰ Ó ..

T . 10 9 7 .
A 10 9 7
B . 10 8 7 .
10 8

Exercise 2.3: Ascending and descending C major scale (19:20)

œ œ œ œ œ œ œ œ
˙
œ œ
?4
4 .. œ œ œ œ œ œ œ œ œ œ ..

T . 7 9 10 9 7 .
A 7 9 10 10 9 7
B . 7 8 10 10 8 7 .
8 10 10 8
 LESSON 4 - MODULE 3
Slides
Exercise 3: G major pentatonic scale - ascending (22:38) H = Hammer-on
S = Slide
œ œ œ
? 4 .. œ œ œ œ J
4 œ œ œ œ ‰ Ó ..
H S H H S H S

T . 5 7 9
7 9 12 .
A . 5 7 .
B 3 5 7

Exercise 3.2: G major pentatonic scale - descending (24:40) P = Pull-off

S = Slide
œ œ œ
? 4 .. œ œ œ œ j
œ ..
4 œ œ œ ‰ Ó
P S P S P P S

T . 12 9 7 .
A 9 7 5
B . 7 5 .
7 5 3

Exercise 3.3: C major scale - sliding with index finger (27:54)

œ œ œ œ œ
œ œ
? 4 .. œ œ œ œ œ œ œ œ
4
S S S S

T . 10 12 14 16 17
A 9 10 12 14
B . 7 8 10 12
8 10

œ œ œ œ œ œ œ œ œ œ
? œ œ œ œ œ ..
S S S

17 16 14 12 .
15 14 12 10
14 12 10 8 .
12 10 8
 LESSON 4 - MODULE 3

Burps
In Exercise 4 I ‘m going to share with you one of my ‘most-used’ articulations
which I call the “Rasp/Burp”. There are two ways in which I produce this sound:

1. Action: Your string height has to be low (1.5 mm on the 12th fret of the E
string).
2. Attack: You have to use a strong attack that you achieve by pushing your string
down. It will produce a sound similar to slap bass.

So grab your favourite grooves and experiment with technique to get those notes
popping!

Exercise 4: D minor pentatonic scale - burps (33:30)

œ œ œ œ œ
? 4 .. œ œ œ 2 œ œ œ œ ..
4 4

T . 5 7 5 .
A 3 5 7 7 5 3
B . 5 5 3 .
 LESSON 4 - MODULE 3

Stings
In Exercise 5 we will work on a variation of the vibrato technique called the sting.
This is one of the articulations I use most regularly. You quickly slide a semitone
above the desired note. Concentrate on developing this technique on your pinky
and index finger.

Experiment by adding stings on different notes of the D minor pentatonic scale.

Exercise 5: D minor pentatonic scale - stings (38:09)

œ œ œ œ œ
? 4 .. œ œ œ 2 œ œ œ œ ..
4 4

T . 5 7 5 .
A 3 5 7 7 5 3
B . 5 5 3 .
 LESSON 4 - MODULE 3

Super Short Notes

In Exercise 6 we will focus on note length. We will start using our fretting hand as
a muting device to produce short notes. We can mute the sound of a note by
releasing the pressure on the string from our fretting hand.

Exercise 6.1: D minor pentatonic scale - super short notes (41:31)

œ œ œ œ œ
? 4 .. œ œ œ 2 œ œ œ œ ..
4 4

T . 5 7 5 .
A 3 5 7 7 5 3
B . 5 5 3 .

Exercise 6.2: Groove example (42:45)

œ. œ. œ.
?4
4 .. œ ‰ œ œ Œ œ. œ.
J ≈ Rœ œ œ œ ..
J
. . . . .
T . 7 5
7 5 3 3 5
2
3
.
A
B . 5 5 5 .
 LESSON 5 - MODULE 3
SPEED & FLUENCY - DAILY ESSENTIAL
In Lesson 5 we a going to work on speed and fluency. This is something you want
to practice every single day. We are going to cover speed bursts, large intervals
and broken intervals. Practice these exercises slowly and isolate the parts that
are giving you trouble.

Speed bursts
One of the most effective ways of developing speed is by breaking down any bass
line into small segments. Isolating small parts will allow you to identify which
aspect of your technique needs to be polished. In Exercise 1 we will use speed
bursts over a C major scale.

Exercise 1.1: Speed bursts over a C major scale - ascending (03:00)

? 4 .. 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 ‰ ..
4 œ œ J J œ

T . . . . . . . .
A . . . 7 7 . . 7 8 7 8 . . 7 8 10 7 8 10 .
B 7 8 10 7 8 10 7 8 10 7 8 10 7 8 10 7 8 10 7 8 10 7 8 10

œ
? .. œœ œœœ œ ≈ œœ œœœ œ ≈.. .. œ œ œ œ œ œ œ Ó .. .. œ œ œ œ œ œ œ œJ ‰Œ .. .. œ œ œ œ œ œ œ œ ‰Œ ..
œ œ œ œ œ

. 7 7
. . 7 9
. . 7 9 10
. . 7 9 10
7 .
. 7 810
7 810
7 810
7 810 . . 7 8 10
7 8 10 . . 7 8 10
7 8 10 . . 7 8 10
7 8 10 .

œœœ œ œ œ œ
? .. œ œ œ œ œ œ œ œ ≈Œ œ œ œ
.. .. œ œ œ œ œ Œ ..

. 7 9 10
7 9 . . 7 9 10
7 9 10 .
. 7 8 10
7 8 10 . . 7 8 10
7 8 10 .
 LESSON 5 - MODULE 3
Exercise 1.2: Speed bursts over a C major scale - descending (10:21)
œœœ œœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
?4 œ œ œœ œœ
4 .. Œ Œ .. .. Œ Œ .. .. J‰ J‰.. .. ‰ ‰..

T . 10 9 7 10 9 7 . . 10 9 7
10
10 9 7
10
. . 10 9 7 10 9 10 9 7
10 9
. . 10 9 7 109 7 10 9 7
109 7
.
A . . . . . . . .
B

œœœœ œ œœœœ œœœœ œœœœ

œœœ œ œ œ œœœ
≈ ≈.. ..
? .. œœœ œ œ œœ œ œ œ œœ œ œ
Ó .. .. J ‰Œ .. .. œŒ ..

. 10 9 7 109 7 10 9 7 109 7 . . 10 9 7
10 9 7
. . 10 9 7
10 9 7
. . 10 9 7
10 9 7
.
. 10 10 . . 108 . . 108 7 . . 108 7
10
.

œœœœœ œœœœœ
? .. œœœœœ ≈Œ .. .. œœœœœ ..
œ œœŒ

. 10 9 7
10 9 7
. . 10 9 7
10 9 7
.
. 10 8 7
10 8
. . 10 8 7
10 8 7
.
 LESSON 5 - MODULE 3
Large Intervals
Playing large intervals is different than playing linear lines. That’s why we also
need to spend time practicing arpeggiated lines as a separate subject.
In Exercise 2 we will arpeggiate all the chords in the key of C Major. Remember to
isolate each arpeggio and fine tune each aspect of your technique that is holding
you back.

Exercise 2.1: Complete C major chord arpeggio sequence (12:00)

œ œ œ œ œ œ
?4 œ œ œ œ œ œ œ œ œ
4 œ

T 4 5 7 9
A 5 7 9 10
B 3 7 8 5 7 10 12 8

œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
? œ œ

10 12 14 16
12 14 15 17
10 14 15 12 14 17 19 15

In Exercise 4.2 we will work on a C major 7 (#11) arpeggio. Remember to isolate

each segment of the bass line as we did in Exercise 1.

Exercise 2.2: C major 7 (#11) arpeggio (13,42)

œ œ œ œ œ
?# 4 .. œ œ œ
œ œ œ œ œ œ œ œ .
4 .

T . 9 12
11
12
9
10 10 9
.
A . 10 12 9 12 10 .
B 8 12 12
 LESSON 5 - MODULE 3

Broken Intervals
For this segment we are going to revisit the C major scale in broken thirds
presented in Lesson 3, Exercise 4 of this Module. This a daily exercise.

Exercise 3: C major scale in broken thirds (21:49)

? 4 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4

T . 7
A 7 9 7 10 9 10 7
B . 7 8 7 10 8 10
8 10

?œ œ œ œ œ œ œ œ œ œ œ œ ..

9 7
.
10 8 10 7 8 7 .
10 8 10 7
 LESSON 6 - MODULE 3
DYNAMICS
In Lesson we a going to work on one of my favourite teaching subjects: dynamics.
It’s a crucial aspect of our technique that gets easily overlooked.

I’m going to share with you a couple of warm-up exercises using groupings of 3, 4
and 5 notes. We will apply these groupings over a major scale and we will also
work on volume manipulation.

Warm-up Exercises
Spend time working on each individual grouping and then you can start
switching between them. If you’re having trouble playing any of the groupings,
clapping the rhythms will help internalize the beat. You can also use words like
hamburger (3 syllables) or university (5 syllables) to practice the groupings.

Warm-up exercises: Accenting over different groupings (03:00)

No accent Triplet (3 note grouping)

? 4 .. 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 ..

4 3 3 3 3
1 e & a Ham-bur-ger

T . 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
. . >7 7 7
>
7 7 7
>
7 7 7
>
7 7 7
.
A . . . .
B

Quintuplet (5 note grouping) Quintuplet with 2 accents

> > > > > > > > > > > >
? .. 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 ..
5 5 5 5 5 5 5 5
U-ni-ver-si-ty U-ni-VER-si-ty

. >7 7 > >

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
> . . >7 7 >7 7 7 >7 7 >7 7 7 >7 7 >7 7 7 >7 7 >7 7 7 .
. . . .
 LESSON 6 - MODULE 3

Exercise 1
In Exercise 1 we are going to accent different notes from a C major scale. Once
you can accent the first beat of each grouping, you can move the accented beat
to a different subdivision to increase the difÏculty.

Variation 1: C major scale - groupings of 4 notes (6:48)

> œ œ >œ œ œ œ >œ œ œ
?5 >
.. œ œ œ œ œ œ œ >œ œ œ œ .
4 .

> >
T .> >
7 9 10
7 9 10 9 7
10 9 7
> .
A .8 7 8 10 10 8 7 .
B 10 10

Variation 2: C major scale - groupings of 3 notes (7:32)

> œ œ >œ œ œ >œ œ œ >
?4 > > œ œ œ œ œ >œ œ >œ œ œ
4 .. œ œ œ œ œ œ
3 3 3 3 3
3 3 3

> >
T .> >
7
>
9 10
7 9 10 9 7
10 9
>
7
> >
A .8 7 8 10 10 8 7 7 8
B 10 10 8 10

> œ >
œ œ œ >œ œ œ >œ œ œ > 3
> > œ œ >œ œ œ >œ œ œ >œ
œ œ >œ œ .
? œœ œœœœœœœœœœ œ.
3 3 3 3 3
> 3 3 3 3 3
3

> > > > > > > > >7 > > >
7 9 10 9 7 9 10 9 7 .
7 9 10 10 9 7 7 9 10 10 9 7
10 10 8 7 7 8 10 10 8 7 .
10 8 10 10
 LESSON 6 - MODULE 3

Exercise 2
Being able to manipulate your volume output with your hands is a great skill to
learn. There might be situations that require you to lower (or raise) your volume
without touching your amp volume.

We will start playing a C major scale at a ‘quiet’ volume level and gradually
increase it during the ascending part (‘loud’ level). Then we will return to a quiet
level during the descending part of the scale.

Exercise 2: C major scale - different volume (6:48)

œ œ œ œ œ œ œ œ œ œ œ
?5 .. œ œ œ œ œ œ œ œ œ ..
4
p f p
(Quiet) (Loud) (Quiet)

T . 7 9 10
7 9 10 9 7
10 9 7
.
A . 7 8 10 10 8 7 .
B 8 10 10
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 4

THE PRACTICE Module 4: Ultimate
Groove and Time
ACCELERATOR Essentials
PROGRAM In Module 4 we are going to focus on Groove
and Time.

Scott
WITH
Throughout this module we will talk about

Devine internal pulse, time keeping, note groupings,

a how to emulate a groove.
It’s important to be inquisitive, so take these
exercises and make them yours.
 LESSON 1 - MODULE 4

INTERNAL PULSE
Every time I’m playing music I’m subdividing the beat in some sort of way. This
helps me lock in with the band and also make sure that everything I play is in time
(in the pocket). You’ve got to have a great groove by yourself.

The Groove Grid

This is a visual representation of time within music. The following exercises apply
to any time signature, but we will focus on the most common one: 4/4.

1 Downbeat 2 3 4
(Quarter notes)
Upbeat
(8th note) Subdivision
(16th note)

1 e & a 2 e & a 3 e & a 4 e & a

Start getting familiar with the groove Grid by playing on the strong beats, then
the upbeats (&) and finally the subdivisions (e-a). You should be able to target and
play any subdivision at will.

Make sure you can clap the rhythms before playing them. It will help you
internalize time. You can practice these exercises without your bass.
 LESSON 1 - MODULE 4
Groove Independence
Whatever you play on your bass, regardless of the complexity or subdivision, you
should be able to tap your foot on the strong beat (downbeat). Move on to further
exercises once you can play any bass line while taping the downbeats with your
foot.
1 2 3 4

X
X
X X
1 e & a 2 e & a 3 e & a 4 e & a
In Exercise 1 you’ll find some sample subdivisions to work on. Remember to tap
the downbeats (1, 2, 3 and 4) with your foot while playing. Then only tap on 2 and
4

Exercise 1: Groove independence (29:43)

? 4 .. œ œ œ œ .. .. œ Œ œ Œ .. .. œ œ œ œ œ œ œ œ ..
4
1 2 3 4 1 2 3 4 1 2 3 4
T . . . . . .
A . 3 3 3 3 . . 3 3 . . 3 3 3 3 3 3 3 3 .
B

? .. œ œ Œ .. .. œ œ Œ j
œ œ Œ Œ œ œ .. .. œ œ Œ ‰ œ œ ..

1 2 3 4 1 2 3 4 1 2 3 & 4
. . . . . .
. 3 3 3 3 . . 3 3 3 3 . . 3 3 3 3 .
 LESSON 2 - MODULE 4
Time Keeping - Metronome and Drum Machine Exercises
For Exercise 1 take a groove or bass line you’re currently working on and turn on
your metronome. Make sure your metronome is only accenting the strong beats
(1, 2, 3 and 4).

Exercise 1: Grooving with a metronome (2:00)

? 4 .. ’ ..
4 ’ ’ ’ ’ ’ ’ ’
1 2 3 4 1 2 3 4

T . .
A .’ .
B ’ ’ ’ ’ ’ ’ ’

For Exercise 2 take the same bass line that you worked in Exercise 1 and only
accent beats 2 and 4 on your metronome.

Exercise 2: Beats 2 and 4 (9:06)

? 4 .. ..
4 ’ ’ ’ ’ ’ ’ ’ ’
2 4 2 4
T . .
A .’ .
B ’ ’ ’ ’ ’ ’ ’

For Exercise 3 take the same bass line and only accent one beat of the bar. Let’s
start by accenting the 4th beat. You can also switch the downbeat around.

Exercise 3: One beat per bar (12:40)

? 4 .. ..
4 ’ ’ ’ ’ ’ ’ ’ ’
4 4
T . .
A .’ .
B ’ ’ ’ ’ ’ ’ ’
 LESSON 2 - MODULE 4

In Exercise 4 we will accent the upbeats (off beats). This is a different way of
feeling the beat, so spend time on this exercise until you feel comfortable. You
can practice the exercise with straight or swung eighths.

Exercise 4: Accenting the upbeats (16:43)

? 4 .. ’ ..
4 ’ ’ ’ ’ ’ ’ ’
& & & & & & & &
T . .
A .’ .
B ’ ’ ’ ’ ’ ’ ’

In Exercise 5 we will play the downbeats on the metronome for 1 bar and silence
them on the second. You can increase the difÏculty of this exercise by silencing 2
or more bars.

Exercise 5: Silencing one bar of the metronome (16:43)

? 4 .. ..
4 ’ ’ ’ ’ ’ ’ ’ ’
1 2 3 4 (no metronome sound)
T . .
A .’ .
B ’ ’ ’ ’ ’ ’ ’

Exercise 6 is all about practicing your grooves with a drum machine. Try spending
5 minutes a day playing along with a drum groove. You can find the Groove
Trainer app within the SBL Academy or other free drum loops online.
 LESSON 3 - MODULE 4
Note Groupings
The exercise in this lesson really made a difference to my time keeping. We will
subdivide the beats into different groupings. Verbalizing the subdivisions will help
you internalize each one.

Exercise 1: Beat subdivisions (8:26)

3 3 3 3
?4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
Soup Hot-Dog Chi-Lli-Dog

T
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B

5 5 5 5
?œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœ

Chi-Lli-Bur-Ger U-Ni-Ver-Si-Ty

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

6 6 6 6
?œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Chi-Lli-Dog-Chi-Lli-Dog

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

You can also play these subdivisions over any scale. Experiment with each
grouping until you can effortlessly switch between them.
 LESSON 4 - MODULE 4
Emulating the Groove
If you want to learn a bass player’s style there are certain things to take into
account. Learning the notes is important, but emulating the feel of your favourite
bass players will level up your overall tone, technique and groove.

1. Choose a bass player: Start with your favourite bass player or the most
influential players from the genre you wish to start with.
2. Learn the notes: work out the exact notes played on the original bass line
you’re learning.
3. Get the correct fingering: you could either watch a video to learn where to play
the bass line on the neck or use your ears and experiment different fingerings.
4. Emulate their feel: focus on note length, note placement (behind or in front of
the beat), technique and articulations so you can emulate the feel of the
groove.
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 5

THE PRACTICE Module 5: Learning the
Language of Bass Through
ACCELERATOR Transcription, Emulation
PROGRAM and Application

Scott
WITH In Module 5 we are going to talk about an
important aspect of our practice routine:

Devine
transcribing.
We will be covering different strategies to
transcribe bass lines, how to emulate tone
and also different ways of building, applying
and expanding your musical vocabulary.
 LESSON 1 - MODULE 5

TRANSCRIBING
Types of transcription:
1. Complete bass lines
2. Complete solos
3. Snippets of bass lines and grooves
4. Specific licks / fills
5. Snippets of solos

Why analyse our transcriptions?

It allows you to use the bass lines you’ve learned in different scenarios. You can
transfer and apply your musical knowledge into any situation. Some of the
benefits of transcribing are developing your musical language and theory, ear
training, better understanding of fingerings and builds your technique.

Figuring out the underlying harmony is a great way of knowing why a bass line or
fill works within a song. By doing so you are putting your transcription in context,
making its replication easier. Is it an arpeggio, is it a scale, is it a pentatonic scale,
are there chromatic notes involved?

Transcribing isn’t about memorizing a bunch notes. It’s about building a

repertoire that later becomes part of your musical vocabulary. It isn’t a set it and
forget skill... this is ongoing, every single week, every single month, every single
year.
 LESSON 1 - MODULE 5
Transcribing a Bass Line: “Darling Dear” by the Jackson 5
b b
E /F D min7 E /f
? b
b
4
4 ≈ œ œ n œ œJ ≈ œ n œ b œ œ œ . œ œ . œ œ œ œ n œ œJ ≈ œ nœ bœ
œ. œ œ. œ

T 0 1 2 3 3 2 1 0 0 0 0 1 2 3 3 2 1
A
B 1 1

b b
D min7 E /F B maj7
J œ. œ ≈ œ œ nœ J œ. œ ≈ œ œ nœ J œ. œ ≈ œ œ nœ
? bb œ œ . œ œ œ œ œ œ œ n œ œ œ œ
4

0 0 0 0 0 0 1 2 3 0 1 2 3 0 1 2 3 0 1 2
1
1 1
4
b
E /F D min7 C min7
? bb œ .
J œ œ ≈ œ œ n œ œ
J œ. œ ≈ œ n œ b œ œ œ . œ . œ œ œ œ œj œ . œ . œ œ œ
œ
J
8

3 0 1 2 3 3 2 1 0 0 0 0 0
1 3 3 3 3 0
1
8
b b7
B maj7 C min7 D min7 D C min7
? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ
œ œ œ nœ
12

0 0 0 0
1 1 1 1 3 3 3 3 4 4 4 4 0 1 2 3 3 1 1 3 1 3
3 3 0
12
b b7
E /F B maj
œœœœ
? bb œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ nœ
œ œ œ œ œ n œ œ œ
15

0 2 3 3 3 3 0
0 1 2 3 0 0 1 2 3 0 0 0 3
0 0 1 2 2 3 0 1 0 1 0 1 0 1 2
1
15
 LESSON 1 - MODULE 5
Transcribing a Bass Solo: “Autumn Leaves” by Chet Baker
b b7 b b
B min7 E A maj7 D maj7
œ œ œ œ nœ bœ œ
œœ‰œ œ œ
œ ˙
? bb b 4 œ œœœ œ Ó
b 4

T 13 12 10 10
A 13 12 11 10 13 10 5 5 6
B 13 8 6
6

Transcribing Snippets of a Bass Line: “Black Capricorn Day”

by Jamiroquai
? ## 4 œœ œœœ‰ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
4

T 5
A 5 7 7 7 5 7 7 7 7 7 4 4 5 5 7 7 5
B 7

Transcribing a Specific Lick: “What Cha’ Gonna Do for Me”

by Chaka Khan

œ œ œ œ œ œ œ œ œ ‰ œj ≈ œj œr œ
? bb b 4 j ‰
œ œ œ r œ
b 4 œ . œ

T 1 1
A 1
B 3 3 3 3 3 3 3 13 13
1 4 3 1 1
 LESSON 2 - MODULE 5

EMULATION
Why is Emulation Important?
Aside from learning the notes of a bass lines, you need to interpret them as well.
You can give the same notes to two bass players and the outcome will be
different.

Different Elements of Emulation

1. Notes: Figure out the correct notes of the bass line or solo you’re transcribing.
Take small segments at a time.
2. Harmony: Figuring out the underlying harmony will help you transform the
notes into knowledge. Is it a scale, mode, chord tone or chormatic note?
3. Fingering: Playing the notes on different parts of the neck can help you
determine the right fingering for your transcription. It has to feel comfortable
under your fingers and also produce a similar tone.
4. Feel: Emulate the bounce and feel of the original bass player. Play along with
the recording to compare yourself. You can also play along with a drum
machine and listen back to yourself and evluate where does it sound good and
where does it sound bad. Look out for plucking hand position, articulations
and dynamics.
 LESSON 3 - MODULE 5

APPLICATION
1. Play the bass line or lick in different key signatures. It will force you to play it in
different areas of the neck. This way you’ll be able to access and apply your
vocabulary in different scenarios.
2. Play the line in different tempos: It will change your tone, feel and groove
without changing a note.
3. You can also play the line in different parts of the bar. By doing so it will sound
almost completely new.
4. Alter the time (rhythm): You don’t have to play the line exactly the same as the
original bass player. You can alter the duration of the notes as well.
5. Break it up or add to it: You also don’t have to play the complete bass line. You
can take small segments and connect them with other musical ideas.
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 6

THE PRACTICE Module 6: Essential
Genres & Repertoire
ACCELERATOR In Module 6 we are going to look at different

PROGRAM genres of music and exactly how to use them

as learning tools.
Learning different styles allows you learn
Scott
WITH
different techniques, grooves, bass lines and
also discover new bands / bass players.
Devine Throughout the Module I’ll provide you with a
systematic way of learning a completely new
genre.
 LESSON 1 - MODULE 6

RECOMMENDED GENRES
Here are some recommended genres to study. Some of them are chosen because
of their impact on our overall musicianship (Jazz, for example) and others
because of their popularity (Blues and Funk).

1. Jazz: Great for understanding chord function (functional harmony) , walking

bass lines and fretboard visualization.
2. Funk: This is a must for bass players. You’ll learn great bass lines, it will help
you with bass line construction and improve your time/feel.
3. Motown and Soul: You’ll learn great syncopated lines, time/feel, bass line
construction and awesome bass fills.
4. Neo-Soul / Gospel: Great for bass lines, bass line construction and pentatonic
fills.
5. Blues: A great genre to practice form / song structure, shufÒe feel, minor
pentatonic fills and great bass players / bands.
6. Latin: You’ll learn syncopated bass lines, improve your groove / time and also
work on bass line construction.
 LESSON 2 - MODULE 6

STUDYING A GENRE
In this lesson I’m going to share some tips on how to learn a new genre of music.
For demonstration purposes I’ll focusing on Jazz, but this system applies to any
genre you want to learn.

1. Identify 3-5 relevant albums from the genre: you can either search online or
ask your peers for recommendations. For example, some great Jazz albums
are “Kind of Blue” by Miles Davis, “Return to Forever” by Chick Corea, “Chet
Baker Sings” by Chet Baker and “Headhunters” by Herbie Hancock.
2. Find 3-5 key bass players from the genre: some of the most relevant bass
players in Jazz are Paul Chambers, Steve Swallow, Anthony Jackson and Jaco
Pastorious.
3. Listen to the genre daily: you need to immerse yourself in the genre and
absorb as much information as possible. You can also focus on different
instruments to get a better understanding of the function of each and how
they interact.
4. Pick a song: you need to focus on one song and understand it from a harmonic
perspective, work on the arpeggios from the chords sequence and transcribe
the bass line.
 LESSON 3 - MODULE 6

STUDYING THE LANGUAGE OF A GENRE

Each genre has its own language and it’s important to be aware of those
intricacies so our bass lines sound as authentic as possible. It’s about figuring out
the tone, feel, note choices and other rhythmical considerations that give each
genre its signature sound. Here are some examples of popular genres and what
you should look out for.

1. Jazz: Walking bass lines and swing feel

2. Funk: Slap bass lines and finger-style funk
3. Blues: ShufÒe feel and the blues chord sequence
4. Latin: Bossa nova, samba and tumbao rhythms and their variations

Remember that it’s important to focus our efforts. So pick a genre, a bass player
or a band and spend time learning how they communicate through music.
 LESSON 4 - MODULE 6

STUDYING THE PLAYERS

It’s also useful to learn a genre by focusing on the relevant bass players. Who
recorded the most influential albums? Is it the same bass player on several
albums?

1. Choose a bass player: It’s very important that you like how they play and that
their playing style speaks to you.
2. Learn their bass lines.
3. Play along with the recording: pay close attention to their tone and feel.
4. Learn their fills: focus on learning their signature fills and grooves.
5. Reverse engineer: how do they construct their bass lines? How do they apply
scales/arpeggios? What harmony are they playing over? This will allow you to
repeat and incorporate all this knowledge into your bass lines.
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 7

THE PRACTICE Module 7: Diatonic
Harmony and Harmonic
ACCELERATOR Analysis
PROGRAM In this module we are going to be looking at
one of the most important thing you’re ever

Scott
WITH going to work on: diatonic harmony and
harmonic analysis. It will help you develop a

Devine deep understanding of what you’re doing

when you play a song.
We will talk about the numbers system, key
signatures, scales and analyze a couple of
pop and jazz songs.
 LESSON 1 - MODULE 7

THE NUMBER SYSTEM

The numbers system is one of the most effective ways of understanding diatonic
harmony. It’s based on the intervallic relationship between the chords derived
from the major scale. The chords constructed from the major scale are called
diatonic chords. These are the notes and chords from the key of C major:

C D E F G A B
Maj7 m7 m7 Maj7 Dom7 m7 m7(b5)
The number system assigns a roman numeral to each chord. This allows us to talk
about a chords in a general way.

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7(b5)

I II III IV V VI VII
For example, if someone wants to play a II-V-I chord sequence in C major you can
reference the diatonic chords of C major:
Dm7 G7 Cmaj7
II V I
If you want to play a II-V-I chord sequence in Eb you can reference the diatonic
chords of Eb major:

Ebmaj7 Fm7 Gm7 Abmaj7 Bb7 Cm7 Dm7(b5)

I II III IV V VI VII

Fm7 Bb7 Ebmaj7

II V I
 LESSON 1 - MODULE 7
Another very common chord sequence is the I-VI-II-V. If you want to play it in the
key of Eb it will look like this:
Ebmaj7 Cmin7 Fmin7 Bb7
I VI II V
It’s very useful to memorize common chord sequences because it gives us the
ability to label them, memorize them and also apply them in all key signatures.
 LESSON 2 - MODULE 7

THE NUMBER SYSTEM HACK

The number system hack uses patterns to identify the minor and major chords
within the diatonic chord sequence of any key signature.
BASS NOTATION LEGEND
G

D 15
String A
Fret
E

The first pattern will help you identify all the major triads of the diatonic chord
sequence:
Pattern #1
G

A 8 10
E 8

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7(b5)

I II III IV V VI VII
The second pattern will help you identify all the minor triads of the diatonic chord
sequence. You can also find the min7(b5) with this pattern:
Pattern #2
G

A 5 7
E 5 7

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7(b5)

I II III IV V VI VII
 LESSON 3 - MODULE 7

KEY SIGNATURE GIVEAWAYS

In this lesson I’m going to show you a way of determining the key of a song using
the patterns from Lesson 2. It’s through these shapes that you can figure out the
key of a song.

• If you find two minor chords a tone apart they are usually chords II and III.
• If you encounter two major chords one tone apart they are usually chords IV
and V.
• Two minor chords a fourth apart are generally chords VI and II.
• Two major chords a fourth apart will usually be chords I and IV.
• A minor chord followed by a dominant chord (a fourth apart) which resolves to
a major chord is one of the most common patterns in jazz and popular music:
II V I.
• In a minor key, a minor7(b5) moving to a dominant chord (a fourth apart)
which resolves to a minor chord is known as a minor II V I.
 LESSON 4 - MODULE 7

SONG ANALYSIS - POP

In this lesson we’ll be analyzing two pop songs. I’ll be taking you through the
process of how I analyze songs. The first song we will be looking at is “Someone
Like You” by Adele.

1. The first thing I do is actively listen to the chordal movement.

2. Then I grab my bass and start looking for the notes and also patterns that will
help me determine the key center.
3. Once I have the key center I start assigning chords to the bass notes. They can
be diatonic, chord inversions or a substitute chord.
4. You can use triads and arpeggios to compare with the recording and
determine the chord quality.
5. Also use the melody as a way of helping you determine the chord type.

SOMEONE LIKE YOU

(First four bars)

ADELE / WILSON
I III VI IV
# # #
A C min/G F min D
? ### 4
4 ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 LESSON 4 - MODULE 7
ROLLING IN THE DEEP
ADELE / Epworth

C Minor I V VII V VII

A b b
C min G min B G min B
? b 4
bb 4 ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

Eb Major IV V III IV
B b b b
A B G min A
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

IV V III IV (V7 of Cmin)

b b
A B G min G7
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
C Minor
I VII VI VII
C b b b b
C min B A A B
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
VI VII I VII
b b b
A B C min B
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
VI VII
b b
A B
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 LESSON 5 - MODULE 7
SONG ANALYSIS - JAZZ
TUNE UP
D MAJOR Miles Davis
II V I
7
E min A7 D maj7
?4
4 ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
C MAJOR
II V I
7 7
D min G C maj7
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
Bb MAJOR
II V Ib VI 7
C min7 F 7
B maj 7
G7
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
1.
II V Ib
7 7 7
E min C min F B maj7 A7
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
D MAJOR
2.
II V7 I
E min7 A D maj7
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 LESSON 5 - MODULE 7
SONG ANALYSIS - JAZZ
AUTUMN LEAVES
(SEGMENT)
BB MAJOR Johnny Mercer
II V I IV
7 7 b 7 b
C min F B maj E maj7
? 4 ..
4 ’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
G minor
II b V I (V7 to C minor)
7 ( 5) 7 alt 7
A min D G min G7
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
G minor
II b V I (V7 to C minor)
7 ( 5) 7 alt 7
A min D G min G7
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

C min7 F7
?
’ ’ ’ ’ ’ ’ ’ ’
 LESSON 5 - MODULE 7
SONG ANALYSIS - JAZZ
ALL THE THINGS YOU ARE
(SEGMENT)
Ab major Hammerstein & Kern
VI II V I
b b7 b
F min7 B min7 E A maj7
?4 ’’ ’ ’
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
C major
IV II V I
b
D maj7 D min7 G7 C maj7
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 THE PRACTICE
ACCELERATOR
PROGRAM
Scott
WITH

Devine

SBL Program Workbook MODULE 8

THE PRACTICE Module 8: PLAY!
Welcome to the last module of the Practice

ACCELERATOR Accelerator Program. Even though we’ve laid

out our practice framework, it’s also important

PROGRAM to relax and enjoy our instrument.

We will also talk about how to tie everything

Scott
WITH together and look at the big picture. I’ll share
with you concepts like topic threading,

Devine
SMART goals, how to plan your practice
sessions and how to keep a practice diary.
 LESSON 1 - MODULE 8

PLAY AND EXPERIMENTATION

Even though we’ve developed a comprehensive practice regime, it’s equally
important to enjoy our instruments and play. Play without goals, expectations or
an agenda. It’s vital to have time to simply enjoy playing bass and enjoy music.

• Playing songs that you love.

• Jam with drum tracks and/or play alongs.
• Jam with friends and other musicians.
• Learn melodies.
• Avoid over-analyzing.

Much of my personal growth comes from playing and experimenting. It helps me

discover new ideas that will become part of my practice routine in the future.
 LESSON 2 - MODULE 8

TOPIC THREADING, SMART GOALS & REVIEWING

Topic threading

Practice routine categories:

1. Fingerboard Visualization and Application.

2. Technique.
3. Groove and Time.
4. Language and Transcription.
5. Diatonic Harmony.
6. Genres and Repertoire.
7. Play!

You don’t need to spend the same amount of time on each category. Depending
on your goals you can focus more time on specific categories.

A great way to tie everything together is through Topic Threading. It allows you to
practice all of the categories in an organized way. For example, if you’re
transcribing a walking bass line from the jazz standard “All the Things You Are”,
then you can use the same chord sequence to practice fingerboard visualization,
harmonic analysis, technique exercises related to the solo you’re working on and
play along to a swing drum groove.

You don’t have to practice all the categories using the same piece. You can tie
together 4 categories and have separate exercises for the rest. The important
thing is that each category re-enforces the others.
 LESSON 2 - MODULE 8
S.M.A.R.T. Goals

S: Specific. You need to establish specific goals to narrow your focus.

M: Measurable. Find ways to measure your progress. You can use time, sections of
the fretboard (first five frets for example) or tempo to measure your progress.

A: Achievable: Be realistic in the goals you’re setting. Even though a goal might
seem unachievable, you can break it down into smaller achievable goals.

R: Relevant. Make your goals relevant to the big picture. This will allow you to have
a coherent set of goals.

T: Time-bound. Set a time frame to complete your goals. It’s useful to have a
deadline to work towards.

Reviewing - Practice Diary

Keep track of your goals, how much time you’re spending on each category,
specific exercises that you’re working on, songs you’re transcribing (or wish to
transcribe) and all the relevant metrics you’re measuring your progress with (bpm
for example).

Always keep track of the things that worked and the things that didn’t work. It will
help you fine tune your routine and re-asses your priorities over time. You can
also add personal notes in your diary.

Recording yourself will give you a good reference point for your progress.
 practice progression package
In this section you’ll find some recommended jazz standards that you can use to
apply the exercises we’ve worked on in this module. They are grouped in three
levels. So select one, pick a tune and start applying everything you’ve learned
throughout the Practice Accelerator Program.

Level 1 (I’m just starting out with these exercises)

TUNE-UP
Miles Davis

E min7 A7 D maj7
? bb b 4 .. ’ ’ ’ ’
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
D min7 G7 C maj7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b
C min7 F7 B maj7 G min7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
1.
7 b
E min F7 B maj7 A7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
b
2.

E min7 A7 D maj7
? bb b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 practice progression package

AUTUMN LEAVES
Johnny Mercer
b b
C min7 F7 B maj7 E maj7
? b 4 .. ’ ’ ’ ’
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
A `7 D 7( 13) G min6
? b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
b
A |7 D 7( 13) G min6
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
C min7 F7 B maj7 E maj7
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b7
A min7 ( 5) D 7( 13) G min G F min7 E7
? b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
A min7 ( 5) D 7( 13) G min6
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 practice progression package

BLUE BOSSA
Kenny Dorham

C min7 F min7
? bb 4
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
D |7 G 7( 9) C min7
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b b7 b
E min7 A D maj7
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b b b b
D min7 ( 5) G 7( 9) C min7 D min7 ( 5) G 7( 9)
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
 practice progression package
Level 2 (I’m a bit more experienced)

ALL THE THINGS YOU ARE

Hammerstein & Kern
b b7 b
F min7 B min7 E A maj7
? bb 4
bb 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
D maj7 D min7 G7 C maj7
? bb b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b
C min7 F min7 B E maj7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
b
A maj7 A min7 D7 G maj7
? bb b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A min7 D7 G maj7
? bb b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
# b b b
F min7 ( 5) B 7( 9) E maj7 C 7( 13)
? bb ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7 b
F min7 B min7 E A maj7
? bb b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
D maj7 D min (maj7) C min7 B `7
? bb
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7 b b b
B min7 E A maj7 G min7 ( 5) C 7( 9)
? bb
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 practice progression package

BEAUTIFUL LOVE
Victor Young
b b
E min7 ( 5) A 7( 9) D min7 (D7)
? 4 .. ’ ’ ’ ’
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
G min7 C7 F maj7 E min7 ( 5) A 7( 9)
?b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
1.
b7 b
D min G min7 B A 7( 9)
?
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
D min G 7(#11) E min7 ( 5) A 7( 9)
?
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
2.
b7 b
D min G min7 B A 7( 9)
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b7(#11) b
D min B7 B A 7( 9) D min
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 practice progression package

THE DAYS OF WINE AND ROSES

H. Mancini
b7(#11) b
F maj7 E A min7 D 7( 9)
? 4
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
G min7 E maj9
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

A min7 D min7 G min7 G min7/F

? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
E min7 ( 5) A 7( 9) D min7 G7 G min7 C7
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7(#11) b
F maj7 E A min7 D 7( 9)
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
G min7 E maj9
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b
A min7 D min7 D min7/C B min7 ( 5) E 7( 9)
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
A min7 D min7 G min7 C7 F6 G min7 C7
? ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 practice progression package

THERE WILL NEVER BE ANOTHER YOU

Warren / Gordon
b b b
E maj7 D min7 ( 5) G 7( 9)
? b 4
bb 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7
C min7 B min7 E
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7(#11) b
A maj7 D E maj7 C min7
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7
F7 F min7 B
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b
E maj7 D min7 ( 5) G 7( 9)
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7
C min7 B min7 E
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7(#11) b b
A maj7 D E maj7 A min7 ( 5) D7
? b
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b7 b7 b b7
E maj7 A G min7 C7 F min7 B E maj6 B
? b ’ ’ ’ ’
bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 practice progression package
Level 3 (bring it on... I’m ready for this crazy challenge)

STELLA BY STARLIGHT
Victor Young
b b
E min7 ( 5) A 7( 9) C min7 F7
? b 4
b 4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b b7
F min7 B E maj7 A
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b b b7
B maj7 E min7 ( 5) A 7( 9) D min7 B min7 E
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b
F maj7 E min7 ( 5) E maj7 (#11) D 7( 9)
? bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
G 7( 13) C min7
? bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7(#11) b
A B maj7
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b b
E min7 ( 5) A 7( 9) D min7 ( 5) G 7( 9)
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b b b
C min7 ( 5) F 7( 9) B maj7
? bb
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
 practice progression package
GIANT STEPS
J. Coltrane
b7 b
B maj7 D7 G maj7 B E maj7 A min7 D7
?4
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b7 b #7 b7
G maj7 B E maj7 F B maj7 F min7 B
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b # #7
E maj7 A min7 D7 G maj7 C min7 F
?
’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

b7 b # #7
B maj7 F min7 B E maj7 C min7 F
?’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’

COUNTDOWN
J. Coltrane
7 7 b 7 b7 b 7 7 7
? bb 4E min’ F B maj D G maj A D maj
4 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b
D min7 E A maj7 B7 E maj7 G7 C maj7
? bb ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b7 b b
C min7 D G maj7 A7 D maj7 F7 B maj7
? b ’ ’ ’ ’
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
b
E min7 F7 B maj7 A7
? b
b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’