This is the tune made famous as the end credits of the film 'The Matrix'. It uses Drop D Tuning and is exclusively based on a D minor harmonic centre. There are four main riffs which make up 99% of this tune, I found the most challenging to be at the middle section. The line sends you in one direction, then in the opposite direction, bouncing off open strings. It takes a while to process, so be patient and take your time on it.

Wake_Up_-_Rage_Against_The_Machine.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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The well-renowned Red Hot Chili Peppers cover of the classic Stevie Wonder tune. I'm surprised at how many young students I see who are familiar with this, even though it was released in 1989. But as it's a formidable slap-bass line, and catchy, it's very appealing to young bass enthusiasts.

I've created a slowed-down version of the track, to give you a chance to get some of the technically challenging aspects of the line. Once you're able to play the line comfortably at this tempo, it's then worth having a go at the track at normal speed.

Higher_Ground_Slowed_Down.m4a Listen on Posterous

I'm well aware they may be elements that are not necessarily accurate to the record, especially the run at the end of the chorus. However, it fits, it's my own interpretation and it's how I would play this tune. Hope you have fun on it!

Higher_Ground_-_Red_Hot_Chili_Peppers.pdf Download this file

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This is a real bouncy, vibey motown song, and the bass is driving it, it never stops moving. What I aim for in this is consistency in the notes, not only from a time point of view but also from volume of note, so that each note is as strong as the last. Also try to play with your right hand closer to the end of the neck rather than over near the bridge. This gives you the warmer sound associated with this style of music.

Rescue_Me_-_Fontella_Bass_(1).pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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07_Don't_Stop_Me_Now.m4a Listen on Posterous

Don't_Stop_Me_Now_-_Queen.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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This used to be one of my favourite songs, but I've heard it too many times now... there's no physical bass part on the record (Stevie plays Moog Bass) so here's what I do to try to fill the gap. I'm sure much of it doesn't tally, but it does a decent enough job. Experiment with the harmony, or use your own fills, and settle on a few ideas if you feel like doing things differently...

Superstition_-_Stevie_Wonder.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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Classic James Brown, nothing more need be said. Here's the bass chart...

I_Got_You_(I_Feel_Good)_-_James_Brown.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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The breakthrough and second single from Jamiroquai. Remarkable that Stuart Zender, the bass player who provided a lot of appeal to the first three Jamiroquai albums, was 17 when this was recorded.

Video is a rough guide.

Too_Young_To_Die_-_Jamiroquai.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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Ah! This is nice! As is understandable this tune has courted a lot of controversy since it's release in 1992. The then BBC Radio 1 DJ Bruno Brookes played it live on his show... having not listened to the last minute and a half of the song. Cue enormous apologies. The BBC then repeated this gaff in December 2009 when they foolishly invited the band to perform it live on BBC Radio 5's Breakfast Show with Nicky Campbell, to help promote an online campaign which climaxed with the tune landing the Christmas Number 1 slot in the UK, ahead of the usual X Factor winner's song. A moral victory for music over Simon Cowell's monopoly on the charts.

The tune is in drop D (tune your E string down to an octave below the D string). Not much more to mention about this tune, other than mind the bad language if you're young and/or easily offended. Cheers

Killing_In_The_Name.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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Ok, so the video quality of the demo is quite poor but this is a great tune to get under your belt, when I came across this tune around 10 years ago by my then bass teacher it felt like a revelation and I wanted to practice the run constantly. It's one of those infectious tunes, never seems to get boring.

There are some differences to the sheet music compared to the video, only very slight, but follow the chart and get your fingers up and down the major pentatonic scale used in the run. Try to help yourself out by looking ahead and incorporate that into the way you use your left hand, there's plenty going on there so give yourself the best chance possible by being economical with your left hand.

Sir_Duke_-_Stevie_Wonder.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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These are really good for getting your intonation together. Instead of simply playing up and down each scale, these follow what I previously mentioned here of playing the scale in the order of 1,3,2,4,3,5,etc. This gives the exercise an extra dimension as there is more shifting left hand positions between half, 1st and 2nd positions.

Try these with a bow and also pizzi with a metronome. Take it quite slowly and really absorb the sound of each note and how they relate to the rest of the scale, this should help to solidify your intonation.

Double_Bass_Major_Scale_3rds_Exercises.pdf Download this file

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03_Teen_Town.m4a Listen on Posterous

On the sheet music I've written in the fingering to try to help with left-hand technique, which appears underneath the TAB. This is however just a guide, don't take anything literally but have a go and if you prefer a different way, then do what's best for you.

The TAB & notation sheet should sync up with the accompanying video.

Teen_Town.pdf Download this file

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Ok, more Chili Peppers here, I'm simply going through the YouTube Video demos in order of popularity, and it turns out these boys are quite popular.

The key aspect of the slap part for me is to always keep your right hand moving - thumb up (away from strings) - and thumb down - in semi-quavers (16th notes) as 99% of the verse follows this system. Smack down the slaps on your thumb on the 'on' beats, and catch the pops with your index finger on the 'off' beats. Concentrate on getting a fluent rhythm to your right hand.

The TAB & notation sheet should sync up with the accompanying video.

Aeroplane.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recordings

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I've had a lot of requests recently from people who want the sheet music I promise on the YouTube channel, and I had been sending them individually to people who emailed requests. But hopefully now sticking them up on here will give you all a chance to come and take them for yourself. I'll try and get the rest of them up over the coming days and weeks.

The TAB & notation sheet should sync up with the accompanying video.

Under_The_Bridge.pdf Download this file

*DISCLAIMER* Whilst all attempts have been made to make the transcriptions as accurate as possible, it is advisable that you listen to the original recording

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So I first heard this version of Autumn Leaves (Ron duets with guitarist Jim Hall) around 3 years ago and had always intended to transcribe it. For me what appealled most was that it was not particularly technical but very melodic, he says everything that needs to be said in just a few notes at a time, plenty of chordal tones and root notes, but it works. I guess when you're Ron you can play what you like and it always sounds great.

Autumn_Leaves.mp3 Listen on Posterous

So we pick up the walking line at 2:26, he plays a chorus of walk then it's into his solo. The walk uses occasional triplet drops of ghost notes, very effective and displays the fact that sometimes the double bass can just have percussive qualities. The solo is notated all the way to the head out at 5:45.

Try out the phrases that appeal to you the most, play each phrase slowly, memorise it away from the music until it's fluent and then build it up to speed. Hopefully some of it will internalise and rub off in your own playing.

Ron_Carter_Autumn_Leaves.pdf Download this file

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Ok, so from a theoretical viewpoint, all routes lead back to the major scale, and to understand the ‘key’ of the song you’re playing can help to keep your bearings. From a technical viewpoint, practising major scale exercises helps to cement good left hand technique, stretching your fingers across 4 frets without multiple wrist movements. And because you’re using a click to go through these (ALWAYS), then you’re improving the most important aspect of your play - time-keeping. This is basic, yet some of the most comprehensive practice you can do.

 So, beginning at C (8^th fret E-string) work your way up and down the major scale, following this pattern:-

C         D         E          F          G         A         B          C

1          2          3          4          5          6          7          8

 For left hand technique, place one finger per fret between 7^th and 10^th frets and follow this model:-

To begin, set a slow-ish tempo (60bpm), and attempt to play a note every beat. Repeat it ascending and descending, playing the Cs at the bottom and the top only once before changing direction. When you get more fluent, raise the tempo.

It becomes tedious very quickly, but if you persist with it you will get the most out of it.

Here’s a couple more exercises to help you get the scale under your fingers. Try them all out in the same way you approached the straight scale

C_major_-_3rds_exercise.pdf Download this file

This follows the pattern of ‘two up, one back’, playing the scale in the order of – 1,3,2,4,3,5,etc. It’s more difficult than it first looks.

C_major_scale_-_3_note_exercise.pdf Download this file

This simply takes 3 notes at a time through the scale.

C_major_scale_-_4_note_exercise.pdf Download this file

Same thing but a little harder, taking 4 notes at a time, and working your way up and down the scale.

Once you’ve had enough of C major, try to apply it to other scales, all the patterns work the same from no matter where you start on the E string. Try the major scales at G, A, Bb and D.

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