The Ron Carter Library

The Music of Ron Carter

Comprehensive Bass Method
- advanced level

with QR codes
to video demos
by Ron Carter

Max M. Fisher Music Center, Detroit, MI

Ron Carter - Comprehensive Bass Method
- new edition - advanced level

Copyright © 2015 Ron Carter

Retrac Productions, Inc.

New York, NY, USA
Photographs: Fortuna Sung

www.roncarter.net
www.roncarterbooks.com

Printed in the USA

1. Don’t try this at home!

I
Proper position of the left hand. Note that the thumb is under the second finger.

2. Proper position of the left hand. Note that the thumb is under the second finger.

II
 Contents

Pages 13, 26, 30 and 32 include QR codes

with links to video demos by Ron Carter

Explanations of Symbols . . 1
½ Position . . . . 2
Ist Position . . . . 4
2 Position .
nd
. . . 8
2½ Position . . . . 11
3 Position .
rd
. . . 16
3½ Position . . . . 20
4th Position . . . . 24
5th Position . . . . 29
5½ Position . . . . 33
6th Position . . . . 38
Etudes . . . . . 41
Scales . . . . . 44
Horizontal Technique . . 49
Arpeggios . . . . 50
Pizzicato . . . . 58
Etudes . . . . 60

Ron Carter‘s Bass Solo . . . 63

For Toddlers Only . . . . 65
Receipt, Please . . . . 66

Playing Tip 1: Tips for Players . . 67

.
Playing Tip 2: Improvisation . . 68
Selected Discography . . . 69
Biography . . . . . 70
 Explanations of Symbols

0 open string
1 first finger
2 second finger
fourth finger
o
4
3 harmonic (string lightly touched to produce first harmonic overtone)

E E string
A A string
G G string
D D string

œ Open string “pitch guide” note

All of these notes are to be played on the string.

E
˙ œ œ
˙ œ œ All of these notes are to be played on the string.

˙ œ œ All of these notes are to be played on the string.

˙ œ œ All of these notes are to be played on the string.

# Sharp (note as printed is raised ½ step)

b Flat (note as printed is lowered ½ step)

n Natural (note that has been raised or lowered is returned to the note
as shown in key signature)

‹ Double sharp (note that is raised whole step)

ΠOne beat rest w A whole note that gets four counts

h A half note that gets two counts

Two beats rest
q A quarter note that gets one count

Four beats rest An eighth note that gets half of

e quarter note value
 ½ Position

In the picture (see 2) you will notice that all the fingers are curved and the balls of the
finger tips are placed on the string.

n
2

In this position you will notice that the 2nd finger (A ) should
œ match the pitch of the open A string as in the diagram.

The same “pitch guide” note holds true for 2nd finger on the D
œ string with the open string guide being E.

œ
On the E string the “pitch guide” note is 4th finger G to open G.

Also, notice that the thumb is placed under the second finger to ensure finger stability,
finger control, and pitch accuracy.

The notes and fingering in this position are:

? w
0
#w
1
w2
#w
4 0
w bw1
nw2
bw
4

0 1 2 4 0 1 2 4

D
? w #w w w w bw nw w

0 1 2 4 0 1 2 4
? w #w bw nw w
A w #w w

0 1 2 4 0 1 2 4
?
E
w #w #w w w w bw nw

Page 2 © 2015 RON CARTER.

 ½ Position

? bb ™
I
I I I
II I I
II
?b F I ™
I
I
1 I
I I
I I I
II
A E
E
?#
J <#> I I I I I I
I#I I#I I
I I I I I Iw II
?
A
I
# # I
I I I I II I II I II I II I I I Iw II

? [ 1
I
[
1 I J L::J I L J c::J I F L::J I I II
? I El I I D f1 I I I™
I I I I I I II Lj I II
E E E

? bb
F1I r 1 o It J LJ I E] o I la U
6
?b
b I Fll f 1 g ltd lJ
13
? bb n <b>
l J It J I I EJ I Io II I II I I 11

To Coda
? ™
™
9
™
D.C. al Coda
?
I I I I I I I I I II I I I I I II
15
?
I I I I I I I II I I I I I I I I I I II I I I I™ II
Page 3
 1st Position

This position is ½ step higher than the previous position. As you will notice, the “pitch
guide” notes in this position are:

œ on the G string, 1st finger A to open A;

on the D string, 1st finger E to open E;

œ

œ
on the E string, 2nd finger G to open G.
2

The notes and fingering in this position are:

w bw bw
? w #w w
1 2 4

1 2 4
? w #w #w w w bw
D

1 2 4

A
? w #w #w w w #w

1 2 4
?
E
#w w #w bw nw bw

Page 4 © 2015 RON CARTER.

 1 st Position

1 4

?# w
5
?#
II I I I II I I I I I™
9 2 4
?# # w
13
?#
I I I I I I I I I I I II 11

? b
I II I I I I II
5
? b n
I I I I I I In I
# I I I I I I
9
?
II I I
13
? # #
I I I I I I I I I # I I #
1
? b
I I I I I I I II I I I
1
? b n
I I In I
# I I I I
5
? # #
I I I #I II # I I II II I I
9
? # w
I I # I I I # I I 11

Page 5
 1 st Position

Etudes Positions
½ and 1

0 2
?# n
I I II I I I I I I I I I I 1

5 4 2
?# # # n n n
I I

1 2 4
?# b b n
n b

15
?# # b n
0 2
b
b n n
#I n I I I II I I I II I

?# n n # n
n #

5
?# n n #
I I I II I II I II I II I I

3
?#

35
?# # b n
I I I 11

Page 6
 Etudes – Positions ½ and 1

? bb
I j llJ cJ IE3b FJ 11

6 ,
? bb
D I J I E1 u I u b nu II l I I CJ §.J

11
# # #
1 4 2 4
? bb b # # #
la r1 I I ltd t,..J lt,..J fl I# I #I

1
? bb # n b n b b b n # n # n b n n #
II I t

? bb # # # # n #
2

n II In n
[ j [ j I I t I I

? bb b 0 2 4

CJ L3 n
I L_j f 1 I I I f 1 I 1
F9 I I
D
b

3 ,
?b b
b §.J lu t:J ltJ r1111 1 J llJ §.J

3
? bb
[3 FJ I I 1 n t = I ca a I O ~ 1
3
? bb
LJ ob I lJ f 1 I [ 1 tJ I I L I It 1 D I II
Page 7
 2nd Position

This position is ½ step higher than 1st position and the “pitch guide” notes are:

œ
on the D string, 4th finger G and the open G string;

œ on the A string, 4th finger D, and open D string;

On the E string, there are two “pitch guide” notes:

œ 1st finger on the E string and open G;

œ and 4th finger on the E string (A) and open A.

The notes and fingering for this position are:

w #w bw nw w
? #w
1 2 4

1 2 4
? #w #w w w bw nw

1 2 4
? #w #w w w bw nw

1 2 4
?
w #w w w bw nw

Page 8 © 2015 RON CARTER.

 2nd Position

I.
 
= 100

      
    
4


2

 
4

D G

      
  
 
6
   
 

            
13

 
4 0 4 0 4

= 82 II.

           
   
4

        
  
5

 
2

     
9

     
2 4

   
4

III.

= 72

    
 
                
0 4
0 4 0 4

           
  
5

        

4 0 4 0 4

             
9

         
0 4



   
13
            
   
0

 
0 4 0 4

 
0 4


Page 9
 2nd Position

Etudes
Positions ½ ou 2

? #

5
?# # n #
b

9
? #
b 11

q
? bb
lJ cJ I la a I LJ r 1 1
1
I# I n [ I I

6
n
™
4
? bb # n # n # n #
I™
n
D LJ I LJ L J II II W II I bd I I
13
# # n
4
?b # ™ #
b # ™ # It J

? bb # n n # n b b b
n b

6
? bb n
LJglJ 1 1tJb D11 IJjl1 #

3
? bb
J nj I# I I lJ CJ I o LJ I F1 EJ I I II
Page 10
 2½ Position

This position is ½ step higher than the 2nd position.

In this position, the “pitch guide” notes are:

2
œ
on the D string, 2nd finger G and open G string;

œ on the A string, 2nd finger D and open D string;

œ on the E string, 2nd finger A, and open A string.

The notes and fingering in this position are:

#w bw nw bw
? w #w
1 2 4

? #w
1 2
w
4
#w bw nw bw
D

1 2 4

A
? #w w #w bw nw bw

1 2 4
? bw
E #w w #w bw nw

© 2015 RON CARTER. Page 11

 2½ Position

1
? bb b
bb [ 11 [ Ir I I I™ Ir I II I II I I

™ ™
? bb b ™ ™ ™ ™
bb ™ ™ I I I I

? bb b b
bb w

5 w
? bb b b w
bb

9
w
? bb b b n n n n
bb

™
13
? bb b [
bb r I I I I 11 11

Page 12
 2½ Position

III.
   
= 100

      
        
0 2

 
0 2 0 0 2 4 2
4 2 4 0 4 4
4

      
       
4 4
3


2 2 1

 
1 4 1 4 2
1 4 4 1 0

       
     
5

 
2

 
4


0 2 0 2 2 2
4 2 4 0 4 4 0
4

       

2

           
  
4
7 2
4 4
2 1 2
1 1 0 0


1 4 4 1 2



IV.

= 84

            
1

    
1 2

    
0 1 2
0

LH

  
   
pizz.

        
1 1 4

    
4
5


0 2 0 0
0

 
4

 
4 0 0 1 0 0
1 0



      

4 4 2

 
2
10

            
0 2 2 0
0 4 0 2

    
                   
1
14 4 4
0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2
4 0 2 0 2 0 2 0 2

 
3DJH
 2½ Position

Etudes
Positions ½ ou 2½

? ###
I I I I l r I [I 11 fl 11 1

n n 0
? ### # n
lllJI Jlc1IJcllJlt:11dr 1r111L11jl

n b n n
? ### n n
n n n n b #
n #

1
? ### n n n n b
n # n #

16
? ### n n n n n
n #
b n

? ### n n # b n b n b # n
b n n n

1-, -
3
? ### # r1
n . -
#

n 2
#
? ###
c..I Jr
I IE 1 1 3 t 1 1 a It 1 1 a L 1 1J I I 1 1 1 1 II
Page 14
 Etudes - Positions ½ Through 2½

II.

? b b b 43 œ . œ œ œ. œ œ œ ˙. œ. œ œ2
bb J J œ œ. J J

? bb b œ . œ. j
œ œ ˙. œ œ œ œ œ œ
6 2

bb J ˙. œ. J J œ.

? bb b œ . œ. j œ.
œ œ œ œ œ
J œ œ œ œ œ
12 2

bb J œ. J œ. J

j nœ. nœ.
? bb b œ œ œ œ n œ œ œ œ . n Jœ œ
17 0 2 2 0 4

b b œ. J .
nœ J J nœ

? bb b ˙ . œ nœ nœ œ
œ. J œ ˙. œ. J œ ˙ œ. J œ
22 0 1

bb

nœ œ œ
? bb b ˙ . œ. J œ ˙. œ. J œ ˙. œ. J œ ˙.
28

bb

? bb b œ
J œ Œ œ. œ œ œ. œ œ. œ œ ˙.
J J œ J
35

b b œ. ˙

? bb b œ . œ œ. œ œ œ. œ
J œ œ
J œ ˙. œ. J J œ
41

bb ˙.

? bb b œ . œ œ ˙. œ. œ
J œ œ. œ œ œ. œ œ
J ˙.
47

bb J J

Page 15
 3rd Position

This position is ½ step higher than the previous position.

The “pitch guide” notes are:

œ on the G string, 4th finger D and the open D string;

œ
on the D string, 1st finger G, and open G string;

œ and 4th finger A, and the open A string;

A

œ on the E string, 1st finger A, and open A string.

The notes and fingering for this position are:

#w w w bw nw
? #w
1 2 4

? w
1 2
#w
4
w w bw nw
D

1 2 4

A
? w #w nw w bw bw

1 2 4
? bw nw
E w #w w w

Page 16 © 2015 RON CARTER.

 3rd Position

I.
    
             
  
1

          
 
6

     

     
             


11

II.
     
 
   
1 2

  
     
   
7

  

  
13
   
    
III.
    
             
     
1 0 1 1 4 0 0 1


4 1 0 1


    
           


   
4 1 1 0 1
0 1 1 1

                  
4 2
7

 
4 4 2 2


1 0 1 2 2

 
2


                
       


 
     
 
11 1. 2.


Page 17
 3 rd Position

Etudes
Positions ½ ou 3

™ ™
? # # ™ [
f It J l I J I 1

5
™ ™
4 0 1
?
fI I
#

9 1
b 1 4
™ #
™
1 1
? #
bt1Jt1J1r rr ir r Il J I

13 4 0 1
# n
? #

1
?
1
b #
b r 1 1 1

1
?

™
5
? # ™ ™
™ 11

Page 18
 Etudes – Positions ½ Through 3

? b n b n
I I I II I I II #I I II I I II I

6
? # n
4 2
b 1
n 1 1 2

II I I II I I II I I I I I I

11 ™ 0
?
II

16 1
4
4

? [
I I II II I I II
G D G

1 ™
r
4 1 4 2 0
? b I I™ I I™ II
A A

?b
2 2 0 4 1 0 2 2 0 4

n
1 0
b 0 4

bb I I LJ 1 1 I I LJ I I I I l] 11 I I
A D E D D

5 2 2 0 2
? bb
b I II I I II
E A A
Page 19
 3½ Position

This position is ½ step higher than the previous position.

The “pitch guide” notes are:

œ on the G string, 2nd finger D and the open D string;

2
œ
on the D string, 2nd finger A, and the open A string;

on the A string, 2nd finger E and the open E string.

œ

The notes and fingering in this position are:

#w
1
w
2
#w4
bw nw bw
G
?

? #w
1 2
w #w4
bw nw bw
D

1 2 4

A
? #w w #w bw nw w

1 2 4
? #w bw nw w
E #w w

Page 20 © 2015 RON CARTER.

 3 1/2 Position

  
= 112 I.
        

2

     
1


E

        
    
9

 

 II.
= 92

        
        

 
G

        
    
9

 

= 92 III.
     
               
2

 
2


0 4
0 0 2 0

 
              
    
8

  

         
      
15

     

                
23

    

31
                  
 


Page 21
 3½ Position

Etudes
Positions ½ ou 3½

4 4
0 1 0 4 0
? bb
b 3 u 1LJ LJ IU c.r11
D G D
10 LJ lcJ LJ
0 1 4 0
? bb
b t J LJ I I J I 1 3 cd I LJ LJ I cd LT I I
D D D
13 1 4 0 1 4 0 1 4 0 1 4 0 1
? bb
b
E
r 1
D
El I
E E
n LJ
A E
10
A
LJ I c J ca It 1 LJ
A D
1 0 1
? bb
b t J I I LJ tJ I La cJ I LJ o II t I1
A
11

1 2
0 4 4 2 2 4 4 2 0
?b # n
E A D G D A E D A
5 1
4 # # # n n n n 4 0 2 1 2

I u i Ir rr r rrir r
?b # #
ii i I o i II I i
GD
i i ij i I i I ni I bi I ni 11

E
b
b n #
1 2

r
4 1 1 4
4 0 2 0 0 1 4 1 2 0 1 1
?b b
I I I
A
I r
G
II I I I I I I
#
I II I I I I I I I IL I I f [
G
I DI II I
A
I I
E
I I
15 4 1

?b
0 1 4 0
n 0 1
n b
I 11 I II 11F1111111 ll[lllcliJlllbl
E A D A A

?b n n b b 2 1

n
1 I I I
n III II cl Ij I I la I r1n ll r1111I I nI I I I nI I I
?b
4
1 1 2
b 2 2 2 4
w
n n n b n
f111 I 111 11111 ! 111 II D Fl Ill I Fl I I
11

Page 22
 Etudes – Positions ½ Through 3½

4 1 4 4
1 4 0 1 2 0 1 4 0 1 4
? bb
b I I I II r I I II I I I II I I I I

4 4
5 2 1 2 1 4

t r rt r tr
0 0
? bb
b I I 1 1
r 1
1
1
1

9 1 4 1 2
4 1
2 2 4

? bb
b r I r [ II I I r 11 I I II 1 I I

4
13 1 2 1

? bb n 2

b I I I I II I I I I

1 4 0
n 2 4
1 4
4 0 2 4
n 4
1
# 2
4
? bb
b I I I I 11 r E r n
I1
#
11 r r
4
1 2 1 4 1 4

r t r r r r
1
? bb
b 1
I I I I

5
?b
2
# n
bb I I I II r I I II I I In I
n
I I I

9
# n
r
2 0
? bb
b # n I In I I
nI II I I I II r I I

33

t ™
0
? bb w
b I I I I I I n I I II 11

Page 23
 4th Position

This position is ½ step higher than the previous position.

The “pitch guide” notes are:

œ on the G string, 1st finger D and the open D string;

and on the G string, 4th finger E, and the open E string;

œ

œ on the D string, 1st finger A, and the open A string;

and on the A string, 1st finger E, and the open E string.

œ

The notes and fingering for this position are:

w
1
#w2
w
4
w bw nw
G
?

? w
1
#w
2
w
4
w bw nw
D

1 2 4
? w #w #w w w bw
A

1 2 4

E
? w #w #w w w bw

Page 24 © 2015 RON CARTER.

 Fourth Position

      
= 100 I.

         
4


G

       
5

   



= 116 II.

   
   
1

 
  
7

  

   
 
14

 

 
    
21


0

Page 25
 4th Position

III.
 = 63

         
1 4 1 1

     
1 4


0 4 1 1 1 1 1

 
0 0 4 1 4
0

LH

 
         
1 1

 
4 4


4 1 4 1
6 0 4
4 0 4
0


     
1

 
1


4


4 1


10 4 4

 
0 4


4
0 0 0

                
             
1 2 4
14 1 2 4

  
2 4 0 2 4 0

      
LH LH


                            
2 4


1
16 1 2 4

  
2 4 0 2 4 0

      
LH LH

    
   
1 4 1 1

   
0 1 4 1 4 1 1 1
18


0 0 4 1

      
22 4 1 1


0 0 4 0 0

Page 26
 4th Position

Etudes
Positions ½ ou 4

1 0 4
4
# 2
4 1 4 # 2

?#
A D G D D A G

5 4

?# r r II I I I II I # I I

9
?# n #
J I I I #I I I I I I nI II I

13 2
1
2

?# n #
I I I I I I I I II I # I I II E Ib I E
E G

1 # 2 4
4 4 # 2
4

t
1 0 1 1 0
?#
n
G D G D D A

# 0 0
?# [ # n
II I I II I I I I I 1
1
I

4
6 4

t
0 1
?#
I I I I I I I II J 11
D G A
Page 27
 Etudes – Positions ½ Through 4

? bb
I I: I I I : Ii I I: I II : II I I
0 2 4 1
b 1

? bb
I I I II I II I II II
D

15 n ™ 2
0 1 4 4 0 n n 1 2
? bb # n
II II I I
D A

# 4
n 1 1 4
? bb # # # # #
f I II I# I I# I I# I
# I In I I InJ n I I
G D A

9 1 n 4
4 2 1 n
? bb n # n n n # n
InJ : It : InJ I I: n n
A G E A D

36 0 4 0 4 4
? bb
E A E

3 2 b 4
0 4
?b n
b It I II : I:b I II I II I II I I
D A

™
5
? bb
I II II II I I II I II I I1 1 I

5 4 4
2
4 4 0 1
? bb ™ I I™ II I : II I : 11 E 11 I : I I™ II
D A G E
Page 28
 5th Position

The position is ½ step higher than the previous position.

The “pitch guide” notes are:

on the G string, 2nd finger E, and open E string;

œ

œ
on the A string, 4th finger G, and open G string;

œ on the E string, 4th finger D, and open D string.

The notes and fingering in this position are:

#w
1
w2
#w4
bw nw w
G
?

#w bw nw w
? #w w
1 2 4

1 2 4
? #w #w w w bw nw
A

1 2 4

E
? #w #w w w bw nw

© 2015 RON CARTER. Page 29

 5 th Position

1 4
?b
A A
9
?b n
I 11 I Ir II 11

? bb
b t I f I It I f II I r I II I I

5 n
? bb # n n
b l1 I r11 rff11 fl f11 fl f11 f1 f1
1
? bb b 0 0

b 11

1 1
1 1
4 4
4 4

f f
1 1 0 0
?b
G D A D A E
4 2 4 2
5
b 2
b 2

r
1 1

f t r f t
2 1 2 1
?b b I b I
I I II I I

1 1
1 1
4 4
9 4 4

f f r t f f t
1 1 0 0
?b [
I I I I I

™™
4 4 2 4
13

C
1 1
0 1 0 0 0
?b f I I f i1 f t if i ir 11

E
Page 30
 5 th Position

Etudes
Positions ½ ou 5

4 4 4
1 4
b b ™
4 1 4
1 2 0
? f t f t 1ttJ LI l 11 ™ I I™ ™
G D G

5
? #
L I J I t I J # # ™

b ™ n # ™
9
? # #
11_1- 11_
-

™
2
13
# 1
n 4
1 2
™
1 2 0
™
2 2 2 1
?
11 I I I_I -
D A A E A A E A D

4 4
1
b b ™
4 2 2
0 1 0 2
? #
II t rt:: I f t f l I J II I I 11

D D D E A
Page 31
 Etudes – Positions ½ Through 5

= 116 II.

                
        

       
        
2 2

 
4

   
1


2 4 2 4 0

G D A D A

        
          
  
2 2


7 1 2 2
1


2 0 1 4 0 0

        
           
4

   
10 4 4


2 2 2 2 0 1

A D A

    
           
   
4

 
2


13 4 1

 
0 4 0 1 0 1

G D

  
                    
2 2 0
16 4


1


0 2 2

D A G E

   
           
  
4


2


19 1 4


0 2

D G

             
       
23 1


4

  
4 2


0 4 0

D A

          
      
1

  
2 1

     
27 4 1


0 2 4 0 2 1 2 1 0 0

A G D G A G (double stop
D harmonics)

Page 32
 5½ Position

This position is ½ step higher than the previous position.

The “pitch guides” in this position are:

on the G string, 1st finger E, and open E string;

œ

2
œ
on the A string, 2nd finger G, and open G string;

œ and on the E string, 2nd finger D, and open D string.

The notes and fingering in this position are:

w
1
#w2
#w4
w w bw
G
?

#w bw nw bw
? w #w
1 2 4

? #w
1 2
w #w
4
bw nw bw
A

1 2 4

E
? #w w #w bw nw bw

© 2015 RON CARTER. Page 33

 5½ Position

I.
            
= 84

        
1


G


II.
 
= 116

     



E

     
5
 


II. (Enharmonically)
  
     

   
  
5
 

III.
  
   
 
   
  

7

III. (Enharmonically)
  
   
 

   

  
7


Page 34
 5½ Position

Etudes
Positions ½ through 5 1/2


= 92
      
1

              
    
   
G
     
1 4

          
5

     
     
G D

        
     
10

    

    
   
1

  
4 2

  
4

    
14 4
2

  
1 1 0


G D G D A G

           
 
19 1 4

  
1

  
D

                 
24


4 2

 
0 4 0 0 4 0 4 0 2 0 1

  
E E A A A A

   
             
29 2 4

 
1 0 0

   
E A D

     
    
33

 
0


 
G

  
  
4

 
2

    
37 2

 
0 1 0

G D A E
  
        
4


4

   
42 2


4


2 0 1 0 1

E E A

Page 35
 Etudes – Positions ½ Through 5½

4 1

? ###
I fll D1 1 01 Hl1 Ldl HII tJffl
2
5 4

? ### tr ft 1F It F 1r [j [j 1 11 F1 I 1
G D

9
n #
? ### n n

13 1 0 2 1 0 4 2 0 0 1
? ### n n # #
I I I II I I I II n I I I I #
D E E A

1
n n n # n
? ### r LJ n
tJ: If r n n
n

n b n 1

? ### n n b 0 1 1 4
b n 2 2
b 2

E1 I n 11 LJ nI LJ IF lJ r.t I f CJ F lJn I
D D A D A

6 #
? ### b n #
I I LJ 1 ~ 3 I
2 2 0 4 1
n
LJ I cJ I I d F t..f I f t! F L3
A

3
? ### n #
I QI oil LJI ull [j Fiillljij1J 1
J1

J :J lj1 IJ lj
3 1 1
? ###
lj 1
IJ IJI I n 1 u 11 u 1 0 1 1 I I 11
A
Page 36
6. Vl th Position

Page 37
3. 6th position
 6th Position

This position is ½ step higher than the previous position. However, the 4th finger is not
usually applied to higher notes that would seem to use a 4th finger. Instead, the 3rd
finger is used.

In this position the player has the option to press the string down at the octave or merely
touch the string with only the 3rd finger, thus producing a harmonic.

It is also in this position that the thumb leaves its place under the neck and the 2nd
finger (see 3) and now moves to the side of the neck. This thumb position remains the
same for the entire position.

The “pitch guide” notes for this position are:

œ
on the A string, 1st finger G, and open G string;

œ and on the E string, 1st finger D, and open D string.

The notes and fingering in this position are:

#w
1
#w2
w w bw nw
G
?

#w w w bw nw
? #w
1 2

? w
1 2
#w w w bw nw
A

1 2

E
? w #w w w bw nw

Page 38 © 2015 RON CARTER.

 6 th Position

™
™ ™ ™ ™ ™
? [
I
f I I I
[
I I
™
I I I
[

™
™ ™ ™ ™
? ™
I I I
[
I I
™
I I I
[
I
f 11

# 2
# ™
#
?

- w
5
# 1
b n
?
II II r 11
E

# ™ ™ ™ ™
? ™ b ™ ™
I I- I 1

™ # ™
™ # ™ ™ ™
?
I r I
f II I
f I I I
™
11
I

Page 39
 6 th Position

Etudes
Positions ½ ou 6

1
1 2

?#
LI Id LI IJ 111111 If IJ LI IJ I LI I I] I [ I
2 1 2
5 4
0 # 1 2 1 4

?#
D D A G

9 2
?#
rLFtt11JILI F I I 1I I I I I I 11

1 0
? bb
b IU I ID I LJ
D

6
?b n
b b Lj II 1D I LJ I LJ

1 4 n b
?b n 1
n
bb LJ I LJ 1±1
A D

1
? bb - +- 1 1 2 4

b I U ID I [J I I r1 lo
1 4 1
4 1 1
0 1
? bb
b LJ I
ltd r 1 rt::f 1 ta I la 11
D D G G D
Page 40
 Etudes

The following etudes serve as supplemental material for the student for these purposes:

1. To devise his or her own fingering.

2. To see how quickly fingering can be accomplished.
3. And to expose him or her to different harmonies, with both chords and scales.

? b
I II I1 1 I I I I II bI I

? b b b
b b n
I I I I I b I I I I I 1 1 I

13
? #
I II I II I I I I I b I I I I

19
?b b b b #
I I I I I I I I I I I
b I I I I I

5
?b b n n ™
II I I I I I™ I I I I™ 11

© 2015 RON CARTER. Page 41

 Etudes

?#
r1 I LJ

?#
I J f l I L I

?# rtr11Jlc [ E I
j

1
b b b b n
?#
ci r1rtrrc1 !J 11 I I

13 b n
?# n

16
# b n n #
?# b n b b n n # b n b n
L I I J 1

19 n b b b
?# # n b b
I I II I 1 1
1 I 1

3
?# I
I
I
[ I E[ E I I I
I
I
I
™ 11

Page 42
 Etudes

4
1

? bb
2 2
b
D G D
5
? bb n b 0

rt fr 11 t f I 11 t f I 1

9
? bb # n

13 b 1
4
1
n 1
b 4 1
b n
? bb [ [ It [ t 1f [ If L J
I
n
J
G D G G D G
1
? bb b
0 F I I I I I fl I I I I II t,..J 1 I

? bb n
cJ I : I I I I cJ I n I
I# r n 1
: #I FI 1 1 I
3
? bb n # # n n n n #
# IL I I J F I n b I I I
; I ; t I I I I # f1 I I I I

6
? bb n #
#
9
? bb b
n
3
? bb n # # n n
Fl 11

Page 43
 Scales

The following set of scales is to be practiced daily, first at a slow tempo then gradually
increasing the speed. I recommend the routine below whenever scales are practiced
for continued development of pitch, tone, and technique.

4 2
2 2 4 2
1 2 1 1 2 1
?
I I I II I I r Ir I I II I I I II
4 2

2 2 4 2
0 1 2 0 1 1 0 2 1 0
?
I I I II I I r Ir I I II I I I II
E A A D D D D A E

1 2
1 4

r r t f E
2 1 2 1 4 1 4
G
?# : : : 1
1 1 1 11 1
1

2 1 4 1 4 1 4 1 2 1 2
?#
[ f L f Ir I I I I; ; ; I I I I I II
1 2
2 2 4
2 0 1 0 1 4 0 1
?#
I I I I I; ; ; I I
E A D
2 1
4

Ef t r r
2 1 0 4 1 0 2 1 0 2
?#
1
I I II I I I I I I II
D A E
4

2 4 2
1 4 1 1 1 1 4 1
D
? ##
I I II r [ I[ r I II I I I II
4 4 0
1 4 0 1 1 0 4 1
? ##
I I II I r [ I[ r I I 11 I I I II
A D A
4
2 4 2 1
1 4 1 1 4 1 1 4 1 1 4
? ##
I I II I r [ I[ r I II I I II
A D G
Page 44 © 2015 RON CARTER.
 Scales in Sharp Keys

2
A 1 4 1 4 1 2 1 4 1 4 1
? ###
I I I I I I I I I I I I I II I I II

1 4 0 1 1 2 2 1 1 0 4 1
? ### I I I II I I II I I II
E A

? ###
I I I I I I I I I I I I II I I I II
E A D

2 4
1
E 1 4 1 4 1 1 4 1 1 4

? ####
J I I I I I I I II Ir F t
4 2

t r r
1 4 4
1 1 4 1 1 1 4 1
? ####
II I I I I I J II

1 2
1 4
1 1 2 1 2
? #### 1 I Ir f t
E A D G

2 1

t r r
4 1 2 1 2 1 1
? ####
II I I I I I J II

2 4 4
4 1 2 1
1 4 1 1 4 1 4 1
? ####
I I I I 11 r [ t 1F r II I I II
A D G
Page 45
 Scales in Sharp Keys
4
1
1 4 1 1 4 1 2 4 2 1 4 1 1 4
? ####
# I I I I II I I 11 I I I II I I I II

4
1
1 4 1 1 4 1 2 4 2 1 4 1 1 4
? ####
# I I I I II I I 11 I I I II I I I II
E A D

2 4
4 1
1 4 1 1 4 1 2 4 1 4 1

? #### #
# I I I I I I I I I 11 I I r IF t f
4 2 1 4 1 4 1 4 2 1 4 1 1 4 1
? #### #
# f f F r 11 I I II I I I I I II

2 4 4 2
4 1 1 4 1
1 4 1 2 2 1 4
? #### #
# I I I I I r [ t f If t [ r II I I I II
A D G

4 4
4 2 4 2
1 2 4 1 4 4 1 4 2 1
? #### ##
# I I I I II I I I I 1
1
II
A

4 1
2 4 2
1 4 1 1 4 1 1 4 1 1 4
? #### #
## I I I I II I I I I 1
1
II
A G

4 1
2 4 2
1 4 1 1 4 1 1 4 1 1 4
? #### ##
# I I I I II I r 1r I I I 1 1 1
1
II
E A D
Page 46
 Scales in Flat Keys

2 4
4 1
1 1

?b
4
I
2
I I I I I I I I 11 I I r IE t E
1 4 1 1
?b
Ef E r 11 I I I1 1 I I I I I I II
2 4
4 1 4
0 1 0 1 2
?b
I I
E
I I I I I I
E
I
A
11 I I
D
r IE t E
G
4 2
4

r
1 2 1 0 4 1 0
?b Et E II 1 I I I I I II
4
2 4 2
4 1 1 4 1
1 4 1 1 1 1 4
?b
I I I I Ir [ f E IE f [ r II I I I II
A D G

? bb
I I I I II I I I I I I II 1 1 1 II
4 1
1 4 1 2 4 1 2 4 2 1 4 2 1 4
? bb
I I I I II I I I I I I II 1 1 1 II
E A D
4 1
1 4 0 1 4 0 2 4 2 0 4 1 0 4
?b
b I I I I II I I I I I I II 1 1 1 II
E A D
4

2 4 2
4 1 1 4
1 1

r [ r
E
? bb
b I I I I II f If [ II I I I II
4

2 4 2 1
4 1 1 4
1 4 1 1 1 1 4
? bb
b I I I I II r [ f If [ r II I I I II
A D G 1
1 1
1 4 4 1

r [ r
1 4 0 0 4
? bb
b I I I I 11 t 1t [ II I I I II
A D G

Page 47
 Scales in Flat Keys

1 4
4 1 2 4 1 4 0 1 0 4 1 4 2 1
A
? bb b
b I I I I I I I I 11 I I I I I I I II
E A D G
4 1
1 4 1 1 4 1 2 4 2 1 4 1 1 4
? bb b
b I I I I I I I I I 11 I I II I I I II
E A D
4
2 4 2 4
4 1 2 4 1 4 4 1 4 2 1
D
? bb b
bb I I I I I r [ I[ r I 11 I I II
A D G
4
2 4 2 1
1 4 1 1 4 1 1 4 1 1 4
? bb b
bb I I I 11 I r [ I[ r I 11 I I I II
A D G

2 4
4 1

r
1

t FF
1 4 1 1 4 1 2 4 1 4
G
? bb b b
bb I I I I II I I I II t 1

E A G
4 2 1 4 1 4 1 4 2 1 4 1 1 4 1
? bb b b
bb [ f E E Ir I I I I1 1 1 1 I I I I II
2 4
4 1
1 1
1 4
? bbb
bbb I I I I 1
1
I I I II I r E It f [
4
A D G
2 1 4 1 1 4
? bb b b
bb [ f E E Ir I I I II I I I I I I II

4 1
2 4 2
1 4 1 1 4 1 1 4 1 1 4
? bb b b
bbb I I I I 11 I I r Ir I I II I 1
1
II
A D G
4 1
2 4 2
1 4 1 1 4 1 1 4 1 1 4
? bb b b
bbb I I I I 11 I I r Ir I I II I 1
1
II
E A D
Page 48
 Horizontal Technique

The following sets of scales employ what I call the Horizontal Technique: the scales are
played across the instrument, horizontally, rather than up and down, vertically. The same
practice principles used in the preceding scales are used in these exercises.


I.
         
 
3

   
2 4

  
1 3 2 1
2 1 4 2


3 1


2 4 2

  
G D A G D A
       
  
4

  
4


2

2

  
G D A
       
    
4

 
4

 
2 2

        
       
4

 
4


2


2


      
   
     
4 4

 
2


Fine

II.
              
       
1 1 4 1 2
1 4 4 1 1 2 1 1 4 1 1 1

E A D E A D

              
         
2 1 2 1 2

                        
1 2 1 2

 
0 4 1 1

         
A D

           
2 2

 
1 2
4 1
1 1


              
G A D G

             
2 2 2 3
3 1
1 1


3


1 1 1

A D G A D G Fine

Page 49
 Arpeggios

Arpeggios are a most important part of the development of one`s technique. They
aid in the developing of better pitch and tone, and, as I have fingered them in the
following pages, increased facility.

You will notice that only the first four measures are fingered. With Horizontal
Technique, the remaining measures use the same fingering. Follow the preceding
sequence.

Again, I recommend that these arpeggios be practiced with much patience and
much care.

 
I.
 
    
4


4

  
4 4
2


4 2 1

G D D A A D D G

    
     

7

    
    
13

   

II.
    
    
4


4


4 2
2 4 1 4

D A A E E A A D

    
 
6

     

     

12

   

Page 50
© 2015 RON CARTER.
 Arpeggios

III.
     
   
4 4 4 4


4 4
1


1


G D D G G D D G

    
To Coda

     
4 4
6
0

G D

    
     
D.C. al Coda

12

 * 
      
   
18 4 4 4
4 1 4 1

D A D A

  
   
    
24

 
0 0

* Alternate fingering
IV.
   
   
4


4

  
4 4
1 1
2 2

D A G D A

   
     
6

     
    
4 4 4

 
11


4 1 2 4 1 2

G D A E D A A E

  
  
  
17

   
Page 51
 Arpeggios

V.

      
       
4 4

  
4 4


4 4 4 4
1 2


0 4 2 1 2 4

  
G D G D A A D D G

     
 
5
      

     
      
   
9

   
            
13

 

  
VI.
     
4

  
2


4 4 2
1 1 4
2 2 2 1

A D G D A
     
   
4

  
7 4
1 2 2

     
     
13 4
2
0 2 1

E A D
   
     
4


19

 
4 2
1 2

A E

      
  
25

 

       
31

     
0

Page 52
 Arpeggios

1
™ ™ 1 4
™
r ™ ™ ™
0 0 0 0
? F F I *=
I II I II I II *= I
™
D G
™ ™ ™
? f II
™ f If II
™ f If I II
™ f It I I
1 ™ 4

r
2

™ ™
1 0 4 2
? t I
[
I II
[
I I I II I I I™ 11
I I
D G D

™
0 2 2
?b
I I™ I I™ I I™ I I™ I I™
™
A E
™ ™
4

?b
1
™ 2
™
4
™ 4
1
™
II I I
D A D G D
1 ™ ™
™ ™
4 2 4
2 1 2 0 1
?b ™
r I I II I I II I I™ I I™ I 1™ 11
A D E A A

1
1 0 1 4 0 2 2 2

?b
b II
E E A D A G
4
5 1
2
1
2 2 0 4 1 4

?b
b f E II E II I I I I I I 11
G D G A D A E D A

4
0 1 4 0
? bb
b I I I I I I I I II II t
A D G
6 1
? bb
b I I I I I I 1 I I
I 1 11
A
Page 53
 Arpeggios

XI
  
    
1

 
1 4

  
1 2


2 2 1 2

E A E A E D A G D

  
    
4

  
5 1 1


4


2 1


2 1

G D G A D E A

XII
  
     
4

  
2 1 2 4 4

E A E A E A

  
 
2

  
4 4


8


4 1 4 1

G D A D A

XIII
     
      
1 4


2 2 1 1 2

E A E A E D A

  
  
4

  
8 1 1
1 2 4


2

G D G D G D

 
     
15 1


1


1


2 2 2 4 1

D G A
Page 54
 Arpeggios

XIV

  
   
2

 
4 4


2 2


1 0 1 0


E A A D G D
   
3

  
2 2


10 4 1


1
0 4 0

G D G A A

XV

   
 
4

   
1 1 0


2 0 0


E E D
    
3

  
9 1 3 1
4 4
0 0

G D G

     
17 4


0 1 4

 
0 0 1

D E E D

XVI

      
25

  
0

 

   
    
2


3 3 3
3 1 3 3
51

    
  
3

 
59 1 1


A A

Page 55
 Arpeggios

XVII.

     
    

   
   
4


8 1
2
1
2
1
2

G D G D G A

    
15

 
1 4

 
0


D E A A

XVIII.

        
2

 
2

 
A E

   
    
1


8 1 4 4
1 2 4 1

D A D A G D D G

     
16

 
1 2 1


2 2 4


A D E A E


XIX.
     
1

   
2 2 1 2 1 4


A E D A D A G

   
    
4


8 1 1 1
2 2


1 2

D G D G D G A

     
16 2

  
2


4 1 1


D A D A D
Page 56
7. Proper placement and position of right hand for pizzicato .

4. Proper placement and position of right hand for pizzicato

Page 57
 Pizzicato

One of the problems facing the young bassist is that of producing a good pizzicato sound -
one that produces a true tone, and one whose "delay time" (the length of note resonance) can
be controlled by the player.

For the proper physical approach, I have included a photograph of the right hand (pizzicato
hand) to illustrate the position of the hand. (See 4)

When playing pizzicato, the bassist should think in terms of the right hand "slurring" the notes
(as if using the bow) when crossing the strings, from the G string to the D string, the D string
to the A string, and the A string to the E string. When going from a lower string to a higher
string, the same principle applies.

    
2

    
0 2


A E

  
    
4
7 4 4


1 2 1

D A D G D

 
  
14

 
2 4


1


2 2 0


A D E A A

II




      
1

 
2 2

   
0 1 4 0 4

E E A D A G D

  
  
4

   
1 1


5 2 2 4

  
2 0 4 1

G D G A D A E D
Page 58
 Pizzicato

III

  
   
2

 
4 4


2 2


1 0 1 0


E A A D G D
   
3

  
2 2


10 4 1


1
0 4 0

G D G A A

IV

   
 
4

   
1 1 0


2 0 0


E E D
    
3

  
9 1 3 1
4 4
0 0

G D G

     
17 4


0 1 4

 
0 0 1

D E E D

      
25

  
0

 

   
    
2


3 3 3
3 1 3 3
51

    
  
3

 
59 1 1


A A

Page 59
 Etudes
The following three etudes are written to incorporate what has been learned from
the previous exercises. Remember to strive for good tone, a long “delay
time” (the length of note resonance), and a good feel for this approach to produce
an outstanding sound from the instrument.

                   
= 112


        
1

       
        
4


5 0 1 2 1 4


     
1 2 1 1

     
1 1

A E A D D A

                 
    
9

      
  

       

 

 

 

    

13

         

  
                
17

 
1 4


2 1

    
1 1 1 1 2



   

D A E D

   
D.C. al Coda

21

  
 


   
                  
23

 
1

    
1

   
1 1 2

 
 


  
D G E A
  
3


1

   
29

    

rit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Page 60 © 2015 RON CARTER.

 Etudes

II

         
= 100

 
1

   
2

            
1 4 0 0 1


1 4 0 1 4 1

   
A D G E

                
        
1 1 1

   
4

    
2
5 4 4


1


1 1 2

A D G E A D G A

   
4 4 4


D7 D7 G C

         
9

    
1


0 0 2 0 4 4 1 0 1

 2 
E A D A D A E


B
      
F 1 2 1

                 
13 0 4 2 0 4 0 2

 
1 4
2


D G A D A E D E D E D E D E

 
 
1

  
3

       
4


17 0 4 0 1 4 1 1

  
4

    
1 1

 
1

E A E A D G D G


                
             
20

    
Repeat last 4 bars ad lib, then fade

Page 61
 Etudes

?#

2
1 4
#
?#
I J I
f It r I t Ea IL I rJ=ttft1

1 1 2
4
1
n 4 1

?#
D G G

1 2
?# F I
1 I I
II 11

Page 62
 Ron Carter’s Bass Solo
on the harmonic changes of "Blues in the Closet"

0A G7
œ Œ ‰ œ œ œ œ œ œ œ œ œ nœ œ
?# c œ œ œ œ œ œ œ œ
I I 1 I
(1:49)

C7 œ G7 E7
? # œ œ œ nœ œ œ œ œ bœ œ œ œ œ
5
œ œ œ œ œ œ #œ œ
œ
I I I I I c1S1 LJ ~_i r Œ ‰ ¿ œ
3
J

9 œ œ œ œ œ œ D7
Am7
œ œ
G
œ
?#
-r
LJ LJ I I I I
œ œ
r
œ
1 I I I I
œ œ œ œ œ œ œùI œ œ ‰ œJ œ Ó
I I
1 1 1 1 tJ I II

0B G7 bœ
? # ‰ œ bœ œ ù œ œ œ œùbœ Œ ‰ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ #œ œ bœ œ œ
13

(2:07)
ti 1 11 1 1 1 1 I 11 1 131J 3 1 r 1 cu
17 C7
b œ
G
# œ œ # œ œ œ n œ E7
œ œ œ œ #œ œ œ œ
? # nœ œ nœ œ œ œ Œ œ #œ œ œ œ nœ œ œ œ œ œ Œ
3 3 3 3

21 œ œ œ œ
Am7 D7 G D7
?# œ œ ùœ ùœ œ œ ¿ ¿ œ ¿ œ œ œ œ™ œ Œ ‰ œ œ
J J II

œ œ œ bœ #œ œ #œ nœ nœ #œ œ œ œ œ nœ
œ œ #œ œ œ nœ œ œ œ
G7
25 C
œ # œ œ
?# œ ¿ ¿
3 3
(2:25)

Page 63
 Ron Carter‘s Bass Solo

29 C7 G7 E7
?# b ‰ œ œ œ œ œ œ
‰ J ‰ œJ nœ œ œ œ œ ‰ œ œ œ œ œ #œ nœ
J J ¿

33
? #'
Am7
....,

I
' œ ‰ œ œ œ œ ùœ Iœ™
J IL I I
D7
- J II I
G
œ
¿ œ œ ùI œ œ ‰ œJ œ Ó
I I I Cd
- II

œ œ œ nœ œ
~ ~ ‰ ~ I¿ I ~ ¿ ~ ¿ I ¿ I
#œ ùœ #œ œ #œ nœ #œ
C7
37
?Q
G7

I I I II I I I I t I I j I I I I I I
œœ
# œ-œ #œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ #-r~ Ef
= = - = CiLi-[ - -b
L±= I =J J
(2:4 )

2 G7 E7 Am7
? # œ nœ #œ ¿ #œ œ œ œ œ ¿ œ ¿ #œ œ œ
œ nœ œ œ #œ œ ¿ œ œ œ œ œJ ¿
J

D7 G
?# œ œ œ œ œ œ œ œ
[ :I
j I 11 11! CJ œ œ œœ œ œ œ œ œ
I I I I I I
‰ œJ Œ Œ ‰ ¿J
II

G7
9 œ # œ œ œ œ #¿ œ œ œ n œ œ ¿ œ nœ œ œ œ # œ œ œ œ #¿ œ œ œ n œ œ ¿ œ œ œ
?# œ‰ œ œ ‰ J œ‰ œ œ œ ‰ œJ
3 3 3 3 L_J
3 3 I 3 3 3 3 L_J
3 3
( :00)

G œ œ œ œ

tfFlr r
C7 E7
53
b œ œ œ œ œ
~
œ
?# œ œ œ ¿ œ œ œ œ œ‰ œœ œ #œ nœ œ œ
I I 1 1t1 1
1FTJ¿ Iœ
1 1 J I
1 1 Jœ c
œœ
1 I r 1 1 1 1 I

57 œ œ œ œ œ œ D7
Am7
œ œ œ
G D7
? # [LJfLJ11 œ ‰ œ ‰ œ œ œ
J IT[j
J œI œI #œ11 œ œ œ œ 11

Page 64
 For Toddlers Only
Leadsheet
Ron Carter

A E¨
Medium Swing Eº7 B¨/F G7
? bb 4 œ œ œ ™™ œ œ œ œ œ œ bœ œ œ œ œ
4 œ œ nœ nœ œ

3 C‹ F B¨ D‹7 E¨ Eº7
œ œ œ
? bb œ œ œ
bœ œ œ
œ œ œ œ Œ ‰ œJ œ œ œ bœ nœ œ œ

6 B¨/F G7 C‹ F 1. B¨ 2. B¨
œ™ bœ œ
? bb œ bœ nœ œ œ œ œ œ œ œ œ
nœ J Ó Œ œbœ nœ ™™ Ó Œ ‰ J
3

B A‹7(b5)
10 œ œ œ œ D7 D7 G7
? bb œ œ œ #œ œ™ œ œ œ œ œ
#œ œ ˙™ nœ
J ‰ J
3

14 C‹7
œ D7 G‹7 C‹ F F7
bœ œ œ #œ œ œ œ j œ œ œ œbœ œ
? bb œ œ œj ™
œ ‰ œ œ œ œ œ Ó Œ
3

C E¨
18 E¨‹
œ™ œ D‹
œ œ œ œ nG7 C‹ F7 œ
œ B¨7
w
?bœ Œ J œ ™ œœ œ œ œ b œ œ J
b ‰ J ‰
3

E¨7 A¨ D¨7
22 œ œ bœ bG¨7
œ œ C‹7
œ œ œ œ
F11 B¨
? bb œ œ œ bœ œ
bœ bœ
œ œ
œ ∑
Page 65
 Receipt, Please

Ron Carter

Moderate bounce q ca 96
œ œ œ œ b œ C
œ œ D7(b9) G9 C9
#œ œ œ œ nœ œ œ
œ ™ œ œ
?c Ó ‰ œ œ ™ J J
3 3

bœ nœ ™
C/G E G7sus G9 C9 F#9b5 F7(b9) F
4 œ œ œ œ œ œ œ œ œ œ œ œ
? œ œ J bœ œ œ ™ œ
Ó Œ ‰ J J J
J

C E¨ G¨ B¨ D¨ j G9 G9
œ b œ œ œ œ œ œ œ œ
8 œ œ œ b œ b œ bœ b œ n œ bœ nœ œ œ
? bœ J ‰ Ó Ó

œ œ bœ œ œ œ
D¨7 G7(add6) G¨9 G¨9
b œ œ œ bœ œ œ bœ œ œ b œ œ œ
12
? œ œ bœ bœ Ó
t t f 1 1 r II I I 1

G¨9
œ œ bœ
G¨9 G9

œ œ bœ œ œ œ œ œ
16 œ œ
? bIœ I I [ t [ It E f JI œ ˙ œ
II I I r t t I

œ #œ œ œ ˙
G9 G9
œ #œ œ U
eeer r œ œ œ œ œ
19
œ œ
? œ ‰ œL Iœ J ™™II
I I

Page 66
 PLAYING TIP NO. 1: TIPS FOR PLAYERS

Ron, in his own words, from Bass Player magazine:

1. Find a teacher. Period.

2. Don’t watch the piano player’s left hand. Piano players often tell bassists, “Watch my
left hand. The note I play with my left little finger is often the root of the chord.” But
that’s not always the case; good piano players don’t always play the root. They may
play the third, or they may play no chord at all. To get a sound like Horace Silver or
McCoy Tyner, the chord’s sound and rhythm are what’s important. If you rely on being
visual to figure out what the chord is, you miss the point of hearing the music. You
have to be able to hear the chords; you can’t rely on the piano player’s left hand to bail
you out.

3. Learn some keyboard. Bass players should know what the chords look like on piano.
That gives you an idea of how your bass note affects the quality of the sound—whether
you play a C or a B-flat under a C7 chord, for example. If you have some keyboard skill,
you can hear what that stuff sounds like. It also helps when you’re learning a new tune;
if you can get to a piano and figure out what the chords are, you can stumble through
the melody.

4. Play as often as you can. The more you play, the more you can make mistakes and
learn how to fix them. Don’t limit yourself to one band and one concept of rhythm-
section playing. The more experiences you have, the more you can bring it all under
one umbrella.

5. Always know what your bass really sounds like. Go into a corner and play some
scales, without trying to knock down the walls— you’ll hear what kind of quality you
actually have in that small space. Is the sound dark or light? Are the notes short, or are
they long? Is the sound warm? Is it flat?Is there any resonance? I still do that because I
want to know what happened last week - maybe the bass wasn’t standing up straight
enough, maybe the angle was too great or maybe my hands were too high. I just like to
get an idea of what’s going on with my bass and its sound.

Source: Bass Player magazine, September 2003, as told to feature writer Brigid
Bergen. Used by permission of Brigid Bergen and Bass Player.

Page 67
 PLAYING TIP NO. 2: IMPROVISATION

Ron, in his own words, from Strings magazine:

1. The first thing any improviser must know is what chords are attached to each note.
Classical players tend to saw away at notes or scrape the bow or pluck at random. They
don’t think about chords. They don’t think to analyze. That’s not the job of a second
violinist in an orchestra. Knowing what the chords are is not their concern.

2. Our concern as jazz improvisers is much more complicated than just playing a note.
You need to know what chords are attached to this note and what other chords can be
used to give harmonic validity.

3. So, the first thing I’d suggest is learn harmony and theory to understand what chords
do to certain melodies. Second, stay away from trying to play a lot of notes. Half notes
are fabulous. Half notes and rests are two of the greatest things invented.

4. Improvising doesn’t mean you have to have a different technique or skill. Jazz requires
the same skill level as classical music, but it’s more complicated because you play notes
that you don’t know are coming in advance. It’s hard to prepare your left and right
hands so as to make those notes easily attainable.

5. I’d recommend listening to as many jazz musicians as possible who play an instrument
different from your own. A violin player could listen to Charlie Parker on saxophone or
Miles Davis on trumpet. A cellist could listen to bassist Oscar Pettiford or me. By
listening to others, you can get some ideas about how you could sound on your own
instrument. For example, if you’re a violinist and you listen to Jean-Luc Ponty, you may
not learn what your own violin playing could be. That’s what Ponty has done. Why not
listen to a saxophone player to hear what other choices are available?

6. Last, don’t worry about trying. You can’t learn to improvise in three weeks. You can just
keep working at it, and it’ll come.

Source: Strings Magazine cover-story, Ron Carter: Dean of Jazz Bass,“ May 2004, issue
number 119, as told to Dan Ouellette. © 2004 String Letter Publishing. Used by
permission.

Page 68
 SELECTED DISCOGRAPHY

(Based on Ethan Iverson’s selection as published in “RON CARTER: Finding The Right
Notes,” by Dan Ouellette)

• Pepper Adams (with Zoot Sims) — Encounter!

• Kenny Barron — One + One + One
• Ron Carter — Etudes; Uptown Conversation; Parade; All Blues
• Miles Davis — Seven Steps to Heaven; Live in Europe; Four and More;
My Funny Valentine; E.S.P.; Sorcerer; Miles Smiles; Nefertiti; Live in Berlin;
No Blues; Live in Toyko; The Greatest Concert Ever; Water Babies;
Filles de Kilimanjaro; Live at the Plugged Nickel
• Eric Dolphy — Out There; Far Cry
• Roberta Flack — First Take
• Tommy Flanagan — The Ultimate Trio
• Benny Golson — Free
• Jim Hall — Live at Village West;
• Herbie Hancock (also V.S.O.P.) — Empyrean Isles; Maiden Voyage; Speak Like a Child;
V.S.O.P (California); V.S.O.P (New York); The Tempest in the Colosseum; Trio (Japan);
Quartet
• Barry Harris — Magnificent
• Joe Henderson — Mode for Joe; Tetragon; The Kicker; Power to the People;
State of the Tenor Vol. 1; State of the Tenor Vol. 2
• Johnny Hodges — Three Shades of Blue
• Freddie Hubbard — Super Blue
• Bobby Hutcherson — Sunflower
• Hank Jones — Joy, Love, and Happiness; Hanky Panky; Milestones;
Live at the Village Vanguard Vol. 1; Live at the Village Vanguard Vol. 2;
The Great Tokyo Meeting; Live Under the Sky
• Antonio Carlos Jobim — Stone Flower; Wave
• Steve Kuhn — Life’s Magic
• Branford Marsalis — Royal Garden Blues
• Wes Montgomery — Down Here on the Ground
• Lee Morgan — The Procrastinator
• Sonny Rollins — Now’s the Time
• Wayne Shorter — Speak No Evil; The All-Seeing Eye; Schizophrenia; The Soothsayer
• Charles Tolliver — Paper Man
• McCoy Tyner — The Real McCoy; Supertrios
• Cedar Walton (also Sweet Basil Trio) — Heart and Soul

Page 69
 BIOGRAPHY

RON CARTER is among the most original, prolific, and influential bassists in jazz. He has
recorded over 2200 albums, and has a Guinness world record to prove it!

In Jazz: Over his 60 year career, he has recorded with so many of the jazz greats greats: Lena
Horne, Bill Evans, B.B. King, Dexter Gordon, Wes Montgomery, Bobby Timmons, Eric Dolphy,
Cannonball Adderley and Jaki Byard to name a few. From 1963 to 1968, he was a member of
the acclaimed Miles Davis Quintet.

In other music genres: After leaving the quintet he embarked on a prolific 50-year free
lance career that spanned vastly different music genres and continues to this day. He
recorded with Aretha Franklin, appeared on the seminal hip-hop album Low End Theory with
a Tribe Called Quest, wrote and recorded pieces for string quartets and Bach chorales for 2-8
basses and accompanied Danny Simmons on a spoken word album.

As a leader: Carter spends at least half the year on worldwide tours with his various groups.
The Ron Carter Trio, The Ron Carter quartet, the Ron Carter Nonet and Ron Carter’s Great Big
Band. He has recorded multiple albums with his groups.

As an author: Carter shares his expertise in the series of books he authored, where he
explains his creative process and teaches bassists of all levels to improve their skills and
develop their own unique sound. He also penned his autobiography “Finding the Right
Notes” which is available in print and also as an audiobook read by the Maestro himself.

As a teacher: Carter has lectured, conducted, and performed at clinics and master classes,
instructing jazz ensembles and teaching the business of music at numerous universities. He
was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in
Boston and, after 18 years on the faculty of the Music Department of The City College of New
York, he is now Distinguished Professor Emeritus, he currently teaches at Manhattan School
of Music.

In film scoring: In addition to scoring and arranging music for many films, including some
projects for Public Broadcasting System, Carter composed music for A Gathering of Old Men,
starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind
Faith starring Courtney B. Vance.

Film appearances: Most jazz documentaries feature the Maestro because of his indelible
contribution to the genre. Ken Burns “Jazz”, “Birth of the Cool” about Miles Davis, "It Must
be Schwing", the story of the Blue Note and many more. He also appeared as himself in
HBO’s hit series “Treme” and was the bassist on soundtracks of Twin Peaks, Bird, and way
too many others to mention.

Education: Carter earned a bachelor of music degree from the Eastman School in Rochester
and a master's degree in double bass from the Manhattan School of Music in New York City.
He has also received five honorary doctorates, from the New England Conservatory of Music,
Manhattan School of Music, University of Rochester, Juilliard and Berklee, and was the 2002
recipient of the prestigious Hutchinson Award from the Eastman School at the University of
Rochester.

Page 70
 Proper position of the instrument when standing.

5. Proper position of the instrument when standing

Page 71
 6. Perfect Bb
Page 72
 B

Boo s

Behin the han es o to an e t e an es it ea orus.

Blueprint for the Working Jazz Bassist: Create your own unique sound.

he on arter on oo n lu es ittle alt i t ne an more

on arter om ositions.

he rt of on arter n lu es an o er ie o on arter s
areer is t in in a out ein a ass la er almost musi al e am les
an ull len t trans ri tions rom some o is most amous re or in s
rom .

in in the i ht otes on arter s i oni auto io ra . aila le in

a er a an as a au io oo rea t e aestro imsel .

ores

Scores and Parts for string ensembles rran ements o arter

om ositions:

2+1=4 or iolin iola and cello

Desert Winds and Loose Change each for 4 cellos
Serenade for viola and 4 cellos

Ron Carter Meets Bach: Scores and parts for 13 Bach chorales for 2-8
basses. Arranged by Ron Carter. Available in 3 volumes

Bi Ban ores on arter om ositions arran e i e osa

Bi Ban ores 10 a tan ar s plus 2 Ron Carter tunes arran e

o reedman

aila le exclusively at .roncarterbooks.com 53

 The Music of Ron Carter
Comprehensive Bass Method

Retrac Productions Inc

New York, NY USA

www.roncarterbooks.com