"Igor's Chromatic Exercise" Error?

Discussion in 'General Instruction [BG]' started by Matthew_84, Sep 12, 2012.

  1. I'm going through "Standing In The Shadows of Motown" and was analyzing "Igor's Chromatic Exercise". In the first example, C, the notes in the second measure, after the triplet, are:


    where as in the first measure it goes:


    I then looked at the other five examples where it shows the exercise in the next key in the circle of fifths, and it shows that in both measures it looks like:


    So is this simply an error in the second measure of the first example?


  2. Has anyone else noticed this? With the popularity of this book, I was expecting it to be a known error, but I googled it and found nothing.

    It makes more sense to use the second example with fifths as opposed to sixths, but since the possible error occurs in the first example, in the key of C, I wonder if that's correct and the examples in the other keys are actually wrong.
  3. bassfuser


    Jul 16, 2008
    Does it really matter? It's an excercise and you found what is perceived to be an error. Inconsistancy maybe a better term. I'd say use it for what it is and incorporate into your playing. Either way, both sounds have their merit. :bassist:
  4. Yes, inconsistency is a better term, and yes, I could and very well may do both. I guess I'm just interested to see if anyone knows how it was intended to be written. I think it's a very valuable exercise to do in all 12 keys regardless of which variation I choose.
  5. bassfuser


    Jul 16, 2008
    There is a statement before the exercise that it was altered a bit to keep it in the lower registers and to allow open strings. The way the intro reads makes me think that the alterations were not made by Jamerson.
    Leo Smith likes this.
  6. mambo4


    Jun 9, 2006
    I always played those 2 A's as G's, consistent with the form of all the other keys. In fact I never noticed the error/inconsistency.

  7. Yeah, that's how I've been playing it also. I also play the Ab at the end of the triplet in measure 19 as opposed to the chromatic below the iii, as well as continuing on through all 12 keys.
  8. bassfuser


    Jul 16, 2008
    Just played through it and you guys are right, the G fits much better. I'd say it must be an error and not just an inconsistency.
  9. ErikP.Bass

    ErikP.Bass Supporting Member

    Nov 23, 2004
    Bumping this up. I’ve really been digging working through this exercise, staying within the first five frets and mixing open strings and fretted combinations. Really fun, and very refreshing IMHO. Somehow the rhythm has a natural breathe built in that helps keep me relaxed when playing it.
    Last edited: Jun 19, 2018
    bassfuser likes this.
  10. bassfuser


    Jul 16, 2008
    I take it back about it being an error. I've since practiced the line and think of it as a variation. He was just pedaling on the 6th instead of the 5th. It could be a mistake but what the heck, it sounds good either way.
    roswell1965 likes this.
  11. roswell1965


    Mar 5, 2002
    Exactly. Pedaling on the 6th gives him an opportunity to utilize that open A; Anthony Jackson describes his affinity for using open strings in unexpected places (his analysis of Jamerson's performance of "How Long Has That Evening Train Been Gone" from SITSOM p.95 references his use of the open A in the key of Db; Jackson refers to it as a "lazy" open string), and here he seems to be taking the same sort of tack. BTW, Joe Hubbard concurs:

    How to Practice James Jamerson's Bass Exercise! Joe Hubbard Bass - YouTube
    Last edited: Mar 5, 2021
    ErikP.Bass likes this.
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