Chords for Jimmy Haslip of the Yellowjackets with Wilkins Guitars - What To Practice

_ _ [D] _ _ _ _ _ [G] _
_ _ _ _ [B] _ _ _ _
[E] _ _ _ _ _ _ _ _
_ _ [D] _ _ _ _ _ _
_ _ _ _ [B] _ _ _ [E] _
_ _ _ [A] _ _ [E] _ _ _
_ [B] _ _ _ _ _ _ _
_ _ _ _ _ _ _ [G] _
_ _ _ [D] _ _ _ _ _
[E] _ _ _ _ [A] _ _ _ _
[Em] _ _ _ _ [E] _ _ _ _
[B] _ _ _ _ [G] _ _ [A] _ _
_ _ _ _ [B] _ _ _ _
_ [A] _ _ [Bm] _ _ [Em] _ _ _
[G] _ _ _ _ [B] _ _ _ _
_ _ _ _ _ _ _
Hi, _ _ _ _ _ I'm Jimmy Haslip.
_ _ I play bass with several groups.
Yellow Jackets for one.
I've been touring with Alan Hallsworth, Robin Ford, and Jeff Lorber, Fusion.
I'm here at _ Stag Sound Recorders here in Van Nuys, California.
And I'm playing this beautiful, brand new Wilkins bass, five string, fretted. _ _
Really enjoying it.
It's been on, _ _ _ recently on some prominent recordings by Brenda Russell.
_ And a new group featuring Robin Ford, Mike Landau, Gary Novak, and myself.
_ As you can see, I have kind of an unusual technique, and I'm often asked about that.
_ _ Basically, I grew up in a household with right-handed people.
And _ my dad, who played guitar, was right-handed, and I used to pick up his guitar and play
it upside down.
At _ _ a young age, I got kind of used to this technique.
And being an impatient teenager at 13, _ _ _ and standing at Sam Ash Music in New York, I bought
my first bass.
_ And there were absolutely no left-handed instruments _ in the store, so I _ bought a right-handed
bass, took it home, and practiced _ really hard.
And here I am, 45 years later.
_ _ _ _ _ _ _ _
[G] _ [Bm] _ _ _ _ _ _ [B] _
_ _ _ _ [A] _ _ [Bm] _ _
[Em] _ _ [A] _ _ [D] _ _ _ _
[D] _ _ _ [G] _ _ _ _ _
[E] _ _ [B] _ _ _ Okay, _ let's talk about the E pentatonic minor scale.
E minor pentatonic. _ _
_ _ Something that I just grabbed ahold of this morning, actually.
_ So I'm _ asked _ often, what do I practice?
_ _ _ _ These are the kinds of things I practice.
I might take, _ _ _ as I did this morning, an E _ _ _ _ _ _ [A#] minor pentatonic [A] scale, and then _ kind of start
messing with it, as I just did. _
And then looking at it a little closer, _ _ you can see, and I have it written down over here,
we'll look at that later, but _ you can see that _ _ the relative to the E minor pentatonic
is a G major _ pentatonic.
Which, _ _ _ _ _ _
[G] _ _ _ _ _ _ [A] _ _
_ [G] _ _ [E] _ _ _ [B] _ _
[G] _ _ [E] _ _ okay, so there was _ basically a G major _ _ pentatonic, which is related to the [B] E minor
_ _ pentatonic.
_ _ _ [G] _
_ [E] _ _ [D] _ _ [A] _ _ [E] _
_ _ _ [A] _ Okay, so you have both of those scales to work with, and _ basically kind of one position,
_ _ with a little stretching.
So what ends up happening is you can kind of go in between those two scales and create
some pretty interesting _ melodic _ _ lines. _ _ _ _
I also _ spent a lot of time working on patterns, so that's an important thing.
If you're working on these kind of scales, it's nice to develop some patterns that are,
_ I guess, indigenous of your vocabulary. _ _ _ _
And that'll help you with phrasing as well.
_ _ [G] Okay, [E] _ _ [D] _
_ _ [B] _ _ _ _ _ _
_ _ _ [A] _ _ [G] _ _ _
[B] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [E] _ _ _ _ _ _
_ _ _ _ so there, I used both scales, _ _ _ and kind of, _ I've worked on these little patterns for
these scales, _ _ and that creates an interesting _ melodic _ _ _ _ _ improvisational type of setting for
you to use these two scales.
And now I also, just this morning, kind of messed around a little bit.
I wanted to alter the scales a little bit, so I added one note _ to both of these scales,
which is _ _ a D flat.
And a D flat _ against a E _ _ minor pentatonic scale is the major sixth.
_ So what that'll create, actually, is a Dorian scale, _ and it'll sound something like this.
_ _ _ _ [C#] _ _ _
[B] _ _ _ _ _ _ [C#] _ _
_ [B] _ _ _ _ _ [C#] _ _
_ _ _ _ _ _ [A] _ _
[E] _ _ _ _ [B] Okay? _ _
If you also include the D flat _ _ _ _ _ with the G major _ _ pentatonic, which is the relative of
the D minor, then you have the flat five against [G] the G.
[C#] _ _
[B] _ _ _ _ _ _ And that kind of creates a little bit different type of sound, also altered for this _ key.
_ _ _ _ And what it creates is _ more of a Lydian sound, and you have something like this.
[C#] _ _
[B] _ _ _ _ [E] _ _ _ [B] _
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ _
[A#] _ Okay, so now I'm going to combine all of that with _ _ the pentatonic scales, and [C#] you'll come
up with stuff like this.
_ [A] _ _ _ _
[G] _ _ _ [F#] _ _ _ _ _
[A] _ _ [B] _ _ _ _ _ _
_ _ [Em] _ _ _ _ Okay?
_ _ That's all using the two _ _ relative pentatonic scales. _
And just by adding one note to alter them both, creating some more of a modal kind of
sound, _ but also staying within _ this little area for fingering, for economical fingering. _ _
_ _ _ So there you have it.
A little lesson in the E minor _ pentatonic and the G major pentatonic. _
_ _ _ _ _ _ [B] _ _
[G] _ _ _ [Bm] _ _ _ _ _
[G] _ _ _ _ _ [A] _ _ [Bm] _
_ [Em] _ _ [A] _ _ _ [D] _ _
[G] _ [D] _ _ _ _ _ _ _
_ [E] _ _ _ _ _ _ _
[B] _ _ _ _ [Bm] _ _ _ _
_ _ [G] _ _ _ _ _ _
[A] _ [Bm] _ _ _ [G] _ _ _ _