Maurice Yap 6946

Revolutions
Composition brief 2: exploiting instruments
An experimental ritornello piece which explores several modern popular genres, featuring electric bass guitar as part of a fourpiece band. It explores the use of the electric bass as a melody instrument. A variety of playing techniques for the bass guitar
are used in the technically-demanding piece. I played the electric guitar and bass guitar on the recording, showing that the piece
is idiomatic.

Bars 1 11

Cadenza introduction (A major)

High-register extended chords and low open strings are used to accompany a melodic line. This
section modulates to A natural minor (same as A Aeolian) at the end of the passage. Bar 5 uses the
ninth natural harmonic of the low E string.

Bars 12 30

Loop-based riff (A natural minor)

A single-bar loop in A minor forms the basis of this section. Percussive sounds through the pickups of
the bass are created by using a plectrum on a muted string to create a high-sounding rhythm, and by
hitting or slapping the muted strings for a low percussive sound (it is not specified how to create this
in the score because different techniques are more suitable for different instruments. Parallel harmony
is made through layering homorhythmic lines using the loop pedal. Double-stopping is used in bar 14.

Bars 31 39

Ritornello theme in A minor

The first appearance of the theme is in A natural minor, but incorporates an inflection of A harmonic
minor in the second half of bar 34 (raised leading note (G#) creates E dominant 7 instead of E minor
7, making a minor ii-V-I to A minor). It is founded on top a dominating bass riff that is accompanied
by primary chords. The ritornello has a soul-funk style.

Bars 40 65

Progressive metal episode (A minor)

Irregular time signatures begin this section. Riffs with very quick rhythms create a virtuosic-like
sound. Bars 48 to 50 are based on a quaver and semiquaver riff while bars 51 to 56 use metrical
displacement in the form of a five-semiquaver figure (four semiquaver notes followed by a
semiquaver rest). Bars 57 and 58 are based on the E altered chord, a dominant substitution into A
minor. Bars 59 and 60 incorporate shredding on the bass guitar, as well as a triple-stopped power
chords, that continue to be used for the rest of the episode.

Bars 66 72

Ritornello theme in G minor

The bass line is slightly modified to account for the range of the 4-string bass guitar.

Bars 73 98

Blues rock episode (B major)

A standard 12-bar blues chord progression begins at bar 75, with many substitute chords to create
strong ii-V-I jazz cadences, for example, bar 76 is a minor ii-V onto the proceeding G minor 7 and bar
78 is a major ii-V onto the proceeding E dominant 7 chord. It is characterised by a call-and-response
exchange between the piano and electric guitar, where each, in turn, is either playing a solo phrase or
accompanying (comping) the other (with the exception of bars 81 and 82, which are tutti
homorhythmic descending dominant 13 chords). The bass guitar displays quick and heavily-decorated
complex walking bass playing through this section, incorporating hammer-on appoggiaturas, ghost
notes and highly technically-demanding triplet quavers. Bar 87 begins an eight-bar bass guitar blues
solo with accompanying stabs, based on the same chords used in the previous section. It uses lots of
hammer-ons, pull-offs and slides and includes a scoop and fall in bar 92 and a vertical vibrato (string
bending). A four bar turnaround leads strongly into the next section of the piece.

Maurice Yap 6946

Bars 99 120 Ritornello theme in B major (blues rock variation) and

transition
The ritornello theme is modified so that it has a major tonality. It is played in a swung blues style by
the bass guitar in bars 99 to 114 and is decorated with stylistic phrases. The motif of chromatically
descending dominant 13 chords from bars 81 and 82 is extended in a sequence to form the transition
passage between bars 115 and 120 that modulates the piece into the key of the proceeding section.

Bars 121 142 Funk episode (B minor)

The slap bass technique is demonstrated in this section, including the advanced double thumb
technique that was popularised by Victor Wooten. A right hand string tap is integrated as part of the
riff. A slapped riff is the basis of bars 123 to 130. On top of this, added note chords (i.e. B minor 7
and E dominant 9) played by the guitar and piano. Bars 126 and 130 create stabs out of the altered
added note chords of E augmented 7 with an added flat 9, F# dominant 11 and C half-diminished with
an added 9. The bass guitar presents a melody in bars 131 to 134, which is repeated by the electric
guitar in bars 135 to 138 over a thicker texture. A four bar written drum solo that incorporates off-beat
semiquaver stabs concludes this episode.

Bars 143 153 Ritornello theme in B minor

The final bar on the first time ending is changed. The final two bars of the piece 152 and 153 are
replaced with held chords to give a strong and decisive ending.

Maurice Yap 6946

Technical guide
Piano

Special notation

An acoustic piano is ideal. Alternatively, an electronic

keyboard of at least 73 keys with a piano sound could be
used. A sustain pedal is not required but would be useful.

Electric guitar
*Please note that chord voicings are notated as played
on the recording, but the player should voice chords as
they wish.

Hammer-on

Pull-off

Slide

Scoop; fall

Natural harmonic

Slap technique
Hit (slap) string with RH thumb
while muting strings with LH; hit
(slap) string with RH thumb;
pull (pop) string using RH
middle or index finger; doublethumb technique using upthumb

Standard EADGBE tuning. Played using plectrum.

Special notation

Ghost chord/note

Slide

Hammer-on

Pull-off

Sounds
The recording uses three different amplifiers to achieve the
different sounds required. A line selector pedal and effects
pedals were used. Alternatively, a digital modelling
amplifier, a multi-effects processor or just effects pedals
could be used instead.

Clean
Use a bright clean setting to achieve a soul or funk-like
sound. A boost pedal is required for the solo at bb. 135
138 (marked boost).

Metal (bb. 39 65)

Heavy overdrive distortion should be used. Scoop the mids
in the EQ.

Blues Rock (bb. 66 120)

A traditional warm and overdriven blues rock sound should
be used. Solo phrases are marked with boost; these should
have an aggressive high gain tone to stand out at the top of
the mix. Use a boost or attenuator pedal to achieve this
using the amps natural distortion. Otherwise, a traditional
overdrive pedal would be ideal, like a Boss BD-2 Blues
Driver or Ibanezs Tube Screamer. Use a light hint of
reverb.

Bass guitar
Standard EADG tuning. An instrument with at least 20 frets
is required. A 4-string bass is recommended as it allows the
use of the LH thumb for the chords at bb. 1 10. Most of
the piece employs fingerstyle technique with some slapping.
A plectrum is required for bar 12. A loop pedal with a
phrase length of at least four seconds is required for bb. 12
28.

Sounds
A clean bass guitar sound is used for most of this piece.

Metal (bb. 39 65)

Some light fuzz distortion should be used, with a blend of
the clean sound and distorted sound to preserve the low end.
Examples of suitable pedals include: Electro Harmonix Bass
Big Muff Pi; MXR Bass Overdrive; Boss ODB-3 Bass
Overdrive; Fulltone OCD Overdrive.

Drum kit
The piece is scored for the following components:
one crash cymbal;
one ride cymbal;
hi-hat;
three hanging toms;
one floor tom;
one snare drum;
a bass drum with double kick pedal (or two bass
drums).
No other extensions are required.

Notation

Bass drum

Snare drum

Toms

Crash cymbal

Hi-hat
Closed; open; pedal

Ride cymbal
Edge; bell

Maurice Yap 6946

4

Revolutions
By Maurice Yap

Composition brief 2
Andante a piacere
D7

Bass Guitar

C7

F9

F7

E7 A7 D7

w
# n
#
#

B #4

3 n
4

mp sostenuto

11
LOOP: Start

q=100
7

F B7(b5) E7(4) E7

j n n 4 n
B ###

n 4 n

Bass

nnn j
w

Muted, percussive using plectrum

mf

=

J
J

LOOP: Start overdub

13

?
Bass

Loop

Loop

=
17

?
Bass

Loop

Loop

Loop

Loop

Percussive muted hits

&

Copyright Maurice Yap 2015.

Maurice Yap 6946

5
21

Bass

Loop

Loop

Loop

Loop

Loop

Loop

=
25

&
Pno.

Loop

Loop

Loop

Loop

Loop

Loop

Loop

ff

E. Gtr. &

ff

Bass

ff

ff

LOOP: Stop overdub

o
5

o

Loop

Maurice Yap 6946

31

6
29

& b
- b - .
Pno.
>
? b

- b - .
>
- b-

E. Gtr. &

>.
LOOP: Stop loop
? b
Bass
- - .
>

f
A

E7

# #
# #

D7

# #
R

# #
# #

# #
R

.
b

Dr.

> >
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>
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>
>


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=
33

Pno.

&

E7
. D7
n n

E. Gtr. &
Bass

n .
b
3
3

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> >> >

/

>
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Dr.

- #
j
-
-

#

j - n
n

B7(b5) E7

E7
.
n

D7

.
b

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J
>
>
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>

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#n

& #n

n
Pno.
n
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#n
n
E. Gtr. &
37

Bass

Dr.

? #n
>

/

1.

2.

w
w

w
w

3
7
# # 8
# #
3
7
# # 8

Metal distortion

#
# #

# #
Metal distortion

7
8

7
#n # 8
3

Maurice Yap 6946

7

40 q=160

7
& 8
?7
8

40

Pno.

E. Gtr.

7
&8

b
n
n

b n

1
4
1
4

j
bnn 5 n n

#
J 8
# bb n#
13
b n j 58

16

J
n
b #

13
16

1
13
b nJ j 58 n

4
16

b n
J 5 n
7
1
13
?

Bass
8
4
16

J 8
j O
Oj j
j

j Oj 5 O O

7
1
13

Dr. / 8
J
J 4 16 J J 8
J
=
45

&
Pno.

b 1 5
4 n 4

subito p

1 5
b 4 4

subito ff 4

subito p

subito ff

1
5
4

& b 4 4
4

subito p
ff

? b 1 5
44
Bass
4
4

E. Gtr.

subito ff

Dr.

O 1 O 5
4 4
subito p

Y
44 O

subito ff

=
49

?
Pno.

b n n

&

fff

&

b

? b
Bass

E. Gtr.

Dr.

O Y
O Y

r
r

r
r
n
r
r

Maurice Yap 6946

8
52

Pno.

&

r
J

ff
n

E. Gtr. &
r j

fff
Bass

r j

r
r
r
r
J J

Oj
r j Y

Dr.

Y
Oj

=
rit.

3
>
b > b > b

>
3
3
3

55

&
Pno.

ff

mf

r
r j

ff

E. Gtr. &

j
r
r

mf
ff

3
?

Bass
J

ff

fff

Bass: Bars 34-35 down-stemmed notes are LH tapped, up-stemmed notes are RH tapped

Dr.

=
q=100
>
b > > b > n
6

& b
4

58

Pno.

E. Gtr. &

Bass

Dr.

6
4

6 ~Y
4 w

#
## # 12
16

# ## 12
16
#

#
## # 12
16

A5

6
4

6
4

D5

#
~Y
w

#n#

12
16

12
16

Maurice Yap 6946

9

>
12
& 16 J

61

Pno.

? 12
16

>

J

>

>

>

>

A5

12
E. Gtr. & 16

>

J

>

####
#

>

>

J j
>
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Y

J
J
>
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b 15
E. Gtr. & b 16

j
>

j
>

G5

j

>

bb

4
4

4
4

D7

>

J

Pno.

b
E. Gtr. & b
Bass

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b

b
r

4
4

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f

n
b.

D7

Dr.

3
> >
> >>
>



>
>> >

j

>

15
16

j

>

15
16

n #
n #
r
n #

C7

n #
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b.

>

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>

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. C7
n b

15
16

>

15
b
b J j 16
>
Y
15
16

J
J
>
>

r
n #

68

b
& b

? bb

j

>

G5

>

J

f
Clean

>
Clean

? b 15
j n #
Bass b 16 J
> f n #
>
Y

15
Dr. /
16
J
J
>
>
=

j
b
b
>

j

>

66
4
4

G5

>

J

>
bb
J

j

>

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####
# J j
>
Y

J
J
>
>

j
? bb 15
16
>

>
J

j
####
#
>

>

A5

>

J

>

12
?
j
Bass
16 J
>
>
Y
12

Dr. / 16
J
J
>
>
=
65
b 15 >
b

& 16 J
Pno.

####
#

>

# j
-
A7(b5) D7
-
#
-
j
- -n

.
n

D7

C7

b.

> > > >

> > > >

J
>
>
> >
> >

n #
n #

r
n #

n #
n #

r
n #

> > >

>

J
>
> >

Maurice Yap 6946

10

Blues swing
72

Pno.

b nn
b
& nn

n
? bb nn
n

q=h qaa z=[qp ]e

j
b

n b
j
bj n

bb

ff

bb

Blues rock distortion

G7

bb nn
E. Gtr. &
n

C7

F9

? bb nn
C bj

b
>
O O O
Dr. /
C

Bass

bb
bb

3
j

75
b b 3
b
& bj n
n
? bb
j
j

75

Pno.

B7

?b
b

Dr.

A7(b5)

b
b
E. Gtr. & b

Bass

#

b #

j
b

j
n#

n# n

ff

n b j n
b
n
3

j
bJ

bb
b

Boost

D7

j
nn

n

f

b n

=
79

Pno.

3
3
3
3
b nbb
b
bb n b n n
&b
n

? bb

E7

b b
E. Gtr. & b

f
Bass

Dr.

? bb
/

E7

n
n n
J
n b

j
nbn nn
b j
b n

B13

A13
G13
bn nnj
nb nn
b n

A13

n#
b #
n
J

# #j ##
n
b
n
J

n
3

Maurice Yap 6946

11
83

Pno.

b b
b
&

ff
3
j
? bb

b b n
& b b

Bass

?b
b

Dr.

j
b
f

ff

C7

E. Gtr.

F9

Boost

nb nb n b nb nb b

3

n j
n

Y
j
J J
3
3

&

=
87

Pno.

E. Gtr.

b
& b b
>
>
? bb

n
# >
n>
n

B7

bb n
& b
>

nb>
b>
b

B7

nb >
b

B7

n##
n>

bnn
>>

nn>
#
>
nnn

B7

n
bn
b >

E(#9)

>
#n

ff

b b n b b
Bass & b

n b n br n

>
>

O
Dr. /

>
>
=
91

Pno.

b
& b nbb
>
>
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E7

b bn>
E. Gtr. & b b

>
nn#
J
>
n
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nn
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br n # n
>

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j - .
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b

Bass b

J
&
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O O
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>
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nn
n
>

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n>

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G13

nn
>

n
>
Y

>

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ff

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bb

n
b b. ?
f
>
3
3

>

Maurice Yap 6946

99

12
96

b n
& b n n b

Pno.

?b
b

j
b

F9

? b b
b

bn

D7

b
E. Gtr. & b
J

Bass

nn

G7

C9

F9

n b n b n b j J j
J

ff

Dr.

J
3

mf

=
101

b
&b
Pno.

E. Gtr.

Bass

bn

? bb

bb
&

?b
b
/

Dr.

j
mp

J
j b n
& b J. j j

J

3

# n

=
107

b
& b J J J J

? bb j j
J
J

b
E. Gtr. & b
J
J J
J

? bb b bj j

J
J

Pno.

bn

b n b b nb
J

b n

b n b b nb
J

mp

bn

Dr.

b n b b nb
J

mp

Bass

b n

b n b b nb
J

Maurice Yap 6946

13
113

Pno.

b n

? bb b n w

j
# # ##
n
b
n
J

j
nbn nn
b j
b n

###
ff
n
n

B13

bb b n
E. Gtr. &
Bass

ss.
gli

b
&b

? bb b n

A13

n
##
n J
f
nj

b
J

ff
G13

nnj
nn
n

A13

b
nbn
b

B13

###
n
n

ff

j
n

nn
b
bJ

j
n

B13

n nn
b
b J

j
b

ff

Dr.

ff

121

Straight quavers
118

Pno.

b
& b # # # j
n ##
? bb #j
n #

A13

j
nn ###

b nn

n
J

b b
b n
J

G13

C13

##j
##
#

bb #n#
E. Gtr. &
n
n

nn
b
n

?b
Bass b
#j

mf

? ##
J
mf

##
E. Gtr. &
Slap

B7

j
n

j
b
b

mf

> Clean
## 4
4

## 4

4>
fff
>
j

4 O O O O
4

>>
>
>
j

nn

n
## ##
n
J
J

E9
E9 nE9
# nb n##
b n

Nat.
T

fff

j b n
b

Double T T P

B7

>
?
#
#
Bass

nC13

n
b
n J
b j

mf
P

Dr.

bbD13

b
b

fff

123

#
&#

Pno.

Dr.

##

B13

###
n
n J

h=q

## 4
4
>
fff
>
## 4
4

Slap
P

B7

RH Tap P

b n# n

O
J

O
J

T PTP

TPT P

Maurice Yap 6946

14
126

#
n
& # #J

Pno.

bb

J
n
#J # nb

? ## #
J

j
#

mf

n
n
J

mf
F11

E&7(b9)
## #n
E. Gtr. &
#
J

C9(b5)
b
bn

#
n
J
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n

j n #
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j
b n
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Bass

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Pno.

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/
132

#
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&
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b
bn

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n
J

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G7

j
nn
n

Nat.

Slap

RH Tap
P
b n# n

j
n
#
nj
n

bb
J
n
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ff
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f
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j
j

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n

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j
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##
E. Gtr. &

O
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#n
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f
#
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>

#
j
& #

? ##
J
J

Dr.

Bass

Double T T P

129

Pno.

mf

B7

##
E. Gtr. &

Bass

P T

O O Oj

Dr.

mf

PT

## ##

G7

>
OO OO OO OO

>

&

D9

>
OO OO OO

>

G&7(#9)

#

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# n # ?#

j
j
O O O O O O

n
J

Maurice Yap 6946

15
135

Pno.

## nnj
&

mf
j
? ## n
n

j
##

mf
Boost

##
E. Gtr. &

nj

n #

ff
Bass

? ##

mf

Dr.

. .

. #

O O O O

OO

j
j
# ##
j

J

.

j

j

j
#

n #

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O O O O O O O O O O

=
138

Pno.

j
#
j j
& # n # ##
>
f
j

? ##
J J
>

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Dr.

>

r

>

r
>

r
#
>
r
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r
>

r
>

C7(b5)

F7

##
E. Gtr. &
Bass

r
n
>

>
f
. n #
>

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r
>
f
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=
142

Pno.

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r
#
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143
#

C7(b5) F7

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##
E. Gtr. &

r


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n

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.
n

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n

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