.ee== =-=L====€Wl'.et-.LeoNARD. Thbleof Contenti Preface. . . Goal Statement Acknowledgements. Using the Recording. TopPriority.......... ReadingMusic Basicsof ReadingMusic Basicsof ChordConstructiotr Part One OveNiew . 1.1 WalkingtheBlues:FromtheBottomUp. 13 t4 15 M o r eP r a c t i c e w R ith o o t s. . . . . . . . . . . Adding the Fifth . M o r eP r a c r i c e w F i rihf t h s. . . . . . . . . . . T \ v oN e w K e y sf o r t h e8 1 u e s . . . . . . . . . Approach Notes/ChromaticApproach Lineswilh Chromatic Approach. . .. . More PEciica with Chromatic Approach DoubleChromaticApproach.. . . . . . . . 16 1.7 18 19 20 DominantApproach Lineswith DominantApproach N e wK e y sl " o D r o m i n a nAl p p f o a c h. . . . . . . . Lifleswith ChromaticandDominantApproach New Keys for Chromatic arld Dominant Approach 23 ............2 ....25 ScaleApproach. More Practicewith ScaleApproach. Combini[g the Approaches. . . . . . CombinirgtheApproaches_withAnalysis RhythmChanges-sample Line.. .. . . RhythmChanges. 27 . 28 ... ...29 . ...30 . . . . . . . . . . 3 1 32 Part Tlvo Overview Scales YouShouldKnow. ScalewiseMotion UsingScalewiseMotion 34 36 U n e s w i tS h c a l e w i s e M o t.i.o. .n. . . . MorePracticewith ScalewiseMotion TheNextStep. ScaleMotion on RhythmChanges A4reggiation. MoreArpeggiation. . A WordaboutChordprogressions: TheII_V_I ArpeggiationoDRhythmChanges. . . . Advanc€dApprcach Techniques. U s i n gI o d i r e cRte s o l u t i .o.D ......... Using ChromaticMotion. . . . . . . . . . . .. ChlomaticMotion oo RhythmChanges. A Closing Word ...........39 '..............40 4l 42 43 44 45 47 48 .............50 53 Appendix r../srrgrfle)randardChordprogressions. StandardProgressiotr #1 StandardProgression #2 . . . . . . . . .. StaqdardProgrcssion#3 S f a n d a r d P r o g r e s#s4i o. n .......... StandardProgression #5 S t a n d a r d P r o g r# e6 s s. .i.o. n ........ S t a n d a rPdr o g e s s i o#nj . . . . . . . . . . . . StandardProgression #g StandardProgression #9 Standard Progression #10 54 55 56 57 58 59 ............60 ot 62 63 rtreOperaCornpuny oi eo-s-iJni Ed_has a M.ffi ..*#ffi*'"T. sheny Roth..hi. ff. Larry Fishman.lJl.Preface A v/alking bassline is the most rr#rlffi#l*.1t. *:_Ttr ::. GHSstringsandFishmanTransiducers..op"yoo"'rlr1|"oi:""i.qri in N"w yort Citv anJ a^former facultymemberof theBassDeparhnent " nJi""iif """ of Music. Robben Ford.*:.U.i .ffiho melearnthe"'.".r." Rae Friedland.J..iia/-...?j31]j::.l nnin. sonia Friedland.iT..TT. ."".il$:* :.rillllt"into action.i.fll1i..fO uri.j"f.iry aO"r.f.:#*#i"i i{..It is crucialtoyouruna"rrtunonjtf.The Drifters..Brook Benton.the Boston & Tokvo produclionsof lirde Sllop of Horrors. Michael Merrill.: *i.l. Barreoce Whilfield& the Savages. Marthaand the Vandellas.J.*. D".Hehasbeena fearured cotumni"n air" pti) u"'ilii"..-Mike Merheny.:. and everyone over at Fishman Transduca.*eEller Friedland..T.T""i *'sist" asopposed to a bassist iha.""x"'.-. i.*::tlti{i.:iet1r"l"3'#.illI.Ed.Tlil. n"U.l.ff d"df.lii'"11". book you wilj havethe iDformationy rffi?1d:t'.l'.i""f Ui8""i"t. LindaHoikiu..'J:j+^1:lti.:Hjtt4it. to autheg."lri LocKwood.ij:'.Heis a _ EdFriedlandis a Boston-area graduate of fheHighSchoolof Musicand.membersof the BassDepartmentat Berklee college of Music..lffi .CamUriOge.r':H*i1i::fr ji :L'*F.fif .Tnli*". with thisitr mioo.f*ffi..if#fu':.hJpi*i"o."tyou-_"uifJ Acknowledgments SpecialthaDksto Dr. Linda Ostrander..rff.ia. "i .y#11'.'* misses..1 rohearandfeelhowtO"O"* .ili:i#*xT##g "k. Thanks to all my students ravehelped n'r""ir*. GoalStatement The specificgoal of this methodis to fam'iarize you with the techniquesusedto build walkins bass llt.Vl. ..from Cambridge Coitege.. Tom Hamilton.. About theAuthor bassplayerandteacher. His performance credirsincludeLarryCoryell.r r..ilffi.:"jil1::.r"" .:*lli. :1Oj l.(play).hfri"rgn.. ."""s very The last section of the book is fie Appendix. |.g o*.f. I havethepreasure of workingwith thesetwo fine. *::Otig usesa split stereomix wirh piano and drumson the right channel.-. ther counted offwith a click The click is a two-barcountoff..urr.l"i.....u".n il""ffiii *...iai"a ltne noiil..i'" -.* In:. pr"r"n'i"Jio . orumson theleft channel.n..'d.. inu"..2.enesbyear. -tlt eljoy playingwith theothermusicians asmuchasI do.:::'?:liJ[:fiJTH"1l"'. you win be askedto do in the real worrd.'i'i*'..:..BradHarfieldon pianoand .:'jHil.l.""ora"a on"r.and b The examplesin the book with an icon ($) next to them have a numberthat co[esponds to th€ numberon the recording.1.o .. isa il:ilil::Tffill:T11.However. andnowsocanvoul ..n*e is some. ooot t uu" been assimilate Theywill arsochallengeyour earmuchmore thananything"tr" t" *"'0"*.il"'"nir.ion. Ex.andbassan .2..o"y..-r."r..::'.Manyof thegeat walkingbassists neverleamedtl* " Uoot. These exampleshaverecordedbassliles th! exampre orthe "on""p. so whenyou feel ready definitelyleamtheselinesby ear.r'"'o a"*".^_.This configuration will allowyou . you might as well sta now! you can do this with all of the examplesin the book....j. It includes ten commonly playedjazz stat\dad progressions. Thereare no written basslines. andthreequarte.Eachexamplei" n.t " basstrackoff andplay with th aswellasgivingyou ir'#J#ljlr- ctearaccess to thebasso""t fo...rl on thebaldstandBecause theseopportunities arenowfew andhardto fi."ti" "ppro""i"r.3. iii. f"ur blank."utr powe 0.. 1.lhere are examples with chord symbolsandslashesTum off the basstrack... two half notes.andtranscribe themif youin.. i pfuyedtheselines as I would pt:l them withourthinkinsabout"r.|t"".i]. i.Usin the Reco A recordingis includedto giv€ you the hands-on learningexpedencethat is crucial to this style o bassplaying...* Jrmuwrn on drumsaretwo of Boslon'sgreatest musicians. Thereare many opportunitiesi[ the book qeate to your own lines. andplay youriwn tn".*ii"""...but thereare. f""roing. l:]iitty effort etc.I madea conscious to avoidtoomuchrhvthmicembelrishmeit at trrfup..upstaldingcitizensregularly. thetapewill provide youwit a supportive andcomfortable accompamment to yourleamingprocess.t.t"od l.. *n".urt *"nt or.Theselines will giveyou an ideaof whatcomesout when all ttr" io"u.. 1e#iffi.! jtilHllril: fi.ffi .To Pri Top priodty for a bassolaver in_any sryle of music is keepingtiqe.".:l*ii]..."T:li:.r.iff ... up]rf..."..it will requre regularmainrenaDce to keeDit fully "rru..".rry"" i.i'r"#ig'lTJiJJ'll. 2) S-lapyour kneewith your hand in time with the click 3) Whenyour handis in the air about to "o_" aoronuguin.[T:'i". ""n lull you.No o"Jt .how good you look... Without this esseltial skil tospare :ll$::.h .".il".i""L. 2 is on your knee.r. rope!Todevelop yourtimeandyourwalkingfeefpractice witili" .0 "::jiTffil:.'.tn:.rt r. By usingthe metronomethis \. when the andrherhythmsectionhoot.: ..o*""0".becauseth style of musichas to havea groove ffiil:::'1'"Tl'iTilllH the bass prayer "no o-."i..:::tT: rnls clockrunson a rechargeabre batreryLike all rech-t*ot" i"i"rt"r."r._" oninAilriau"i-rir"rrrn'in"' thingyouneedto develo one^rready.i" tr i"i"*bal.i..:"ff.n" *orrd. fi"i" *oJ.:h yourtimeis ametrono.)IlT.T#T::i'[ ..1i*..i r....il.J:'*n*ve morefun to playwith.X'.i." "rr"*ingonbeats aJazzdrumfeer'beats 2 & 4. ii"U* lrr ." i" no no"."i. ....r" "id cooperation..*"i"'".. here.".oouilni:j:ll-Jdry. etc. Fornow..::lll: soodtimewithout oneYoumavsubstitute themetrono "1to* click for practicingtim"' a d. '.":i '..1 canplay.'m...ryins you ooti-g"ta-'""'".]i.sfo"u. bu!onel__"arr!lrl.:.dn""lour tri"*it""u o "o "nd runqing. reeping .l...'. f""nif. ii.rr.:'11'l. 4 is on your U""". pr"y.3 is in the air.onl* a while to get usedto it..um -. "d.g"a. I is in the air. ."i. Hereis a simplewayto find 2 & 4 with the metrolome: 1) Thrn on metronometo a medium tempo.T:.."i1l'"1j.T:1.i*fif:'fi:1"fiU'i1?:T::. *.goodenough.tarf counting.:J..1i:l:iff#:i :::.H. batteryis charged."".n". *nen you usethemfor thefirst trme'you mustleavethemin thecharger for u rongti-".In 2 & 4 a'eolavea withtheiootp*a . usirg themetronome waywill giveyouthemostimporiant this partof .let. :l*"8..""".':lJi:T."ir.#lj:.i. how nrcoyour equrpmetrt is. being able to rcad will enhanceyour understandingof music.just a tool to help you get the informationyou needfrom this book. therc are three. I highly rccommend the book. Due to the natureof walking basslines.when you combineall three.By learning to walk over chord changes.I highly rccommetrdthat you make rcading a priority. on the next few pagesis a basicreferenceguideto readingmusic. If you are interestedin becominga professionalmusician. Even if you don't seeyourself . Playingthe notesgivesyou an arral understanding.You will be able to hearthe examplesplayedon the play-along tapethat accompanies this book.Readingmusic gives you a visual representationof the notes you are playing.you havea very completeunderstanding of what you areplaying.In 4/4 time thereare four quarternotesin a bar.It is intendedas a supplement to help you find the noteson the neck.eBellson and Gil Breines(Belwin Mills publishing).How far into readingyou go dependson what your musical goals are. Modern Readins Tett in 414.by l-p. itr3/4. .you will havea betterunderctanding of the material.This book will help you interpret changes.'eeding to read music to carry out your musicalgoals.the ody rhythmicvalueyou will seein this book is a quarternote. As a bass player. you will spend a large part of the time reading chord changesiNtead of actual notes.you are discovedngwhat notgsyou have availableto you on a given chord. If you combine usingyour earsand your eyes.In order to get the most out of this book.ReadineMusic Readingmusic is an importantskill for any musicianto develop. you will haveto readthe examples.It is not necessarily the definitivemethodfor sight reading. aswell asphysicalor kinestheticknowledgeof where the notesare on the bass.ui.althoughit is possible to learnthe exampleseitherway. For further rhythmic hainitrg. so using your ear to learnthe wdtten examplesis fine. and make you a better musician. t:.:.l#{ :ffi1'':fi: ::t:'ilLT:"J1ff i:f.:ffi :Hj#jr.}T D A D G BassCtef I Not€s orr the Spaces andnoteson thelines.:".:T..tr3jr{{f:.. E A D G Noteson the Line6 llHl:*il.ffi E A D C cl/Dt .l.ffiff.J.'t:ffi.Ji.fl::il:l.:":*H$"iiffi ilT+*:**ft*.:j. tr$".*'{*ffifi u-}s{":ff ilil:* """*ul"i:l Y...Basicsof R M usic il:mllfi:iJ.i:*" inabarofmusis ir appries rothewhore measurc unress ir is . The nextfive chordsare four-notestructurescalled"seventhchords. The seventhwill eitherbe major(7). Triads (1) (2) Cm (3) Cdim (4) .3 R .To makethings easier. chords are madefrom scaletonesstackedon top of eachother. 3.4) cm7t5 (s) Cdim? 7 l R 3 R 5 .Basicsof Chord Construction firct stepin the walkingprocessis to be ableto readthe chordchaflges.L5) (4) C augmented triad _ (R. 5th and 7th.5) .5) (3) C diminishedtdad _ (R. Four-Part Chords . Four-partchordscontainthe root. 13. all theexample chordswin be builtoff therootc.3 R ts b3 R .!3.3 R .3 R 3 R c+ Chord List _ TFiads (1) C majorrriad_ (R. It is up to you to decode the information and createa bassline thatwill saysomethingaboutthe chord. Referto thenumbered scaleaboveif youneedto.notes*ith a [r] signareraiseda halfstep. (R.Triads(three-lote chords)contain the root..lhe .SeventhChords (1) (2) CrnajT (3) (.3rd and5th. minor (r7) or dimid. 5) (2) C minortriad.3rd. C major scale Hereis a listingof themostcommonry usedchordstructurcs andwhattheycontain.." They add a seventhfiom the root to an existirg triad. Noteswith a [t] signarerowered a half stepfromtheoriginar""aretone. 3.The chordsymboltells you all the specific information about the chord structure.hed (rt7). . ot ffird Triadswith a natunl 3 aremaior..(& 3..13."g*at". A seventhchordwill be determin by what combinationof triad and seventhyoo .r".7) (4) C mitrorseventh L5-(R. 7) (2) C domtuantsevenrh_(R. .l . .(R.15. ' oo "hords with I .q".15.""""ti"i*u. .b7) seveutb Frcm the chord symbolwe y:l *ht"l rotes we can use to bring out the quality of that cho obviousry.3.the rcot is the mostimDortantnote. play the 5 that the chord sy. 5. 5..3. o. The 5th of a chord combit with theroot to form a framewotkfor quality' Thatis why theyareimportant notesto know:thr will work otranychora.7) (3) C minor seventh.andoneswith t3 a aremhor.U"ir"r" I .Tbiads (1) C majo*seventh . ""*ft". it is the bottomof the chori.Chord List'. fo.* *r* a natural7 will be maJorseventhchord A majortriadwith a-17win be a domiuant.5 0r + symboldo not ptay the natural 5. "3.17) (5) C diminished .5.(R. The fifth is the dominantnote. this meansthat the lifth has an over powedng needto go back to the root.and somecaseswherea chordwill havea sharyedfifth. FindingtheOctave c7 The R.you'll be introducadto threenotesthat wilr be lifelorg companions: the Root.In any case'you will not seethesetypesof chordsin part one of this method. However. such as an augmentedchord. and 8 are the frameworkthat a chord is built on. In simple terms.of course. suchas a 7t5. major seventhor minor seventh. Findingthe Fifth c7 (iirih) The octaveis the root except. or a diminishedchord.it is eightnotesup the majorscalefrom the root. and Octave. 11 .5. The root is the futrdamental. That meansthey dont tell you if a chordis major or minor.etc.somespecialcaseswherea chord will havea flatted titlh. The fifth is the fifth note up the major scare from the root. Fifth.Thesethree notes are includedin virtually every chord type.the chord symbolwill let you know that thesefifths will haveto be altercdup or down.the ground floor that all chords are built off of.5. Thereforethat thesethree notes are your best choiceswhen first starting to walk through chord changesbecausethey will work on every chord type. and g do not give you any specificinformationaboutthe chordquality.PAFIT ONE Overview In Partone of this method. Thereare.you will not haveto thinl about them for now. The R. iir mind."iiiJJ..: 1pp-i:.i*"r0" helpingyou understand th€ ii""Jtti"'*".il:#il:T:lffTf*? discoverthat the exampleswill usemore than one approach aIId stafi to souqdmorc natural.J.'l '' *'' """ip'oau"" unna Because desilned thisbook too. you will haveexpedenc€d thesetechqiqueswith blues progressions in thJi<eysof F.!iflil:i|.! simpre warkins rines."".RhythmChanges.' ha vou 3 create "r.:'l'JtJ"S:::l.fi..i:ff1r.r"^..o .Tffi:l.a..fftJ'*:lffiii:$:*i#.inhoduced to. and G. once '"".:. additiotr.i""pp.I. Br.o""*i"^..l. to buildnewprogressio Nextto fheblues.iorrJotron' to hetp yi At theendof thesectionvou will be.ilji:'lt"l"'t because it is'oni or'r'"t*i""o'.--'r"*Jr* i ir. chronological way.Jilffij:::: jl" l lt ".i'J."r. .i"T.o-u.:r:A.11"t"-u1: 8 included for eachconce Theseprogrcssionshavemore"no.H.veGc theprogression Rhythm"is basedon Manyjazz tunes usethisprogrc*t"".h:..orce you urdemtand walkirg..'".:"JflJtt-.t oth "II-v' prcgrcssions 'l"j:.i. y* "unptufuio'ou "nythingand makeit work.o .1ii:.0" o."9. y.3:..I. 72 .coultry andcountless stylesof music. C..you will beintroduced colceptsoneat a time.*'ndaritre ..:11:. is witlemphasize otre concept toth"e exclusion "r o.".".5:'. An ImportantNotice Because thisbookat"-Oo a:. .ou"r..."i0.bar usuallytwo changes per bar' They ar" i""tua"o getusedto playinga"riu" prog.u.an organized.i.*. Er. Tl .The examples t( thatwill be given"r" g""r"J..ryprayed prcsessj "u"oon"'*ough its usein rock'blues.it is themostimportant progression to leamin iazz. ln jazz. countryor latin music. the bassistwill mosrlikely switch to playing . b7 .. I F7 Playinghalfnotesfor the bassrineis calleda "two" feel.but by usingthe oclavewe cangivethelinea liltle motion..Walkin the Blues:From the Bottom U Hereis an F bluesprogression usingonly the rootsof the chordsin the half noterhythm.it is the first note you needto be able to find.four.For a bassplayer... B'7 B''7 I I I H Gm7 c7 F7 13 D1 Ltm / . Here is the F bluesagain. We are still usingonly roots.4.. It is commonlyusedfor the head of a tune.this time in a .The rootis the most importantnote of a chord. or i[lrdiieland.feel. your firstjob is to outlinethe rcot motionof a progression. in using quarternotesfor the solos. are somelinesthat 14 .*i:: this usingody roots Moving 0n .'. Am7 DtmajT Glrnaj? tr "oo.ffiiil1fiT.1::*'.."#ffi1l""rffiJ$.l'fj_:f asense ormovement.:Jtj*'i. so..il#.T'j::.ffid#f'r:1'.11'""i:'l .. Play through *O o".-"::Ji#ih.t"J*riT:]Tf:Ti"TTi'.1*#: progression.: un tne next page usethe R.."1" ne situations u r"v o"-o"ril" ".Oerprogressiontha!usescycle of fifrhs root motion.even th *"...f.ook.11"::ilJ:i*Jil: *"...5 and8.at crro_rds withr.":.1:.More PracticeWith=Roots root motion isvery j comm ."H'*TfiT#ilh1iy.ffi".rhe fircrchordtonewewill inr ff:l['.l.-" *IiliilJ l'J.fr:1ff. The useof R and5 in half notesis commonto rnanystylesof bassplaying.Adding the Fifth w7 . l5 . The nextexampleusesroots. Noticehow the motiongetssmootherin the last two bars of theblues. 5 D7 R R R R R R The previousline is a classicexampleof a "two" feel. Yt E'l R I R 5 um/ 5 l Bt? R 8 s E 8 R R 5 F 5 5 c't R F7 5 8 | R s D7 8 5 R ' s R 5 8 Gm7 R This line hasa very foundationalfeel to it.fifths andoctavesin a "four" feel. ". rakenote orwh .MorePracricfiiih Fmhs Here is another progrcssion that uses the cycle of fifths root motion.")""ilfi"f"".:".". Notice how the fifth of or t" '0" rootorthenextchorauvuwtrot"stf.0". n'i' 0"i"" *1ii n*rs occurwithrhistype .?"11.Jtlj*fl:t" DmajT L6 .iT:Xf" rtjn::*.:"::'.:::"' FlmT "nrthstvpe prosression. . Fird the rootsandplay throughthemin half notes' Thenaddthe octavesandplay throughthechangesin quaiter notes. Add the fifth of eachchordatrd play throughthe changesin half notes. lrok for the notesitr more thanoneplaceon the finqerboard. Explorerhepossibjliries! o An 17 . andg will be thesame.Tlvo New Ke s for the Blues Here is the bluesprogressionin the keysof Bt andE. This will keepyou from gettingstuck in the lowerparrof theneck. 5. Nextpraythrough with quarternotesusingroots.fifths andoctaves You will find that somechords show up in all three keys. Even ii the chord type is different. the R. .'ff# .# "oi'riL Aa* "bove)andL/clr I from betow)..nT:JiiTJi:i.fi'JiT"obJecr Sood hasa feelingof forwardmotion . a"_ir"i"opr*"i and scalewiseapproach. A line usingapproach nores .Remembe thatthe approachnotecomesbeforethe targetnote.r "r*. I_ookto seeif ttresenotei JaJ" i""* .target note from a half step (olle iiet) above analysis or below.a.!?.:1.r." rn"r" .:. f:.-e !:. Tl symbolsfor theseapDroaches areU/"m ri.manc approaches *". By addingapprcach notes. ChromaticA roach Chromatic approachnotes resolve to.so wdte it to the left of the rarcet. 5 and g for the..o"".:'":l.'" r:::::?"ryi.hanone placeon th Onceyou havelocatedthe notes. fifths. :il1"i:'*:'. This will help you to hear *" progression. 18 .write them in next to their target notes.tind the upper and lowe chromaticapproaches for each[ote. upperand lowerchromaticapproach.*"ir"i. ffir"jffi_:..thebasslinelan become smoother..upp* ""a u*". we have used only roots.Thesear" . "pp* "ir". andm Remember:walking basslirte . On the bass.*pffifoach to theR.on the neck.i'"pp*'"ro r. F7 Here are the R.So far. and octavesin our lines.chords in the F blues. 5 and g of eachchord. writing thingsout will help solidify themin your mind. Find the upperand lower chrcmaticapproaches to the R.5 and g F7 D'7 t F7 I Gm7 c7 D7 Gm7 c7 Uc[I Below is the Bl bluesagain. 19 . You may want to write them out like with the F blues.Lineswith ChromaticApproachto R. These busy chord progressionsare . DmajT R Em7 U/ch A7 R U/ctu R Dm7 UclI R U/clr G7 R Uln' U/clr R Vchr rt *oy ot playing this progressionwith chromaticapproach.with the rcot on rhe first beatof eachchod. Notice hor smooththe motion is betweenchordswith this apDroach. all you really needto find is the approachnote. Btmaj7 E'mujT 20 . easierfo play throughthan they rook.racncewit Here is an exampleof how chromaticapproachworks through the cycle of fifths. DoubleChromaticA roach Hereis a way to addmorepossibilitiesto chromaticapproach. U/chr U/cbr . 8 U/cbr U/chr R Try this techniqueon the BL blues.Double chromaticapproachcreatesa very smoothline with a strorg pull into the target. Gm7.Thatmeans. octaveswill nowbe analyzedasrootr.tie Below are the upper and lower dominantapproachesfor the root and fifth of F7.i"'Iorupperdomina Vdolr R Vdon 5 Now find andwdte in thedominantapproaches for the U/don 5 l. To find the lower dominanr approach. .The next approachmethodwe will look at is dominant approaclr.a dominantapproach is a resolut]onto a target from the fifth of thr target.1irj.dt To find the upper dominantapproachto ttartonthetargetandcouniupthescalerotrrefirtrr. Dominant approachescan be either upperor lower./don 5 u/don 5 R.C7andD7.we go a fourth below the target. . To makerhingssimpler. The fifth of a chord is calle the dominant.is lhe upperandlowerdominanl approach l1. 5 andg of Br?.G'.*T':fl tffi '#::l'#.r t"il. samewayyoufindthefift *Finding the lower dominant approach G C U/don This showshow .j].3. You will find that this is the sameDoteas the fifth abovelhe taroer or y it is an octavelower. Lineswith Dominant Here is an exampleof dominant apprcach. rt E7 U/. a noteyou are alreadyusing. The dominant approach to the root is the fifth. (im/ R U/dolr R .'l 5 I R - I I c7 . The fifth now has a dual function and will be analyzedwifh two layem of symbols. The top layer will be the primary function. s udon R c7 5 R U Udon d o R Bt1 U/dom I J v7 L'ln I R - U :--t:1- U/dom 5 U/don I Gm7 . The u/Ldom of the flfth is also scale degree2. Notes that have more than one function make the line stronser. the bottom layer.Payattentionto dual functions.lom 5 U/don Vdon R F'7 R 5 w7 -i--++-t R Vdon R _____l_ s I | 5 vdod R U/don Vdon5 R U/doitr 5 / F7 ' Udod d R o 5 n 5 U/don 5 udom F7 D7 R U/dom R U/doE n R 3 R R . F7 D.With this approachwe are introducing a new note choice.I Write in analysisfor the secold chorus. the secondaryfuflction. by all means.New Keysfor DominantApproach Becausewe are only working with R. Although if you feel thatit helpsyou. Dm7 24 . In the key of C. Cm7 and G7 are thesameasthe chordsfrom the F blueswith thesameroots.do it. This. Playthroughtheprogrcssion in differentplaceson theneckto getacquainted with youroptions. It may not be necessary to wdte out all the notesandapproaches at this point. of course. the dominant approachesfor Br7. 5 and 8.meansthat the domimlt approachnoteswill be the same. F7. you will again find the R. 5 and 8 to be the sameas on many chords from the other keyscoveredso far. 5 and g. 5 andg in thesekeys. Try to combinethe chrcmaticand dominantapproaches to R.the analysisfor theseapproaches w l be shorteledto chr for upperor rowerchromaric. R D.On thenextpageis the bluesin BLandC. zIKtADNi UilELEcKA sKotA.As you leam additionalapproaches.130 Ha0rmanova !01.Lines with Chromatic and Dominant roach This example combineschromatic and dominant approachesto the R.and dom for upper or lower dominant. . To make thinss less complicated.+taxr040/9533480 (6) .I 5 R dom R c I l um. n-n R . A good bassline usesrnany approaches to achievea well_balanced sound. By combining two apprcachmethodswe will multiply our choicesand come up with a morc [atural soundingline. your own lineswill sta to soundmorc natural. i _ R c h l R d o E 5 c t r R d o m 3 R clr 3 Wereyou pble to hearthe differencaill this line? It is sta ing to soundmore like the real thing. HradecKr6lov6. On a sepante piece of nusic paper.. Whatwasdifferclt aboutplayingafterthetransposing exercise? .- NewK s for Chromatic and Domi roach Combine chromatic and dominant apprcach notes in these two keys. First play thrcugh the key thetl do the following exercise.thebluesin C. ..tmnsposethe line in F ftom the prevrous page to thesetwo key _ Thenplay throughthe bluesin B! andC aeain. sometimes the scale approachnote is also a chrcmatic approach. the top layer being the primaryfunction. This is chromaticand scaleapproach. o F7 B'1 s c R s c t F7 R s R s c R R s c 5 R R s c 3 um/ c7 5 B'7 I F7 . c R 5 s c R * s 5 c R F7 R r c 5 r3 Btj s c R s 5 c R . the lower scaleapproachwould be an 'A".the secondlayerbeingthesecondary function. _++_____+_ R (..Scaleapproaches will be analyzed with thesymbolsc.In' c? s c 5 s c D7 R 5 5 R l We can seea definite patternshowingup with this technique. Also notice that there are dual functioning notes.When the root motior betweentwo chordsis dominant.some notes are chord tonesantl scale approachnotes.going from an F7 to a Btmaj?..Scaleapproach.if it soundsstrange.the fifth of the first chord actsas an upperscaleapproachto the n e x t c h o r d * .. keepyourearopen. try anotherapproach.For example. T h i s p a t t e r ni s i m p o r t a n tt o recognizebecauseit will help you formulate your conceptof how lines fit together.ScaleA roach The next methodof approachwe will look at is scaleapproach.means approachinga target note with the scaletone next to it from above or below.Thesewill be analyzedin two laye6. It shouldbe obviousby nowwhichnotesareupperor lowerapproaches Sometimes a scalaapproachfrom belowdoesnot soundas smoothas othertypesof approach Whenusingthis approach. t. 28 .. !"i.'l*ii'ii.t. .ings.J.same buthappen ondiff"r"nt sr.Xl fi??.ffi.- Fitrd thescaleapprcaches to R."*11#t# Remember to do all theprelimimrystepsroger tamiliarwith thekeyof G. .a:*:ft *t .i"nlJlrl"rjT"liil. . repeated chordsfr bethe..i.:il"5"i n:-*:ru.:'lfj :tiffHff.1 i:ilxl"#."t*n1t:" to anypatternsthat seemfamiliar. *-^^_-""t. I[ additionto playing the example. The line belowusesall threeapproachtechniques.Combiningthe Approaches Up to this point we have used chromatic. it usingthe symbolswe haveworkedwith.The co'ect anarysis is givenon the next page.we will multiply our choicesand have lines with a more naturalsoundto them.try to analyze . see if you canfind the dual functionnotes. By combinitrgthesetechniques. 5 and g.A goodbassline hasa varietyof ideasbehindit. o F 7 to . dominant and scale approaches to R. or both? Why doesthis line work? How canI usethis in my own playingin otherstyles?.3. but that you did it. you will unde$tandthem better becausethey have been processedby you. F7 Bt? I --l+ sc I chr chr R chl R dom I 8"7 R chr 5 don 5 R sc 5 chr 3 I F7 ) R dolr R dom R Gm7 t ' t R t ? sc r Gm7 don q c s R "bI h R sc 5 z ctr { 5 sc R D7 cb. 5 don s don R R I li. The rcal value of this exerciseis not so much how matry you got dght.Comb roaches. To do this exercise.With Anal theA Here is the combinationline with the amlysis symbols. c h r c s h r c l r R R 5 c h r R c h r R 30 s c 5 R c h r R c l f . When you understand thingsftom this standpoitrtthey becomevery usable. 5 !c 3 cl Gm7 "-hr R .That is the point of this method:to make theconceptsof walkingbasslinesusableto you.Compareyou answgrsto seehow closeyou were.a target. Being curious w l make you searchfor th9 answers.you had to ask you$elf: . R R ' don -R sc R 7 5e F1 R ctu 3 chr I 5 dom F7 Btl dom R ^ B'1 R 5 cl rt R ctu chr R dom c7 R F7 chr 5 chr3 .'What is the functionof this note?Is it an approach. This is the thought processwe are after.. s R s c 5 R D7 c7 Gm7 b.when you find them. im. the rcot motiotr qeates a senseof movement. progression.SampleLine This standardprcgrcssion is known as the song .Rhythm Changes.. The form is AABA. I B7 EhnajT LIn' 3l F7 Btmajj G7) . I rt B}ma37 G7 . o E BrnajT Cnit Dm7 Cm7 ---t-. B'1 E rnaj7 F7 f--- ElmT Dm7 Crrf F7 F7 Dm7 C.niT F7 -+ E w(r.r n Cm7 Erm.when you add the approachtechniquesthe line becomesmore interesting.I've Got Rhythm.i1 Fm7 um/ M ErmajT D7 -A!-{-------+ - r. Notice how the line works through the bridge where the changesoccur lessoften. Tbkethe time to analyzethis line. with two changesper ba!.. It is one of the most common progressionsin jazz. The root riotio.J.TheB sectr"."o .maj7 G7 ElmT Cm7 t*t . you as get comfortablewith it.:ljo Wtll. in ." a t choices already. adddifferentapproaches..Now practiceplayingRhythmChangesby jusf lookingat the chords."11i""T:l... sofioa*uy" ro*oo"".. theroots..aj1 ELmajT BlnajT EvrnajT B}.r. Startout simply.then. .. and upper and lower scale. With the addition of approachnotes.functionalandmusicalbasslinesoverstandardchordprogressions.As a part of the explorationof chromatic motion. The t rid tells us if a chordis major or minor Up to this point.is anothernotethattellsyou aboutthequalityof a chord.q. we were able to createsome more interestinglines and add somevarietyto our notechoicas. This means *e ooro hive every scalenote. The types of motion we will look at arc scolewise.. Looking at buildilg our lines this way would be a little cotrfusing.PAFIT TWO Overview In Pa Otre of this method. 5.rpeggiation. and every chromatic note availableto us.By the end of paft Two. upper and lower chromatic. you will have been exposedto enough ideasto developinteresting.usilg the third makesthe bassline soundmore . ln additionto these. we will also leam other ways to view the II-v structure to help break away ftom the root-approachrnethod. and 8.'in.which is the seventhfrom the major scale(onehalf stepbelow the octave). . the lines we haveplayedhavenot reflectedthe major or minor quality of the chords.We arenow gettingmorcspecificwith the basstine.This will help to ftee up our lines and make them more melodic and varied.somechordshavea major seventh.a\d chlomatic motion.In the secondpa of this method. with the chordchanges.you saw how it is possibleto play through chord chalges using only the bare bones of R.at this point. CmajT c7 3 5 r 7 Minor Seventh Of course.we will start to usemore specific iDformation from the chordswe are playing through.other chordshavea minoror flat seventh(onewholestepbelowtheoctave).along with thesenew note choiceswill be all the approachnotes that came before. upper and lower dominant. so it is better to sta seeingoul basslines in the larger t ermsof motion ard shape. This is wherc the lines start to develop a flowing feel. c1 Cm7 Thesevent. advancedapproach techniquess\ch as indirect resolutian will be shown to brcaden your options at the point of chord chatrge.we will alsoget into targetingothernotesbesidesthe root for the first beatof a bar. we will still be using the approach{aryet concept'but it will be usedaspart of a developingbiggerpictureof the shapethe bassline will take. : basslines. The DiatonicMajor Modes The first set of scales are the Diatonic Modes from the key of C Major.ScalesYouShouldKnow scales_are very impo anttoolsthatyouwill useto buildyourwalking . Each mode is built off a scale tone from the key of c using onry the notes from that key.I_earnin them helpyou discovermoreaboutthefingerboardandplay rtrrougiilioro "nangesin part Tko of this book. will T*. it ut i" *t ut DTAToNIC means:using trotesonly from the designatedscale.ocrian 34 .. C Ionian A Aeolian f. More ScalesYouShouldKnow Thesenext two scalesarc mitlor scales. They are very comm ot in jazz. rock.thesescalesarefhemostcommonlyusedminorscales in westen music. blues. .however.try to play themastwo_octave scales. we will notbeconcerned with themat thispoint. C Major Pentatonic C Minor Pentatonic Spendsometine practicingthesescaleswith a metronome.rhereareDiatonicModg builtoff thesescalesaswell.arldalso non-westemtypes of music.Along with the Aeolial mode(also Inown as1y'4tu Mrnor).Thesescales are written in otreoctave Whenyou arecomfortablewith them. C Melodic Minor C HarmonicMinor Thesefive note scalesarc calledpentatonic. I G Dorian Scale Gm7 Chord Tones 6. - - - - - - B Mixolydian pb7 Chord Tones Bt R Scale Tones F 5 D 3 2 B b7 B a 4 EL C Ab G The next chord in the F blues is Gm7. the line takes on a very smooth. F Mixolydian Scale F7 Chord Tones P A X 3 ScaleTones 2 G C 5 2 6 Bb D Ec E b7 8 Below we have the Bb mixolydian scale. This is a minor chord. the Gm7 will work best with a G Dorian scale (shown below). In this context. you have the scale that is most commonly used for a dominant 7th chord. The structure of this scale is R-2-6345-7-8. This is the common scale for a Bb7 chord.- A Scale Tones Bb D F b3 5 L7 D I 2 A 4 C 6 E G 8 . The example below shows the chord tones of an F7 chord (black) and the scale tones in between (white). for walking bass lines. so it will naturally use a minor scale. When you play these notes in succession.Scalewise Motion Scalewise motion feels very natural. R . flowing motion. It is called the nsixolydhn scale. By using scale tones that occur in between the chord tones. The structure of any mixolydian scale is R-2--547-8. In this case. we have an E mixolydian. It is like going up and down a flight of stairs. . As you cansee..ler'slookatwayswecanuserhem tr Brrs I . motion..fJJ thescales forall thechords in theF blues.'.". so .walkiag down the scaletimesout perfectly. i..r"....nd 2 F7 This lhe getsto the targe!too early. Here.f:i.** .:.'il. *. This line usesan upperdortrinantapproach on beat4.iliJ""..therearemanywaysto usescalervise .l$:". This exampleusesan octaveto shift to a higherregister. The differe approachmethods be usedto time your arrivalat the nex can there will o"t* be examples motion of scal€wise through theBr"".. This exampleusesatr upperchromatic apptoachinto the lext bar. . Thisline usesanupperscaleapprcach on beat4. Do you seethis happeninganywhereelsein this example? 8"7 r7 6 5 R um/ R I I 2 3 c h r 1 3 s 5 c R 2 3 a l o R m BL7 1t7 R 3 s 5 c R 8. When the root motion betweentwo chords is dominant. you can walk down from the root of the first chord and land on the rcot of the next chord otr beat one. Notic€ that there is a scalemotion that runs through two different chords in bars 1 alld 2 of the first chorus.Motion LinesWith Scalewise Here are iwo chorusesof F blues usitrg scalewisemotion with approachnotes to help the line reach the target at fhe dght time. From there you adjust the scaleto fit the new chord.7 2 F7 cl 2 R D7 R r7 R d o R R 6 ('m/ cl m R sc 5 2 3 c h t 6 R 5 R don 2 3 c7 6 5 R 39 R d d 3 o s 2 3 R cbr 3 o n d R n R c 5 o D c7 Lim / Dl 5 c 3 I F7 6 s I t7 t7 2 F7 I Gm7 3 R 5 R 5 n . Rememberto pay attention to the timing of the line. Eu7 E7 Ab7 40 I . B'7 Bl7 E'l . Lm/ lrok for waysto play scalelinesthatmovethroughmorethanone chord.More PracticeWith ScalewiseMotion Hereate bluesin B! andE again. Use different approachtechniquesto get to your target rotes.Practicetheseusingscalewisemotion. onlv to add to our oDtiotrs. Notice that sometimeswe are still using the R on beat one. 4l . the 3 and 5 in particulat 7s can be used as targets. w1 F1 5 c t t7 u Bt? F7 3 2 R 17 c I h I 3 2 R 2 5 F7 don 5 I chr 5 c7 Gm7 R clr 1 3 D7 Fl 4 7 5 don R R 2 R 5 c7 Gm7 doE t R ctu 7 3 R Now thatwe canuseothernoteson beatone.theline takeson a newmelodicquality. This example uses scalewisemotion with the 3 and 5 as alternative targetsor beat one. Up until now we have been targeting the root of each new chord changeon beat one of its bar. this techniqueworks bestwhenbalanced with otherconceDts. It is trot oul intention to avoid the root. they arc a little tricky to use. The flow of the bassline is now a factorin how we shuctureour choices. NoW the overallshapeand dircctionof the bassline becomesmorc impofiant. you will see that almost any note can work if you know how to make it work.but becausethey arc very close to the root. For now. You are no longer restricted to this concept! As your understanding of walking develops.we will talk about the next stepin the developmentof a musical walking bassline. As with any ideausedto build a bassline. let's target the other chord tones.The NextStep Before we get into using scalewisemotion over rhythm changes. .we can take advantageof the melodic possibilities that occur with this approach.ScaleMotion On Rhythm Changes Here is an examplgof scalewisemotion on rhythm changes. I E lAl BrmajT G7 Cm7 Ft Fn7 8.1 Bbl.Now that we can use the chord tones 3 and5 on beat otre.rnajT a F7 (F7) . 't .Otr a note-by-notebasis it startsto get complicated.you will find some new things hapPening. Try analyzing the line below . W'll]aj7 G7 Cm7 Fm? W7 ELmaiT F? G7 Dm7 Ft Dm7 G1 Cm7 Etnn Cm7 yt7 B. 't D7 G? . so keep in mind that the overall flow and shapeof the lire are now the main colrsiderations.7 .'Iraj7 Ehn? Brmajr G? Cm? F7 Fm? W EfiilLj1 EWil c7 E Cm? cl Cm7 Fl Dm? G7 Cm7 F7 Cnit ft Wnnlt D. abruptup anddownmotionsthatwork becausetheyoccurwithin thechord.dominant. Commonly. This meansusingchromatic. not straightup anddown. ----r-f- Gm7 c7 rt D7 Gm7 c7 .Another approachis to play the chordtonesin differentsequences.An arpeggiois a chord whosenotesare playedin succession.or scale approachto a chordtoneon beatone of a new bar or the firct beatof a new chord. an aryeggiomay starton any chordtoneand moveup or down from that note. However.Theseare calledinverted arpeggios. Fl w .The main concemwith arpeggiation is to makethe resolutiotrs betweenchordsand betweenbarswork.rather than simultaneously. Arpeggiationcreatesmoredrasticverticalmotions. Theseareknownasbrckenchords.an arpeggiois learnedfrom the Rootgoingup anddownin order(R-3-5-7-5-3_R).Arpeggiosspellthe chordchangesout very literally-your notechoicesare all chordtones.Brokenchordsqeate intercsting. it can be transDosedto anv kev. 9. In bars 5 and 6. Cm7 is going to F7. The line works becausewe are using three chord tonesand scarenote 2. This will happenwhen any m7 chord goes to a dominant chord whose root is up a fourth. This time we arpeggiatefrom the t3 of the Cm7. the !7 is a chromatic approachto the 3 of F7.MoreArpeggiation This is an exampleof arpeggiationon a standardprogression. Cld goes to M again. and when we arpeggiate the Cm7. CrnajT 44 .They will work on the Dm?to G7andtheEm7to A7. which is also called rorrsrb. Thesenotes spell an EbmajTaryeggio.Takenote of this pattern. avoid the root completely alrd go up to scale note 2 (D) resolving scalewisedown to the 5 of the F7 chord. Wmaiz Transposethe pattemsshownin the previousexampleto this progression.IIl bars 1 and 2 we have a very useful line that is wo h examining. slook at how we can usethis pattern effectively. the V is V7 and the I is Imaj?. Thenextexampleshowshowyou canplay throughthemasif they#re a IImz chord.. Diatonicmeans. 45 . For example. In the key of C they are Dm? _ G? _ Cmaj?.you can alsotrcat themas one chord. Because the II and the V work togetherto resolveto the IImajZ. Eachchord is built up from a scaletone.Dm?is IIm7.scaletone 1 is c.w9 needto look at a very commonchordpattem. CmajT Ir|ajT Dm7 IIrnT M] IIImT FrnajT IvrbajT Am7 Mm7 Bm?l5 15 vlt In orderto get the most out of walkingbasslin9s. Let. What are they in the key ofF? How aboutBb? Haveyou seen thesechordpattemsbefore? They arein rhythmchanges. It is the standard R/approach/R/approach melhod lhat w e h a v eb e e nu s i n gu p r o l h i s p o i n l . O n t h e n e x tp a e ew e will seehow we can piay rtrrou-gh this a s i f i t w e r ea V c h o r do n l y .'of_thekey. so cnajT is ImajTchord. Thesequence of Diatonicchordsis the samein all keys.'so everychordis built using only notesfrom thekey of C.so leamingthenumbersandtheir concspondingchordtypeis very useful.andso on. h i s w i l l s t i l l w o r k .A WordAboutChordpro ions:The II-V-I Thaseare the Diatonic chordstructuresbelolgng to the key of c major. the II-V-L The II chord is IIm?. A l r h o u g hl h e C 7 i s n o l o u l l i n e d r.and in the blues(theII-v in the bluesgoesto a 17chord). Theciords arelabeledaccordingto which scaretonethey arebuilt on. This example treats the II-V as two separatechords. 4 Em? A7 Dm7 c7 Cnajz i:1n4-o_r_e. It is impo ant to know about thesepossibilities now becausewe are expandingour freedom in what we use to oeate a bass lioe. but therc are ce ain situationswhere one may be better suited than the other. For example. This will eliminate being boxed-in by the root motiotr when you haveprogressionswith many II-V'S occurfing.u resobe4 "utpendedn quality.the boxed in approachmight be a better choicedue to the obviousnatureof the line. However. TheDn7 ulith a G on the botton it actualry a G7sus4chord that resolves to a G7. 5 5p7 A't Dm7 G1 Cnaj7 -e "boxed-ir" apprcach. By playing the G on beat one of the Dm7 chord. You now have the option to look at a II-V as one chord.fJ1g{gr-ni'-) Ex. Dm7 A majot triail ot ilominantT cho can substitutethe rd with a 4th.w9 are creatinga sus4* sound. hencerte 4 e "sus{.Now we will seehow the II-V cartbe played as if it were a W chord. The 4th Sivesthe chod a hangi g. 46 . They The "more freedom" approachis trot better than the both work well. This has a nice textureand can be usedon any II-7 chord. it would be appropriateto be lessstraightahead. 'Eoxed-in" Ex. if you were playing swing music for dancingbehind a singer.if you were playing behind a tenor sax in a less commercialsituatiol. they are different. like rhythrn changes. Blrnajz BhnajT 47 .Now that we have morg freedom otr II_V.s. The root motion is trot always necessiiy if the chord is outlined well. we can use arpeggiatron over more active chord progessions. the indirectresolution pattemis soshongthat thestrangenoteswill work.In orderto takefull advantageof this technique.AdvancedApproachTechniques: Indirect Resolutions The next typeof motiondiscussed will be chromaticmotion.In thesecases. 48 c7 B'7 F7 B'7 . We will look at five differentindirectresolutionsusingchromaticand scalarapproachnotes.7 R ' El i" "ot ""t.With this technique.An indircct resolutionoccurswhen an apprcachpattern is intenuptedwith anotherapproachpattem. we will sometimes hit "funny" noteson a chord. we will explorethe indirectresolution.7 R o (3) Lower scalar/upperchromatic F7 8"7 F1 B. (1) Lower chromatic/upperscalar F1 W1 F7 w F7 w F7 B'7 F7 8"7 rt B'7 R (2) Upperscalar/lowerchromatic F7 w1 rt 8"7 . 7 F1 w7 F7 w F7 8. AII of thesepattems can be adaptedto fit any chord prcgrcssion.Here are two morc indirect resolution pattens. v (5) Upper chromatic/lower chromatic F7 8.They qeate very strolrg melodic motion over a chord. o um/ {:- Cm7 F7 Bmajz G7 LN Fl Wm iT 49 BbmjT . o (4) Lower chromatic/upperchromatic w F 7 A.7 5l'--_J-L R l1 Belowis a sampleprogression usingsomeindirectresolutiolpattems.Try to identifyeachpattem used. and introduce some intergstingtrew note choices. UsingIndirect Resolutions This bluesline usesfrequentindirectresolutionsaswell as otherpatterns.Bars9 arld 10 in the fiIst chorusandbars7 and 8 in the secondchorusintroducea new pattemof scalemotion in thirds. This uses scaletonesin arl "up two - down one" pattem. Examine this line and hy to identify the different techniquesthat are being used. On a separatepiec€ of paper,haNposeandleam to play this line in the key of Bt. This will help solidify your understanding of theconceDts usedto build this line, cl c7 , c7 Dmt c'l F F7 Dm7 , c7 c7 Chromatic Motion Circmatic motion is very popular with jazz bassists.As the old saying goes, ,.Whetr in doubt, play _ chromatic."chromatic motion can be useful for thosemomentsor,,douut.,, It is arwaysbetter to keep playing until you regain your place in a tutre; chromatic motion will help to mask your confusion, However,chromatic motion is much more than just a tool to covgr yourself it adds interest and prcpulsion to the bassline. When used effectively, chromatic motion can createits own set of rules, ,lhe pull of the chromatic li''e is so strotrgthat it can overridetoot rnotion, chord quality, tonality, even tbrm, and still temain functional. This exampledoestrot go quite that far, but it doei avoid many of the direct approacheswe have beenusing.This examplehasa goodbalatrceof,,inside,,and,,outside,, approaches. B'7 5l Chromatic Motion On Rhythm Changes This lile uses chromatic motion, indirect resolution and other techniques to create an inteiestitrg line over rhythm changes. 0 E BLrnajT tsm, A7 B'7 Wmai7 }lm, B'7 Cm? E najT Cm7 F7 E maj7 E ttrt D7 Btm4j7 Frn' c1 Cm7 Ft Dm7 Cm7 F? Dm7 UIn' UIn' Wnt^j1 Dm7 , , c1 E F7 t , G7 w Cm7 Dm7 Brr:oj7 Cm7 G7 F1 Cm7 Ft E}n:,j7 GD Scott InFaro. Connectwith the notes. RobbieShakespeare. includitrg their roles in an ensembre. Jimmy Blanton. Use the metronometo strengthenyour intemal clock and neversettlefor "good enough"time. .A ClosingWord Rememberto always be inquisitive. Eddie Gomez.t specifically discusseiin this book. Rufus Reid. Listen to the chordal instrumentsto get melodicideas.OscarPettiford.memorizethe chordprogressionyou are playing. Whenyou listento music. paul McCartney.ss! . Chuck Rainey. for example. e the b(.Charles Mingus. IJam everythingyou can aboutmusic. Ron Carteq Paul Chambels.pre-hea/. Hear what you play andhow it reactswith the music. Get awayfrom the pageand useyour "inner eyes. Listen.Stanely Clarke. Leam harmony. Jaco.seethebass. Try to find out why thingswork for younelf..fram ear trai[ing.to Ray Brown.feel the bass. don.. Learn about rhythm. -ind open.guitar and drumscan create rhythmic ideasto propelihe tune. Keepyou. Go to the piano and figure oui the bassline to a tune you know.the list neverends. Marcus Miller.Marc Johnson. L€arn about the other instrumentsyou play with.Jimmy Garrison. Dave Holland.Whenyou play.to guideyou.As soon as possible.hearthe bass.and how your bass line interactswith their parts.tjust acceptthings becauseyou seethem in a book..Lay down the time so the piano. Listen to the greatbassplayersof all stylesandvisualizewhat they do.your ideasas you play. Always Pay attention to the flow of time. "". figureout why it soundsgoodanduseit.SamJones.Jerry Jemmot. If somethingyou play soundsgood but isn. JamesJamerson.Harvie-Swartz. Jeff Berlin. Listen to the drumsand feel the groove." unJyoo. make the bassline a deep deeppocket. use chromatic motion to get iiteresting meloclic effects. A combimtion of listening and tnnscribing is a very stlong of a musicalconcept.ihe turr" as thoroughly as you can.Now you haveten standardprcgressionsto play through. all necessaryto master. 54 . thereare basslinesrecordedon the left channelof the tape They . get the sound in your head.rhythmchanges. and.look fol scalewiselines that wind through the changis. ftrd the different approaches.However.Theselines were played freely without thinking way to developan understanding aboutrules ani concepts.so there are likely to be things in them that this book has not explored' l'ook for newideasanddsvelopyouf own undentanding. onceyou haveleamedthe ins andoutsof the tune. Usin the StandardPro It is a good idea to use all the stepsyou haveleamedwhen playing througha new tune' Startwith finding the roots.APPENDI>< This sectionis includedto giveyoutheopportudtyto put yourlearninginto actionTheexamples whichale arrdshot II-v ploglessions in thebookhavebeenvery commonbluesforms. go for ths soundyou hearandplay' Like otherexamplesin the book."u.theyarecommon -you may be enoughthat anyoneiamiliar with thejazz repertoirewill be ableto identify themfor you ableto figurethamout Yourself.ear. These somenewchallenges ideasthathavebeenexploredin thebook. add the fifth.andeachpresenting thatanyonewishingto playjazz shouldknow' tunesareall commonlyplayedstandards Dueto copydghtrestriction. listen to the progession. advancedapproachtechniquesto qeate unusual resolutiots.. arpeggiatethe changesand use other chord tones for targetson beat one.I cannotprovidethenamesof thesesongs.eachcontainingmany to dealwith. arethereto give you some you to transciibe theselines and analyzethem. l..ideasabouthow to approachthese It would b€ of valueto Proglessions. Try all thcse -ideas. . o E umaj. 56 .uY B o-. El c. The form is ABAC. Find different ways to connect the cholds itr the unusual spots.#2 StandardProgression This standardhas some odd root motions. o E E CmajT c.ujt E u.n"Y .StandardPro sion#3 Here is anotherABAC fom. This tune spendstwo bars on each chord until the C section. where it goesto one changeper bar. ":t E "-t E c'*Y 56 . This AABA form belongsto a tunewrittenby Charlie 0 E GnajT E c.Standard "Yardbird"Parker. will use whenplayitrgtheblues.Jazzguys'.Thesenew chordsaddroot motionwithoutchangingthe characterof theprcgression.Hereis the familiar F bluesprogressionwith someadditioml changes..This ve^ion is thi onemost. w I Yt s9 Am7 D7 . it E s.".StandardPro sion#6 This progressionintroducesthe m7L5chord.-y EhnajT Am7t5 . 0 E EnnajT Dm715 Cm7 El o.u. when playing over this chord.ujt E or.o. make sure to use 15as a chord tone. natural 5 can still be used as a chromatic apprcach. usethe upperchordsto determinethe progressiort.n"Y Dm7 Am?G atpl F7 Em7 A7 .uit wtB Am7 E ".ail the alternatebassnotesarealso chord tones. If you want to get away from the specified root motion.This tune has cholds over alternatebassnotes. I E Cmaj? ETIB Am7 .The root motion is an important chamctedstic of the song. In this song. It should definitely be played during the melody.m?G D7lFt CnajT AmajT El ".q. The progressionin bars 5-g appean sevenl times in the tune making it easyto lose your place.zj7 cm7 E oo.- Standard ssion#8 This song is tricky becauseof the AABC form.*.. Concenhate! E E cm7 Brr. E*nLj7 E l-r. Am?!5 62 .l. This one is an old standardthat later becameinto a bebop classic.Don.t forsetthe . diminishedchord.aj7 E ot-ujt ArmajT I i I Armaj7 .Bar 28 is atrA.b7. It is usually called at a very fast tempo. 0 E Abrnej7 Arn. you can emphasizethe abruptnessor look for ways to smooth over it with other chord totresotr beat otre. abrupt rcot motions.Standard ion #10 This tune has some interesting. 0 E E FmajT o*t E "-uY E ornt Bl15 64 . ? t t s .u.s.s19.! llllilllllll|ililil||ilrIlil o " 7 3 9 9 9 " 9 5 0 0 8 ' r. r .95 I S B N0 .q e 0 ! .