Building Walking Bass Lines

.ee== =-=L====€

Thble of Contenti

Preface . . .

Goal Statement Acknowledgements. Using the Recording.

T o p P r i o r i t y . . . . Reading Music

Basics of Reading _Music Basics _{of Chord Constructiotr}

Part One

OveNiew .

Walking the Blues: _{From the Bottom Up.} 1.1

1 3 t4 15 1 6 1.7 18 1 9 20 M o r e P r a c t i c e w i t h _{R o o t s . . . .}

Adding the Fifth .

M o r e P r a c r i c e w i r h _{F i f t h s . . . .} T \ v o N e w K e y s _{f o r t h e 8 1 u e s . . . .} Approach Notes/Chromatic Approach Lines wilh Chromatic _{Approach. . . . .} More PEciica with Chromatic Approach Double Chromatic Approach. _{. . . .}

Dominant _Approach

Lines with Dominant Approach

N e w K e y s l " o r D o m i n a n l _{A p p f o a c h . . . .} Lifles with Chromatic and Dominant _Approach New Keys for Chromatic arld Dominant Approach

Scale Approach.

More Practice _{with Scale Approach.} Combini[g the Approaches . . . .

Combinirg the Approaches_with Analysis Rhythm _{Changes-sample Line.. .. . .}

Rhythm Changes. 23 . . . 2 4 . . . . 2 5

27

28 . . . . . . . 2 9

. . . . 3 0

. . . . . . 3 1

U n e s w i t h S c a l e w i s e M o t i o n _{. . . .} More Practice _{with Scalewise Motion} The Next Step .

Scale _{Motion on Rhythm Changes} A4reggiation _.

More Arpeggiation _{. .}

A Word about Chord progressions: _{The II_V_I}

Arpeggiation _{oD Rhythm Changes . . . .} Advanc€d Apprcach Techniques. U s i n g I o d i r e c t R e s o l u t i o D _{. . . .} Using Chromatic _{Motion. . . ..} Chlomatic Motion oo Rhythm Changes.

. . . 3 9 ' . . . 4 0 4 l 42 43 44 47 45 48 . . . 5 0 A Closing Word

Appendix

r../srrg _{rfle )randard Chord progressions.}

53 54 55 56 57 58 59 o t 62 S f a n d a r d P r o g r e s s i o n _{# 4 . . . .} Standard Progression _{#2 . . . ..} Standard Progressiotr _#1 Staqdard Progrcssion #3 Standard _{Progression #5} Standard Progression _#g Standard _{Progression #9} Standard Progression _#10 S t a n d a r d P r o g r e s s i o n _{# 6 . . . .} S t a n d a r d P r o g e s s i o n _{# j . . . . . . . . . . . .} . . . 6 0 63

Preface

A v/alking bass line is the most

rr#rlffi#l*,r':H*i1i::fr

_{:L'*F,lffi ;il$:*i}

_jifr

:.y #11';-,Tnli*",,:"jil1::.J.fll1i,,Tlil,TT;";illI.l-,3,,fli,l"iJ:,i";lll#y;ili"ffi1

d"df,f*ffi,?j31]j::,if#fu':.iT;'*il=$*,

nn

in;r;:

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misses.

_{with this itr mioo,}

_{r r,op"}

_{yoo "'rlr1|"oi:""}

_i;rff;T""i

*'sist" as opposed

to a bassist

iha; hi; ;;

Goal Statement

The specific _{goal of this method is to fam'iarize you with the techniques used to build walkins} bass

llt;:*lli,l',lii'"11",ffi

_{;ilffi,""x"';}

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ro hear

and

feel how

tO"

O"* ,r"" ;rillllt"into

action.

It is crucial

to your

una"rrtunonj

tf,"t you-_" uifJ

Acknowledgments

Special thaDks _{to Dr. Linda Ostrander, Tom Hamilton, members}

of the Bass Department _{at Berklee} college of Music, sonia Friedland. *eEller Friedland, D";iia/-,;;" _{Rae Friedland, sheny Roth,} Michael Merrill, Larry Fishman, and everyone over at Fishman Transduca,.. Thanks _{to all my students}

n'r""ir*,lJl;

_l;ffiho

rave

helped

me

learn

the

"', "i ,;;i;.

i;;;;

to au the g."", hJpi*i"o;i

About the Author

_ Ed Friedland

is a Boston-area

bass

player

and teacher,

_{He is a}

graduate

_{of fhe High School}

_{of Music and .qri in N"w yort Citv anJ}

a

_^former

_{faculty member}

_{of the Bass}

_Deparhnent

_{" nJi""iif}

"""

of Music.

He has

been

a fearured

Usin the Reco

A recording is included to giv€ you the hands-on learning expedence that is crucial _{to this style o} bass playing. _{Many of the geat walking bassists}

never leamed _{tl* " Uoot, ,o"y;urt *"nt or,t "od l...rl} on the baldstand Because these opportunities _{are now few and hard to fi,'d, the tape will provide you witi} a supportive _{and comfortable accompamment}

to your leaming process.

,-..* In:. *::Otig uses a split stereo mix wirh piano and drums on the right channel, and bass anr orums _{on the left channel. This configuration}

will allow you ,o ,urr, ,t " bass track off and play with thr

ir'#J#ljlr-

as well as giving

you

ctear

access

to the

bass

o""t fo. f""roing,f,e nes

by ear,

and

b1

The examples _{in the book with an icon ($) next to them have a number that co[esponds} to th€ number _{on the recording. Each example}

i" n..t.iai"a ltne noiil;;;;;, _{ther counted offwith a click} The click is a two-bar count off, two half notes, and three quarte, ,*ii""".g _{o*, f"ur blank. Ex. 1... 2...} |,2,3,...(play).

There are many opportunities

i[ the book to qeate your own lines. ,lhere are examples with chord symbols

and slashes Tum off the bass track, and play youriwn tn". iii, i, *n", you _{win be asked to do} in the real worrd, you might as well sta now! you can do this with all of the _{examples in the book. These} examples _{have recorded bass liles th!}

exampre

or

the

"on""p,

in

u",ion.-r;.j;:,,::';:'jHil,:::'?:liJ[:fiJTH"1l"',i'"l

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*.u"

,r'"'o

a"*",l"i,

-.'i'i*',,il"'"nir.n

0,."""s

is a very

powerfur

The last section of the book is fie Appendix, It includes ten commonly _{played jazz stat\dad}

progressions,

There are no written bass lines, but there are.""ora"a on"r. i pfuyed these _{lines as I would}

l:]iitty pt:l them withour thinkins about "r,.n,,"ti" "ppro""i"r, ,;;l;;,,"r, etc. However, I made a conscious _{effort to avoid too much rhvthmic}

embelrishmeit _{at trrfu p.hfri"rgn,n*e is some,}

These lines will give you an idea of what comes _{out when all ttr" io"u, pr"r"n'i"J io ,i], ooot t uu" been assimilated.} They will arso challenge _{your ear much more than anything "tr" t" *"'0"*. so when you}

feel ready, definitely _{leam these lines by ear, and transcribe}

them if you in.

,,- ^_.1,:1Oj l,* -tlt eljoy playing with the other musicians as much as I do. Brad Harfield on piano and Jrm uwrn on drums _{are two of Boslon's greatest musicians.}

I have the preasure _{of working with these two} fine, upstalding _{citizens regularly, and}

To Pri

Top priodty for a bass olaver in_ any sryle of music is keeping _{tiqe. Without this esseltial skill}

:ll$::,':lJi:T;[T:'i";;l;',:'11'l;":i '; ';;; "d;i;;.h ,'m,ryins

to

spare

you,h,

ooti-g"ta-'""'",.il;ffi

_{,i*fi f:'fi:1"fiU'i1?:T::;X'.""..1,iT"*,1H':il*t#*}

can play, how good you look, how nrco your equrpmetrt _{is, etc., because th} style of music has to have a groove

the

bass

prayer

_"no

_{o-.."ir,oouilni:j:ll-Jdry;:J;"i;H;}

ffiil:::'1'"Tl'iTilllH;#i

here.

reeping

,n"

,,*"

i"'"

,o*""0".1e#iffi,i'r"#ig'lTJiJJ'll;)IlT,r"fflj,*,l3jjru

:l*"8.:h

"id cooperation.

For

now,

let,s

fo"u. on inAilriau"i-rir"rrrn'in"'

your

_time

_{is a metrono.".}

_{rry"" i.rt r,_" one}

^rready,

_bu!

_one

_{l__"arr!lrl,}

thing you need

to develop

*.0 "::jiTffil:;tn:;:;J:'*n*ve

sood

time

without

one You

mav

substitute

the metronome

more fun to play with, ""n lull you;::lll: "1to* click for practicing tim"' a d.um -;il",;;;;

pr"y.i

r,,

i, i""L,

ii;;#lj:;"i,;:"ff;T:.;T:1;."i1l'"1j,".r,]i,,1i*.1,1,1ffi[lll;,fr:

rope!

To develop

_{your time}

_and

_your

_walking

_feefpractice

witili" ."i."""." "rr"*ing on beats

_{2 & 4. In}

a Jazz

drum

feer'

beats

_{2 & 4 a'e olavea}

with the ioot p*a .i,i" tr i"i"*bal. usirg the metronome

this

way

will give

_{you the most}

_imporiant

_part

of ,r,";"r, fi"i" *oJ;;;;-

.'.

Here is a simple _{way to find 2 & 4 with the metrolome:}

1) Thrn on metronome _{to a medium tempo.}

2) S-lap _{your knee with your hand in time with the click}

3) When your hand is in the air about to "o_" aoron uguin, ,tarf counting. _{I is in the air, 2 is} on your knee, 3 is in the air, 4 is on your U""". f""nif,rr,onl* _{a while to get used to it.} By using the metronome _{this \,!}

;"T

_{rnls clock runs on a rechargeabre}

:li:,:l*i

i];iff ;: ;1i:l:iff#:i

_batrery-

fi,T#T::i'[

jtilHllril:

_{:::,:::tT::fti}

Like all rech-t*ot" i"i"rt"r, *nen you use them for the first trme' you must leave them in the charger for u rong ti-"- dn""lour _{tri"*it""u o "o "nd runqing, it will} requre regular _{mainrenaDce to keeD it fully "rru,g"a.}

No o"Jt ;;;;;", ..good

enough.,, _{when the} battery is charged, _{andrhe rhythm section}

Readine

Music

Reading music is an important skill for any musician to develop. How far into reading you go depends _{on what your musical goals are. If you are interested in becoming a professional musician, I} highly rccommetrd that you make rcading a priority. Even if you don't see yourself .'eeding to read music to carry out your musical goals, being able to rcad will enhance your understanding of music, and make you a better musician. Reading music gives you a visual representation of the notes you are playing. Playing the notes gives you an arral understanding, as well as physical or kinesthetic knowledge of where the notes are on the bass. when you combine all three, you have a very complete understanding of what you are playing.

As a bass player, you will spend a large part of the time reading chord changes iNtead of actual notes, This book will help you interpret changes. By learning to walk over chord changes, you are discovedng _{what notgs you have available to you on a given chord. In order to get the most out of this} book, you will have to read the examples. You will be able to hear the examples played on the play-along tape that accompanies _{this book, so using your ear to learn the wdtten examples is fine. If you combine} using your ears and your eyes, you will have a better underctanding _{of the material, although it is possible} to learn the examples either way.

on the next few pages is a basic reference _{guide to reading music. It is intended as a supplement to} help you find the notes on the neck. It is not necessarily the definitive method for sight reading, just a tool to help you get the information you need from this book. Due to the nature of walking bass lines, the ody rhythmic value you will see in this book is a quarter note. In 4/4 time there are four quarter notes in a bar, itr3/4, therc are three. For further rhythmic hainitrg, I highly rccommend the book, Modern Readins Tett in 414, by l-p.ui,e Bellson and Gil Breines (Belwin Mills publishing).

Basics

_{of R}

_M

_usic

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and notes _{on the lines.,.}

E A D G

Not€s orr the Spaces

Notes on the Line6

Bass Ctef

I

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_ilil:*i*

D A D G

E _{A D C}

Basics of Chord Construction

..The firct step in the walking process is to be able to read the chord chaflges. .lhe chord symbol tells you all the specific information about the chord structure. It is up to you to decode the information and create a bass _{line that will say something about the chord.}

chords are made from scale tones stacked on top of each other. Triads (three-lote chords) contain the root, 3rd and 5th. Four-part chords _{contain the root, 3rd, 5th and 7th.}

C major scale

Here _{is a listing of the most commonry used chord structurcs and what they contain.}

To make things easier, all the example chords _{win be built off the root c. Refer to the numbered scale above}

if you need to. Notes _{with a [t] sign are rowered a half step from the originar ""are tone,}

notes _{*ith a [r] sign are raised a} half step, Triads (1) (4)

c+

(2) Cm (3) Cdim 3 R , 3 R , 3 R

Chord List _ TFiads (1) C major rriad _ (R, 3, 5) (2) C minor triad, (R, !3,5) (3) C diminished tdad _ (R, 13, L5)

. _{(4) C augmented}

triad _ (R, 3, ,5)

The next five chords are four-note structures called "seventh _{chords." They add a seventh fiom the} root to an existirg triad. The seventh _{will either be major (7), minor (r7) or dimid;hed (rt7).}

Four-Part Chords - Seventh Chords (1) CrnajT (2) _{(3) (.4)} cm7t5

(s)

Cdim? , 3 R t s b 3 R 5 , 3 R 3 R 7 l R

Chord List'- Tbiads

(1) C majo* seventh _{- (& 3, 5, 7)} (2) C domtuant _{sevenrh _ (R,3, 5, ,7)} (3) C minor seventh _{- (R, ,3, 5, ,7)}

(4) C mitror seventh L5-(R,13,15,17) (5) C diminished _{seveutb - (R, "3, 15. ,b7)}

Frcm the chord symbol we _{y:l *ht"l rotes we can use to bring out the quality of that chor} obviousry, the rcot is the most imDortant note; it is the bottom of the chori. The _{5th of a chord combitr,} with the root to form a framewotk for

will work otr any chora ,"g*at"., ot ffird quality' That is why they are important notes to know: thr Triads with a natunl 3 are maior, and ones with a t3 are mhor. A seventh chord _{will be determine} by what combination _{of triad and seventh yoo ,,r". fo, ""*ft",l}

.q", o,* *r* a natural 7 will be maJor seventh _{chord A major triad with a- 17 win be a domiuant .""""ti"i*u.}

oo "hords with I ,5 0r + symbol do not ptay the natural 5, play the 5 that the chord sy.U"ir"r" '

PAFIT ONE

Overview

In Part one of this method, you'll be introducad _{to three notes that wilr be lifelorg companions: the} Root, Fifth, and Octave. These three notes are included in virtually every chord type. The root is the futrdamental, the ground floor that all chords are built off of. The fifth is the fifth note up the major scare from the root. The fifth is the dominant note. In simple terms, this means that the lifth has an over powedng need to go back to the root.

Finding the Fifth

c7

(iirih)

The octave is the root except _{- it is eight notes up the major scale from the root.}

Finding

the Octave

c7

The R,5, and 8 are the framework that a chord is built on. The R,5, and g do not give you any specific information about the chord quality. That means they dont tell you if a chord is major or minor, major seventh or minor seventh, _{etc. Therefore that these three notes are your best choices when first} starting to walk through chord changes because they will work on every chord type.

There are, of course, some special cases _{where a chord will have a flatted titlh, such as a 7t5, or a} diminished chord, and some cases _{where a chord will have a sharyed fifth, such as an augmented chord.} However, _{the chord symbol will let you know that these fifths will have to be altercd up or down. In any} case' you will not see these types of chords in part one of this method, you will not have to thinl about them for now.

!

'"".'".1ii:,3:,;"i

_{iiJJ,Jil ffij:::: jl" l lt}

","9.'

_{3 create}

simpre

warkins

rines.

once

_vou

ha

1pp-i:.h:,u,",

"r,,o-u,i""pp,ou"r;!iflil:i|;.i:ff1r.5:',:;i"T,:JlrT:"*:$jff::lill:H;3;

you will have expedenc€d _{these techqiques with blues progressions}

in thJi<eys of F, Br, Er, C, and G. Tl

,H;Tffi:l,i,:r:A.ilji:'lt"l"'t

because

it is'oni

or 'r'"t*i""o'.",,ry

prayed

prcsessions

j

styles _{of music. I,, additiotr ,o ,0" o,t} "u"oon"'*ough its use in rock' blues, coultry and countless othr These progrcssions _{have more "no.o} 'l"j:,11"t"-u1: 8 _.bar "II-v' prcgrcssions included for each concep get used to playing a"riu" prog."r.iorrJotron' usually two changes per bar' They ar" i""tua"o to hetp yi

At the end of the section _{vou will be.inhoduced to.,Rhythm}

Changes,,, _{the progression} ,,I,ve Gc Rhythm" _{is based on Many jazz tunes}

use this progrc*t"",--'r"*Jr*

i ir, to build new progressionr Next to fhe blues, _{it is the most important progression}

to leam in iazz.

An Important Notice

Because _{this book at"-Oo a:.:11:,,l,an organized,}

chronological _{way, you will be introduced} t( colcepts _{one at a time. The examples}

that will be given "r" g""r"J,i*"r0" helping you understand _th€

;fftJ'*:lffiii:$:*i#;J,'l '' *'' """ip'oau""

ii""Jtti"'*",

,"",,

*'nd

a

ritre

unnaturar,

desilned

_{to o.i,o}

_{""*i"^,"i0,*;fi,:"JflJtt-;:'l'JtJ"S:::l;iir}

mind.

Because

this

book

is

witl

emphasize

_otre

_concept

_{to th"e}

_exclusion

_{"r o,r"^.}

a, y.i'J;;;il:#il:T:lffTf*?

discover that the examples

will use more than one approach aIId stafi to s

Walkin the Blues: From the Bottom U

Here is an F blues progression _{using only the roots of the chords in the half note rhythm. The root is} the most important note of a chord. For a bass player, it is the first note you need to be able to find. your firstjob is to outline the rcot motion of a progression.

I

F7

,

b7

Playing halfnotes for the bass rine is called a "two" feel. It is commonly used for the head of a tune, or i[lr diieland, country or latin music. ln jazz, the bassist will mosr likely switch to playing in ,,4,,, using quarter notes for the solos.

Here is the F blues again, this time in a ,.four,, feel. We are still using only roots, but by using the oclave _{we can give the line a liltle motion.}

B'7

_I

I

I

B''7 H Gm7

c 7

_F7 13 D1 Ltm /

More Practice With=

_Roots

;-" *IiliilJ l'J,11"::ilJ:i*Jil:

_{*",.-"::Ji#ih,ffi",l'fj_:f}

root

motion

is

very

common

j

*",t"J*riT:]Tf:Ti"TTi';',"1" a sense

ormovement,

so,

even

th

progression.

ne

situations

u r"v o"-o"ril"

","#ffi1l""rffiJ$,f,1*#:

Am7

DtmajT _Glrnaj?

*O o",*i::

tr "oo,Oer progression

tha! uses cycle of fifrhs root motion. Play through this using ody roots

Adding the Fifth

,

w7

5 D7 R R R R R R

The previous line is a classic example of a "two" feel. The use of R and 5 in half notes is common to rnany styles of bass playing.

The next example uses roots, fifths and octaves in a "four" feel,

E'l

_I

Yt R 5 8 5 R R 5 5 8 8 5 R

l

F

|

'

R Bt? R Gm7 5 8 s E 8 5 5 R R s s c't F7 D7 R um/ R

This line has a very foundational feel to it. Notice how the motion gets smoother in the last two bars of the blues.

More Pracricfiiih Fmhs

Here is another progrcssion that uses the cycle of fifths root motion. _{Notice how the fifth of or}

;:";:"::',:::"'

t" '0" root or the next chora

uv u wtrot"

stf. n'i' 0"i"" *1ii n*rs occur

with rhis type

FlmT

,0",",")""ilfi"f"".iT:Xf"

_{rtjn::*,?"11;",Jtlj*fl:t"}

"nrths

tvpe

prosression.

rakenote

orwhere

Tlvo New Ke s for the Blues

Here is the blues progression _{in the keys of Bt and E,. Fird the roots and play through them in half} notes' Then add the octaves _{and play through the changes}

in quaiter notes. Add the fifth of each chord atrd play through the changes _{in half notes. Next pray through with quarter notes using roots, fifths and octaves.} You will find that some chords show up in all three keys. Even ii the chord type is different, the R, 5, and g will be the same.

lrok for the notes itr more than one place on the finqerboard.

lower parr _{of the neck. Explore rhe possibjliries!} This will keep you from getting stuck in the

o

An

ChromaticA

_roach

So far, we have used only roots, fifths, and octaves in our lines. _{This will help you to hear}

ffir"jffi_:,

*" progression.

_{By adding}

_apprcach

_notes,

the bass

_{line lan become}

_smoother,

_{and m}

. Remember: walking bass lirte .

using

approach

_nores

_{.o" ";r "r*;;; f:;fi'JiT"obJecr}

A Sood

line has

a feeling

of forward

motion.

r:::::?"ryi;.!?.-e

:il1"i:'*:';:,'ff#

_!:.:'":l;,

;:1,nT:JiiTJi:i,'"?,Th#'d;i::

upper and lower chromatic approach, upp* ""a u*", a"_ir"i"opr*"i _{and scalewise approach.}

Chromatic approach notes resolve to.a, target note from a half step (olle _{iiet) above or below. Tl}

analysis

symbols

_{for these}

_apDroaches

_{are U/"m ri, "pp* "ir".#}

"oi'riL Aa* "bove) and L/clr I

*";;*pffifoach

from betow).

These

ar" ,r,i'"pp*'"ro r.*"ir"i.manc approaches

to the R,

F7

Here are the R, 5 and g for the. chords in the F blues. On the _{bass, tind the upper and lowe} chromatic _approaches

for each [ote, I_ook to see if ttrese notei JaJ" i""* ," rn"r" ,han _{one place on thr} Once you have located the notes. _{on the neck, write them in next to their target notes. Remembet} that the approach note comes _{before the target note, so wdte it to the left of the rarcet.}

Lines with ChromaticApproach

_{to R,5 and g}

F7 D'7 _F7

_t

I

D7 Gm7

c7

c7

Gm7 Uc[I

Below is the Bl blues again. Find the upper and lower chrcmatic approaches _{to the R,5 and g of} each chord. You may want to write them out like with the F blues. writing things out will help solidify them in your mind.

racnce wit

Here is an example of how chromatic approach works through the cycle of fifths. Notice hor smooth the motion is between chords with this apDroach.

R Em7 DmajT R Dm7 UclI R G7 U/clr R Uln' U/clr R

rt

U/ch R U/ctu A7 Vchr

. *oy ot playing this progression with chromatic approach. These busy chord progressions are easier _{fo play through than they rook. with the rcot on rhe first beat of each chod, all you really need}

to find is the approach note.

Btmaj7

Double ChromaticA

_roach

Here is a way to add more possibilities to chromatic _{approach. Double chromatic approach creates a} very smooth _{line with a strorg pull into the target.}

8 U/cbr U/chr

Try this technique _{on the BL blues.}

The next approach

method we will look a t is dominant approaclr. The fifth of a chord is calle the dominant. That means, _{a dominant approach is a resolut]on to a target from the fifth of thr} target.

Dominant approaches

can be either upper or lower. To find the upper dominant approach to

.r

t"il,1irj;j].dt

ttart on the target

and

couni

up the scale

ro trre

firtrr, tie same

way you find the fift

Below are the upper and lower dominant approaches _{for the root and} fifth of F7. To make rhings simpler, octaves _{will now be analyzed as rootr.}

*Finding the lower dominant approach

G C

To find the lower dominanr approach, _{we go a fourth below the} target. You will find that this is the same _{Dote as the fifth above lhe taroer} or y it is an octave lower.

This shows _{how ,G', is lhe upper and lower dominanl approach}

l1;*T':fl tffi

'#::l'#;3,i"'Iorupperdominantand

U/don

Vdolr R Vdon 5 _U/don 5 l./don 5 _{u/don 5}

Lines with Dominant

Here is an example of dominant apprcach. With this approach we are introducing a new note choice. The u/Ldom of the flfth is also scale degree 2. The dominant approach to the root is the fifth, a note you are already using.

The fifth now has a dual function and will be analyzed wifh two layem of symbols. The top layer will be the primary function, the bottom layer, the secondary _{fuflction. Notes that have more than one} function make the line stronser.

I

F'7 E 7

rt

U/.lom 5 U/don Vdon R R 5 R

I

5 U/dom 5 U/don _{Vdon R}

I

w7

-i--++-t _____l_ s 5 R V d o n 5 U / d o n R 5 U/don 5 R s R

vdod udom udon

R Gm7 F7 D7

c7

- , ' l I | -R U/dolr R 5 Udod R 5 5 Udon R U/dom R U/doE R

U / d o n R U d o n R 3 R U/dom

I

R U/doitr F7 Bt1 :--t:1- ' , J ,

I

v7

L'ln I

c7

_{F7 D,I (im/}

New Keys for DominantApproach

Because we are only working with R, 5 and 8, the dominant approaches for Br7, F7, Cm7 and G7 are the same as the chords from the F blues with the same roots.

Play through the progrcssion in different places on the neck to get acquainted with your options.

In the key of C, you will again find the R, 5 and 8 to be the same as on many chords from the other keys covered so far. This, of course, means that the domimlt approach notes will be the same.

It may not be necessary to wdte out all the notes and approaches at this point. Although if you feel that it helps you, by all means, do it,

Lines with Chromatic and Dominant

_roach

This example combines chromatic and dominant approaches to the R, 5 and g. To make thinss less complicated, the analysis for these approaches _{w l be shorteled to chr for upper or rower chromaric, and} dom for upper or lower dominant.

By combining two apprcach methods we will multiply our choices and come up with a morc [atural sounding _{line. A good bass line uses rnany approaches to achieve a well_balanced}

sound. As you leam additional approaches, _{your own lines will sta to sound morc natural.}

dom R R 5 R c l I um, D,I

n-n

R , i _ R c h l R d o E 5 c t r R d o m 3 R clr₃

Were you pble to hear the differenca _{ill this line? It is sta ing to sound more like the real thing, On} the next page is the blues in BL and C. Try to combine the chrcmatic and dominant approaches to R. 5 and g in these keys.

zIKtADNi

UilELEcKA

sKotA.

Hradec Kr6lov6.

H a 0 r m a n o v a , 1 3 0 ! 0 1 . + t a x r 0 4 0 / 9 5 3 3 4 8 0

-New K

_{s for Chromatic and Domi}

Combine chromatic and dominant apprcach notes in these two keys. First play thrcugh the key thetl do the following exercise.

_ On a sepante piece of nusic paper, tmnspose the line in F ftom the prevrous page to these two key Then play through the blues in B! and C aeain.

roach

ScaleA roach

The next method of approach we will look at is scale approach. ,.Scale approach,, means approaching _{a target note with the scale tone next to it from above or below. sometimes the scale} approach _{note is also a chrcmatic approach. For example, going from an F7 to a Btmaj?, the lower} scale approach _{would be an 'A". This is chromatic and scale approach. Scale approaches will be} analyzed with the symbol sc. It should be obvious by now which notes are upper or lower approaches.

Sometimes a scala approach from below does not sound as smooth as other types of approach. When using this approach, keep your ear open; if it sounds strange, try another approach.

Also notice that there are dual functioning notes. some notes are chord tones antl scale approach notes. These will be analyzed _{in two laye6, the top layer being the primary function, the} second layer being the secondary function.

o

F7 B'1 F7

t

R s c 5 s c R s c R s R s c R 5 , F7

I

B'7

_++_____+_

R s c 3

c7

R (,In'

_c?

R um/ D7 R r c 5 s c s c R 5 R l c R s c R s c R 5 5 5 5 r3

We can see a definite pattern showing up with this technique. When the root motior between two chords is dominant, the fifth of the first chord acts as an upper scale approach to the n e x t c h o r d * . T h i s p a t t e r n is i m p o r t a n t to recognize because it will help you formulate your concept of how lines fit together,

*

F7 Btj

s c R s c R 5

-. -. Fitrd the scale apprcaches to R,

n:-*:ru;a:*:ft

_,'l*ii'ii;

!"i,1

i:i

lxl"#;:'lfj

:ti

ffHff ;:il"5"il:

_*t;

*-^^_-""t.,"t*n1t:" to any patterns that seem familiar, repeated chords fr

fi??,t;"*11#t#

be

the.same

but

happen

on

diff"r"nt

sr,ings.

.t;;ffi;J,i"nlJlrl"rjT"liil;i,Xl

Remember _{to do all the prelimimry steps}

Combining the Approaches

Up to this point we have used chromatic, dominant and scale approaches to R, 5 and g. By combinitrg these techniques, _{we will multiply our choices and have lines with a more natural sound to} them. A good bass _{line has a variety of ideas behind it.}

. The line below uses all three approach techniques. I[ addition to playing the example, try to analyze it using the symbols _{we have worked with. see if you can find the dual function notes. The co'ect anarysis} is given on the next page,

o F 7

Comb

the A

roaches

- With Anal

Here is the combination _{line with the amlysis symbols. Compare you answgrs to see how close you} were. The rcal value of this exercise is not so much how matry you got dght, but that you did it, To do this exercise, _{you had to ask you$elf: ,'What is the function of this note? Is it an approach, a target, or both?} Why does this line work? How can I use this in my own playing in other styles?,,

This is the thought process we are after. Being curious w l make you search for th9 answers. when you find them, you will unde$tand them better because they have been processed by you. When you understand things ftom this standpoitrt they become very usable. _{That is the point of this method: to make} the concepts of walking bass lines usable to you.

I

F7 Bt?

- - l +

sc 5 chr 3 sc _I chr R chl R dom R chr 5 don R chr ₅

I

8"7

_I

_F7 )

R dolr R dom R ctu 5 don R dom 5 sc R cb, 5 !c

3 D7 Gm7

c l

F7 c l Gm7 t ' t t ? r ^ R sc _cq "bI _h R sc _z 5 _{ctr R _' don _-R sc ₇ R ₅e R chr rt Btl _{F1 ,}

R dom _s R "-hr R R ₃ctu chr R 5 don _sdon R R 5 chr₃

I

I

Rhythm Changes

- Sample Line

This standard prcgrcssion is known as the song ,.I've Got Rhythm,, progression. It is one of the most common progressions _{in jazz. The form is AABA. with two changes per ba!, the rcot motiotr qeates} a sense of movement. when you add the approach techniques the line becomes more interesting. Tbke the time to analyze this line. Notice how the line works through the bridge where the changes occur less often.

BrnajT Cnit Dm7 Cm7 F7

o

E

---t-. f---i m , B'1 E rnaj7 ElmT Dm7 Crrf F7

-+

E

w(r.i1

um/ F7 Dm7 C,niT F7

Fm7 M ErmajT Erm, Cm7

rt

B}ma37

,

I

D7 _G7 -A!-{---+ B7 EhnajT 3l F7 - r.r n I LIn' _{Btmajj G7)}

Now practice playing Rhythm Changes _{by jusf looking at the chords. Start out simply, then, as you} get comfortable _{with it, add different approaches.}

The root riotio, in ,r," a

choices

already,

_{so fioa *uy" ro *oo"", the roots. The B sectr", ,"o ,., .,."11i""T :l;;J;:ljo}

t t*t

Wtll,aj1 ELmajT _ElmT Cm7 BlnajT EvrnajT B}.maj7 G7

PAFIT TWO

Overview

In Pa Otre of this method, you saw how it is possible to play through chord chalges using only the bare bones of R, 5, and 8. With the addition of approach notes, we were able to create some more interesting lines and add some variety to our note choicas. In the second _{pa of this method, we will start} to use more specific iDformation from the chords we are playing through.

The t rid tells us if a chord is major or minor Up to this point, the lines we have played have not reflected _{the major or minor quality of the chords. usilg the third makes the bass line sound more ,'in,,} with the chord changes. _{We are now getting morc specific with the bass tine.}

Cm7

The sevent, is another note that tells you about the quality of a chord. some chords have a major seventh, which is the seventh _{from the major scale (one half step below the octave). other chords have a} minor or flat seventh _{(one whole step below the octave).}

CmajT

c1

c7

3 5 r 7 Minor Seventh

Of course, along with these new note choices will be all the approach notes that came before, upper and lower chromatic, upper and lower dominant, and upper and lower scale. This means *e ooro hive every scale note, and every chromatic note available to us. Looking at buildilg our lines this way would be a little cotrfusing, at this point, so it is better to sta seeing oul bass lines in the larger t erms of motion ard shape. This is wherc the lines start to develop a flowing feel. we will still be using the approach{aryet concept' _{but it will be used as part of a developing bigger picture of the shape the bass line will take.}

The types of motion we will look at arc scolewise, q.rpeggiation, a\d chlomatic motion. ln addition to these, we will also get into targeting other notes besides _{the root for the first beat of a bar. This} will help to ftee up our lines and make them more melodic and varied. we will also leam other ways to view the II-v structure to help break away ftom the root-approach rnethod. As a part of the exploration of chromatic motion, advanced approach techniques s\ch as indirect resolutian will be shown to brcaden your options at the point of chord chatrge. By the end of paft Two, you will have been exposed to enough ideas to develop interesting, functional and musical bass lines over standard chord progressions.

Scales

_{You Should Know}

,, T*.: scales_are very impo ant tools that you will use to build your walking bass lines. I_earning them will help you discover more about the fingerboard and play rtrrougiilioro "nanges in part Tko of this book,

The Diatonic Major Modes

The first set of scales are the Diatonic Modes from the key of C Major, Each mode is built off a scale tone from the key of c using onry the notes from that key. it ut i" *t ut DTAToNIC means: using trotes only from the designated scale,

C Ionian

More Scales

_{You Should Know}

These next two scales arc mitlor scales. _{Along with the Aeolial mode (also Inown as 1y'4tuld} Mrnor), these scales are fhe most commonly used minor scales _{in westen music. rhere are Diatonic Modg} built off these scales as well, however, _{we will not be concerned with them at this point.}

C Melodic Minor

C Harmonic Minor

These five note scales arc called pentatonic.

non-westem types of music. They are very comm ot in jazz, rock, blues, arld also

C Major Pentatonic _{C Minor Pentatonic}

Spend some tine practicing _{these scales with a metronome. These scales are written in otre octave.} When you are comfortable _{with them, try to play them as two_octave scales.}

Scalewise Motion

Scalewise motion feels very natural,

for walking

bass lines. It is

like

going up and down a flight of

stairs.

By

using scale tones

that

occur in

between the

chord

tones,

the

line takes on a very smooth, flowing

motion.

The

example

below shows the chord tones

of

an F7 chord (black)

and the

scale tones

in between

(white). When you play these notes in succession, you have the scale that is most commonly used for a

dominant 7th

chord.

It is called the nsixolydhn scale. In this case, we have

an

E

mixolydian. The structure

of any mixolydian scale is R-2--547-8.

F

Mixolydian Scale F7 Chord Tones P A C Ec E X 3 5 b7 8 2 2 6 ScaleTones G Bb D

Below

we

have

the

Bb

mixolydian

scale. This is

the

common scale for

a Bb7 chord.

- - - - -

-

B

Mixolydian pb7 Chord Tones B t D F Ab B R 3 5 b7 B 2 4 a Scale Tones C EL G

-

The next chord in the

F

blues is Gm7. This is a minor chord, so it will naturally use a minor scale.

In this context, the Gm7 will work best with a G Dorian scale (shown below).

The

structure of this scale is

R-2-6345-7-8.

I

.r",, *;iliJ"",fJJ

the scales

for all the chords

in the F blues,

ler's

look at ways

we can

use

rhem

tr

Brrs I .nd 2 F7

This line uses _{an upper scale apprcach on beat} 4.

This example uses atr upper chromatic apptoach into the lext bar.

Here, walkiag down the scale times out perfectly. This lhe gets to the targe! too early, so . . .

This line uses an upper dortrinant approach on beat 4.

Lines With Scalewise

Motion

Here are iwo choruses of F blues usitrg scalewise motion with approach notes to help the line reach the target at fhe dght time. Notic€ that there is a scale motion that runs through two different chords in bars 1 alld 2 of the first chorus. When the root motion between two 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, From there you adjust the scale to fit the new chord. Do you see this happening anywhere else in this example?

8"7

_I

_I

6 s c 3 6 5 R 2 3 c h r R 2 3 2 R r7 ('m/ _{c l} D7 F7 um/ c l sc R cbr 5 3 R d o m R R r7 R 2 1 3 s c R 2 3 a l o m R 5 R

I

BL7 1t7 F7 6 5 R 2 3 d o n n don R R

I

3 s c R 2 3 c h t R 5

I

8,7 F7 6 5 R 2 3 d o D t 7 D l

c7

Lim /

c 7

Gm7 t 7 39 d o n R 5 R 5 R 5 3 s c 6 5 R

More Practice With Scalewise

Motion

Here ate blues in B! and E again. Practice these using scalewise motion. Remember to pay attention to the timing of the line. Use different approach techniques to get to your target rotes.

B'7 E'l Bl7 ,

L m /

lrok for ways to play scale lines that move through more than one chord.

Ab7 E 7

I

The Next Step

Before we get into using scalewise motion over rhythm changes, we will talk about the next step in the development of a musical walking bass line.

Up until now we have been targeting the root of each new chord change on beat one of its bar. You are no longer restricted to this concept! As your understanding of walking develops, you will see that almost any note can work if you know how to make it work,

For now, let's target the other chord tones, the 3 and 5 in particulat 7s can be used as targets, but because they arc very close to the root, they arc a little tricky to use. This example uses scalewise motion with the 3 and 5 as alternative targets or beat one. Notice that sometimes we are still using the R on beat one. It is trot oul intention to avoid the root. onlv to add to our oDtiotrs.

F1

w1

F7

_I

5 don 5 5 c t u 3 2 R c h 3 2 R 2 t 7 1 7

I

F7

I

Bt? 5 chr Fl

c7

D7 Gm7

c7

Gm7

R clr 3 4 5 don R 2 5 doE R ctu 3 R

1 7 R R t 7

Now that we can use other notes on beat one, the line takes on a new melodic quality. NoW the overall shape and dircction of the bass line becomes morc impofiant. The flow of the bass line is now a factor in how we shucture our choices. As with any idea used to build a bass line, this technique works best when balanced with other conceDts.

Scale

Motion On Rhythm Changes

Here is an examplg of scalewise motion on rhythm changes. Now that we can use the chord tones 3 and 5 on beat otre, we can take advantage of the melodic possibilities that occur with this approach.

Try analyzing the line below - you will find some new things hapPening. Otr a note-by-note basis it starts to get complicated, so keep in mind that the overall flow and shape of the lire are now the main colrsiderations.

I

E

BrmajT G7 Cm7 Ft Dm7 G7 Cm? F?

Fn7 8,1 Bbl.'Iraj7 Ehn? _{D.7 ,,} cl Cm7 Fl

lAl Brmajr G? Cm? F7 Dm? G7 Cm7 F7

Fm? W EfiilLj1 EWil Cnit ft Wnnlt

, G?

't

D7

't

,

c7

E W'll]aj7 G7 Cm7 Ft Dm7 G1 Cm7 F7

An arpeggio is a chord whose notes are played in succession, rather than simultaneously. Commonly, an arpeggio is learned _{from the Root going up and down in order (R-3-5-7-5-3_R), However,} an aryeggio may start on any chord tone and move up or down from that note. These are called inverted arpeggios. Another approach _{is to play the chord tones in different sequences, not straight up and down.} These are known as brcken chords.

Arpeggiation creates more drastic vertical motions, Arpeggios spell the chord changes out very literally -your note choices are all chord tones. _{The main concem with arpeggiation is to make the} resolutiotrs between chords and between bars work. This means using chromatic, dominant, or scale approach _{to a chord tone on beat one of a new bar or the firct beat of a new chord. Broken chords qeate} intercsting, _{abrupt up and down motions that work because they occur within the chord.}

,

Fl

w

More Arpeggiation

This is an example of arpeggiation on a standard progression, IIl bars 1 and 2 we have a very useful line that is wo h examining. Cm7 is going to F7, and when we arpeggiate the Cm7, the !7 is a chromatic approach to the 3 of F7. This will happen when any m7 chord goes to a dominant chord whose root is up a fourth. In bars 5 and 6, Cld goes to M again. This time we arpeggiate from the t3 of the Cm7, avoid the root completely alrd go up to scale note 2 (D) resolving scalewise down to the 5 of the F7 chord. The line works because _{we are using three chord tones and scare note 2, which is also called rorrsrb, 9. These notes} spell an EbmajT aryeggio. Take note of this pattern; it can be transDosed to anv kev.

Wmaiz

Transpose _{the pattems shown in the previous example to this progression.}

They will work on the Dm? _{to G7 and the Em7 to A7.}

A WordAbout Chord pro

_{ions: The II-V-I}

Thase are the Diatonic chord structures _{belolgng to the key of c major, Each chord is built up} from a scale tone. Diatonic means ,'of_the _{key,,' so every chord is built using only notes from the key of C.} The ciords are labeled according to which scare _{tone they are built on. For example, scale tone 1 is c, so} cnajT is ImajT chord, Dm? is IIm7, and so on. The sequence _{of Diatonic chords is the same in all keys, so} leaming the numbers and their concsponding _{chord type is very useful.}

CmajT Ir|ajT Dm7 IIrnT M] IIImT FrnajT IvrbajT Am7 Mm7 Bm?l5 vlt 15

In order to get the most out of walking bass lin9s, w9 need to look at a very common chord pattem, the II-V-L _{The II chord is IIm?, the V is V7 and the I is Imaj?. In the key of C they are Dm? _ G? _} Cmaj?. What are they in the key ofF? How about Bb? Have you seen these chord pattems before? They are in rhythm changes, _{and in the blues (the II-v in the blues goes to a 17 chord). Let,s look at how we can} use this pattern effectively.

This example treats the II-V as two separate _{chords. It is the standard} R/approach/R/approach _{melhod lhat} w e h a v e b e e n u s i n g u p r o l h i s p o i n l .

Because _{the II and the V work together to resolve}

to the IImajZ, you can also trcat them as one chord. The next example shows _{how you can play through them as if they#re a IImz chord.}

A l r h o u g h l h e C 7 i s n o l o u l l i n e d , r h i s w i l l s t i l l w o r k . O n t h e n e x t p a e e w e will see how we can piay rtrrou-gh this a s if i t w e r e a V c h o r d o n l y .

Now we will see how the II-V cart be played as if it were a W chord.

Dm7 By playing the G on beat one of the

Dm7 chord, w9 are creating a sus4* sound. This has a nice texture and can be used on any II-7 chord.

A majot triail ot ilominantT cho can substitute the rd with a 4th, The 4th Sives the chod a hangi g,u resobe4 "utpendedn quality, hence rte 4 e "sus{, The Dn7 ulith a G on the botton it actualry a G7sus4 chord that resolves

to a G7.

It is impo ant to know about these possibilities now because we are expanding our freedom in what we use to oeate a bass lioe. You now have the option to look at a II-V as one chord, This will eliminate being boxed-in by the root motiotr when you have progressions with many II-V'S occurfing.

'Eoxed-in"

Ex, 4

Em? A7 Dm7 c7 Cnajz

i:1n4-o_r_e,fJ1g{gr-ni'-)

Ex. 5 _{5p7 A't Dm7 G1 Cnaj7}

-e

The "more freedom" approach is trot better than the "boxed-ir" apprcach, they are different, They both work well, but therc are ce ain situations where one may be better suited than the other. For example, if you were playing swing music for dancing behind a singer, the boxed in approach might be a better choice due to the obvious nature of the line. However, if you were playing behind a tenor sax in a less

Now that we have morg freedom otr II_V,s, we can use arpeggiatron over more active chord progessions, like rhythrn changes. The root motion is trot always necessiiy if the chord is outlined well.

Blrnajz

BhnajT

Advanced

Approach

Techniques:

Indirect Resolutions

The next type of motion discussed will be chromatic motion. In order to take full advantage of this technique, we will explore the indirect resolution. An indircct resolution occurs when an apprcach pattern is intenupted with another approach pattem.

We will look at five different indirect resolutions using chromatic and scalar approach notes. With this technique, we will sometimes hit "funny" notes on a chord. In these cases, the indirect resolution pattem is so shong that the strange notes will work.

(1) Lower chromatic/upper scalar

F1 W1 F7

w

F7

w

F7 B'7 8"7 R

rt

F7 B'7 F7 8"7

(2) Upper scalar/lower

chromatic

w1

rt

, 7 R F7 B'7

c7

F7

o

(3) Lower scalar/upper chromatic

B'7

B,7

8"7 F1

R

Here are two morc indirect resolution pattens. AII of these pattems can be adapted to fit any chord prcgrcssion. They qeate very strolrg melodic motion over a chord, and introduce some intergsting trew note choices.

o

(4) Lower chromatic/upper chromatic

w F 7

A,

v

(5) Upper chromatic/lower chromatic

8,7 F7 F7

w7

F7 8,7 F1

w

5 l ' - - _ J - L l 1

Below is a sample progression using some indirect resolutiol pattems. Try to identify each pattem

um/ F7 Bmajz R used.

o

G7 { : - LN Cm7 Fl _{Wm iT Bbm jT} 49

Using Indirect Resolutions

This blues line uses frequent indirect resolutions as well as other patterns. Bars 9 arld 10 in the fiIst chorus and bars 7 and 8 in the second chorus introduce a new pattem of scale motion in thirds. This uses scale tones in arl "up two - down one" pattem.

Examine this line and hy to identify the different techniques that are being used. On a separate piec€ of paper, haNpose and leam to play this line in the key of Bt. This will help solidify your understanding of the conceDts used to build this line,

c 7

c l

c 7

, Dmt c'l F , F7

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 those moments or,,douut.,, It is arways better 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 bass line.

When used effectively, chromatic motion can create its own set of rules, ,lhe pull of the chromatic li''e is so strotrg that it can override toot rnotion, chord quality, tonality, even tbrm, and still temain functional. This example does trot go quite that far, but it doei avoid many of the direct approaches we have been using. This example has a good balatrce of,,inside,, and ,,outside,, approaches.

B'7

Chromatic Motion On Rhythm Changes

This lile uses chromatic motion, indirect resolution and other techniques to create an inteiestitrg line over rhythm changes.

BLrnajT A7 Cm? F7 Dm7

c1

Cm7 Ft

0

E

tsm, B'7 E najT Dm7 Cm7 F? Wmai7 Cm7 F7 Dm7 UIn' }lm, B'7 E maj7 E ttrt UIn' Wnt^j1 , D7 ,

t

,

c1

E

Btm4j7 G7 Cm7 Dm7 G7 Cm7 Ft

A ClosingWord

- Remember to always be inquisitive, don,tjust accept things because you see them in a book. Try to find out why things work for younelf. Keep you. ""." unJyoo, -ind open. Hear what you play and how it reacts with the music. If something you play sounds good but isn,t specifically discussei in this book, figure out why it sounds _{good and use it.}

Always Pay attention to the flow of time, Use the metronome to strengthen your intemal clock and never settle for "good enough" time. Listen to the drums and feel the groove, make the bass line a deep, deep pocket.

Connect with the notes, ,.pre-hea/, _{your ideas as you play. Listen to the chordal instruments to get} melodic ideas. Lay down the time so the piano, guitar and drums can create rhythmic ideas to propel ihe tune, As soon as possible, memorize the chord progression _{you are playing. Get away from the page and} use your "inner eyes,, to guide you.

IJam everything you can about music. Leam harmony. fram ear trai[ing. Learn about rhythm. L€arn about the other instruments you play with, includitrg their roles in an ensembre, and how your bass line interacts with their parts. Go to the piano and figure oui the bass line to a tune you know.

- Listen to the great bass players of all styles and visualize what they do, Listen, for example, to Ray Brown, Ron Carteq Paul Chambels, Scott InFaro, Eddie Gomez, Dave Holland, Rufus Reid, Marcus Miller, Jaco, Stanely Clarke, James Jamerson, Jerry Jemmot, Charles Mingus, Jeff Berlin, paul McCartney, Robbie Shakespeare, _{Jimmy Blanton, Sam Jones, Marc Johnson, Harvie-Swartz,}

Jimmy Garrison, Chuck Rainey, Oscar Pettiford _{- the list never ends.}

A P P E N D I > <

This section is included to give you the opportudty to put your learning into action The examples in the book have been very common blues forms, rhythm changes, arrd shot II-v ploglessions which ale all necessary to master. Now you have ten standard prcgressions to play through, each containing many ideas that have been explored in the book, and each presenting some new challenges to deal with. These tunes are all commonly played standards that anyone wishing to play jazz should know'

Due to copydght restriction, I cannot provide the names of these songs. However, they are common enough that anyone iamiliar with the jazz repertoire will be able to identify them for you -you may be able to figure tham out Yourself.

Usin

the Standard Pro

It is a good idea to use all the steps you have leamed when playing through a new tune' Start with finding the roots, add the fifth, ftrd the different approaches, look fol scalewise lines that wind through the changis, arpeggiate the changes and use other chord tones for targets on beat one, use chromatic motion to get iiteresting meloclic effects, advanced approach techniques to qeate unusual resolutiots, Try all thcse -ideas,

l,"u- ihe turr" as thoroughly as you can, listen to the progession, get the sound in your head, and, once you have leamed the ins and outs of the tune, go for ths sound you hear and play'

Like other examples in the book, there are bass lines recorded on the left channel of the tape They are there to give you some ,.ear,, ideas about how to approach these Proglessions. It would b€ of value to you to transciibe these lines and analyze them. A combimtion of listening and tnnscribing is a very stlong way to develop an understanding of a musical concept. These lines were played freely without thinking

about rules ani concepts, so there are likely to be things in them that this book has not explored' l'ook for new ideas and dsvelop youf own undentanding.

Standard

Progression

#2

This standard has some odd root motions, Find different ways to connect the cholds itr the unusual The form is ABAC.

spots.

o

E

umaj,

El c.uY

Standard Pro

sion #3

Here is another ABAC fom. This tune spends two bars on each chord until the C section, where it goes to one change per bar.

o

E

CmajT

E c.ujt

Standard

This AABA form belongs to a tune written by Charlie "Yardbird" Parker.

0

E

GnajT

E c.":t

E "-t

- Here is the familiar F blues progression with some additioml changes. These new chords add root motion without changing the character of the prcgression. _{This ve^ion is thi one most ,Jazz guys', will use} when playitrg the blues.

w

I

Yt Am7 D7

This progression introduces the m7L5 chord. when playing over this chord, make sure to use 15 as a chord tone, natural 5 can still be used as a chromatic apprcach.

0

E

EnnajT

Standard

Pro

sion #6

Dm715 EhnajT Cm7

El o,",u.it

E s,o,ujt

E or,-y

This tune has cholds over alternate bass notes. The root motion is an important chamctedstic of the song. It should definitely be played during the melody. If you want to get away from the specified root motion, use the upper chords to determine the progressiort. In this song, ail the alternate bass notes are also chord tones.

I

E

Cmaj? ETIB Am7 ,q,m?G D7lFt

CnajT

AmajT

El ".uit

wtB

Am7 Am?G

atpl

F7 Em7 A7

E ",n"Y

-Standard

This song is tricky because of the AABC form. The progression in bars 5-g appean sevenl times in the tune making it easy to lose your place. Concenhate!

ssion

#8

E

cm7

_Brr,.l,zj7

E

cm7

E oo,*,

E*nLj7

E l-r,

This one is an old standard that later became into a bebop classic. It is usually called at a very fast tempo, _{Bar 28 is atr A, diminished chord, Don,t forset the ,b7.}

0

E

Abrnej7 Arn,aj7

E

ot-ujt

ArmajT _Armaj7

I

i

I

L.

Standard

ion #10

This tune has some interesting, abrupt rcot motions. you can emphasize the abruptness or look for ways to smooth over it with other chord totres otr beat otre.

0

E

FmajT

E o*t

E "-uY

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