.ee== =-=L====

Wl'.et-.LeoNARD.

Thble of Contenti

Preface . . .Goal StatementAcknowledgements.Using the Recording.T o p P r i o r i t y . . . . . . . . . .Reading MusicBasics of Reading MusicBasics of Chord Constructiotr

Part OneOveNiew

.

Walking the Blues: From the Bottom Up.1.113t415161.7181 920

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 \vo NewKeys fo r the 81ues. . . . . . . . .Approach Notes/Chromatic ApproachLines wilh Chromatic Approach. . . . .More PEciica with Chromatic ApproachDouble Chromatic Approach.

. . . . . . . .

Dominant ApproachLines with Dominant ApproachNew Keys l "o r Dominan l Appfoach

. . . . . . . .

Lifles with Chromatic and Dominant ApproachNew Keys for Chromatic arld Dominant ApproachScale Approach.More Practice with Scale Approach.Combini[g the Approaches

. . . . . .

Combinirg the Approaches_with AnalysisRhythm Changes-sample Line.. .. . .Rhythm Changes.

Part TlvoOverview

23. . . . . . . . . . . . 2 4

. . . . 2 5

2728

. . . . . . . 2 9. . . . 3 0

. . . . . . . . . . 3 1

32

Scales You Should Know.Scalewise Motion 34

36Using Scalewise Motion

Uneswi th ScalewiseMot ion . . . . . . . .

More Practice with Scalewise MotionThe Next Step .Scale Motion on Rhythm ChangesA4reggiation

.

More Arpeggiation . .

A Word about Chord progressions: The II_V_IArpeggiation oD Rhythm Changes . . . .Advancd 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 l424344

4745

48. . . . . . . . . . . . . 5 0

A Closing Word

Appendixr../srrg rfle )randard Chord progressions.

53

545556575859

o t

62

SfandardProgress ion #4 . . . . . . . . . . .

Standard Progression #2 . . . . . . . . ..

Standard Progressiotr #1

Staqdard Progrcssion #3

Standard Progression #5

Standard Progression #gStandard Progression #9Standard Progression #10

S t a n d a r d P r o g r e s s i o n # 6 . . . . . . . . . . . .Standard Progess ion # j . . . . . . . . . . . . . . . . . . . . . . . . 6 0

63

PrefaceA v/alking bass line is the mostrr#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"ffi1d"df,f*ffi,?j31]j::,if#fu':.iT;'*il=$*, nn in;r;: *i;,ffimisses. with this itr mioo, r r,op" yoo "'rlr1|"oi:"" i;rff;T""i *'sist" as opposed to a bassist iha; hi; ;;

Goal StatementThe specific goal of this method is to fam'iarize you with the techniques used to build walkins bassllt;:*lli,l',lii'"11",ffi ;ilffi,""x"'; ;:Hjtt4it;;:,ili:i#*xT##gTiTlt# "k,tbook you wilj have the iDformation y

*:_Ttr ::;*#f fi*'"T;l;'J:j+^1:lti,ij:',,T.fif rff i?1d:t',1t,*:.J;;:;mm:l;;;,*;U ;:#*#i"i i{.:iet1r"l"3'#;*::tlti{i,1fi:1iTilTl-,'1.'J:Jro hear and feel how tO" O"* ,r"" ;rillllt"into

action. It is crucial to your una"rrtunonj tf,"t you-_" uifJ

AcknowledgmentsSpecial thaDks to Dr. Linda Ostrander, Tom Hamilton, members of the Bass Department at Berkleecollege 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 agraduate of fhe High School of Music and .qri in N"w yort Citv anJa ^ former faculty member of the Bass Deparhnent " nJi""iif """of Music. He has been a fearured cotumni" n air" pti) u"'ilii".His performance credirs include Larry Coryell, Vl.f,i""f Ui8""i"t,Robben Ford,-Mike Merheny, Linda Hoikiu.. j"f.iry aO"r., n"U."lriLocKwood. Barreoce Whilfield & the Savages, Martha and theVandellas, The Drifters, Brook Benton, the Boston & Tokvoproduclions of lirde Sll op of Horrors, rtre Opera Cornpuny oi eo-s-iJniEd_has a M.Ed. from Cambridge Coitege. CamUriOge. ff.ia. fO uri,GHS strings and Fishman Transiducers.

L

Usin the Reco

A recording is included to giv you the hands-on learning expedence that is crucial to this style obass playing. Many of the geat walking bassists never leamed tl* " Uoot, ,o"y;urt *"nt or,t "od l...rlon the baldstand Because these opportunities are now few and hard to fi,'d, the tape will provide you witia 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 anrorums 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 b1The examples in the book with an icon ($) next to them have a number that co[esponds to thnumber on the recording. Each example i" n..t.iai"a ltne noiil;;;;;, ther counted offwith a clickThe 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 chordsymbols and slashes Tum off the bass track, and play youriwn tn". iii, i, *n", you win be asked to doin the real worrd, you might as well sta now! you can do this with all of the examples in the book. Theseexamples have recorded bass liles th!exampre or the "on""p, in u",ion.-r;.j;:,,::';:'jHil,:::'?:liJ[:fiJTH"1l"',i'"l il""ffiiiil:ilil::Tffill:T11,|t"";.,;;"utr *.u" ,r'"'o a"*",l"i, -.'i'i*',,il"'"nir.n

0,."""s is a very powerfurThe last section of the book is fie Appendix, It includes ten commonly played jazz stat\dadprogressions, 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 aconscious effort to avoid too much rhvthmic embelrishmeit at trrfu p.hfri"rgn,n*e is some, These lineswill 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 andJrm uwrn on drums are two of Boslon's greatest musicians. I have the preasure of working with these twofine, upstalding citizens regularly, and now so can voul

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 thstyle of music has to have a groovethe bass prayer "no o-.."ir,oouilni:j:ll-Jdry;:J;"i;H; ffiil:::'1'"Tl'iTilllH;#ihere. 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 metronomemore 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. Ina Jazz drum feer' beats 2 & 4 a'e olavea with the ioot p*a .i,i" tr i"i"*bal. usirg the metronome thisway 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 click3) When your hand is in the air about to "o_" aoron uguin, ,tarf counting. I is in the air, 2 ison 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 :li:,:l*i i];iff ;: ;1i:l:iff#:i fi,T#T::i'[ jtilHllril: :::,:::tT::ftirnls clock runs on a rechargeabre batrery- Like all rech-t*ot" i"i"rt"r, *nen you use them for the firsttrme' you must leave them in the charger for u rong ti-"- dn""lour tri"*it""u o "o "nd runqing, it willrequre regular mainrenaDce to keeD it fully "rru,g"a. No o"Jt ;;;;;", ..good enough.,, when thebattery is charged, andrhe rhythm section hoot, up]rf,"." i" no no". ii"U* lrr ,n" *orrd.

Readine Music

Reading music is an important skill for any musician to develop. How far into reading you godepends on what your musical goals are. If you are interested in becoming a professional musician, Ihighly rccommetrd that you make rcading a priority. Even if you don't see yourself .'eeding to read musicto carry out your musical goals, being able to rcad will enhance your understanding of music, and makeyou 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 wherethe notes are on the bass. when you combine all three, you have a very complete understanding of whatyou are playing.

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

on the next few pages is a basic reference guide to reading music. It is intended as a supplement tohelp you find the notes on the neck. It is not necessarily the definitive method for sight reading, just a toolto help you get the information you need from this book. Due to the nature of walking bass lines, the odyrhythmic 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 Tettin 414, by l-p.ui,e Bellson and Gil Breines (Belwin Mills publishing).

Basics of R Music

::t:'ilLT:"J1ff il: mllfi :iJ;l,:T.l#{ :ffi1'':fi: i:f,'t :ffi,:j,J;:",}T::j:ilT*

and notes on the lines.,.

E A D G

Nots orr the Spaces

Notes on the Line6

Bass CtefI

tr$";Ji;:,ffi llHl:*il,;:ffi :Hj#jr,tr3jr{{f:,'1il#}::,#

ilT+*:**ft*,t:,*'{*ffifi ,.:":*H$"iiffi u-}s{":ffi ilil:*i*

D A D G

E A D C

c l / D t

"""*ul"i:l Y,ffiff;fl::il:l;i:*" in a bar of musis ir appries ro the whore measurc unress ir is

Basics of Chord Construction

..The firct step in the walking process is to be able to read the chord chaflges. .lhe chord symbol tellsyou all the specific information about the chord structure. It is up to you to decode the information andcreate 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) containthe 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 thingseasier, 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 ahalf step,

Triads(1) (4)

c+(2)

Cm(3)

Cdim

3R

, 3R

, 3R

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 theroot 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?

, 3R

tsb3R

5, 3R

3R

7

lR

IChord 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 chorobviousry, 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 forwill 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 determineby what combination of triad and seventh yoo ,,r". fo, ""*ft",l .q", o,* *r* a natural 7 will bemaJor 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" '

t n

PAFIT ONEOverview

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

Finding the Fifthc7

(iirih)

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

Finding the Octavec7

The R,5, and 8 are the framework that a chord is built on. The R,5, and g do not give you anyspecific 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 firststarting 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 adiminished 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 anycase' you will not see these types of chords in part one of this method, you will not have to thinl aboutthem for now.

11

!'"".'".1ii:,3:,;"i iiJJ,Jil ffij:::: jl" l lt ","9.' 3 create simpre warkins rines. once vou ha1pp-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 expedencd these techqiques with blues progressions in thJi

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 isthe most important note of a chord. For a bass player, it is the first note you need to be able to find. yourfirstjob is to outline the rcot motion of a progression.

IF7,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,,, usingquarter 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 theoclave we can give the l ine a l i l t le motion.

B'7 I

IIB''7H

Gm7 F7c7

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 thprogression. 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

.rhe fircr chord tone we will inr

Moving 0n

ff:l[',"H'*TfiT#ilh1iy,,ffiiil1fiT;fr:1ff,11'""i:'l;-uon"i"'swith'heroot(and,ook.at crro_rds withr;;;;;il#,.:Jtj*'i,l,T'j::.":,ffid#f'r:1',,1:,1::*';:'Jli::iuse the R,5 and 8. un tne next page are some lines that

14

Adding the Fifth

,w7

5

D7

RRR 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 tornany styles of bass playing.

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

E'l IYt

R 5 8 5 R R 5 5 8 8 5 R

l F | 'R

Bt?

R

Gm7

5 8s 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 barsof the blues.

l5

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

DmajT

L6

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 halfnotes' Then add the octaves and play through the changes in quaiter notes. Add the fifth of each chord atrdplay 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 gwill be the same.

lrok for the notes itr more than one place on the finqerboard.lower parr of the neck. Explore rhe possibjl ir ies!

This will keep you from getting stuckin the

o

An

17

ChromaticA roach

So far, we have used only roots, fifths, and octaves in our lines. This will help you to hearffir"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. Tlanalysis 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 lowechromatic 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. Remembetthat the approach note comes before the target note, so wdte it to the left of the rarcet.

18

Lines with ChromaticApproach to R,5 and g

F7 F7 tD'7

I

D7 c7Gm7c7Gm7

Uc[I

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

19

racnce wit

Here is an example of how chromatic approach works through the cycle of fifths. Notice horsmooth 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 areeasier fo play through than they rook. with the rcot on rhe first beat of each chod, all you really need tofind is the approach note.

Btmaj7

E'mujT

20

Double ChromaticA roach

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

8 U/cbr U/chr

Try this technique on the BL blues.

R U/chr U/cbr

The next approach method we will look a t is dominant approaclr. The fifth of a chord is callethe dominant. That means, a dominant approach is a resolut]on to a target from the fifth of thrtarget.

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 lowerdominant approaches for the root andfifth of F7. To make rhings simpler,octaves will now be analyzed as rootr.

*Finding the lower dominant approachG C

To find the lower dominanrapproach, we go a fourth below thetarget. You will find that this is thesame Dote as the fifth above lhe taroeror y it is an octave lower.

This shows how ,G', is lhe upper and lower dominanl approachl1;*T':fl tffi '#::l'#;3,i"'Iorupperdominantand

U/don

Vdolr R Vdon 5 U/don 5 l./don 5 u/don 5

Now find and wdte in the dominant approaches for the R, 5 and g of Br?, Gm7, C7 and D7.

, 2

Lines with DominantHere 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, anote you are already using.

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

IF'7E 7rt

U/.lom 5 U/donVdon R

R 5 R

I

5 U/dom 5U/don Vdon R

Iw7-i--++-t _____l_

s 5 R Vdon5 U/don R 5 U/don 5 R s Rvdod udom udon

R

Gm7 F7 D7 c7-

, ' l I | -

R U/dolrR

5 Udod R 5 5 Udon R U/dom R U/doE RU / d o n R U d o n R 3 R

U/dom

I

R U/doitr

F7 Bt1

:--t:1- ' , J

,Iv7

L'ln I F7c7 D,I (im/

Write in analysis for the secold chorus. Pay attention to dual functions.

New Keys for DominantApproach

Because we are only working with R, 5 and 8, the dominant approaches for Br7, F7, Cm7 and G7 arethe 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 otherkeys 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 feelthat it helps you, by all means, do it,

Dm7

24

Lines with Chromatic and Dominant roach

This example combines chromatic and dominant approaches to the R, 5 and g. To make thinss lesscomplicated, the analysis for these approaches w l be shorteled to chr for upper or rower chromaric, anddom for upper or lower dominant.

By combining two apprcach methods we will multiply our choices and come up with a morc [aturalsounding line. A good bass line uses rnany approaches to achieve a well_balanced sound. As you leamadditional approaches, your own lines will sta to sound morc natural.

dom R

R 5 R c l I

um,D,I

n-nR , 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, Onthe next page is the blues in BL and C. Try to combine the chrcmatic and dominant approaches to R. 5 and gin these keys.

zIKtADNi UilELEcKA sKotA.Hradec Kr6lov6.Ha0rmanova ,130

!01.+taxr040/9533480(6 )

-New K s for Chromatic and Domi

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

_

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

roach

...the blues in C.

What was differclt about playing after the transposing exercise?

ScaleA roach

The next method of approach we will look at is scale approach. ,.Scale approach,, meansapproaching a target note with the scale tone next to it from above or below. sometimes the scaleapproach note is also a chrcmatic approach. For example, going from an F7 to a Btmaj?, the lowerscale approach would be an 'A". This is chromatic and scale approach. Scale approaches will beanalyzed 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 scaleapproach notes. These will be analyzed in two laye6, the top layer being the primary function, thesecond layer being the secondary function.

o F7 tB'1F7R s c

5s c R s c R s R s c R

5

,F7IB'7

_++_____+_

R s c3

c7

R

(,In' c?

R

um/D7

R r c5

s c s c R 5 R l c R s c R s c R5 5 5 5 r3

We can see a definite pattern showing upwith this technique. When the root motiorbetween two chords is dominant, the fifth of thefirst chord acts as an upper scale approach to thenext chord* . Th is pat tern is impor tant torecognize because it will help you formulateyour concept of how lines fit together,

*

F7 Btj

s c R s c R5

-. .

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 frfi??,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 ro ger tamiliar with the key of G.

28

Combining the Approaches

Up to this point we have used chromatic, dominant and scale approaches to R, 5 and g. Bycombinitrg these techniques, we will multiply our choices and have lines with a more natural sound tothem. 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 analyzeit using the symbols we have worked with. see if you can find the dual function notes. The co'ect anarysisis given on the next page,

o F 7

to

Comb the A roaches - With Anal

Here is the combination line with the amlysis symbols. Compare you answgrs to see how close youwere. The rcal value of this exercise is not so much how matry you got dght, but that you did it, To do thisexercise, 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. whenyou find them, you will unde$tand them better because they have been processed by you. When youunderstand things ftom this standpoitrt they become very usable. That is the point of this method: to makethe concepts of walking bass lines usable to you.

IF7 Bt?

- - l +sc 5 chr

3sc I chr R chl R dom R chr 5 don Rchr 5

I8"7 F7I)

R dolr R dom R ctu 5 don R dom 5 sc R cb, 5 !c3

D7 Gm7 c lF7c lGm7

t ' t t ? r ^

R sc q "bI R sc 5 ctr R don R sc R e R chrc h z { ' - 7 5rt Btl F1

,

R dom R "-hr R R ctu chr R 5 don don R R 5 chrs 3 s 3

IIB'1 l i ,

c7

,3. R chr s dom R

c7 F7

R 5

Gm7

s c 5

D 7

R

Gm7

b,

R s c R c h r R c l f5

c h r c s h r c l r R R 5 c h r R c h r

30

Rhythm Changes - Sample Line

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

BrnajT Cnit Dm7 Cm7 F7oE

---t-. f---

im, 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

,ID7 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 youget comfortable with it, add different approaches. The root riotio, in ,r," achoices 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 TWOOverview

In Pa Otre of this method, you saw how it is possible to play through chord chalges using only thebare bones of R, 5, and 8. With the addition of approach notes, we were able to create some moreinteresting lines and add some variety to our note choicas. In the second pa of this method, we will startto 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 notreflected 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 majorseventh, which is the seventh from the major scale (one half step below the octave). other chords have aminor or flat seventh (one whole step below the octave).

CmajT

c1

c7

3 5 r 7Minor Seventh

Of course, along with these new note choices will be all the approach notes that came before, upperand lower chromatic, upper and lower dominant, and upper and lower scale. This means *e ooro hiveevery scale note, and every chromatic note available to us. Looking at buildilg our lines this way would bea little cotrfusing, at this point, so it is better to sta seeing oul bass lines in the larger t erms of motion ardshape. This is wherc the lines start to develop a flowing feel. we will still be using the approach{aryetconcept' 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. lnaddition to these, we will also get into targeting other notes besides the root for the first beat of a bar. Thiswill help to ftee up our lines and make them more melodic and varied. we will also leam other ways toview the II-v structure to help break away ftom the root-approach rnethod. As a part of the exploration ofchromatic motion, advanced approach techniques s\ch as indirect resolutian will be shown to brcadenyour options at the point of chord chatrge. By the end of paft Two, you will have been exposed to enoughideas 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_earningthem will help you discover more about the fingerboard and play rtrrougiilioro "nanges in part Tko of thisbook,

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

C Ionian

A Aeolian

f,ocrian

34

More Scales You Should Know

These next two scales arc mitlor scales. Along with the Aeolial mode (also Inown as 1y'4tuldMrnor), these scales are fhe most commonly used minor scales in westen music. rhere are Diatonic Modgbuilt 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 G Dorian Scale

Gm7 Chord Tones 6. Bb D F G R b3 5 L7 8

,- A D I -

2 4 6 Scale Tones A C E

.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 2F7

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.

, As you can see, there are many ways to use scalervise motion.be used to time your arrival at the nex

motion through the Br"", ;;'il;;;:.f:i;';, i.l$:".".** o"t*The differe approach methods canthere will be examples of scalwise

This lhe gets to the targe! too early, so . . .

This line uses an upper dortrinant approach on beat 4.

This example uses an octave to shift to a higher register.

Lines With Scalewise Motion

Here are iwo choruses of F blues usitrg scalewise motion with approach notes to help the line reachthe target at fhe dght time. Notic that there is a scale motion that runs through two different chords in bars1 alld 2 of the first chorus. When the root motion between two chords is dominant, you can walk downfrom the root of the first chord and land on the rcot of the next chord otr beat one, From there you adjustthe scale to fit the new chord. Do you see this happening anywhere else in this example?

8"7 II

6 s c3

6 5 R 2 3 c h r R 2 3 2 Rr7

('m/ c lD7F7um/ c l

sc R cbr5 3

R d o m RR

r7R 2 1 3 s c R 2 3 a l o m R5 R

IBL71t7 F7

6 5 R 2 3 d o n ndon R

R

I

3 s c R 2 3 c h t R5

I8,7 F7

6 5 R 2 3 d o Dt 7

D lc7 Lim / c7Gm7

t 7

39

d o n R 5 R 5 R 53 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 attentionto the timing of the line. Use different approach techniques to get to your target rotes.

B'7 E'l ,Bl7

Lm/

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

Ab7 IE 7Eu7

40

The Next Step

Before we get into using scalewise motion over rhythm changes, we will talk about the next step inthe 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. Youare no longer restricted to this concept! As your understanding of walking develops, you will see thatalmost 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, butbecause they arc very close to the root, they arc a little tricky to use. This example uses scalewise motionwith the 3 and 5 as alternative targets or beat one. Notice that sometimes we are still using the R on beatone. It is trot oul intention to avoid the root. onlv to add to our oDtiotrs.

F1 w1 F7 I

5 don5

5 c t u 3 2 R c h 3 2 R 2t7 17

IF7IBt?

5chr

Flc7 c7D7 Gm7Gm7

R clr 3 4 5 don R 2 5 doE R ctu 3 R1 7 R R t 7

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

4l

Scale Motion On Rhythm ChangesHere 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 basisit starts to get complicated, so keep in mind that the overall flow and shape of the lire are now the maincolrsiderations.

IE 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?'tD7

't,c7

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

a

Fm? W7 ELmaiT Etnn Cm7 yt7 B,rnajT (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 invertedarpeggios. 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 veryliterally -your note choices are all chord tones. The main concem with arpeggiation is to make theresolutiotrs between chords and between bars work. This means using chromatic, dominant, or scaleapproach to a chord tone on beat one of a new bar or the firct beat of a new chord. Broken chords qeateintercsting, abrupt up and down motions that work because they occur within the chord.

,Fl w

----r-f-

Gm7 rtc7 D7 Gm7 c7

More Arpeggiation

This is an example of arpeggiation on a standard progression, IIl bars 1 and 2 we have a very usefulline that is wo h examining. Cm7 is going to F7, and when we arpeggiate the Cm7, the !7 is a chromaticapproach to the 3 of F7. This will happen when any m7 chord goes to a dominant chord whose root is up afourth. In bars 5 and 6, Cld goes to M again. This time we arpeggiate from the t3 of the Cm7, avoid theroot completely alrd go up to scale note 2 (D) resolving scalewise down to the 5 of the F7 chord. The lineworks because we are using three chord tones and scare note 2, which is also called rorrsrb, 9. These notesspell 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 theDm? to G7 and the Em7 to A7.

44

CrnajT

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 upfrom 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, socnajT is ImajT chord, Dm? is IIm7, and so on. The sequence of Diatonic chords is the same in all keys, soleaming the numbers and their concsponding chord type is very useful.

CmajTIr|ajT

Dm7IIrnT

M]IIImT

FrnajTIvrbajT

Am7Mm7

Bm?l5vlt 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? Theyare in rhythm changes, and in the blues (the II-v in the blues goes to a 17 chord). Let,s look at how we canuse this pattern effectively.

This example treats the II-V as twoseparate chords. It is the standardR/approach/R/approach melhod lhatwe have been us ing up ro lh is po in l .

Because the II and the V work together to resolve to the IImajZ, you can also trcat them as onechord. The next example shows how you can play through them as if they#re a IImz chord.

Al rhough lhe C7 is no l ou l l ined , rh isw i l l s t i l l work . On the nex t paee wewill see how we can piay rtrrou-gh thisas i f i t were a V chord on ly .

45

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 theDm7 chord, w9 are creating a sus4*sound. This has a nice texture andcan 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 resolvesto a G7.

It is impo ant to know about these possibilities now because we are expanding our freedom in whatwe use to oeate a bass lioe. You now have the option to look at a II-V as one chord, This will eliminatebeing 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, Theyboth 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 betterchoice due to the obvious nature of the line. However, if you were playing behind a tenor sax in a lesscommercial situatiol, it would be appropriate to be less straight ahead.

46

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

Blrnajz

BhnajT

47

Advanced Approach Techniques: Indirect Resolutions

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

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

(1) Lower chromatic/upper scalarF1 W1 F7 w wF7 F7 B'7

8"7

R

rtF7B'7F7 8"7(2) Upper scalar/lower chromatic

w1 rt

, 7R

F7B'7c7F7

o(3) Lower scalar/upper chromatic

B'7B,78"7 F1

R' El i" "ot ""t.

48

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

o(4) Lower chromatic/upper chromatic

w F 7

A,v

(5) Upper chromatic/lower chromatic8,7F7F7w7F7 w8,7 F1

5 l ' - - _ J - L

l1

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

um/ F7 Bmajz

R

used.

oG7

{ : - 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 fiIstchorus and bars 7 and 8 in the second chorus introduce a new pattem of scale motion in thirds. This usesscale 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 piecof paper, haNpose and leam to play this line in the key of Bt. This will help solidify your understanding ofthe conceDts used to build this line,

c7c l

c7,

Dmt

c'lF

,F7

Dm7 c7 c7

Chromatic Motion

_

Circmatic motion is very popular with jazz bassists. As the old saying goes, ,.Whetr in doubt, playchromatic." chromatic motion can be useful for those moments or,,douut.,, It is arways better to keepplaying 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 andprcpulsion to the bass line.

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

B'7

5 l

Chromatic Motion On Rhythm Changes

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

BLrnajT A7 Cm? F7 Dm7 c1 Cm7 Ft0E

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 Cm7 Dm7 G7 Cm7 FtG7

Frn' w Cm7 E}n:, j7 GDBrr:oj7 F1

A ClosingWord

-

Remember to always be inquisitive, don,tjust accept things because you see them in a book. Try tofind out why things work for younelf. Keep you. ""." unJyoo, -ind open. Hear what you play and how itreacts 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 andnever 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 getmelodic ideas. Lay down the time so the piano, guitar and drums can create rhythmic ideas to propel ihetune, As soon as possible, memorize the chord progression you are playing. Get away from the page anduse your "inner eyes,, to guide you.

IJam everything you can about music. Leam harmony. fram ear trai[ing. Learn about rhythm.Larn about the other instruments you play with, includitrg their roles in an ensembre, and how your bassline 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 RayBrown, Ron Carteq Paul Chambels, Scott InFaro, Eddie Gomez, Dave Holland, Rufus Reid, MarcusMiller, 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, ChuckRainey, Oscar Pettiford - the list never ends.

When you listen to music, see the bass, feel the bass, hear the bass. When you play, , e the b(,ss !

A P P E N D I >