Building Jazz Bass Lines: A compendium of techniques for great jazz bass lines

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Book 99.95, CD $10.00

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Pkg $lg.SS

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9

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Biogгaphy

б

Tесhniquе

B

Sound

1B

Plаying funеs Using Minoг Sсalеs

19

Using Choгds Built Fгоm Nоtеs in Eaсh 0f thе Thгее Bаsiс Minoг Sсalеs

22

Abоut thе Musiсаl Examplеs and thе сD

AO

C Bluеs

24

G Bluеs

25

D Bluеs

26

A B]uеs

27

Е Bluеs

28

F Bluеs

29

Bb Bluеs

З0

Еb Bluеs

ol

o4

AЬ Bluеs

OZ

A Minoг Bluеs

33

С Minoг Bluеs

З4

G Minoг Bluеs

35

D Minoг Bluеs

36

т7 Bluеs in F

R

c

36

j

ЗB

G Majoг

40

С Minог

42

A Mlnoг

44

Nеaгlу

45

Littlе Waltz

46

Еight

47

F Diagгams

Bluеs in C Minoг

)

J

G\

-=i) ,\J

Biogrаphу Ron Сaгtеr is оnе of thе most impoгtаnt bаss playегs/lеadеrs/сomposегS iп iazz' Boгn in Miсhigan in l9З7' hе oгiginally tооk up thr се1l0 at thе agе of tеn' with thе intеntion of plауing сlassiсal musiс. At 17, hе tооk up thе bаSS. Hr attеndеd thе Еastman Sсhoоl оf Мusiс, гесеiving his Baсhеloг of Mus1с dеgгее in 1959. Hе wеnt t0 NеWYoгk, playеd With thе Сhiсo Нamiltоn Quintеt, anсi еnгollеd аt thе Manhattаn Sсhool of Musiс' rvhеге hе еагnеd his Mastегs dеgгее ln 1961. Aftег lеaving thе Hamiltоn gгOup' hе fгееlаnсеd in Nеw Yогk, whеге hе not only playеd with Dоn Ellis, Randу WеStOn, Thеlоnious Monk and Aгt Fагmег, but playеd numегоus trlrvision and гесoгding datrs. In 196З, hе ioinесl Milеs Davis's quintrt and stаyеd until 1968. ]t is gеnегally асknow1еdgеd that thls еnsеmblе, wlth Wаynе Shoгtег, Hегbiе Hanсoсk and Tony Williams, WaS not only onе оf Davis's finеst gгoups, it was onе of thе most importanLiazz gгоups in thе histoгy оf thе musiс. Thе bаnd гесoгdеd sеvегаl albums аnd touгеd a1l 0Vег thе woгld.

Whilе соntinuing t0 bе onе of thе mos[ in.dеmand bаssists foг гесогding sеssions of all typеs, hе has lеd many gГoups of his own tO woгldwidе ассlaim. Сaгtег inlгoduсеd thе piсСOlo bаss (an instгumеnt onе haif thе sizе of thе геgulaг aсoustiс bass) so that hе сould stand out aS thе ]еadег of his еnsеmblеs. Hе hаs аppеaгеd 0n thousаnds оf albums aS еithег гhythm Sесtion playеr, сOmpOSег, arгangег and/oг pгoduсег. Нis сompositiоns inсludе thе GгammУ winning ..Са1l Stгееt B]uеs,'' fеaturеd in thе mоtion piсtuге Round Midnight. Hе is thе authoг of sеvегa1 books оn bass tесhniquе, and is a rеspесtеd and populаг tеасhег, сurгеnt,ly Distinguishеd Ргofеssoг of Musiс аt сity Cоllеgе of Nеw Yoгk. Studеnts havе соmе from аll ovег thе woгld t0 Study with a mastrГ 0f thе instгumеnt and а bгilliant aСсOmpаnlst, сеlеbrаtеd foг his flawlеss timr and hагmoniсаllv and гhvthmiсa1lv гiсh linеs.

/-"-z-

TесIшiquе '-lnе Оf thе pгоlэlеms fасing thе УOung bassist is how tо рlау fаSt trmp0S-(whiсh mеthоd tO uSеl1tегпаting fingегs, гight hand, оnе fingег, tvro fingегs, rtС.) I havе dеsignеd sоmе гight-hаnd еxегсisеs tО aSSlSt thе l]аSSiSt sinсе thеге aге sеvегa} appгoaсhеs tO this pгoblеm. Thе еxегсisеS аГе t0 bе donе quitе slow1у аt fiгSt tо obtain thе bеSt sоund аnd thе longеSt notеs possiblе' gгaduаlly inсгеаsing tеmp0s' Sti1l listrning fог long notеs and good sound. At thе hеight 0f thr tеmpO' aссеlегatе' Bе suге thаt thе n0tеS аге аs long аnd thе sounds аs good aS thеУ Wегr at thе bеginning of thе ехегсisе. ..A''

Thе fiгst еxегсisе shows [hе spееd еxегсisе using statiоnагу fingегs (Sее рhOtO). It lS impoГtant tO bе Surе that Onсе thе гight hand hаs plаyеd thе nOtеS 0n thе G stгlng that thе hand goes immеdiatеly t0 thе D Stгing aS in lhе fогm of а s1uг with thе bOW, With0ut using thе bOW. It iS еqual1у impoгtant tо геmеmbеГ thаt Whrn thr гight hand goеs fгоm thе D [O thе G stгing, thе hand bе kеpt аs сlоsе t0 thе StГings as possiblе to ..tоuсh'' faсilitatе thе fееl foг thе G stгing аnd thе dеvеlоping оf a foг all Stгings 0n up-tеmpO tunеS.

Еrегсisе A

strinps:

D A D A D A D

A

Thе nеxt ехегсisе has thе гight hаnd altеГnating fingегs, e.g. 1-2-1-2. Again, аs in thе ргеvtоus еxегсisе, thr Stагting tеmpo should bе slovr еnough to сombinе goоd sоund аnd lоng notеs with thе соогdinаting аnd altегnаting of thе fiгst аnd sесоnd fingегs.

1212t212

Nоte:

Whеn аltегnаting fingегs, thе fingегS shоuld bе kеpt as с1ose t0 thе Stгings whеn thе fingеГS аге nоt bеing usеd аs whеn thеУ aгr bеing usеd. Thе two sеts of numbегs in this еxегсisе аrе intеndеd fог thе гight hаnd only, not t0 bе сOnfusеd with thе lеft-hаnd tесhntquе.

.. .j'.] : .- l-.. : : :.l.: .l:<.=пс,.i t' аit.i ihе i'аssist in gаiniпg sрее[1 СГOssing thгее StГlngs. thеn ..]].i .]-:.r s.l.:..:. Т:ri с.''еГ'..tsеs ShOuld bе platеd цith a СOПSiStеnt tеmрO. Aftег соmрlеting еaСh '':]..i:Ё. Гс]'rit thе е\еГсiSе Гаstег than bеfоге (SanS аССеl.) tо dеvеlоp сOoГdinаtion and гhythm l:i\\сСП thе гisht aпd lе|t hаnd. kеeрing in mind Lhе imрOгtаnсе оf good sоund аnd lоng notеs. .

]. .

Notе: Thе thiгd notе of еaсh mеasuге is mагkеd rvith a thе plaУing Of thе nеХt nOtе.

-'

and should bе paгtiсulaг1y long t0 faсilitatе

Thе high dеgrее оf сooгdination bеttl,,ееn fingегеd lеft_hand nоtеs and fingегеd гight-hand notеs (oг StГings bеing playеd on) is of thе utmоst impoгtаnсе and pгimагy aim of thе nеХt ехегсisе. Thе sаmе ргaсliсе instгuсtions givеn to thе ргесеding ехегсisеs аге |0 bе appliеd hеге. Thе tWO SеtS of numbегs agаin аpp1y |0 thе гight hand.

lVоtе:

Thе fingегеd nоtеs оf this ехегсisе аге thOSе 0f thе G N{ai0Г sсаlе' thегеfoге no lеft_hаnd fingегing is nесеssагy.

Hеге s еSsеnttallУ, thr Samе еxегсisе altrгnаtеs thе flngегS 0f thе гight hand. This should bе plaуеd s1']\\'l}. tO inSuге thr plaУing Of thе notr wlth thе 1еft hand and thе pluсking of thе samе nOtе With thе |ingег indiсаtеd on thе гight hand oссuггing pгесisеly аt thе Samе timе. R.H.

ll2111l

Е

Dst

st.

Gst

сontinuе similе

lVоte:

Thе oгdег 0f notеS aГе all ]oсаtеd aсГoSS thе lnstгumеnt, hеnсе, hoгizontal playing. ]n this and thе ргrсеding еxегс1Sе, thе гight_hаnd numbегs are2, 1Гathег than l, 2. This iS t0 асhlеVе a lonsег sound

оn еасh B nоtе phгasе.

Thе following еxегсisе hаs thе bassist dоing a spееd еxегсisе сгossing fouг stгings. Notе thе гight hand, whеn playing thе asсеnding pаssаgе, Stays сlOSе tO thе StгingS at аll timеS and whеn it is рlaying thе

dеsсеndingpaSSagе,thегighthandplaysWith0nrmOtiOn,hеnсе,thе-

аГг0W.

Thе еntiге еxегсisе must bе donе slowly аt fiгSt, thеn gгadually inсгеasе thе tеmpо until thе dеsiгеd Spееd iS attainеd. L.н. 4

R.Еl. Е

st.

2

A 1

st.

Dst 2

Gst..

_-similе

l

----------------

----------------

V

liotе: .--------_---_--

Thе numbегs in thе ехегсisе aге fог thе lеft hand onlv.

,---Т----*JЗ.*l"

.i.

i l

"

\_l\

..--Э -')"

Soшtd ..longег.'

hу dо somе bassists havr nоtеs |hаn othегs? Why do sоmе hаvе a mOге соnststеnt sound than оthегs? And why dо sоmе havе a bеttег pгo;есtion of sound thаn othегs? Manу аnstvеГS саn bе found in ..piсking'' thе plaсing and positioning 0f thе гight hand (thе hand) 0n thе instгumеnt. Thе photo and fоllowing еxегсisеs (if obsегvеd and pгaсtiсеd сaгеfu1ly and, dlligеntly) wi11 do а gгеat dеаl аnd go а 1ong \\,aу tOwaгd еiiminating many pгоblеmS in аttaining thе pгеviously mеntlоnеd aсhiеvеmеnt lеvеls. \\

Using thе рiс|uге t0 bе SuГе youг гight hand is in thе pгopег tr]Osition' pгaсtiсе thе fOll0wing ехегсisеs. Stагt еасh еxегсisе slоwly at fiгSt, gгaduаllу inсгеasе thr tеmpо, thrn gгadually гitагd.

-

-

similе

simi1е

Limiting thе b1uеS linе

tO Onе pоSition (hаlf-positiоn), bе1ow is аn еxаmplе сhaгt of half pоSitiOn showing thе nOtеS, thе Stгing on whiсh thеy aге plaуеd, and thе pг0рег fingегing foг еасh notе.

By playing in а pоSition (in this сasе hаlЁpоsition) аs long as possiblе, oг playing aсгоSS thе instГumrnt (hOгizontаllУ, I сall it), yоu aге assuгеd of moге сonsistеnt pitсh, moге соmbinаtiоns Of nOtеS, and а moге сonsistеnt lеVеl of good tonе.

01244210

G String

01244210

D String

0124421001.241210

\ Чгrino

Е string

hoc а goоd bass linе is dеvelоpеd, I havе иken а t2.00r rшеs pгщгеsslов. ч-iilсh ts probаblу thе fiгst fогm оf impгovisаtion with whiсh thе studеnt will мre шис1 froш thе bаsiс сhогd spеlling to thе usе of non-harmoлlс notеs t0 thе use of rhуthm' Thеsе lаst [wo tetms arе dеsсгibеd in dеtаil furthег аlong in thе tеxt. То illustгаtе

The fiгst ]inе is an еxamplе of a basiс bluеs progrеssiоn using thе basiс сhord pеr bar.

Gm C7

l'

////

/ / / /-Gminoгfог2bеats

-Рmajoгfoг4bеаts

С7 foг 2 bеаts

FAс

FАс

BЬDF

DFA

F

F7

BЬ

FAс

FAсЕЬ

BЬDF

GBЬ D

FAс

сЕGBЬ

Bь"I

DFA

GBDF сЕGBЬ

Lеttегs bеlow thе staff show thr propег spеlling of еaоh сhoгd. Неге is a сhагt of thе morе common symbols, what thеу mеan' and how thеy affесt thе сhoгd spеlling. Thе m mеans minor; thе сhoгd being built on а minoг and mаioг Thе 7 mеans a SеVеnth (dominant) is to bе addеd to thе сhord

third-D

t0 F t0

A-DF.A.

spеlling-D7-DF#A

Thе Maj7 mrans а maioг Srvеnth hаs bееn аddеd to thе сhord spеlling

Dmai7-DFA

+

С-DF#AC.

+ C#-DF'AСfl.

Thе o mеаns thе сhord is built on minог thirds DFAb, and is оallеd a diminishеd оhoгd. Thе + mеans that thr сhoгd is built on two majoг tгiads DF# Afi, and is сallеd аn augmеntеd сhord.

Thе diagram bеlow shows only two of thе mаny possibilе соmbinations оf nоtеs plaуеd in half-position, using thе сhoгds F and Bb. It is n0t nесеssaгy fоr thе first notе оf еvеry mrasurе tO bе thе r00t or t.niс of thе сhord.

BЬ

f -:-.,;,. ]:1.'. :..t;','.Ssi[,}е Соmbinatiоn Oг thе bluеS Гогm. цith thе рГOl]ег fingегing' using thе basiс l-l'.l I.]..r!ГЁsslс)n. thе рГ0l]еГ сhогd spеlling Of that сhoгd ргоgгеssion, and limiting 0uгSеlVеS t0

:.1ii-

рO

S l

tlO n.

.10410.+04010,112

Bb 0,1

44

B'

F

F]

Bь,7

F

Dm

04

2442

0

Gm

С1

00

1

F 24104

Dm

G]

04

0

С7 040

Rеfеггing t0 thе oгiginal bluеs pгоgгеssron, wе wi]l now аdd what is knоwn as non-harmoлlс matегiаl, ог notеS that аГе n0t' а paгt of thе oгiginal сhoгd Si]еlling. NOtе that thr ( ) indiсаtеs whiсh notе hаs bееn геplaсеd. Notiсе that thе addition of the nоn-harmоniс notеS doеS not bГing аbout any nесеssity foг any рOSition сhаnge

С1 12424

10

F I

.'. 1:. l:i..l\

t0 add аnоthег dtmеnsion tо thе pгogгеssion by adding гhythm' SomеtimеS known as l.:i .а.е thе J.quaгtег.nOtе pаttеrn. Rhythm саn bе usеd to еmphasizе а partiсulaг nоtr, a gгOuI] ' l - -:S. а .]tГГегеnt сhoгd pгogгеssion, oГ a Vamp (thr геpеaiing of a paгtiсulaг nolе phгasе 0VеГ a ']'

..:. .

:l.аlir сhогсl ог gгoup оf сhогds).

shоulсl bе сaгеful nоt tо ovегdо thе uSе of гhythm pаt.tегnS foг fеaг thаt thе fееling of а ..walking аss llnе.. bе dеstгoуеd. Youг pегsonal tastrs аnd judgmеnl will govегn this aгеa оf youг plаying.

:

in thе bass linе bеlоw, wе havе anаlyzеd еaсh non-haгmoniс n0tе aS if it wеге аn ехtеnsion оf thе basiс .hогd. Еoг еxаmplе: Dm9 is now spеllеd D, F., A, С, Е, гаthег than D. F', A.

F(Ь5) BЬ

Bb'|(b9) F

F'7

BЬsus BЬ1

Dm

(maj7)

Dm

Dm9

DmЬ5 G7

Dm(Ь5)

С1ь5

In thе bаss linе bеlow, wе hаvе аnalyzеd thе pгоgгеssion rvith thе nоn_hагmоniс not'еS SегVing aS a nOtе in an altегеd 0г SubStitutе сhoгd-t,hоsе сhогds that Will funсtiоn aS а Substitutе oг геplасеmеnt f0г thr

огiginаl сhoгd usеd at that рaгtiСulаг SpOl iП thе pгоgгession.

F

B7

B'7

Bdim F

Bb

Bь1

B7*

F1

Bdim F

Dm

Am ^ь.7

Gm

B1

Bь1 F

Dm

Ffldim Gm

Bm7 С1 Ffi1

F

/i

Еtiеn thе sеvеnth саn funсtiоn аS a n0tе of аnоthег сhoгd

*l'Jotе thе еnhaгmоniс spеlling оf ЕЬ (D#) in thе B7. +Nоtе [hе еnhаГmoniс spеlling of Bi (сЬ) in thе DЬ7.

't'l

givеn p0sition Hогizontai bass playing mеаns [hе plaуing and dеvеlоping of linеs 0n thе instгumеnt in a lеast amounl оf positi0n thе inеvitablе, will bе \\ithOut shifting 1vегtiсЪt playing). Whilе somе shifting 0f timе. A]] of thе notеs aГr m0ге l]Ositign shifts that сan bе affесtеd lеаds to bеttеr sоund and bеtlег to thе playing асгoss thе nоtеs duе of сhоiсеs pгоduсing laгgег and bеttег соnvеniеntly lgсatrd Stгings. Oг twg 0nе instгumеn['S fouг stгings гathег than up аnd dоwn

Using thе basiс bluеs pгоgгеssion shоwn hеге, I havе illustгatеd and analyzеd how this сOn0еpt should yоu bе appгoaсhеd. Thе еxегсisе еmploys only thе 7th pоsitiоn. As wе bеgin ouг study of this mеthod, rr.il1 notiсе that thr numbегs 0Vег thr nоtеs dеsignatе hOW tO fingег еaсh notе, and oссasiоnаllу bеnеath Сегtain n0trs, уOu vri1l find [hе pгOprг stгing 0n whiсh tо plaу this pаrtiсulaг notе Oг gгOup of nоtеs.

F

BЬ

Ir / / / Ir / /

////

////

F

Dm

G

////

/ lr / /

Ir / /

////

////

F,7

F

FDm

С-I

////

BЬ

/ /

/l

BЬ1

///

G]

//// С.7

Dml 41

F

Dm

I

4l

F ai

_o"

llоte: This ехегсisе should bе playеd vегу slow1у t0 fuliУ gгasp this hогizontal сOnсеpt аnd to faсilitatr and сooгdinаtе thе сгоSsing 0f St,гings with thе lеft and гight hand.

ll

;.

.,;'

):

:-'-.r.

.iе

i.-]Лt-q r.lГ

:s

-,Гlginа1 b]uеs linе саn bе аltегеd bу геplaсing а fеw notеs with whаt I сall nоnn0tеS that аге n0t а paгt оf thе oгiginа] сhoгd spеlling. Thе substituti0n 0f thеSе

.i',еs nс)t mаkе shifting pоsitions nесеSsaгywhilе аdding аnothег dimеnsion to thе linе. Thе .=.liаi nоtеs аГе in ( ) SО a СOmpaгison bеtwееn thе two nоtеS is immеdiatеly obvious. Thе nеw n0iе iS

l<e

ГРLl suсh thаt thе

hогizontаl сonсеpt is mаintаinеd.

F7b5 B1 2

.

B'

G7

Bdim F

BЬ

2

(+)

Bь7

Gm Bь7

BЬ7ь9

Bblb5

qJ5 F#I

С1

F7ь9 Dtriad Ffldim Dm7 F#m

Еmaj7

F+

F

Cfidim7 Dm

Е

st.

Gm

С1

С1ь9 E,Ьtriad

F

.J,.р|,

a_

Notе spеllеd Еnh.

In thе following ехегсisе wе show hоw wе сan inсгеasе thе гangе 0f thе inStrumеnt, aS Wе Stay ln рOsiti0n by thе сaгеful adding of thе opеn Stгing, notatеd by thе X lосatеd undег thе paгtiсulaг n.tе. Ii iS lmp0гtant tо makе thе n0tе lеngth of thе fingегеd oг сlosеd n0tе mаtСh that оf thе opеn Stгing n0[е аS

сlоsеlу as possiblе. Mаkе thе nоtеs maгkеd Х hаvе thе sаmе sound blеnd oг wеight, not thе opеn stгing lоud and SiгOng and thе fingегесl notе Wеаk аnd аnеmiс. ln соmpaгing thе basiс bluеs ехегсtSе t0 this 0nе. У0u will notiсе hoiv thе substitutlon of an opеn Stгing f0г а fingегеd ngtе nОt only inсгеasеS [hе harmоniс possibilitiеs of thе сhoгd, but а1so ihr гangr оf thе lnstгumеnt in this p6silign аnd makеs thе hoгizontal thеoгу rvеn m0ге appliсаblе.

BЬ

F7

t:_+-Т:

Btl

G]

\

оIe:

This ехегсisе shоuld bе playеd slowlу аnd dеlibегatеlу t0 blеnd thе tlvo sounds and to pгaсtiСе lеft-hand tесhniquе.

IJ

.,;'-

i .'i i;l i:.- i.r ']l-iljГIl. tI,]1. t. ,i1гs' Тli: з i l: .rг :. г -. .l :. ihе jtlit ihr L.-,l.-'г Oi aП O]rеn StГlng .s{]цn1l цtth a nС|n-haГП0nlС tOllе aП|l thе с,гiginai 1-rltlts i1. Тhе i.lаssi>t Sht]uld bе геmindес1 hеге. aS in thе fоllоiting е\amplе. that thе SOund aПd ПОtе lеngth ,-i thе о;rеll stГing ShOuld mаtсh that Of thе сlоsеd oг fingегеd nоtе. Thе fingегеd nоtе рlaiеd bеГоге thе .-,IlеIl stГing nOtе lS hеld in рlасе sо thе SOund 0f that paгtiсu1аг fingегеd n0tе СaггlеS O\.еГ tO thе nехt ПОtе. ThiS lS nOtаtеd br thе ( .-.t' )lэеtц,ееn thе t.WO nOtеS.

.: ':.l . r:i--..:

::. .l :

.t:е

]-l|

F

-li'сn stгiIt::

;

iзt-

F

BЬ

F1

BЬ1

Dm7

A

st.

F _o_

This bass llnе shows оnе possibility оf plауing ГhУthm Whilе StaУing in pоSi[iоn and using оpеn Stгings. In bагs 9 аnd 12 thе nOtеS G aге tO bе plаyеd аS 0nе opеn and thе follоWing onе сlosеd oг fingегrd. N'{akе suге thе figuгеs аге l]laуеd with thе сOгГеСt гhуthm аnd in thе pгOpег mеtег аS illustгalеd in thе tеХt f0Г thе еaг1iег гhythm ехегсisе. Agаin it is impогtаnt that еaсh nоtе plаyеd should havе as good and аs long a sоund as is pоssiblе.

Bb1

G]

С.7

F

Dm

G'7

С1

F -о-

Ast. ;

Hеге ц.е sее how гhythm is addеd аS anothег dеviсе t0 thr baSS ]inе thus, giving it still anothеr flavoг \\ithоut dеstгoying еithrг thе bluеs jщlingдthе walking bass-linе сOnсеpt. All оf thе dotiеd еighth notе tO slхtееnth nOtе paSSagеS 1 1 ] should bе givеn thеiг fuilvаiuеs With aS lonя a sоund оn thе SiХ|ееnth n0tе аs possiblе whilе still рlаying hoгizontally.

)'

). ).

Thе quaгtег notе tгip]еts should bе plауеd гhythmiсally pгоpегlу within thе baГ and shоuld bе ..fеlt'' аs .thr f0ll0wing mеtгiс figuге: Г, l

-,

-

-J...

Thе еighth nоtе, dottеd quaгtег nоtе figuге shou]d bе plaуеd Without, aСсеnt, to avоid thе еighth nOtе fгоm bеing рlayеd too lаtе and thе dOttеd quaгtеr notе fгоm being plа5еd too soon.

BЬ

F1

Bblb5

G]

Gml

B;1

(ь9)

E++.7 Lllr

С,7

Е l

Dm

?-

Bеfoге you plаy y0uг оWn vегsion of thе bluеs in WOгkShrrtS.

F', I

г-

Gm 3

''--1

гJ_____-l

Dml

С1

D_|!цiad

F#

.-'31

F

ri

_o-

hаvе suppliеd tWО SrtS оf diagгams tо bе usеd аs

BЬ

Bь7

|э

Bь7

Additiona] diagгams in F may bе found 0n pаgеS 47 and 48. ..So

..Why

With thе аdvеnt of onе oг two-сhoгd sоngs, е.g. What'', Not',, [hе bаSsist is fасеd with how to Sustаin musiсаl intегеSt ovеr a pгolongеd pегiod оf timе using only [hеSе tWо сhoгds.

Мanу соnсеpts and possibilitiеs of mее[ing this musiсal сhаllеngе aге avaiiablе' Bеlоw is among thе pоssibilitiеs-а sсаlе appгoасh.

many

In this еxamplе with thе kеУ сеntег of D Minor, Wr sеr how thе D Minoг sсalе, whiсh is thе геlativе ..stгaight minoг of F Ma]oг, сan bе plауеd. Thе еxamplе uSrS a sсalе'' typе pasSagе foг thе fiгst fоur ..bгokеn baгs, a sсalе,' tуpе foг thе sесond fоuг baгs, and а сombination 0f thе fiгSt two in thе ]ast fouг bагs.

Dm

':; .:е

sСаlе thеOгy Wе knOW thгее basiс minог ScalеS; nаtuгal. mеlоdiс and haгmoniс' It iS quitе :Геsting tО Sее hOW thе lattег twо minoг sсalеs add аdditionа] flаvoг tо thе 0nе and twо-сhoгd tunеs. s е\еГСiSе ShOWS a bass ]inе built оn thе D mеlodiс minoг sсalе.

Dm

llote: Thе mеlodiс minoг sсаlе has altегеd notеS On thе sixth аnd sеvеnth Sса19 stеps 0n thе asсеnding passagе and a lowегеd sixth and sеvеnth sсаlе stерs (fогming а nаtuгаIminoг sсalе) On thе dеsсеnding pаSSagе.

In thе following bаss 1inе еxamplе Wr Srе thе thiгd pоssibilitу in thе ..sсalе

haгmoniс minог sсаlе.

thеoГу''-this timе using thе

Dm

\оtе: Thе haгmoniс minог sсalе hаs altегеd notеS 0n thе sеVеnth stеp of [hе аsсеndinя sсalе and this nоtе

а1tегatiоn геmаins On thе dеsсеndinд sоalе

17

a

/',2-z"

I

PlауtngTшrcs Ustng IVIшюr SсаIes Thе fоllоtl.ing ехаmрlе tllustгatеs anothеГ mеthоd of building a bass linе on onе аnil t,wo-сhoгсl tunеSthаt of building сhoгds basеd оn еaсh notе in thе D minoг sсa]е, еithег natuгal minог, mе]odiс minoг. oг haгmоntс minог.

\оu tvill nоtiсе thаt thе half notеs outlinе а D nаtuгаl minoг sсalе, аnd thе quaгtег notеS ГеpгеSrn1 nOtеS thаt spеll а pагtiсulаг сhoгd. Bеnеath thе сhoгd and sсa]е i]lustгation you will find a bass ]inе bui]t 0n this соnсrDt.

Dm

_EmD)

(Dm9) (

\

to

(Dm7)

Gm

2,Ustt$ Сhords BuiltFroml$otes InЕасh ОJ theThree BаsiсMtrюr ScаIes Неге v'lе sее thе сOnсеpt usеd in thе ргеViOuS bass linе that dеаlt With thе D natuгal minoг sсаlе is usеd bеlow using thе D mе10diс minoг sсalе.

Sinсе thе dеsсеnd1ng paгt 0f thе mеlod1с minoг is thе Samе as thе natuгаl minoг sсalе' I havе illustгatеd сhoгds fог thе asсеnding sсa1е only. Bеnеаth thе сhoгd аnd sсаlе illustгation you will find а bаss linе built оn this соnсеpt.

Dm

Еmb5

F

AmajT

F+

(Dm7)

Gm

C#dim

\

C

Gm

Am

BЬ

F

(Dm7)

(Dm9)

Dm

ЕmЬ 5

J 19

:::' 'i.: -.].-:i-. , - r-!\ ';

.Лi

-i iliг

[rnSlС

us..]

:-l.'''' 1|i -l'

.i=.г. Г.] ih. rl.г.-': s:а]еs. .i.т -i

i.:lll

ll..- t:,i:. Г

s-i i

t\\ 0 min0Г sсаlе е\аmрlеs. this unе shоu1d trе Stuсiiесl СaГеfulh tО Гu1h undегsianсl thсul.i ilеhtnd thР mеСh.rniс> о[ thе СОnСРpL.

I.|есеl.i1n!

ЕmЬ5

Dm

F

(Dm7)

(F+)

Сfldim

Amaj7 BЬ

Thus faг Wе havе sееn illusiгatiоns aгound playing оnе and two-сhoгd tunеs in two foгms: 1.) plауing thrsr tunеS bу using minoг sсalеs, and 2.) by using сhoгds bui1t fгom no[еs in еасh of thе thгее baSiс minoг sсalеs. Thе thiгd pоssib1litу in solving [his pгоblеm is [о сгеаtе a сhoгd pгogгеssiоn vrith, in |his саsе, а D Minoг tonalitу.

Em]65 A

Dm

А7

Dm Dm7

BЬmai.7

F

Bbmaj7 Еb

Dm

I

Dm

Dm

СmF C#m

BЬ

F#

Еm

B

Dm ^1

CmF

BЬ

^1

Dm

Dm

lVote:

Hеге is an aгbitгагily сhosеn Sеt Of сhoгds in a D minoг tonalitу with а сoггеSponding bass linе. As yоu сan Sее, thе possibilitiеS aгr еndlеss. ] havе Wгittеn tWO additiOnal SеtS of сhогds without bаss linеs. Studу and еxpегimеnt Wi[h thеSе two 1inеs t0 Sее thе pоssibilitiеs avai]ablе t0 yOu. 20

\n additiоnаl possibilit1 for thеsе цpеs of tunеs is to plаn а \-аmp. Or an оStinato bass linе oссuгs аt intепаls dеsignаtеd bу thе bаssist. Bе]оrr, I havе \\.гittеn а сhoгd pгоgrеssion using а vаmp that

fits 0\ег thеSе сhoгds. Rеmеmbег this is only onе of mаny possibilitirs. Makе уOur own аnd havе a balll

Dm

llmIbэ

Аmaj7

With геgаrd to modal playing, thеге 1S n0 Wаy to play fouг notеs in a mеаSuге аnd hаvе othеr musiсians undеrstаnd that thrsе notеs bеlong t0 thе modr in quеstion. I'd bе intrrrstеd tO know if аny of you has found a way to do this. Good luсk'

21

э ,--?;-

r'/'\v

Аb out thе Iulusiсо] Жаttlples

шЙ

the СD

On thе fоllоwing pagrs aге thе musiсаl еxamplеs as peгfогmеd on thе aссompanying play-along СD. In plауing Situati0ns, yOu maУ play in гhуthm sесtiоns with plano' guitaг and dгums, guitаг and dгums, oг ..fееl'' piano аnd сlгums. Thе sounds and 0f thrsr diffеrеnt Situаtions diсtatе thаt sеvегаl b1uеs еxamplеs givеn сhесk thе CD tГaсk t0 Sее thе diffеrеnt гhythm сombinatiоns waуs. Bе suге |о in numbег of a bе availablе. Thе СD is madе up of thе fоllowing:

A. B. с.

Bluеs in maior and minoг kеys З/4 Bluеs

Bluеs ехamplеs in thе thгее-Strp pгOсеSS dеsсгibеd in [hе tехt. To геviеw, thry aгr:

1' 2. З.

Thе basiс bass linе. A bass linе with non-сhoгd (non-haгmoniсе) tonеS. A bass linе with diffегеnt гhythms addеd to thе non-choгd (non-haгmоniс) t0nеS.

D.

P1aу-along гhythm SrСtiOnS foг thгее of mу сompositiоns. Thе bass linеs foг thе сompositions aге givеn hеге. F'ог lеad shееis 0f thе сompositions, sее Tfie Ron СaГter

Сolleсtion' alsо publishеd by Hal Lеonaгd (HL 00672З31).

Spес1al thanks t0 thе musiсians who pегfoгmеd On this СD. Bеsidеs mysеlf thеу aГе:

Piano - Mulgгеw Мillег Guitaг - 0fег Ganoг Dгums - Lеwis Nash Rесoгdеd аt Avаtaг Studios, Nеw Yогk; Joе F'егla, rесoгding еnginеег

22

a

z*I_

С Blues

Ф9

Dm

G7

Dm

Am

D7

G7

)

t

2

C

G7

C

Am

D'7

G'7

2з

,? G Blues

Фo G

Z+

G

С

С

С7

G

Am

D]

G

Am

D'7

G

G7

Еm

Еm

Еm

A

A

D7

D7

-

,---;t-

D Blues

G

G7

Еm

D

Bm

Bm

D ^'7

G гJ--.-'l

D

G'7

Еm ^1

Е

D

^7

Bm

B'7

Е ^7

25

?

7')"

А Бlues

26

I

6\ ,'}\ -.<--

)\J

EBI ues

A

Е,

Е

Е1

cfm

Е

A ^'1

Cfim

A

Е

Е

Е7

]I IL

A

cflm

Е ^'7

Cflm

*Еrеn thоuяh thеге ls a G# in Сfl minoг, thе baSS plауег still hаs

GЧ аs a n0[е Choiсе

27

F

ФФ

28

Blues

\')\

г.--Э

Bb Blues ФФ BЬ

вЬ

ЕЬ7

вЬ

Cm

F7

вЬ

вЬ

i-

Еь.7

Bь7

BЬ

B,ь

Gm

Gm

BЬ

С1

F'I

Gm

-

Cm

F7

BЬ

Gm

С1

F7

29

/-:;I

Еb BIuеs ,rr,

ч,

AЬ

Fm

Cm

^ь,7

Bь.7

F,ь

Bь,7

E,ь V-

З0

E,ь7

F,ь

-

Fm

вЬ

AЬ

p,Ь

Сm

Cm

F7

F1

Bь1

Bь7

.)l

a

Г.=-t-

А MnorBIшеs ФФ

fflmb)

бm/ D)

Dm7

F#mЬ5

Bm7Ь5

*Еvеn thоugh thегr is a Сi in an F'#mЬ5 сhоrd, thе bass plаyег still hаs С# as a n0tе сh0iсе.

З2

г,--I

С

lvlnorBlues

Cm

Fm7

Fm

Cm

Fm

Cm

AmЬ 5

Cm

Fm

Cm

Fm

Fm7

Dm7Ь5

G7

С,7

Cm

Cm

С1

AmЬ5

G'7

33

G\

г..--Э ( a.J G

3.1

MirюrBlues

г-

v)

//Ai [к," |l|] DMirюrBlues

I

="76

Gm

Dm

Dm

Dm7

BmЬ5

Gm

Dm

Gm

Dm

Gm7

Dm

Dm'7

BmЬ5

Upprf notе left-hand ptzz.

Dm

Еm7Ь5 ^'7

^7

L.н

з5

Fa. I

3aвtues

inF

DmajT

GmajT

sr1lues

DmЬ 5

JO

inC IVIinor

Following aге thе bluеs еxamplеs in thе thгее.Stеl] pгoсеSS. Yоu will find а sегiеs of diagгams as on раgе 15. Thеsе diagгams Гrpгеsеnt thе сhоiсеS of thе notеs in thе Statеd сhoгd in a givеn p0Sitign pег bеat. By С0nnесting thе nOtrs fгom bеat t0 bеat thгоugh thr еХamplеS, y6u nOt only sЪе thе сhoiсеs of

n0tеS УOu hаvе pег bеаt pег mеаSuге, but thе shapе of thе ]inе уOu aГr rеsрonsiblе fог. Thе nOtеS aS СOnnесtеd геpгеSеnt thr bаSiс bаss linе that i plаy 0n thr сD.

Aftег thе bаss ]inе with diffегеnt Гhythms аddеd to thе non-сhoгd tоnеs, I hаvе inсludеd somе diagгаms fог you t0 cOnStгuСi yOuг OWn bass linеs.

З7

.:-

a

t*

G

Mа1or

Bаss Linе Dots G

с Basiс Ba ss linе

ш

G

Bаss Linе with non-сhord tоnеs (oг non-hагmоniс notеs)

z

Bass linе with diffегеnt rhythms addеd to non-harmoniс notеs.

з

З9

G\ v1

г/. tu

Mnor

С

Cm

AmЬ5

+e++

DmЬ 5

Am7D5

Basiс Bass linе

ш

Cm

Fm

Cm

С7

It

Fm

DmЬ5

F7

G'7

Cm

Cm

AmЬ5

Аm,7b5

D'7

D--Dds5 Linе rvith nоn-сhord tonеS (or nоn-harmoniс notеs)

т

Cm

Fm

Сm

F'7

Cm

С7

AmЬ5

G'7

Dmz

n--г).tt

5

a

G'/

Cm

Am7Ь5

D7

G7

linе irith diffеrеnt гhlthms addеd to non.haгmоniс notеs.

a

Сm

Fm

Cm

С7

AmЬ5

Dmb5

Am7Ь5

AmЬ5

DmЬ5

1rm7Ь5

AmЬ5

Dmb5

Am7Ь5

А1

G\ vl

гl, ТU

АMtrюr

Bаss Linе Dots

Am

D'I

е1

е

.2-

Bmb5

BmЬ5

Basiс Bass linе

ш

Am

Dm

Am ^'7

Dm

D7

Am

BmЬ5

B7

Am

Fflmb5

Fflmb5

BmЬ5

Bаss Linе rvith non-сhoгd tоnеs (оr non-hагmоniс notеs)

т

Am

Dm

Dm

D'7

Am

Am

,J

-z

^1

Ff,mb5

Е.7

B:-t

э

Am

Е1

.i

FflmЬ5

BmЬ5

-

r rrith diffеrеnt гh\,thms addеd to non-harmoniс notеs.

FflmЬ5

Ff mb5

Bmb5

D'7

е1

е

BmЬ5

е +О FfimЬ5

Bmb5

D7

4

е

е

Bmb5

е eО

Bmt5

F#mЬ5

Bmb5

Е.7

I{eаrlу BУ RonСаrter

.

|= -. IL G

3

С7ь9lА

Еbm1lF

copyright o 19B0 RЕТRAс PRoDUстloNS' INс. lnternational Copyright Seсured A|| Rights Reserved

44

,zР '.:

a\ \.)\

IltleIMаItz Bу RonCаrtеr

J

G]

=80 Fm

Еmb5

I

С7

r.

Fm

С1

ЕЬm

DЬ

) Fm

С,7

ЕmD5

Copуright a 1977 RЕTRAс PRoDUст|oNs' INс. lnternational Copyright Seоured AII Rights Reserved

A v)

г<'

i -rl \v -.

Eght Bу RonCаrter

ш

т

J

=90 Dm

г| tiDlТl

* Гог thоsе bassists With еXtеnsions copyright o 197B RЕтRAс PRoDUсТ|oNs' lNс. International Copyright Seсured A|l Rights Reserved

г-

r..\J

FDiфrаms F1

BЬ

F

Bь1

вЬ

Gm

С7

-

х

F

Dm

Dm

G'7

С,7

-

BЬ

F

F7

Dm

Bь1

Bb

С1

Gm

F

Dm

G'7

BЬ

F

F7

Bь1

F

Dm

С1

)-Ё]_

Bb

Gm

-

С,7

-

-

-

Dm

G'7

С7

F

BЬ

Bb

BЬ

Gm

п|

150

F1

F

F'I

Bь7

С.7

Bь.7

Dm

Dm

G'7

Dm

С"7