Dave Marks Walking Bass Lessons on Youtube: Lesson 1

We are using a chord progression with 3 chord types: Min 7 (Root Flat 3rd Perfect 5th Flat 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Major 7 (Root Maj 3rd Perfect 5th Natural 7th)

Our progression is a II - V - I in the Key of C Major. If we look at all of the 4 note chords formed in the Key of C Major, we get: C Maj7 I D min7 II E min7 III F Maj7 IV G7 V A min7 VI B min7 (b5) VII

Thus a II V I progression has the chords: D min7 G7 C Maj7 II V I

Exercise 1.
Play 4 note arpeggios. Start on the root note of each chord. Ascend for every chord. Wherever possible, use shapes that stay in position. (I.e. you dont have to move your hand up or down the neck)

Play these arpeggios in all 12 keys around the cycle of fourths. The purpose of this lesson is purely to get your hands familiar with the shapes that we use to play over these chord types. This exercise is great for your left hand technique, using one finger per fret ideas and getting you used to playing in position.

Make sure to start slowly and learn the shapes. This does not need to be done with a metronome, drum machine or click. Once you have learned the shapes and your hand is comfortable with the movements, practice along to a click or a playalong drum track. Start slowly and aim for a good tone, even dynamics and a steady, solid feel. Enjoy practicing and tune in next week! Dave

Dave Marks Walking Bass Lessons on Youtube: Lesson 2

We are using a chord progression with 3 chord types: Min 7 (Root Flat 3rd Perfect 5th Flat 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Major 7 (Root Maj 3rd Perfect 5th Natural 7th)

Our progression is a II - V - I in the Key of C Major. If we look at all of the 4 note chords formed in the Key of C Major, we get: C Maj7 I D min7 II E min7 III F Maj7 IV G7 V A min7 VI B min7 (b5) VII

Thus a II V I progression has the chords: D min7 G7 C Maj7 II V I

Exercise 2.
Play 4 note arpeggios. Start on the root note of each chord. Ascend for one chord and descend for the next. This pattern allows two possibilities: 01: Ascend D min7 Descend G7 Ascend C Maj7

02: Descend D min7 Ascend G7 Descend C Maj7

Play these arpeggios in all 12 keys around the cycle of fourths. The purpose of this lesson is to take the shapes that we learned last week and to get comfortable playing them as an ascending shape or a descending shape. Once you feel comfortable with this idea, try these combinations: 1. All chords descending. 2. Ascend D min7, descend G7 & C Maj7. 3. Ascend D min7 & G7, descend C Maj7. 4. Descend D min7, ascend G7 & C Maj7. 5. Descend D min7 & G7, ascend C Maj7. Make sure to start slowly and learn the shapes. This does not need to be done with a metronome, drum machine or click. Once you have learned the shape and your hand is comfortable with the movements, practice along to a click or a playalong drum track. Start slowly and aim for a good tone, even dynamics and a steady, solid feel. Enjoy practicing and tune in next week! Dave

Dave Marks Walking Bass Lessons on Youtube: Lesson 3

We are using a chord progression with 3 chord types: Min 7 (Root Flat 3rd Perfect 5th Flat 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Major 7 (Root Maj 3rd Perfect 5th Natural 7th)

In the first two lessons, we started all of our shapes from the root note. As bass players, we are taught that the root note is very important and that it helps us to compliment whatever chord the guitar or piano is playing. This is true, but we can use other notes within the chord, which are perfectly acceptable, help to compliment the sound of the chord, but add a little harmonic twist.

Exercise 3.
Select one of the chord types that we are using (e.g. min7) Begin with C as your root note. (I.e. our 1st chord will be C min7) Start on the root note and play an ascending 4-note arpeggio. This is a root position arpeggio.

Now start on the 3rd of the chord and play an ascending 4-note arpeggio. This is a 1st inversion arpeggio.

Now try the same system for a Dominant 7 chord.

And finally the same thing for a Major 7 Chord.

1. When the shapes feel comfortable and familiar in the key of C, play them in all 12 keys, moving around the cycle of fourths. 2. Next, try calling out the name of the interval that you are playing on each note. (E.g. Root, Flat third, Fifth Flat Seventh etc..) 3. Once you are comfortable and have the intervallic structure of each chord type in your head, call out the names of each of the notes that you are playing, as you play them. (E.g. C, E Flat, G, B Flat etc) 4. Make sure to start slowly and learn the shapes. This does not need to be done with a metronome, drum machine or click. 5. Once you have learned the shape and your hand is comfortable with the movements, practice along to a click or a playalong drum track. Start slowly and aim for a good tone, even dynamics and a steady, solid feel. Enjoy practicing and tune in next week!

Dave Marks Walking Bass Lessons on Youtube: Lesson 4

We are using a chord progression with 3 chord types: Min 7 (Root Flat 3rd Perfect 5th Flat 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Major 7 (Root Maj 3rd Perfect 5th Natural 7th)

Last week we looked at Root position Chords and 1st inversions. This week, were going on to our 2nd and 3rd inversion shapes.

Exercise 4.
Select one of the chord types that we are using (e.g. min7) Begin with C as your root note. (I.e. Our 1st chord will be C min7) Last week we looked at our Root position and 1st Inversion shapes.

This week, we start on the fifth of our min7 chord and play an ascending 4-note arpeggio. This is a 2nd inversion arpeggio.

Now start on the b7th of the chord and play an ascending 4-note arpeggio. This is a 3rd inversion arpeggio.

Now try the same system for a Dominant 7 chord.

And finally the same thing for a Major 7 Chord.

You may wish to play the 2nd and 3rd inversions from this weeks lesson alone or create a sequence, where you play root position 1st inversion 2nd inversion 3rd inversion (combining last weeks shapes and this weeks shapes). Either is good, as we are initially just getting our hands around the shapes. 1. When the shapes feel comfortable and familiar in the key of C, play them in all 12 keys, moving around the cycle of fourths. 2. Next, try calling out the name of the interval that you are playing on each note. (E.g. Fifth, Flat Seventh, Root, Flat Third etc..) 3. Once you are comfortable and have the intervallic structure of each chord type in your head, call out the names of each of the notes that you are playing, as you play them. (E.g. G, B Flat,C, E Flat, etc.) 4. Make sure to start slowly and learn the shapes. This does not need to be done with a metronome, drum machine or click. 5. Once you have learned the shapes and your hand is comfortable with the movements, practice along to a click or a playalong drum track. Start slowly and aim for a good tone, even dynamics and a steady, solid feel. Enjoy practicing and tune in next week!

Dave Marks Walking Bass Lessons on Youtube: Lesson 5

We are using a chord progression with 3 chord types: Min 7 (Root Flat 3rd Perfect 5th Flat 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Major 7 (Root Maj 3rd Perfect 5th Natural 7th) In the first two weeks, we looked at playing four note chords as arpeggios. We played these: Ascending: Root 3rd 5th 7th Descending: Root 7th 5th 3rd

In weeks 3 & 4, we looked at playing each chord starting from any note in that chord. Starting from the Root: Starting from the 3rd: Starting from the 5th: Starting from the 7th: Root 3rd 5th 7th Root Position 3rd 5th 7th Root 1st Inversion 5th 7th Root 3rd 2nd Inversion 7th Root 3rd 5th 3rd Inversion

Exercise 5.
We will be playing our II V I progression in the Key of C Major. This week, our concept is to create a system that we can use to explore all of the possibilities of ascending and descending 4 note chords and their inversions. To begin with, we!ll play all of our shapes ascending. We!ll start by moving the V chord - G7 through all of its inversions. This means that we begin and end each time on familiar territory. I!ve omitted the G7 Root position arpeggio because we!ve used that shape in all of our previous exercises. You can add it in at the start of the exercise if you like. Our chords are: D min7 G7 C Maj7 II V I

Play the D min7 root position arpeggio. (D F A C) Now play the G7 1st inversion arpeggio. (B D F G) Finally, play the C Maj7 Root position arpeggio. (C E G B)

Play the D min7 root position arpeggio. (D F A C) Now play the G7 2nd inversion arpeggio. (D F G B) Finally, play the C Maj7 Root position arpeggio. (C E G B)

Play the D min7 root position arpeggio. (D F A C) Now play the G7 3rd inversion arpeggio. (F G B D) Finally, play the C Maj7 Root position arpeggio. (C E G B)

This exercise can be played two different ways. The note we start G7 3rd inversion from is F, so we have access to it from the 3rd fret of the D string or one octave below, from the 1st fret of the E String. Either way, you have to move out of position, so both can be considered equally good options.

Once you have this idea down, you can move the D min7 chord through each of it!s inversions, but keep the G7 and C Maj7 as root position chords:

Finally, we!ll move the C Maj7 chord through each of its inversions, but keep the D min7 and G7 as Root Position chords:

1. What I!ve listed here is just the tip of the iceberg. If you think about it, we!ve used a very straightforward system: 2. All arpeggios Ascending. (Try them with all descending) 3. 2 Chords in Root Position, one moves through Inversions.

Exercise 01 02 03 04 05 06 07 08 09

D min7 Root Position Root Position Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position Root Position Root Position

G7 1 Inversion 2nd Inversion 3rd Inversion

st

C Maj7 Root Position Root Position Root Position Root Position Root Position Root Position 1st Inversion 2nd Inversion 3rd Inversion

Root Position Root Position Root Position Root Position Root Position Root Position

Dave Marks Walking Bass Lessons on Youtube: Lesson 6

We are using a chord progression with 3 chord types: Min 7 (Root Flat 3rd Perfect 5th Flat 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Major 7 (Root Maj 3rd Perfect 5th Natural 7th) I!ve written out an entire system that covers every combination of Root Position, 1st, 2nd, and 3rd inversions possible. There are 64 possibilities in total. It may sound like a lot, but if you know your shapes well, you should be able to get through all of them in less than 10 minutes. Starting on a Root position chord every time.

Exercise 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16

D min7 Root Position Root Position Root Position Root Position Root Root Root Root Root Root Root Root Root Root Root Root Position Position Position Position Position Position Position Position Position Position Position Position

G7 Root Position Root Position Root Position Root Position 1st 1st 1st 1st 2nd 2nd 2nd 2nd 3rd 3rd 3rd 3rd Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion

C Maj7 Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion

Starting on a 1st Inversion every time.

Exercise 01 02 03 04 05 06 07 08 09 10 11 12

D min7 1 Inversion 1st Inversion 1st Inversion 1st Inversion

st

G7 Root Position Root Position Root Position Root Position 1st 1st 1st 1st 2nd 2nd 2nd 2nd 3rd 3rd 3rd 3rd Inversion Inversion Inversion Inversion

C Maj7 Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion

1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st 1st

Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion

Inversion Inversion Inversion Inversion

13 14 15 16

Inversion Inversion Inversion Inversion

Inversion Inversion Inversion Inversion

Root Position 1st Inversion 2nd Inversion 3rd Inversion

Starting on a 2nd Inversion every time.

Exercise 01 02 03 04

D min7 2 Inversion 2nd Inversion 2nd Inversion 2nd Inversion

nd

G7 Root Position Root Position Root Position Root Position 1st 1st 1st 1st 2nd 2nd 2nd 2nd 3rd 3rd 3rd 3rd

C Maj7 Root Position 1st Inversion 2nd Inversion 3rd Inversion

05 06 07 08 09 10 11 12 13 14 15 16

2nd 2nd 2nd 2nd 2nd 2nd 2nd 2nd 2nd 2nd 2nd 2nd

Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion

Inversion Inversion Inversion Inversion

Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion

Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion

Starting on a 3rd Inversion every time.

Exercise 01 02 03 04

D min7 3 Inversion 3rd Inversion 3rd Inversion 3rd Inversion

rd

Root Root Root Root 1st 1st 1st 1st 2nd 2nd 2nd 2nd 3rd 3rd 3rd 3rd

G7 Position Position Position Position

C Maj7 Root Position 1st Inversion 2nd Inversion 3rd Inversion

05 06 07 08

3rd 3rd 3rd 3rd 3rd 3rd 3rd 3rd 3rd 3rd 3rd 3rd

Inversion Inversion Inversion Inversion

Inversion Inversion Inversion Inversion

Root Position 1st Inversion 2nd Inversion 3rd Inversion

09 10 11 12 13 14 15 16

Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion

Inversion Inversion Inversion Inversion Inversion Inversion Inversion Inversion

Root Position 1st Inversion 2nd Inversion 3rd Inversion Root Position 1st Inversion 2nd Inversion 3rd Inversion

1. This may seem like a very mathematical and machine-like way of practicing music, but in the world of improvisation, we define ourselves by the choices that we make. By going through all of the possible choices, we have a larger "bag of tricks! to pull things from. 2. When you perform, the process should not be careful or conscious. If you practice in a disciplined and structured way, you can get onstage and "trust yourself!. If you!ve practiced well, when you hear or imagine a sound, the right notes will come from your hands. But first. The practice! Enjoy practicing and tune in next week!

Dave Marks Walking Bass Lessons on Youtube: Lesson 7

This week, we are going to introduce a new chord type. In all of the previous lessons, we have used 3 chord types: Major 7 (Root Maj 3rd Perfect 5th Natural 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Min 7 (Root Flat 3rd Perfect 5th Flat 7th)

Exercise 7.
This week we are going to learn about the min7 (b5) chord (also known as the half diminished) As its name suggests, this chord shape is just like a minor 7 chord, but with the 5th flattened. (I.e. moved down by 1 fret.) Lets compare the 2 chord types: Minor 7 shape (Root, b3rd, 5th, b7th)

Min 7 b5 shape (Root, b3rd, b5th, b7th)

Now that you know this shape, were ready to start looking at a song that uses all of the chords weve learned so far. The chord progression Ive used is based on the popular Jazz standard Autumn Leaves and well be using it to explore some different options in walking bassline construction. For this weeks lesson, you simply have to play each of the arpeggios, starting from the root note. The key here is not to play fast or even to make it groove in time, we simply want to identify where on the neck each of the root notes are and then play the correct 4 note arpeggio.

1. Work through these changes slowly and make sure you know your shapes. As you improve, start playing it in time with a drummer, drum machine or groove sample. Enjoy practicing and tune in next week!

Dave Marks Walking Bass Lessons on Youtube: Lesson 8

Recap: In last weeks lesson, learned about a new chord type: Min 7 b5 shape (Root, b3rd, b5th, b7th)

We should still be working with the 3 chord types we looked at before. Major 7 (Root Maj 3rd Perfect 5th Natural 7th) Dominant 7 (Root Maj 3rd Perfect 5th Flat 7th) Min 7 (Root Flat 3rd Perfect 5th Flat 7th)

Exercise 8.
This week, we are going to explore ways of connecting together the chords in our progression. The problem we have if we just play root position arpeggios in every bar is that the last note of bar 1 and the first note of bar 2 arent close together they dont make a smooth, flowing line. Lets use 2 in a bar feel. This is where you play on beats 1 and 3. If youve learned your arpeggios well, this exercise should be quite easy. For every chord, start on the root note and then play the 3rd. (It will be a Major or minor 3rd depending on the chord type) For every chord, start on the root note and then play the 5th. (It will be a perfect 5th on all the chords except the F#m7 b5 that has a b5) Start to mix up the options here play root - 3rd on some chords and root - 5th on others. Explore the possibilities. If a chord lasts for 2 bars, you can simply repeat the root and 3rd. If a chord only lasts for half a bar, just play the root note.

Ive written out the first 8 bars with a line that uses the root - 3rd pattern. In this example, Ive always used a low root note and gone to the 3rd above every time.

Although this type of pattern means a lot of position shifting, we are trying to learn about connecting together chords. Ive marked in the nice connections when we have a tone or semitone leading into the next root note. Eventually, we will be able to connect together chords in position, but for now the most important thing is knowing your root notes, 3rds and 5ths and being able to confidently move between them.

1. Work through these changes slowly and make sure you know your shapes. As you improve, start playing it in time with a drummer, drum machine or groove sample. Enjoy practicing and tune in next week!

Dave Marks Walking Bass Lessons on Youtube: Lesson 9

Recap: In last weeks lesson, we looked at using 2 in a bar feel and playing Root 3rd or Root 5th for each chord.

Exercise 9.
This week, we are going to present six different options for linking up the first four chords in the chart. Again, lets use 2 in a bar feel. This is where you play on beats 1 and 3. Each of the exercises has a certain shape or contour. Ex. 01 is an ascending line that only changes direction in the last note (if we are playing in position, we have to change the direction of the line) Ex. 02, 03 & 04 all create lines within a limited range e.g. 1 octave. Ex 05 & 06 explore the possibilities missing up 3rds in the octave above the root note and 3rds in the octave below the root note.

Instead of trying to learn these lines as a lick or pattern, try and focus on what the notes are doing think more about creating an ascending line with 3rds or playing 3rds within a small range. That way, when you play over a different chord progression or play in a different key, its much easier to translate the concept, rather than trying to figure out new fingerings for a lick.

1. Play through these examples and then try some ideas of your own. 2. When you feel comfortable playing around with 3rds, start all over again with 5ths. 3. Its a great idea for you to write out ideas that you have. Transcribing is an incredibly valuable skill and it means you can build up a body of work your own lines! Enjoy practicing and tune in next week!