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 To L. Ron Hubbard, whose study technology has been
of great assistance in the writing of this book.
Acknowledgements
Many thanks to Jason Shulman, David Katzenberg,
Cameron Brown and Billy Mintz for valuable ideas and
opinions. And to all the many fine musicians it has
been my good fortune to be associated with, a special
thank you.
The author welcomes any communication regarding this
book. Address all correspondence c/o the publishers
who will in turn forward it to the author.
o 1980 Amsco Publications.
A Division of Music Sales Corporation. New York
All Rights Reserved
International Standard Book Number: 0.8256.4091.1
Library of Congress Catalog Card Number: 79-54366
Exclusive Distributors:
MusiC' Sales Corporalion
24 East 22nd Street. New York. NY 10010 USA
MusiC' Sales Umiled
78 Newman Street. London WI P 3LA England
MusiC' Sales Ply. Umlled
27 Clarendon Street. Artarmon. Sydney NSW 2064 Australia
Printed in the United States of America by
Vicks Lithograph and Printing Corporation

\
\
 .~-

Contentl
Preface 4 Scale Analysis 58
About the Bass and Bass Players 5 Types of Intervals 58
Purchasing Equipment 5 Intervals and Their Inversions 59
Fretted or Fretless? 6 Study Assignment - Intervals 61
Strings 6 About Bass Lines 62
Amplifiers 6 Reading Bass Parts 62
Equipment Cases 6 Notation Symbols 62
Equipment Care 7 Counting Rhythms 65
Fundamentals of Technique 7 Making Up a Bass Figure 67
Positioning the Bass 7 Exercise in Bass Figures 67
Positioning the Left Hand 7 Study Assignment - Bass Figures 71
Positioning the Right Hand 7 Bass Figures in Odd Time Signatures 72
Right-Hand Techniques 7 ~ Time 72
About the Acoustic Bass 7 l Time 73
Buying an Acoustic Bass
Acoustic-Bass Pickups
8
8
a Time 74
Amplifiers for Acoustic Bass 8 IJTime 74
Acoustic-Bass Care 9 Study Assignment - Odd Times 75
About Bassists 9 Making a Walking Bass Line 76
Qualities to Aim For 9 Open-String Rhythm Studies 76
About Practicing 9 Study Assignment - Blues Lines ·79
Tuning the Bass 11 Blues Lines with Embellishments 80
The Range of the Bass 11 Study Assignment - Blues Lines with
Embellishments 81
Study Assignment - Note Reading 11
Minor Blues Lines 82
Scales 12
Study Assignment - Minor Blues Lines 83
Chord Scales 12
Harmonic Rhythm 84
Chord Scales: Definitions 12
Chromatic Tones 86
Chord-Scale Chart 13
Study Assignment - Harmonic Rhythms 87
Practice Method for Chord Scales 14
Atonal Walking Bass Lines 93
Functions of Lydian Major 7th and Lydian
Dominant 7th Chords 17 Study Ass~gnment - Walking Bass Lines 94
Chord Progressions Using Lydian Major 7th About Soloing 95
and Lyciian Dominant 7th Chords 18 Developing an Idea 95
Study Assignment - Lydian Chords 19 Developing an Idea on a Minor Blues 95
Altered Dominant 7th Chords 20 Exercises on Soloing 99
Diminished Scales 27 Study Assignment - Solos 101
Chord Scales: Studies in Different Keys 29 Double Stops 102
Pentatonic Scales 45 Major and Minor Tenths: E and G Strings 102
Pentatonic Scales: Studies in Different Keys 46 Bass Lines Using Tenths 106
Pentatonic Scales within Chord Scales 51 Other Intervals 107
Examples Using Pentatonic Scales 53 Unaccompanied Bass Guitar Solo 109
Study Assignment - Pentatonics 54 City and Eastern Blues 109
Modal Scales 55 Conclu~on 110
Modes within One Octave 56 Bibliography 111
Establishing Modes 57 Appendix: Bassists to Listen To 112
Study Assignment - Modes 57 Acoustic Bassists 112
Scale Analysis and Intervals 58 Other Bassists 112
The purpose of this book is to provide the aspiring bas-
sist with data vital to performing successfully in a wide
variety of contemporary musical situations. More
specifically, it is designed to help in those situations
where a notated bass part is not provided, and where it
is the bassist's responsibility to create or improvise a
part appropriate to the music at hand.
The ability to do this well rests largely on the in-
dividual's knowledge of the harmonic material within
the musical idiom that he or she wants to play, plus
skill in applying this knowledge directly to the instru-
ment.
Sin~ the melodic, harmonic, and rhythmic struc-
ture of a piece of music relies heavily on the bass to
give it its foundation, the bass player must take his or
her role in this responsibility seriously. Just as a build-
ing built on a weak foundation will soon collapse, a
piece of music being performed by a group with an
unsure bassist is liable to fall apart. A large percentage
of contemporary music-both jazz and pop-features
the bass more than ever before, and the bassist is re-
quired to lay down his part in a positive and forth-
right manner, with certainty and conviction. These
are some of the key ingredients in playing the role
of bassist well. One thing is certain-guessing does not
work.
4
The information collected in this book is de-
signed to assist the student who is eager to overcome
his confusion, and eliminate whatever guesswork he
relies on in attempting to fill this role. There is nothing
radically new about this information-it has been
around for a long time and is common knowledge
among the majority of skilled musicians. What is new is
the presentation of this information in a clear and pre-
cise form especially for the bassist.
Since this book deals with what to play rather
than how to play, discussions or explanations of in-
strumental and musical basics have been avoided. The
exercises and ideas presented here can be easily applied
by the student who has some knowledge of the bass
and the rudiments of music. An excellent book to use
as a guide to obtaining basic music skills is Elementary
Training for Musicians, by Paul Hindemith. This or a
similar book on the subject should be kept handy
while studying so that any misunderstandings that
arise can be cleared up.
To be a creative, well-rounded bassist is a worthy
goal, and if this book serves in some small way to aid
the student on his or her journey, my purpose will be
fulfilled.
Aboullhe IkvI Gnd IG" PIGlle"
Bass guitar first appeared on the music scene in the ear-
ly 1950s. The most popular model at that time was the
Fender Bass, created by Leo Fender. As rock music
began to develop, bass guitar gradually began to replace
its predecessor, the acoustic bass. This was largely due
to the volume of the music and the difficulty at that
time of amplifying the acoustic. By the late 1950s it
became evident that bass guitar was well on its way to
becoming a bona fide musical instrument in its own
right, and with the advent of 1960s rock music it was
clear that it had arrived to stay. Since then, it has be-
come an integral part of virtually every rock and pop
group and its sound is heard on the majority o~ records
made today.
However, its use in jazz is relatively recent. Since
the mid-sixties many acoustic players began to double
on bass guitar as the demands of the music changed.
Some abandoned acoustic entirely.
There are many different points of view about
the use of bass guitar in jazz, both pro and con. The
most prevalent point of view (and the one with which
I agree), is that nothing will ever replace the quality,
texture, and beauty of the acoustic bass. In the hands
of a skilled player, it is a magnificent sound to behold.
To compare the quality of the two instruments is rather
pointless. It's a little like comparing a horse to a don-
key: They are different animals, although they can
have similar form and function. What, then, is the posi-
tion of bass guitar in jazz? Wide open! With the arrival
on the music scene of players such as Jaco Pastorius
with Weather Report and Stanley Clarke with Return
to Forever and other adventurous souls, it is clear that
possibilities exist to play beyond the endlessly repeated
root-fifth "vamps" syndrome most commonly associ-
ated with the instrument. As more and more young
players emerge from rock/pop groups, eager to expand
their musical horizons, it is only a matter of time until
there will be many fine players making meaningful
contributions to the ever expanding field of contempo-
rary jazz.
Since the concept of jazz bass evolved from a long
line of acoustic bassists, it would be folly for the earnest
student to ignore the work of these fine artists who
paved the way. To this end I have included at the end
of this book a list of key figures who have had, and
continue to have, a major influence on the development
of a creative bass style. I strongly urge the student to
track down recordings of these artists as the music
speaks far more eloquently on the subject than any
textbook could hope to.
Finally, to repeat what I said earlier, the possibili-
ties for creating meaningful music on bass guitar are
wide open. There are absolutely no limitations save the
ones that you create for yourself! With faith, persist-
ence and work you will achieve your goal. It's a great
game, enjoy it!
Purchasing Bass Equipment
The Fender bass has long been considered the norm in
bass guitar. However, there are now so many different
models that it would be difficult to list them all. Basi-
cally, your choice of instrument is a matter of personal
taste and budget. Prices vary greatly. The early model
Fenders (pre-CBS) can cost three or four times that of
a new bass. Generally, the most expensive basses are
the custom designed models, such as Alembic, Carl
Thompson, etc.
One does not, however, need to spend a large
amount of money for an instrument that plays and
sounds good. A $2,500 bass in the hands of an inept
player will not sound better than a $200 bass played
by an inspired musician.
The qualities to look for when buying an instru-
ment are as follows:
Sound Quality
-Listen for an evenness of tone up and down the
neck on each string.
-Note the type of pickup or pickups used.
-Check for a good range of treble and bass tone
variations.
-There should be an overall clarity of sound free
of distortion.
Neck and Fingerboard
-Examine the straightness of the neck and mark
the type of truss rod used to adjust it.
-Note the thickness of the neck: Does it suit the
size of your hand?
-Find out what type of wood is used on the fin-
gerboard. Generally rosewood or other hardwood is
preferable because its density gives a better quality
sound.
Action
-Does it feel easy, stiff, too high, or too low?
There should be no string noise or rattle on any fret
for all four strings.
-Most basses have adjustment controls to raise or
lower the strings set on the tailpiece. Are these controls
easily accessible?
5
General Intonation
-Always check to see how true the pitch is, es-
pecially at the top of the neck.
-Most basses have ways of adjusting the intona-
tion of individual strings down by the bridge. Check
the accuracy and design of these controls.
-Examine the design of the machine heads. Are
they sturdy, or prone to slip? Once a note is brought
up to pitch, it should stay in pitch-if it slips, it may be
a faulty machine head.
Overall Reliability
-Is the instrument built to last, and will it sur-
vive under rigorous conditions? A pretty bass will be a
liability if the neck is prone to warping, snapping, or
other disasters.
These are the main things to look for when buy-
ing an instrument. It is wise to try several before you
decide. Don't be duped by high pressure salesmen into
buying a bass that you 're not totally happy with. If
you're unsure, bring someone with you who knows
what to look for. Your personal "sound" is by far your
biggest asset, and a good instrument can give you
pleasure for many years.
Fretted or Fretless?
The majority of bassists use fretted instruments.
However, fretless bass is becoming quite popular and
offers a wider range of expression than fretted bass.
The overall sound quality is different, and one is pro-
vided with a comparatively better sustain. The absence
of frets allows for a certain amount of creative play
with intonation, and gives the musician the option to
use various technical devices such as vibrato, or sliding
up or down when approaching a note. Fretless bass is,
for these reasons, more difficult to play and the major-
ity of recording bassists use a fretted instrument as in-
tonation must be spot-on in the studio. It can be diffi-
cult to sightread a bass part on fretless bass-one must
concentrate on the part plus keep the pitch of each
note accurate. Personally, I use a fretted bass for re-
cording and a fretless (Fender Jazz Bass) for more
adventurous situations where it seems appropriate.
Strings
There are dozens of brands of strings on the
market-some very good, and some very bad. Basically,
there are four kinds: Flat wound, round wound, half
round, and nylon tape. These are available in heavy,
medium, or light gauge. The majority of studio bas-
sists use flat wound strings as round wounds produce
6
a certain amount of "finger noise" not too popular
with recording engineers. The round wounds do sound
very good though, and many players who work in
mostly clubs or live concerts use them for their bright-
ness.
The choice of gauge or thickness is a matter of
personal taste. While heavy gauge strings sound very
good, on some instruments they can cause the neck to
warp-making the action higher and throwing the tun-
ing out. Medium and light gauge strings work well on
most basses.
It's wise to experiment with several kinds of
strings until you find a set that suits your instrument
and style of playing. It pays to get the best that you
can-strings are a crucial part of the sound quality that
you produce.
Amplifiers
Again, there are many makes and types of ampli-
fiers on the market. An amplifier is the terminal point
of what you are playing on an instrument; it does, in
fact , define your musical voice. Therefore it is impor-
tant to select one that suits your style of playing and
the musical situations that you will be involved with.
The things to look for when buying an amplifier
are as follows:
Sound Quality
-Listen for a clear, distortion-free sound.
-See if it is a tube or transistor type amplifier.
-Note the range of variations that you can get
from the tone control: Is there a good treble, middle,
and bass?
Practicality of Size
-Make sure that the external workmanship is
good.
-Ask yourself if it looks as though it will keep on
working under rigorous conditions. An amplifier that
breaks down frequently is a real liability to you and
the group, and can cost money in cancelled engage-
ments, repairs, etc. Have it thoroughly checked before
purchasing, and keep the warranty!
Equipment Cases
Most basses come with a hard case, and for general
purposes these will suffice. However, there are soft,
form-fitting cases called "gig bags" which are less bulky
for 'round-town use. One can also usually carry them
onto planes and save any risk of damage.
.,
 For extensive travel situations, a good custom
made heavy case lined with foam rubber is the best
choice. This will protect the instrument from severe
bumps and drops. They are expensive but a good
investment in the long run. Similar cases for amplifiers
can be found.
Equipment Care
It pays to keep your equipment in top condition
so as to alleviate breakdowns on the job. Have the
amplifier checked regularly.
Strings should be changed after they become
"dead" harmonically. How often differs according to
the frequency of use. Keep the neck and fingerboard
clean-this will aid your playing facility.
Fundamentals of Technique
PosITioning the Bass
In order to be comfortable while playing, it is im-
portant to position the bass next to the body in such a
way as to have easy access to the entire fingerboard.
Ideally it should remain at a 45-degree angle.
While it is not the rule, most bass players stand
when performing, so it is necessary to adjust the bass
strap until a comfortable position is found. A common
problem with some basses is that the neck keeps mov-
ing downward and requires continual adjustment. One
way to keep the balance between the neck and the
body of the instrument in proper proportion, is to
move the strap lug below the tailpiece a few inches to
the left, when facing the front of the bass.
A good sturdy strap is a good asset and make sure
that it is secure on the lugs. I had one slip off once dur-
ing a concert-the neck hit the floor and snapped in
half!
PosITioning the Left Hand
A common error in faulty technique can be
found in the manner in which the bassist uses his left
hand. Many beginners use the "bunch-of-bananas"
method-with the fingers cramped together and the
thumb wrapped around the neck onto the fingerboard.
While this may suffice for more simple forms of ~usic,
it can be a real hindrance in developing a fluid and
articulate technique.
PosITioning the Right Hand
The right hand is positioned in such a way as to
provide easy access to the area of attack; i.e., the man-
ner in which the strings are struck.
A variety of sounds can be created by attacking
the strings in different places. Playing close to the end
of the fingerboard produces a warm, mellow sound;
playing above the pickup produces a' bright type of
sound; while playing down.by the tailpiece will give
you a harder, more percussive sound.
Right-Hand Techniques
There are two basic right-hand techniques that
can be used for producing a sound from the strings: u&o
ing the first and second fingers, or using a pick. For
either alternative, aim to keep the right hand very re-
laxed at the wrist. This will increase your dexterity and
ability to play for long periods of time without tiring.
While the majority of players seem to favor the
two-finger style, the use of a pick is quite common
among studio bass players as it produces a clear; bright
sound which records well. Mastering this style is a
study on its own, and is markedly different from the
variety of techniques available from using the fingers
alone.
The following is a list of different approaches to
using the two-finger style:
-Alternating between the first and second fingers
and plucking the strings upwards.
-Striking downward with the thumb whOe rest-
ing the other fingers on the body below the strings.
-Plucking two or more notes with the thumb,
first, and second fingers-in the style of a classical gui-
tarist.
-Using the thumb and first finger to puD a string
off the fingerboard, and creating a percussive, snapping
sound.
The student is urged to experiment with the vari-
ous methods in order to find the one or more sounds
that wlll suit (a) his style of playing, (b) the particular
instrument being played, (c) the amplifier, and (d) indi-
vidual taste.
About the Acoustic Bass
Acoustic bass is the largest instrument in the string
family. Its use in jazz began with the first Dixieland
bands when it began to replace the tuba. The first bas-
sist to emerge as a real "voice" on the instrument was
Jimmy Blanton who performed in the early Duke El·
lington orchestras.
The study of acoustic bass is a subject in its own
right. Since there are many excellent books covering
this, the technical aspects of playing acoustic bass wiD
not be dealt with here in order to concentrate on the
improvisational aspects of the instrument.
 By far the best way to develop a correct technique
on acoustic bass is to find a good classical player who
teaches. The fingering and bowing of the instrument
are subjects that need to be carefully tutored in order
to avoid forming incorrect playing habits at the early
stage of development. The use of acoustic bass in con-
temporary popular music has declined somewhat since
the mid-sixties, when Fender bass began to emerge.
However, with the advent of better pickups and ampli-
fiers for the instrument, the initial problem of produc-
ing a sufficient volume has largely been overcome and
it is possible for an acoustic bassist to be heard clearly
in a relatively loud group.
The leading jazz bassists in the field today gen-
erally have prodigious techniques. Many play solo
lines equal to the best jazz guitarists. Eddie Gomez,
Stanley Clarke, Mike Richmond, or Chuck Dominico
are good examples of this new trend. While the bass
guitar lends itself very well to percussive/rhythmic
music; the acoustic bass definitely has the edge in
terms of its qu~ity of tone, sustain, depth of sound,
and overall blend with other instruments in' the jazz
idiom. As a solo instrument, it can be used for a wider
range of musical expression in that it can be bowed.
While it is fine to specialize in either electric or
acoustic bass, the ideal for many players is to play
both, and play them well. Acoustic bass is by far the
,most demanding of the two in that one must practice
and play it constantly in order to keep up one's tech-
nique and maintain the physical stamina needed to
produce a sound.
Buying an Acoustic Bass
The best advice I can offer for a new student in-
terested in finding a good acoustic bass is to have a
bass player or bass teacher help you. Music instru-
ment stores generally do not carry acoustic basses and
when they do they are usually of an inferior quality.
Acoustic basses are not mass produced as are Fender
basses. The majority of good sounding basses are at
least fifty to one hundred years old and come from
Italy, Germany, France, and England. Good American
made acoustic basses are rare.
Most basses come in two sizes: 3/4 size and full
size, with either a flat or a round back. Since each
acoustic bass is unique in itself it is difficult to gen-
eralize as to which type sounds best. Full-size basses do
not always have a bigger sound or a better tone, and
they can be a hassle to transport. The following is a list
of ways to find a good acoustic bass.
-Check with violin/bass repair shops.
-Get in touch with some professional bassists; they
could be either jazz or symphony players. They often
have several instruments, or they may know of a good
one for sale.
8
-Place an ad in your local newspaper. This can some-
times produce good results as someone may have an
old bass in the attic which can be bought for a bargain
price. Usually these need major repair work, which is
expensive: but considering the savings on the purchase
price, it can turn out to be a very good investment. For
example, I bought my current bass in London, England,
for $100. It was in disastrous condition. I have spent
to date about $800 on it and now have an excellent in-
strument worth much more than I invested.
Regardless of the way you intend to look for a
bass, it is a good idea to have the opinion of a profes-
sional player or teacher before making the sale final.
There are many pitfalls, and they can be costly. A
more seasoned player can also advise you as to your
choice of bow (French or German), the best type of
strings, etc.
Acoustic-Bass Pickups
There are several bass pickups available on the
market at this time. The most popular brands are Un-
derwood, Barcus-Berry, and Poly tone. Having tested all
three, I personally like the Underwood bass pickup the
best as it produces the most natural sound. However,
many bassists get good results with the other two listed.
Underwood pickups are available from Underwood Bass
Pickups, P.O. Box 303, Carmel Valley, CA 93924.
They cost at this time around one hundred dollars, and
they need to be fitted to the bridge of the instrument
by a bass repair craftsman.
Amplifiers for Acoustic Bass
The same principles that apply for electric bass
amplifiers also apply here. The actual situation one is
going to play in determines the type of amplifier
needed. The Ampeg B-15 is small, and works well for
most 'round-town gigs. For concert and touring situa-
tions, where high volume is required, a larger amplfier
may be needed. There are often problems with feed-
back: The tolerance for extremes in volume in all of
the pickups that I listed is fairly low. It is best, when a
lot of volume is required, to stand off to the side of
the amplifier. This will cut down on the chance of feed-
back. I currently use, in combination with the Under-
wood pickup, the Poly tone Mini-Brute. It comes with
either a 12-inch or a 15-inch speaker. I find the 12-inch
model ideal: It has sufficient power and volume for
most playing situations plus it is very small, lightweight,
and easy to transport. They are available from most
large musical instrument stores and are reasonably
priced.
Acoustic-Bass Care
Acoustic basses are rather fragile creatures and do
not respond well to careless handling; like being kicked,
dropped, or bumped against. Bass repairs are very cost-
ly, so pay close attention when transporting it to see
that it doesn't get bumped or otherwise abused. Also,
like humans, they do not like to be left alone for too
long and thrive on affection. Treat your bass well and
play it a lot, especially with the bow. This will help to
keep the sound "alive."
When touring, it is best to take the bass on the
plane and put it on the seat next to you where you can
keep your eye on it. Never put it in baggage unless it's
in a custom made fiberglass case. Never allow anyone
to move it or carry it who is not experienced in han-
dling basses. Most airlines charge full fare for the extra
seat, but it is worth it for the peace of mind. In general,
treat your bass well and it will treat you well for a long
time.
About Bassists
Qualities to Aim For
Having listened to and observed many fine acous-
tic and electric bassists in the field of contemporary
music, it comes to my attention that they have many
qualities in common. The following list will give you
some ideas of what to aim for.
Presence
The "thereness" and ability to project to an audience.
Quality and Clarity of Sound
Rhythmic Certainty
The ability to play with the group and hold it together
while maintaining a steady and swinging flow or pulse.
Harmonic Skill
The capacity to create musical and interesting bass
lines behind a soloist or ensem ble. This inventiveness
should be present in bass solos.
Technique
Adequate technical skill to convey the music precisely.
Reading Skills
A way to realize the composer's intentions quickly and
accurately.
Inspiration
The ability to perform with "fire" and in an uplifting
way-to inspire both the group and the audience.
Listening
The ability to "hear" and duplicate what's going on in
the music and to act in a way that complements it.
Flexibility
The willingness to try something in different ways and
be open to new ideas.
Lack of Seriousness
Have fun onstage, laugh at oneself and with others.
Make light of things and generally be joyful while
performing.
About Practicing
One of the most important and potentially re-
warding areas in being a musician is the ability to prac-
tice correctly. In the course of teaching bass students
over the past few years, it became clear to me that very
few of these students knew how to practice, what to
practice, or how to apply what they practiced to their
professional situations. This chapter is devoted to tak-
ing a look at some approaches to practicing and how to
get the most benefit from this activity.
Of all the musicians you will listen to in your life
(assuming that you have decided or are deciding if you
should be a full-time musician), there is no one musi-
cian's playing that you will be more familiar with than
your own. This being the case, it follows that if you
don't like what you're hearing in your own playing, it's
going to be pretty difficult to project a positive, confi-
dent attitude to those that you are playing with. Re-
member that a large part of being a bassist is interact-
ing with others.
So, the thing to do about this is to take a look at
your playing in an objective way:
-Find out what your strong points are. What are the
things that come naturally for you without much
effort?
-Find out what your weak points are. What are the
things that you struggle with and put a lot of effort
into?
Make two lists on a sheet of paper. On one list, write
out what you consider to be your strong points. On
the second list, write out what you consider your
weak points. Be very specific in this! Here is a mocked
up example:
Weak Points
Strong Points
Insufficient knowledge of
Good sound
harmony and correct
Sufficient technique
Good ideas notes to play on chords
Flexibility with others in Poor reading skills
group Poor rhythmic concept
Good "ears" Confusion with fingering
when playing certain
scales
. .. and so on. Your lists, of course, will be based on your
own insights. Only you can really know your strong and
weak points and only you can be responsible for them.
9
 Bear in mind that even the very best players have
weak points-I have yet to encounter the absolutely
"perfect" bassist. The idea is to take what you do well
naturally and add to it by practicing those things that
are difficult for you. No one is born with the ability to
read music well. It is a developed skill and the way to
get to be a good reader is simply to do it!
The way to begin is at the beginning. Learn the
rudiments of music from a book or a teacher. Take it
slowly, step by step, and go systematically to more dif-
ficult types of reading problems. Don't skip over
things you don't understand thoroughly: Go back to
the point where you did understand and find out
specifically where the misconception occurred. Clear
that up first.
It is important at this point to take a look at
things objectively and find answers to the following
questions:
-What is the existing condition of your musical abili-
ties?
-What is your ideal condition for your musical abili-
ties?
-What are your actual purposes and goals in this
activity?
-What are your plans to achieve these goals?
-What can you actually do on a day-to-day basis to
reach your ideal condition?
It is very important to answer these questions for your-
self as it is very difficult to move towards a goal unless
that goal is clearly defined. It is a good idea to keep a
record of your progress and the actions taken day by
day so as to know that you are reaching your goal.
It is helpful in determining the goals that you
aspire to, to inspect the work of those bassists who
have already made their mark and who continue to
grow and expand in their field. In observing these
players, try to define for yourself the various qualities
they have acquired which keep them at the top of their
field.
-Does listening and/or watching them perform excite
you? Does it make you feel inspired, expansive, joyful?
-What quality in the way they communicate their
music do you admire most?
-Does the sound they create have a good effect on
you?
-What can you learn about the technical aspects of
playing by watching and/or listening to them?
-What can you learn from their improvisations?
-Do they present themselves well and with dignity?
Do they have a pleasant demeanor?
The idea here is to have you discover for yourself
10
where you can be most effective within the field of
music by learning from or imitating the ways of others
who have already found their place. Considering the
vast scope of music that a contempoary bassist must be
familiar with, it is important to define one's own place
early on in one's development.
Of course these considerations can change in time
as one learns and expands, and indeed it is good to re-
main flexible and flow with the changes that occur in
music and your own life. Surviving as a musician is
tough, and much can be learned by observing those
who have survived and continue to survive artistically,
financially, physically, mentally, and spiritually.
Basically the purpose of playing music is to bring
some joy, fun, enlightment, and pleasure to people.
Considering the present condition of humanity, there
could be no finer purpose than this.
Now we will proceed to outline a method of prac-
ticing designed to give the most benefit for the time
you invest.
1. Decide on a specific time span to be used One hour
of concentrated work is far superior to several hours of
scattered attention.
2. Decide on a specific problem Look at your list of
weak points. How can you improve them? Take one at
a time and work on it.
3. Don't take on more than you can handle within the
chosen time span Set a goal-one page or one exercise,
for example-and meet it. If you meet your goal before
the time is up, set another goal. Rest before beginning
again.
4. Don't waste time practicing your strong points Save
this for when you're performing. Remember, practic-
ing is to add to your strong points by overcoming weak
ones.
5. If something comes up which is confusing to you,
don't pass over it Stop and go back to the point where
it wasn't confusing and find out where the confusion
arose and clear it up before continuing. This is very im-
portant.
6. Have fun! Practicing need not be drudgery. Keep it
light, challenge yourself, make a game out of it and win!
 Tuning the Bass The Range of the Bass
The bass is tuned in fourths from the lowest
note upwards.

E A D G
9: e
a

eo "
The best way to tune is with harmonics. These can be
found on the twelfth, seventh, and fifth frets. Harmon-
ics are sounded by placing the finger on the note
(right over the fret) without pressing it down, and
bowing, plucking, or picking that note.
The range of the bass is two octaves and a major
seventh. Acoustic basses go higher, as do some custom
made electric basses. The actual pitch of the notes
sound one octave lower than they are written. The
most frequently used range is:
~-&

I I I I I iSl2i I V VII
The lines show the unison relationships between har-
monics on adjacent strings.

The available notes within the written range are as

follows:
-&
Natural notes (No sharps or flats)
& .n • 0. 0& 0. • 0.

5: e ~
e
"
" e
0
e
<& 0 e
a
II
Name:E F G A B e D E F G A B e D E F G A B e D
Fret: 0 1 3 0 2 3 0 2 3 0 2 4 5 7 9 10 12 14 16 17 19

#0. #~ #&
Sharp notes #~
~D
#& ~
#0.

9: Do Ie Ie Ue
II
#0
n~ #eG# A# e# D# F# G# A# e# D# F# G# A# e# D#
2 4 1 4 1 4 1 3 6 8 11 13 15 18 20

be- bQ
b.a. ~ ---
Flat notes
b.a. b.e. b!!:
hD ~e b"
!J: ~e ~e IlD
II
~e b"
G~ Ab Bb Db Eb Gb Ab Bb Db Eb Gb Ab Bb Db Eb
2 4 1 4 1 4 1 3 6 8 11 13 15 18 20

Study Assignment-Note Reading

Since a professional bassist is expected to be able This is one of the most important assignments in
to read any note within the written range of the bass, this book. Complete it thoroughly before proceeding.
the first study assignment is to learn and commit to Use the following as a check list to help your concen-
memory all of the natural, sharp, and flat notes and tration:
play them on the instrument. In addition to looking at
the charts, another good way to become. familiar with -Learn the names of the notes.
the notes is to write them out yourself on some music -Learn their position on the music staff.
manuscript. --Learn their position on the bass.
11
Scalw
Chord Scales Chord Scales: Definitions
A· common problem for many student bassists is an un- Chord: A combination of three or more notes or tones,
certainty as to the correct notes to play through the sounded together at the same time.
chords found in jazz and contemporary music.
In order to create a musically correct and appro- C Major chord
priate bass line through a given chord, it is necessary to
know the scale from which the chord is made. Basical-
ly, scales exist to allow the composer or player a
choice of notes related to a given chord. These serve to
f It
create melodies or bass lines with some kind of logical This is a vertical (straight up and down) arrangement
sequence that can express a particular emotion or idea. of notes.
Chord scales represent to the improvising musician Scale: A series of notes or tones arranged in a sequence
what colors'represent to a painter. Before a painter can
of rising or falling pitches within one octave.
create an exciting or meaningful image he must acquire
skill in using the materials of his craft. He must have a C Major scale
thorough knowledge of colors and how to combine • e a
them in a composition. It is similar for a musician who a
a
"
improvises-the chord scales are his colors. Some are
"bright"; some are "dark." (There is an explanation of
'---_ _ _ _ octave -----..-.1
this in the section on modes.)
A knowledge of the chord scales and how they This is a horizonta~ or linear arrangement of notes.
function is a good starting point to the end of impro-
vising bass parts and solos in a free flowing style, and it It follows that a chord scale is a series of notes arranged
can be appli~d equally well in a number of styles.
in horizontal or linear form that contains within it all
When playing through the scales, begin to note the dif-
the notes of a given chord.
ferences in each one and how they feel to you. Find
areas in your own sphere of musical activity where you
could apply them. Before you begin, read the d~fini­ C Major

I"I
tion of chord scales and be clear on them. If you wish
to know more about the theoretical construction of
scales, refer to the chapter on intervals. i II [ a e

12
Chord-Scale Chart

Symbols: b. =Major, - =Minor, + =Augmented, 0 =Diminished, flI = Half Diminished

2:
C b. (Ionian) Basic Major scale

e o "
e Q ...
( )
C b. (Lydian)

e d Ie "
" II ct

C7 (Mixolydian) C7 (Lydian)
bQ
2: " a Ie G
II

C7 (Altered) C7+ (Whole Tone)

ba
b" ~" I,,,
" II

C- (Melodic) Basic Minor scale

ba D
C- (Harmonic)

ho e D
...
( )
o
II

C-7 (Dorian) C-7 (Phrygian)

o e b" II " ~e h" " II

C-7 (Aeolian)
a
( ...
)
C-7( b5) (Locrian)

a
e
II ~e b" II

2:
co

"
e ho e ba ~e ~e n ( ) . II

C-7 ( b5) can also use Half Diminished (1lJ) scale.

For example:
C-7( b5) (Half Diminished)
b L bet (...)
!leo b nu pe
Z n be" ogo
II

13
 There are many other possible scales. The ones
given above represent the most commonly used ones.
Some of the chords given may be unfamiliar to the stu-
dent, so an explanation of certain chords-Lydian
Major Seventh, Lydian Domin ant Seventh, Dominant
Seventh, Diminished chords-and their practical func-
tions-is offered at a further point in this book.
Since it is beyond t he scope of this book to cover
the subject of basic harmony and jazz harmony, it
would help the student who has not covered this sub-
ject to have some instruction either through a teacher
or with a textbook. An excellent book on the subjec t
is Improvising Ja zz by Jerry Coker.
Practice Method for Chord Scales
The following section deals with a way to gain
fluency of tec hnique and familiarity with each of the
scales on the chord-scale chart.
They can be played on both acoustic and electric
bass, with a bow, fingers, or pick. This is a large assign-
ment. Don 't attempt to do it in a hurry. Take one step
at a time until you feel completely comfortable with
the scale in question. Use a metronome! This will great-
1y develop your ability to maintain an even tempo and
accuracy in placement of notes. Work up to the speed
you want to achieve:
1. Set it at slow tempo
2. Set it at medium tempo
3. Set it at fast tempo
Take your tim e, do it right, and you'll have remarkable
gains in ability!

C", Ionian Basic Major scale

o ( ... )

" I
Step 1 :

C F rJ E F r r FrECr l cE CrEFEr l
f): CFEr r [ c; C F r FEr F r i CF r t r EE; I

!): r r r fEr r r I r r f ef f r r I r FAt t € f r

t): E€ t Ft f.e E A [ FEE Ff e l f t Ff F
II
Step 2: etc.

fy: (~
5 5
r
r [ FFrEF F[ I EF FFFFr Fr; I Err riC rFrf I 5 5 5 5

Step 3: flo etc.

!): e Er FFIT [F Fr[} I rS r. r Ff f FFFSf l EE r FEFt f Fr U I

- 6 6 6 6 6 6

Step 4: fL etc

!):e C[rrrFffrrprcr l rSFfFfiEfrpFCr l rfFffFtfrffF[rl

Step 5 :

:): e CfCErFFFFrrrrcQrI ,rurrvfFr;Ugr I arF6CCFfrkrFraCj

Pract ice: Slow - Medium - Fast
14
 C~ Lydian Major scale with raised 4th

~.• D e : :
.... 19 U a '> (...) II /
Step 1:

9: e Ej rr E r f J Il r'F F r ECJib 'F F; ErE J I

~: 'E r F r r FEll r F r; Er Fr I Ej r r r r r; I
t): r oJ fOr r I E r f ~ €Err I r f #f rtf F r I
C

t1: E#f [ f IT f f f I#6 Ff f Ef f fiE t f Ff II

Step 2: • etc.

t): I' Err 'Fl CFr C• I Er"F r FFr Fu I (~ r r:t EFr F1 I

6 5:t 5 5 5 5

Step 3: .".. etc.

9:1, Cfr:rfi(Ecrullc'qrFffFQFE:r1 ~ErJCtLEfcrUI

Step 4: . ~ etc.

~:e Err"frJ[rR~rjJ I Er"CprrrC[FfFr-;1 c'Frffr±[rrprEfI

C7 Mixolydian Basic Dominant 7th

e bQ (...) /
,: Q e " e " "

Step 1:

,: f' CE r; E Eel I ECF r FEE; I E F F; CF [1 I

15
f): E F [hE F [ r[ I F [bE fEr [ I- I Cbe r r r r r; I

v: br r r f f r r r I r r F AAFr r I r fAt t AFr I

5 fA UH U ,ufHHf ,cfHH I
Step 2: b. etc.

V: e E IT E FIE F fIT! I C F [ Er f FFF[ I E [ f

5 5 5 5 5
ft EF f [J I
~

Step 3: b b etc.

V: Ii EFFFfi [ FFFIT! I r FFFf f f FFFF[ I EFEJ rrEr rf Fr I

6 6 6 6 (j 6

~ b. ~~
f): Ii
Step 4:

7
•

CFFf FIf krFFf IT r i cFrEf fFE frFFrFI Ef f rkITt

7 7
b

7 7
rrrf 0- 1
7
etc.

C7 Lydian Dominant 7th with raised 4th /

" bQ (...)
V:" " " ".. " I
Step 1 :

V: Il E IT f Vr r IT ric Fftc f f [ r [ I Eftc f; E r [J I

j): ftC E r bE r [ r; I r [bE; rr[ r i Cbe r t cr r; I

16
 II

Step 2: ~ etc.

2: e CEEIU Er Fr . I ECIf FF FFr EJ I of FF;= ErE [} I

6 6:t 6 5 5

Step 3: b b .,.. etc.

9: (~ C
-
j elF ri
6
ErE r cr Ire' FFf (FEr c; I tt r Ert IT f FFU I
6 6 6 6 6

Step 4: ~ b b ~~ etc

tl: " cF r"fF bier ff rUI cC"Ef rrrrr FrEE! I e"eEr fEkcEffr ui

Functions of Lydian Major 7th

arid Lydian Dominant 7th Chords
In the chord-scale chart there are two chords
which are often misunderstood. Basically, the Lydian
Major 7th chord scale is the familiar major scale except
that the fourth note of the scale is raised by one half-
step.
The Lydian Dominant 7th chord scale is the
familiar Dominant Mixolydian scale, except that the
fourth note is also raised one half-step. The most
common use of these two chords is as substi(ute
chords* to aid in producing smooth voice leading-
the manner in which the inner parts of a chord move
to another chord-and smooth bass motion.

Key of C Major
bII ~ 7 D b~ 7 Lydian b117 Db 7 Lydian
p Le
~
bo
II be b" II

bIII~ 7 E b~ 7 Lydian b1117 E b7 Lydian

" II ho " II

IV ~ 7 F67 Lydian (.a.) IV F7 Lydian (.a)

Q
e
t): e Q Q
II
·Substitute chord: a chord used in place of the usual chord for
added interest and harmonic taste.

17
 bVI ta 7 Abta 7 Lydian bVI7 Ab 7 Lydian

e b" o e I",
a
Ii" II

bVIIta 7 Bbta 7 Lydian bVII7 B b7 Lydian

0 (6.) be (b.)
!>: ~e e C' 0 D
II ~e
0
"
0 E:I
II
"
(less common)
"

,:
IA 7 eta 7 Lydian

0 c' 1
0 I;::! 0 g .
{ }
II
17 Lydian

0
"
1 0 i3 0 be {"2
" " II

bV ta 7 Gbta 7 Lydian bV7 Gb 7 Lydian

o (11_)
" ~0 II ~e I,,, ~0 D II

This applies in major and minor keys, although

VII6 7 and VII7 are both rare in minor keys.

Chord Progressions Using

Lydian Major 7th and
Lydian Dominant 7th Chords
,/Key of C MaJor
Ionian bIII A 7 Lydian Dorian Mixolydian bII A 7 Lydian

,:" CA7 ? , I
I
[bts7 t
I
I
I
I
I
67 I t
I
I
I
II
Key of F Major
Ionian bVl7 Lydian bVII7 Lydian bII7 Lydian

I
I
I
I
Ob7 I
I ,
I , I
Eb7 I
I
I
I , I
Gb7 I
I , I
I
I
II

Key of B b Major
Ionian Dorian bIII ta7 Lydian Dorian Mixolydian bIlta 7 Lydian
/ ,:" Bbts7 ~ e7 i
I
Dbts7 t
I ,
I
I
.I
C7 I
j
F7 I
I
Bts7 , I
':
I
I
j

II
' Key of G Major

j 9: e Ionian

SA7 I
IV7 Lydian

C7 /
bVII7 Lydian Aeolian
F7 I
I
E7 I
Dorian

A 7 I
Mixolydian

97 I
bVIta 7 Lydian

Ebn7 I I I
I

18
 Aeolian Dorian bVII7 Lydian b1117' Lydian Dorian Mixolydian b117 Lydian

E7 t A7 z F7 , ab7 t A7 tI 97 I Ab7 I tI I
j
II

Key of C Minor

/ 9:" Melodic

c I I
bVI A 7 Lydian
Abb7 I I , I
bIIA 7 Lydian
l I I
Melodic

c I I
I I I I I Dbb7 I i i I I
II

Key of A Minor
Melodic bll7 Lydian IV7 Lydian Altered Melodic
/ ;l: (1 A
~ I
I
I
~
I
j
C7 I
I
I
J , I
07 I
J
[7 I
J
A I
I
I
I
Il
II
Key of Eb Minor
Harmonic IV7 Lydian bVIA 7 Lydian bll7 Lydian Harmonic
/ ;1: e Eb- I
I
I
I
II Ab7 I
I
I
I
I
I
BA7 Z
'1
E7 I
I
Eb I
I
II Z
I
II
Key of F Major

~ Aeolian bV7 Lydian Dorian bIIA 7 Lydian bVIA 7 Lydian bVII7 Lydian Aeolian

9: e 97 I Ab7 I
j
G 7 I Ebb7 I 8&b7 I
I
C7 I
I
97 I
I
I I
I
II
tonic
point
t

Study Assignment-Lydian Chords

/1. Write out on some music paper the Lydian Major /2. Write out several chord progressions that incorporate
7th and Lydian Dominant 7th chord-scales and their Lydian chords.
corresponding chord sym boIs in the places they can /3. Play the Lydian scales in the six different keys from
occur. Do this for each of the following keys:
exercise 1.
D~major V
Fminor//" /4. Figure out the correct modal scales for the chord
D major Y progressions you wrote out in exercise 2.
G~minor -yI'
E~major . /
G minor'

19
Altered Dominant 7th Chords
On C7 Mixolydian (basic dominant 7th scale)
the intervals above the octave are:

~:
C7 Mixolydian

~
bo ...
{ ) .Q. e- .Q.
.Q.

Q
II II
Root 3 b7 (8) 9 10 11 '13

On C7 Altered the intervals above the octave are:

C7 Altered be- b.a.

bo (... ) b.Q be-
9: " II II
"
Root 3 b7 (8) b9 #9 b5 b13

Employ the usual practice method for these Altered

Dominant 7th chords.
C7 Altered Dominant 7th with altered notes.

;t: 6. q~ b. b. bo ( ) ...
~.
a II
Root (b9 #9 ) 3rd (b5 b13) b7

Step 1:

f): lie 1'[ ~r J c r [J I be ~F bE ; r E eEl ~r: be rbE ere ~ I

,: be r be I f r r L I r be bE f f 1 Er Ibe bE TbE Ef be r I

,: 1 ~f EbE Ft f bE I ~f { bE YEE t f Ibe be Jf E II

20
 C7 + Whole Tone
~ Ue ( ...)
~:" e " Ie Q II

Step 1:

~: nEe r t ErE 1 I r r ftc #r r Er; I CftF #r: t Err J I

,: 'E uc #c Err r; I urn #c E; CF r r I t F rEF r r1 i

;1: ErE ~ fEr r I r t #r #F t f EJ I E#f #6 #8 f t f E I

,: #f ~ "IT f f IT t f I #f ~ f ef Et f I#61 ~ E II

21
 c- Melodic Basic Minor scale
a 0 ( ...)

~".
_~ a IJ" a "
I

~: Err r r f r r I r r r; Err r I Ej r Cerr; I

51: rr r 1 Ej r r I r rTF FEr r I r let f ef r

,: ~ F f f F Ff f I
Step 2: • etc.

~} e r f Ir ri [ r r Fr I cl'F Ff r r r FE; I 1'[ r f Ft Err f} I

5 5 5 5 5 5

Cflr FFt ~ Ff r Fr I fir r r r•Fk•rr r r; I be f r fy

Step 3:
~ ~~ ~
;>: e
6
I'

6
rr r r I
6 6 6 6
etc.

.~ .~~~ .~~§~
~: e Efir FFar frrfr I [Ir r rrr rFrr; I be f rrr*
Step 4: - etc.

7 7 7 7 7
f f rUI
7

Step 5: i?.-
~: II cr"cf Fe crFe rFrrEg" I dr§frrvOJr;ug I"Er Ef bdWrrrfwc'l
C- Harmonic Basic Minor scale with lowered 6th I1 ;J "'-.' ~ 1 1''.1 () 0)

-51:" a I", a ., ~a 0 ( ... ) II o iL- (&

Step 1 :
~
;>: (l
rr
I~ II!
I
~

J r r r r I r r r Fr r h.
I J
I'
I be r rj E IT rrI
22 '
f): Cr be r r E r; 1 F bE r r F r E r 1be r r r r r r1 1

2:crr~ErEr I rc~Fefrr l r~fffffr l

~:rEfUUf l eftHfU l fHH

Step 2:
.b~ ~ • b • ~
r rI.E Ft E F f [t 1 j IiF r ~ L r rr 11'[ er ~ t r ( F1
etc.
~. Il ~
• • i

5 5 5 5 5 5

~: Il
Step 3:
§ ~ b • ~ ~ • *~
Efir Ff r~ F0" 1 jlr r Ert r Fe Or 1"r r E~ bY ~ rF( E1
etc.

6 6 6 6 6 6

Step 4:

2: e EFt FrbE rCFrr FE F1[I'm r Ebrrff r r rFrr 1I.E ( EbE ~rfEF~Fr (rci
7 7 7 7 7 7

Step 1:

f): (l E (I.E r r Err 1 [bE r F F r Er 11'[ r F; E F (f 1

tr e 0 r be r r 0; 1 r f be J E e F Fi r be r r r Er ( 1

~: be reI E err 1r CbE Af fer 1 r bE f t Ff F r 1

¥J I EFE H Ef I H tl H FE I HI U II

23
 Step 2: 6. etc.

V: e Cr hE Ff EFEr J I rhr r Err ErE r I''C r r r FFr ErE I

5 5 5 5 .5 5

b. b
r Fr[Ff r fJ I [bE rEf kf rf r rr Ihe r f f rrrf fl· r r I
Step 3: etc.

;): e r (hE
6 6 6 6 6 6

Step 4:
b § . b. ~.. • b. # ,4! ,4!~ • etc.
~):(j crtfrf f [efru l ['tfrft I VfCFrr l''Er rftl) I I frrr i
7 7 7 7 7 7

Step 5: etc.

c-7 Phrygian

Step 1:

V: (j c~r hE ; FEr r I ~E hE r r 'ErE ; I he r r T Er r r I

V: r r ~r bE r r Er I r ~r be ; Err I· I b[ be r be ere; I
5): be r be bE Ee Ee l r be bE [ fEe r I be bE [ F f [ Ee l

~bfefH[fF ,ffE1HU ,ftfH I

Step 3:
~ b.. ~ ~ 6f" ~
V: (j ct'r FF7Ef r r f! I ~['r FFr Vkr r FEr II'S r r Ft rrErt I
6 6 6 6 6 6
etc.

24
 Step 5: etc.

C-? Aeolian Natural Minor scale

" ~" bo ( ... )
;): " ... I", "" II

Fr r r I [hr FEr F r; I hE F Fr Err r I

t1: [ r brE h.~ •
~ :F E r I' r ~:~E b.~ it~ F •r
~ f ~ r I ~r
L h".
CL[ [ [
~ ~ f'- ~ ".
C 1 I
~: hE r r I f r r ~ I r j bE [ fEr r I r 1 [ t t t E r
~IrfHtU effUfU IffHe I
~_
Step 2:

)- err ' C F} EFr r r I rhE r FEr E; I 1'(

5
•
5 5
b~ ~
5
r b
F r ~ Err r FI
5 5
etc.

§§
Step 3:
b 6~. ~ 6. ~ ~.
'} e Er1'[ ~ F f ~ Fr r I [hE FF~ kf f Frr 11'( F Ff L kf FEfl
etc.

6 6 6 6 6 6

Step 4 :
b[~ ~
V: e crl'[ Ff} 7
FfFEr I [I.E FE Fb~~~~ FEFer I bE r r f f§~~§.kfr[f I
7 7
b
7
bh
7 7
etc.

25
9:
_ a be ba 9 ::II

~. e
~.
Step 1:

rtE f
I- b ... ~ F r1
L II-' ~,,~
t'c Fe ~ G
C ~ E; :I "L
~~ : r r:
!: I'TE 3= ~ ~ :I
~ E E3-

2: [ be ~j [F rr E;; I be ~j be ; Err c I ~[ be r be ere; I

2: be r be 1 Err LIE be 1 [ f Et r ebE t [ f r I I be bE

;>: I e£bE f f f E I eI bE JEE t f I IT bE f f f

II

C Diminished

tl: (1
9)(1 I

Step 1:

;>: e C r be ; E r l! I Lbe r I'F F r r; I "E r be tr E E r J I

26
 ;J: Ehe ~e he r: ~e c:; 1he ~[ be 1 l [~[ r 1~e he EFEE E~r 1
;}: t l r: erE III f 01 Err r 1r n1 F€f r; I

;J: r I E£t A En 1 bE E£bE Et f f f be bE ~E F 1

II

Step 2: etc

;J: nCr I.E

5
[1 EIT E[ - 1 EhC EhE ~F FEE E~ 1he [bE ~E r C~IT E[} i
5:::t 5 5:T S 5

Step 3: etc

;J: n t: CbE Elrl [ rFEr-I

6 6~
ee rirTY mE grc?
J
1&0 ctThEf E~~ F9" "I
6 6 6

Step 4: t

!J: e EC&F rTCrE±f~FE!1 r6rEbr~eFff[tEF C; 16EElrt,kGfiEfETr&~1

7 7 7 7

Diminished Scales

Diminished scales can work well with a number of

chords other than Diminished chords.

Tonic Minor chord

~
/
~ _ A.'"
"9
II .. J .. U"

( Root 9 3 Maj.7
I ! ! ! L_ hl
I ."',.,. - L._
I o@-

L L~

Root
-
I
- v_ r-
rn.- --v-r-" --.

27
 Dominant 7th with b9 and 13
~
/~
~ ...- U~ nil

II 'fa
~ U' _ I. ....
,-, -5-
< Root b9 3 13 7

II I"".. - ! ! J J J
\
,.,

-- Root
I

-
.... PI
... - PI_
- r-
I
- ~

C-7 ( b5) Half Diminished Natural Minor scale with

lowered 5th

~: a 9 ba e 1m ~9 be (..) I
Step 1:

~. I~
lI.oO
r r :eb 'f" L~ r FJ I- E'F
I t! I)~ ~ t!
L T F C E; :IS~ ? I,? t: : E ~ ~- I
~~ E E ~ ~ E E~ :

9: EI'e ~F T E F Ell he ~E br ; r r F t I ~l hj r r CEe;; I

9:t r (lenEt I(ClEffnr ICbEmICAf; I
~)f e£bE IT rEF Iff bE f Ft r f IIT be f f f II

28
Chord Scales:
Studies in Different Keys
In the practice method section, the fourteen chord
scales were shown from the tonic (starting note) of C.
The following studies are designed to have the student
become familiar with these scales in all keys. Con-
temporary bass parts can be written with key signa-
tures or without. When a key signature is not given,
accidentals (sharps or flats) are used where they are
needed. Examples of both notation methods are used
as this will greatly increase the student's reading skill
in all keys.
In addition, fingering has deliberately been omit-
ted as the student will gain insight and proficiency by
working out each study for himself.
Once again, use a metronome to keep a steady
tempo while playing these studies. Start slowly, then
gradually increase speed.

EA Ionian (Basic Major)

~:.#t e J ~ J 3 J 01 J JJ J j J J J I j J J J is J JI II
FA

9:b (1
~ J) iJ J J I fJ JJ J JJJ I J J J J-J J JJ I II

GbA

~: bh 61
"ii'
eJ II
GA
2:# e II
:J
AbA

~:b%be
r
J J1 ( r F I (f El [ f Er I cf fJ J J J] I "
II
All.

tl:.##f~ J ;1 Er F F I (f u. Er EJ I (f U J J aD I " II
BbA

;l:bh e :J n CF rl I [ r r1 Gr FJ I t E [J Et U I II

ell.

t): (' J U EErr I Ef Pi f F(11 E f [; r r Ell a I

.29
DbA

";1:U'4 1' F 0: r r r r=! I rt [; Em Or I Lf rrEr U I e I

II

EA Lydian (Major with raised 4th)

':~I~I'J ;jnJ J JJ I J J JJJ3 nJ j I jJ JJ lJW J I ~ I

FA

2:b (' J J 0.£3 J J I IJ JJ J db] 3 I JJ J JJij3 JJ I 0 I

,:# e J II

~:~bf' J n~t r g I Dr [; nell r r: r[i elF CJ I e I

BA

2:~'li J nBc r r1 I Dr [; 0r~rJ I r: r[J [ftr U I e I

30
Db~

9: Q'hS" r ( re It FrJ I f r rei EFI'ei I Err f Or U I e I

E7 Mixolydian (Basic Dominant 7th)

tH"~e;1 J J J J JJ I D Jj J J JbJ I n ~J J EEU I Q I

F7

tJ: ~" JJ JJ n J ~ I J J J J n Jb3 lEE hE; Lr r Fie I

Gb7

~:~>\mDJJJ]JJliJJJ(EF1lrE&rrCFE;1 g II

G7

tJ:I e fJ {S JJ UJ I £S J 3 t r tll ( rt r Er Of I Q I
Ab7

"):w ei J J ] n J) ICE aLE FhE I CFI'E] l t rr I e I

A7

~: IB# (' J 3 J j is J) I ~ r oJ eJ F~r IDe ti [::F rEI e II

Bb7

9:h~ n J3 EO Er] I (r r r OF ctr I t rbF E r FC; I Q I

31
B7

t>:~I~II' n J 3 (j tJ I t: r r FEr EJ I Erbr rr EjJ I Q II

II

II

rr j r r! I ~
D7

~:.III~ Er f F( r rt I r: er ; er r11 (j II

II

E7 Lydian (Basic Dominant 7th with raised 4th)

~:¥i 15 ~1 WnW D JJim J) EFEf I de r r(r r~r I ~ II

II

-&

II
0@-

II

-'1
--
II
.Q.
-
II

32
 ~
-
II
-eo
--
II

--
A3.

-
II
:!!:
---
II

;:.ft e rf rilE CIT rf I ftrtC[rr 1ar-i;-r-r-rb:-jU

8
A 1
- I

;::~! (' (F rf rr rJ I t be rJ re[1 ;bE -r-r-r-f e~t ,- -~ -~

1
8

E7 Altered

2: e J WUnWn;;]"]:J I JiJ"J J fa J 31 #iJ J) IT j f#f I D I

F7

~:e JdbJijJ.Wdij]bJ l&db3 qj&JI'[ r r F Ibr:''[~r;br r~cr I e I

Gb7 b
~: I~ d J_Jd ; 3d J I j J~J J [ Ecbf IcE rtqr EEF1 1m
I

~:" Jd I!JbJ~;;J ijJ d I ~i~J bUd

G7

IT j
... b
t
(rI~j r be r~F r r I Q I
33
 II

II

II

"
II

II

II

II

"
II

34
 d'E j J r Err I " I

I
A7+ (variation)

~): e j JuJ J juju; 3 IUr #r rr r r f r. I r FEr r r Fr i g L3

'Be
~ -( 1
,: .-
-~- . FrrF I II I I
B7+ (variation)

f): B JuJu J Jr ( F r IUr F r( r r r r I Dr EFCUr Frr I a I

C7+

t): B r r F r r r DE r I rftr!iF r r r Uc r I rftr #F r r rUE r I " I

b b b
~r r Frbe f F E I r Fr r gr r I r ErbE f f r I ~
r r
Ob7+ (variation)

;): Ii e 1
07+

;1: e t
r ur r r Pc EIDj Pc r~r gEE IDr PE r r Pr r I a I
Eb7+ (variation)

~: e t IT t ef IT Abe IbE F AbC rbeA r I rbE be r r FE; I 1m

I

E- Melodic (Basic Minor)

;1:(j j;#J J is hJ I#J J Jil J JllhJ I fJ Ju J crDrl I " I

F-

9: e Jd Jd J J J J I jJd J j J j 3 I d Jd J C( rJ I e I
35
 Ii

II

II

II

II

II

Ii

;;0 ~l r"rbpehrbrtr I be'prbf r [bCf I "et rtF cr rE I b.a. Ii

;: H l r r FEr [ ric r [f Errt I [r Ei crt f I .a. I

~
~, tl dr r [be; I [beeT t r r C1"0 beE; j re= be
I - II

36
 E- Harmonic (Basic Minor with lowered 6th )

51: (j 1;1 ~ ~~~ 1 J I fJ J J JJ JjJ I j JuJ 3 F'U I Q

/I

F-

. 9: (j J Jd bJ £J J J I d d JbJ j JJI13 I Ebe IIF; EFr r i B I

Gb-

fl: eddllJ JdqJ jbJ I qj jdij; cbr ij rJ I bE §E [Ir c rltr I I", II

G-

9: (1 ~ Jd
T
J •~ JJ ] I bi• J J I J~b·t
CL~
IEh. ur FEr
~L
r; I
!
" I

I
A-

t): e I
E ~t I

II
37
E-7 Dorian (Minor 7th with natural 6th)

;):e JJ#J j J J Jll j I Er rUr r rel l f r"c f f fur r I " I

II

II

G-7 ~ ~

f): e 3d J J J J J j I cr FFr err r I r Fer rEt j I II

h. • C~ ;T I I
A-7 (variation)

V: e J j JJ r EWE r I JJ j JeX rJ I elr r r IT FC r I a II

C-7 (variation)

'Il cfif Urr I f r [''f J JJd I cdr;r Fnr I" I

Db-7 (variation) 6 6~ 6.Q
V: e ~E r F F Lr rf
b h
I,
6~
I L ~ eF PF' ['if I 'ECElf E FL I
q/f 6. b , I b 6/f~6~q. f!:.
I
D-7

;r e err cr r F; I Er f r rr rr I r r pI r r Cf I.Q I

38
 II

E-7 Phrygian (Minor 7th with lowered 2nd)

;1: (1 JJ J j J J J J I JJ JJi J J j I JJ J3cEOJ I u II

F-7

;1: f' J Jdd~iJd &J I d~Jdd Ertf I d&Jd J~L r [hE I e I

Gb-7

2: n ~Jqjd J jJ_J j I JJ JJ'~j FllR I j J Jdg(rI~E I ha I

G-7 (variation)

2: f' La bJ J J J J J I biJ JIz3 Cr6 1 E"r r Fb[ rtF I D II

II

A-7 (variation) b

OJ EJ fa I PrE rLE[1 I
pas

2: e is J J Fnj E I {j D II

II

I
C-7 (variation)

;>:., [bCbe r EPer I erbpJ f rbrbr I be Ertrbr rt r I ~ I

II
39
 II

II

E-7 Aeolian (Minor 7th with lowered 6th)

t): C JJJ#J j JJ J I j~JI........

; JrEf r I j "F r r r F[ riD II

II

G-7 (variation)

Z!- (~ jJ J3 i J J~ I j Jd Wcr Gal JEW Jh3 (r Fr I " I

II

A-7

t): (§ j U JJ ( j rJ I iW JJLr FFie r a (Frl I e II

II

B-7

t): e r' [tI r ,. #t lit

r F11r: £
{LUg
EJ r[#F r I gr rff rr Fie II

40
 II
Db-7 (variation)

;>: e br:~r fbE £rt,; I bE "eF"p!£J 4dJ I ~l t fbd[ f b[JF I ~e II

II

II

E-7 Locrian (Minor 7th with lowered 5th and 6th)

~: U j J J~J fJ J 3 I Jd JJ J J J :J I JJ JJ~r: r rJ I n II

F-7

,:" Jdd_JbJd_JQ Id'JdbJbiiJ Jd I &Jd~J&~.(r f:i I e II

II

0-7 (variation)

5:{, F~r rtf Ebtl I&(eer J J 3d I (ffJbJ Jdd I e

II
A-7 (variation)

:>: Iz ErUr [pC r r lEE rEr Et F] I jW abJ f cbf rI e II

II

41
 II

II

II

II

II

II

II

II
G 0 (variation)

,: (' t EEbb f t~r 11trf~f tbrbr r IrE CPr Erf I ., II

II

II
42
abo (variation)

,: eft FF~tbt [bE I f [brE~ftEbr; I fbrbf nbC CEt I ~o II

II
Co

2: err r~r c~r~[be I~erbr:r EFCf I''f r be r CEEl I " II

II
DO

2: 0 Ene rpPFnC r I f jnF#F~r r Ff InC r er Pr r Fie I

E-7(b5) Half Diminished (.0')

f):" ar r m
;h( E F I LE(b EF r.r I ECbC r r PrJ I n
II

I
Gb-7(b5)

f): " btf Et r i L1 I thE r rr Ej~j IrE r r EE~Fll b" II

II

43
 II

II

II

B-7(b5) Q

,: n i JftJ 3 EFr F I"E FcrT c FcJ I EFr Fcr Frr I I

II

II

II

II

44
Pentatonic Scales
The word pentatonic is derived from penta, mean-
ing five, and tonic, referring to tones. Thus, a penta-
tonic scale is a five-note scale.
The use of pentatonic scales is quite common in
all forms of contemporary music, and especially so in
improvisation, for example, John Coltrane's solo on
"Giant Steps" from the album Giant Steps.
Pentatonic scales can be used in both bass lines
and solo material. Although they are diatonic, there is
an inherent tonal ambiguity due to their "incomplete-
ness" as compared to a seven-note chord-scale.
There are many possible pentatonic scales. Some
of the most common ones are: diatonic, peiog, hira-
joshi, and kumoi. These last three are derived from
Japanese music, much of which is based on the notes
of these scales.

Diatonic

e D "
e ...
( )

II
Pelog

abe b"
Q~e ( ) .. II
Hirajoshi

e""
,,~e ( ...
)
Kumoi

e h"
U<~)9 ( . .)

" D
II 0 II

Each scales has its own inversions.

Diatonic
-eo e-.Q.
2: a " e " e a " e
e
II ~ " II
Root position 1st inversion 2nd 3rd 4th

Pelog
,,~e e-
tJ: be ho
II ~e"
h
II

Hirajoshi
" ~e r D~9-
II
:: ePa
"" II

Kumoi
e··
~_1'.. I
e'o " ,"(1 II
Play each scale and its inversions.

45
Pentatonic Scales:
Studies in Different Keys

E Diatonic

,: (' ana.] J iJ JiJ 1hJ J (r r¥ liE rlr} E[ U

Iw I I a II

2: I~ iJ J JJJUJ I fJ 3J Er[J I Err FE[ U I e I

Gb
2: e dbJd~O JEW Jd It~rbrtr cr [be I
bc,,[brl 0r cy I I.u II

G (variation)

~:" r[ cr JJ j JI J JJJis JJ I R [ cr j J j JI e I
Ab

t
9: e bfl.c r J Jd JIbJ ~J JJ L cbIT I~r bpr r j Jd JIG" I
A

2: e r f c1rnJ J JJI J n] JrilE

W r' I rrrInd J JJI " I
Bb (variation)

ee Crn Er C; I C(be r br CJ Irbe U EE&1

:>: I~ be I

;: I/ect rr Pm Itt pc f E'er It Et! EPrJ I e I

C (variation)

46
 II

II

II

II

II

~ ~ E
G(variation)

!): (~bE E~r

bj!:

tI "
£1 Er £I er rtf r j r~ I~r Pc f rr r II

II

II

II
47
C (variation)

2: e ef ~r rErrtf It F1 rEt Ffr I~L en'! rEr Flo II

II

II

II

E Hirajoshi

,: e E ~ r rIC f Pi I JJ3J ( r'FI I cr EM t rF1 I D II

II

II

II

II

A (variation)

r
,:" j~J.J. . .j. ( r FI F rEr j J j JI is J1 Cr Fi I e II

II
48
B

':n rt"rr Ef mt I, f r fpd.J J J I#J JuUJtetr I Q I

;: I~ Cf deE 1 r r I Fr&r:~r Ef fJ I is ]hJ E~r c£ I - I

Db (variation) I b

':I/fbrbf"b[ rf~F I~PCEijF~(J~JJ lijEbE~crbrl1t I bA I

;: *' f r f E~r r FJ I rF FFiJ dJ I F rEt CfE EI A I

Eb

E Kumoi ~

tl: Ij J#j JJ fJ J~ 3
I iJ"] EEt!F IftC F·ff Cr rlll - I
F

Gb

G (variation)

49
'A (variation)

,: ., f ~ f E[ F} I J J J#J fJ JJ I (PrJ Ef
r e-e I e II

II

II

Ii

I
D (variation)

,:., fA rr f r e; I eF err r r; I rr[1 CFtr I e

II

II

50
Pentatonic Scales within Chord Scales
These pentatonics within the chord scales are
some of the more practical ones for general use. Play
each chord scale, then play the pentatonics within it.

eli Ionian
,: 9
"
e a e Q ( ) .. II e
"
D a
I
i:=t 9 Q .Q. :!!:

I
" "
Diatonic Diatonic

Cli Lydian
,: la ~
"
Q ...
{ }
D 9
#a "
Q

" II " II I
Q
a
a e
" e
Diatonic Diatonic

C7 Mixolydian

2: a
"
D a ..
bQ ( )
II a
"
D a
II 0
g Q
bQ
II
" " P
Q

Diatonic Diatonic
(Key of Bb, 1st inversion)
C7 Lydian

2: Ie E!
"
bQ ...
~ }
"
a ~ e bo .Q ~

a
"
Q
II D e
" II I
Diatonic Kumoi

C7 Altered

2: a b. b. q" b.
b. hQ ( ..
}
II ba IB::!
In:! ~e bQ
II be 6t'! qn ~e bQ
II
Diatonic Kumoi
(Key of G b, 3rd inversion)
C- MelOdic

2: 60 e D e a ( ) .. II. " e 60 D e
II a "
E! a -&

I
" " Kumoi Diatonic
(Key of F, 4th inversion)

C- Harmonic

2: a e ba e E! ~a qa ( ) . II " e b" E:! ~a

II
Hirajoshi

C-7 Dorian

2: a e /z" e t! e bo ( ) .. II Q h" a D
bo
II D e j,,, ~:I a
II
Diatonic Kumoi
(Key of E b, 4th inversion)
C-7 Phrygian

2: a ~e I,t'! e u ~e bo ( .. )

II " 6t'! a E:!

bQ
II ~ ~e ~'!
1::1 ~g
II
--
Diatonic Pelog
(Key of Eb ,4th inversion)

51
C-7 Aeolian

;1: t! e ~~ e D ~e ba .
( )

II D
~D e 1;2
bQ
II 1::1 e bt! 1::1 ~e
I
Diatonic Hirajoshi
(Key of Eb, 4th inversion)
C-7 Locrian

~: ~e be e bD bg be ..
( )
2~ e b~ bQ
II
i::I
I
Kumoi

C-7 ( b5) Half Diminished

t): ~ qe b" e b~ ~e bo .
( )
II bn e bliol bo
II
Kumoi

One pentatonic scale, or its inversions, can work

through many different chord scales:

Diatonic Co Ionian Co Lydian

,
Q ( ...)
t):
" "
(1

II t f i #9 fj II

C7 Mixolydian C7 Lydian F 0 Lydian

g b" (..) ~ ba (..}

G7 Mixolydian G-7 Dorian D-7 Dorian

t 'I 9 t i? t j ~9 r J II

D-7 Aeolian A-7 Dorian

G b7 Altered E -7 Phrygian

I J II ~e ri 1 fille

A -7 Phrygian D7 Mixolydian e -& (L) G- Melodic

" i T -~ t t:- l I II ~ F3' Ie (~ I

52
Of all of these scales, the diatonic pentatonic is the Note that in a C major scale, the two notes which are
most common. omitted are Band F, thus avoiding the ambiguous
sound of the tritone.
Diatonic
a * e
*
(.) ~
f): d a "
(1

II 9: d e ~ ~.J " II
For example, take this melody from "Autumn in New
York":

Diatonic (Key of F, 3rd inversion)

J J J
Examples Using Pentatonic Scales
In the following examples, we will look at some
ways to use the diatonic pentatonic scale in an actual
playing situation.

Rock

t r ~J. 0
A-
- ~ ::>
f):e
~
J J ::>
l l IJ J
~ ::>
i l I
F F 1 1 I J :11

Diatonic (4th inversion)

~.)
~: e u ~

(1
c II
Rock
C
..
9:e J. 0 J. 0 r EE S ~
J
J. J Jl !f 1 1 :11

Diatonic (Root position)

9: ~
a
( ... )

"
e " II

An example using it as a solo or a melodic line is:

A-

teE r fit FsEE Fr;

;>: r f r r rEF ITt EEft Lr Fib r Fi f IT F rre II

53
Here is the same solo/melodic line using different
chords:

C7 Mixolydian

r
B bA 7 Lydian

f ---f r rr
':e l CE r I e F e J
,.

D7 sus4 Mixolydian 7 Ionian G7sus4 Mixolydian

>.....----....F 11

,:C r =~CF=
§±t;rt::
~

It:: r
A- ~ Aeolian BbA'7 Lydian F l> 7 Ionian ~ eA 7 ~Ydian
B ~~ Aeolian

2:] ~ F j t r r rlcrEtElerl" :11

The following IS an example of combining two penta-

tonic scales on the same chord:

C7

tEE f rErr I~E ~ r F E1 " II

C7 Mixolydian
1,0
o
":
Z:.. " e "
e " e
" " e
II
Diatonic Diatonic
(Key of Bb t 1st inversion)

Study ~ignment-Pentatonics
1. Select a chord scale, find the pentatonic(s) that
work with it, and make up a rock bass line.
2. Select a chord scale, find the pentatonic(s) that
work with it, and make up a solo or melodic line. Then
see how many different chords you can use with the
solo or melodic line.
3. How many chord scales can you find for the follow-
ing pentatonics?

CD ~e ® a ~e
® @ bo
t;l: <, ~e
I,,, t!
e I,,, b" ~ e
b" e E!
II " II " 0
II a
II

54
Modal Scales
Of the fourteen chord scales listed in the chord-scale
chart, seven stand apart because of their whole-step/
half-step relationship. These are called modes. A piece
of music can be based around one tone with all the
chords (harmonies) gravitating towards this tone, or
tonic. This central tone establishes the modality of
the piece. To further a study of modes, refer to Twen-
tieth Century Harmony, by Vincent Persichetti.
Modal music is quite common in jazz. A good
example is the tune "So What" recorded by Miles
Davis on the album Kind of Blue.
The seven modal scales are as follows (arrows in-
dicate the characteristic tone of each mode):

Mixolydian (Basic Major scale lowered 7th

Ionian (Basic Major scale) with lowered 7th)
e A
-eo .! (~)
o '1 " a
" II
" II

raised 6th
Dorian (Natural Minor scale Aeolian (Natural Minor scale) lowered 6th
with raised 6th) l (.a) ~
a
e " D "
II " II
"
Phrygian (Natural Minor scale with lowered 2nd) Locrian (Natural Minor scale with
lowered 2nd and lowered 5th)
Q 09- .a. (~
e a
tJ: " o
"
f
(lowered 2nd)
II e

lowered 2nd lowered 5th

II

Lydian (Basic Major scale. raised 4th

with raised 4th) ~
08- (.a.)
00&-'1.
a
II

55
 The chord symbols which correspond to each
mode are:

C" 7 Ionian (Basic Major)

"
e " e "
e "
II
G7 Mixolydian

'l: " e o
- II

D -7 Dorian A-7 Aeolian

o (1)
./ e " (1

II " " II

E -7 Phrygian B-7( b5) Locrian

o
" " t): e n e "
II e " II

F" 7 Lydian
..... (1)
"
II

Modes within One Octave

The seven modes can be transposed to the same
starting point to assist in distinguishing the difference.

C" Ionian C7 Mixolydian

o b....
:9: e "
" :>: (j

II
" "

C-7 Dorian

:>: e bu e "
bo
C-7 Aeolian

:>: !,,, e
b" ( .. )

II
"
"
C-7 Phrygian

;): ~e b" . n be b., ...

( )
C-7 Locrian

t): I, ,1 ~e b" ,.. )

" ~"" ""

IB:t
" II II
The "darkest" modes have the most number of flats.
The "brightest" modes have the least number of flats.
C" 7 Lydian
("I
:J: " e " #""
n ." 0
Darkest Dark Bright Brightest
Locrian Phrygian Dorian Ionian

56
" Aeolian Mixolydian Lydian
Establishing Modes
A mode can be established by using chords that
gravitate around a central point and cadence (defini-
tion: arrive at a point of rest) to this central point.
For example:

A-7 Aeolian D-7 Dorian F67 Lydian E-7 Phrygian A-7 Aeolian

I , ,
I
rI I
I
r , I
1 ,1 ,
I
rI I
..f
I :11
Thus, the mode of this chord sequence would be
Aeolian.
One mode can be used for an entire section:

D-7 Dorian

, 1 ,
j ,
1

,..1 ,. ,..1 ,.
.~

:11

In the second example, the bassist, the chordal in- Another way to establish modality is to have
struments, and the soloist would all improvise parts the characteristic tone of the central mode emphasized
based on the Dorian scale. in the melody:

F 6 7 Lydian (characteristic tone: raised 4th) , - - 3 ----,

IL re "
II
However, the bassist, in accompanying a melody instru- 4th does not obscure the tonal center.
ment playing the above line, would probably.do best The application of modes to walking bass lines
to emphasize the root of the chord so that the raised and soloing will be covered in a later chapter.

Study Assignment-Modes

1. Write out on some music paper the notes and cor- c. the Phrygian mode
responding chord symbols of the seven modes in the d. the Mixolydian mode
following key centers: e. the Aeolian mode
D~ f. the Locrian mode
E 3. In key center of E ~ Major which mode would be
G a. darkest?
~~ b. brightest?
2. Name the characteristic tone of: 4. Write out a chord progression-about four bars-
a. the Lydian mode that gravitates to the key center of E-7 Dorian.
b. the Dorian mode

57
Scale Analysis and Intervals
The triads of a C major scale,
The purpose of this chapter is to have the student get
familiar with the various components of each scale and CA Ionian (Basic Major scale)
0 (.)
learn to apply them when improvising bass parts and e
solos. 9: a e D e E!
II
Melodic lines and bass lines are comprised of a se-
quence of notes based on the chord scale of the mo- are as follows:
ment. A good line, in order to have interest and impact,
needs to have a balance of tension and release. If one
were to play just up and down the basic chord scale, it ,: § ! i I 3
would get pretty monotonous.
§ I II
The idea here is to examine each scale and see CA D- E- FA GA A- BO
which intervals (definition: the space between each
pair of notes) are consonant (definition: in harmonic Types of Intervals
agreement with each other) and dissonant (definition:
not in harmonic agreement with each other). A good The second step is to categorize the intervals with-
line then, is a balance between consonant and dissonant in the scale. The following is a list of the types of inter-
intervals: Whatever tension is caused by dissonance is vals, arranged according to their harmonic quality.
released by consonance.
Consonant Intervals Dissonant Intervals
CA (Ionian) Octave Minor 2nd
e o (.) Perfect 5th Major 7th
Q
" Major 3rd Major 2nd
a e
II Minor 3rd Minor 7th
Major 6th Tritone (augmented 4th or
Scale Analysis diminished 5th)
Perfect 4th (can also be Perfect 4th
Each scale contains within it the material used for dissonant)
the melody, harmony, and bass part. The best way to
find out what is available in a scale is to examine the In this list, the qualities of the intervals are:
components. For example:
The first step is to find the triads within a scale. A triad octave, perfect 5th - open consonance
is a three-note chord-it can be major, minor, aug- major and minor 3rd and 6th - soft consonance
mented, or' diminished-in anyone of its three inver-
sions. For example: minor 2nd, major 7th - sharp dissonance
major 2nd, minor 7th - mild dissonance
First Position Second Position Thin:i position perfect 4th - consonance or dissonance
0& 3rd
~ Root • Root tritone - ambiguous (can be neutral or restless)

The most consonant intervals are the perfect 5th and

C Major the octave.

~
bS Perfect 5th Octave
-eo
&8 D

tl: g "
C Minor

The most dissonant intervals are the minor 2nd and the
major 7th.
Minor 2nd M~or 7th
C Augmented
f):
2 ,,~e
b
:
C Diminished
58
Intervals and Their Inversions
The reversal of the tones in an interval by raising
the lower tone one octave will give you the inversion
of that interval. For example:
Ml\ior 3rd Minor 6th
when inverted becomes
D

Below is a chart of all the intervals related to C and

their inversions.

Min. 2nd Maj.2nd Min.3rd Maj.3rd Perf.4th Aug.4th

,.
I...' .

.." ~~
I

-
...""- ILJ"-
.. - ~
IJ'~~
.~
'D --
~~
fIf_
fIf-
&.~

,
when inverted
becomes:
. ,.,.
.."
..
J

-
""-
... .. -
J
~ ..
J
[J&'~
L

I
..!
~
J
-&
-
!
0&
"'-
fIf-

Maj.7th Min.7th Maj.6th Min.6th Perf. 5th Dim.5th

Dim.5th Perf. 5th Aug. 5th Min.6th Maj.6 Min. 7th Maj.7th
L_ bo no
./
,
I. . , .
. L
U ILJ

~
I
n ILJ

~
11
n~

~
... -
L:Y
-"'-
J.._
ILJ ILJ
I

~~

! ! J ! J J J
,,,",,.
,
./
. I·
rJ~ L·
U ~~
uo@o
ll~ ...L~ J..jl"
~
b~ JtCf&

Aug. 4th Perf.4th Dim.4th MI\i.3Id Min.3Id Maj.2nd Min.2nd

The intervals in a C major scale,

~:
CA (Ionian)

I:! e t'! e 0 0 Q . II
are:

Min.2nds Maj.2nds Min.3rds

,: ne
~
ea
eO §;,'!9 0 Q
9 s :s: S-
II de II II
M~.3rds Perf.4ths Aug.4ths Perf.5ths
s ~
" II II ~ ~
Min.6ths M~.6ths Min.7ths Maj.7ths
.a. .eo .a.
Q

" II e " II
59
 The example below uses various intervals and their
inversions to make a bass line "walk." (Refer also to
the chapter, Making a Walking Bass Line.) Play through
this bass line slowly, and name each interval as you
sound it on the instrument.

C Major
Q

2: " "
e a
II

C67

~: I~ ~ ~
'I
r
II
~
II
I Po
F
II
r II
~
II
Octave Maj.6 Maj.2 p.4 Maj.2 Min.2 Maj.2

~:

P.5
--JI
~
Maj.7
~ P.5
F,
P.4
~ P.5
I ~ Maj.2
~ Min.2
~ Min.6
~
II

~:
~ ~ ~ I ~ ~ ~ ~
Min. 3
--I'
Maj.3
II
Maj.2
~ Min.a
II
Min.2
II
Min.a
II

Maj.2
'I
Aug.4
.1

tl: r F r F " If
_.oJ! tI II II
Min.2 Min.7 Maj.6 Maj.3 P.5

60
Below is an example of a melodic solo line using the
available intervals in a scale. Once again, play through
this solo slowly and name each interval as you sound it t):
"2
C Major

" e
(1
a o . II
on the instrument.
CA7

tl: e J.
......._ _ _ _ _- . 11 ,-I_ _---I' L---..JL....---J L--..J
rr r
L.-.-I L--.....J L--...J' ,
P.5 Maj.2 P.5 Maj.2 Maj.aIMaj.2 Maj.6, Min.2 P.5 Min.2

Maj.2 P.4 P.4 Min.a Maj.a Maj.2 'Min.~IMin.2 Min.a'Maj.2 Maj.a

>~

~ ~.
f): ¥
E ~ f· ~ J.
:::>
I J. ~
e, Ie IL.....-...J' II II II.-
P.5 Maj.7 Maj.6 Maj.2 Min.6 Min. 2 Maj.7 Maj.2

~:
F t [
--.JL--J!
Maj.2 Min.a Min.2 Aug.4
II
r~
IL-...-.J'
P.5 P.4
~
Il..--.J
E :t
'
P.5: Maj.2
$ 1"0
"
Obviously, in an actual playing situation one would the qualities of the individual artist-if it were all in·
not be able to sit down and figure out the various inter.·· tellectual it would tend to alienate an audience. How·
vals of all the chords and scales in a piece of music. Im· ever, this is a subjective viewpiont; what is meaningful
provisation is an art, and the art of it is in the quality music to one person may leave another totally unaf·
of communication. There are many aspects of improvi.. fected. The purpose of the preceding material is to
sation which are difficult to verbalize, as it is a highly have you assimilate into your musical "computer" the
aesthetic art form and each individual artist has his or information on intervals with the end of being able to
her own unique way of expressing musical feelings and draw on this information freely. Remember the com·
ideas. parison to the way a painter draws on his knowledge of
Analyzing chord scales and intervals is a somewhat colors and the various ways they can be mixed to pro·
intellectual, dry kind of process and is not an end in it· duc~ an effect.
self. Music of quality in any idiom is a balance of all

Study fossignment-Intervals
1. Work out on paper the various intervals contained in
each of the fourteen chord scales.
2. Select some chord scales at random and make:
a. short examples of walking bass lines using various
intervals from the chosen chord scale.
,b. melodic bass solo from a selected chord scale.
Play through your examples.
3. Take some written melodies and figure out the in·
terval from each note to the next.

61
AbouIlkvI Lift.,
Reading Bass Parts Reading music is actually the ability to duplicate
or interpret the composer's or arranger's ideas as close-
The overall skill of being able to read contemporary ly as possible and reproduce them clearly on the in-
bass parts can be subdivided into three compo~ents. strument. We have already covered the notes in the
One should be able to recognize and play immediately bass clef, and the chord symbols and related scales,
(sightread) the notes in the bass clef, the rhythms in therefore the next component to examine is that of
which these notes are set, and the chord symbols and reading rhythms. Before doing this, the rudiments of
scales related to them. music are offered. The student is urged to learn these
rudiments thoroughly as any misunderstandings can
cause confusion and uncertainty further on.
Notation Symbols
Rhythmic Values

./
..
Notes
''''',. ~ r~

I
---- -
,~
-
,..
III"l
I T

Rests Whole Half Quarter Eighth Sixteenth

./
..
-""". - - T
-..-
.,
L
..
.,

A dot after a note or rest increases its value by one-half.

II F" I ~"
3 quarter-notes 3 eighth-notes 3 sixteenth-notes
"
Attack Marks
:>
~:
~ II ~ I ~ II=F I ~- ..,'" II
long short accent slide· up slide off

Dynamic Markings
,:
F
p
II
mp
F II r
mf
II
f
F II j II
piano mezzo piano mezzo forte forte fortissimo
soft medium soft medium loud loud very loud

Time Signatures
The terms time signature and meter refer to the pat-
tern of musical pulsations, or beats.
Two quarters
Common Time Cut Time Four quarters per bar per bar
... ,.
-
lit
~ ""

double duple meter duple meter double duple meter duple meter

../
..
I""" •
-
r- -
... -
r- -
r-
I
....
".
,...
".

- ...- ...-
... -
.- -
r-
I
I I I I I I I I I I I I

62
 Three quarters per bar Six quarters per bar Six eighths per bar
I~. n ra ~

...
(I
-~-. .~ ~
./ T. l- n
J

triple meter double triple meter double triple meter

./
.. ,..-
16,:" •

,-
,.. ,.,- - ,..-
r-
.-
- - -
r- r- - ,...- - ,..- - -
,.. r- r-
, 1
-' 1
I
I ,I -I
I
r
I

Clefs

Treble, or G, clef Bass, or F, clef

tl: (.)
II II
(indicates F)

Repeat Signs
Da Capo From the beginning; return to the top of the
music (abbreviated D.C.).
Dal Begno Go back to the section marked with the
sign (abbreviated D.S. ).
D.S. sign: *
Coda A short passage which formally ends a piece.
Coda sign: •

Other Signs and Terms

Ottava Up or down an octave (abbreviated 8va).
written: played:

Bva---------
FJ J II Jd J J j23 l II
A Tempo Return to the original tempo.
Accelerando Gradually becoming faster (abbreviated
accel.).
Fermata Hold the note longer than its written value,
often at the discretion of the conductor.
Fermata sign: t:'\

t:'\ t:'\

':~I
E J--- J b:l
E !F IJ J l l II
Segue Move immediately to the next section or piece
without a pause.
Transpose To play the part in a key other than the
one in which it is written.
Tacit Rest; layout.

63
 Below is an example of a bass part using the sym-
bols that we have discussed.

Bass
Intro C7 (walk) 2 +
':1 , ,
*
~ I I I
I I :11
Chorus

*II: ,
f):
C7 2

*
I I I I
I I I

2 2

:9: ,
G7
,
* ,.
*2
:11
2nd time through - D. C. al Coda

*
I I I J el
I I

2 2
>(.

~ Coda
* D.S.
(to D.C. al+)
II

t;\ F7
t II
The above example would run as follows:
Intro 8 bars
Chorus 16 bars'
Interlude 8 bars
D.S. (repeat Chorus) 16 bars
D.C. (repeat Intro) 8 bars
Coda
Letters may also be used to mark the sections of a
piece. For example:

~ C7 2
t;l: II: I I

*
I r I

Bass
Intro C7 (walk) 2 +
2: 1 I r
I
,
,
, I
if! :11

2 2

* * :11

64
~ G7 2
i):
L r~
t
Ii
I
~
;;
2 2

+ Coda
F7
f':\
*' * to(Al, Intro and +
II

II
This example would run as follows:
Intro 8 bars
A 16 bars
B 8 bars
A 16 bars
Intro 8 bars
Coda

Counting Rhythms

1,
In a bar of there are eight eighth-notes. Divid-
ing the bar into two equal parts, with an imaginary
middle line, assists in accurately locating the down-
beats and upbeats. For example:
An exception to this would be the following figure:
1 2 3 4
t>:t
Count: 1
r and
r r r ;E r r
2 and 3 and 4
F
and
I ':1 F
1
F
2 3,
r4
II

So, the following rhythmic figure

4 eighths + 4 eighths In addition, the notation used in this example

:>:1 -
r"
Count: 1 and 2
~1
and
t~
3
r
and 4
L..-.--J
~
and
II 9:1 F C r i E:J' F II

should not be written like this:

5 eighths + 3 eighths is better than this:

':1 r"
Count: 1 and 2
r
and 3
iF
and 4
~
and
II ':1 F r
beam/'
r ;r r F II
L----.....J L....--.....I

By not putting beams across the middle of the bar, the

main beat is more apparent.

65
 Tied notes are another way of making a rhythmic
idea better understood.
tie not

F ISC F F
z:
C II F II
Dotted rhythms can be better understood by tak-
ing a comparable, more easily comprehendible, larger
rhythm and reducing it. For example:

;I:! F- F II divided in half becomes ':1 r- ~ II

123 4 1 and 2, and
'---' ,

':1 r
e

~ If divided in half becomes ':1 ce

---a
wi I
1 and 2 and 1 e and
I I

Sixteenth notes are counted like this:

1 2 3 4
9:1 C C r r C C r C r r C C C C C r I
Count: 1 e and a 2 e and a 3 e and a 4 e and a

So the following rhythmic figure would be counted

like this:
1 2 3 4

t;l:t -
:> :>
::}-
C
e

Count: 1 e and
wi
a
s
~
2
F
e and
+ ?r
-
a 3
C
e
C
and
C
a
&;
4
r e

e and a
II
L--.J

A triplet sign indicates that the designated group

of three notes is to be played within· the same time
value normally taken up by a group of two of the same
type of note. The following are quarter-note triplets.

J J~
~
i

J
~ v:, r Fa 3
V:,
These are eighth-note triplets.
II
Count: 1 and
f
a
F
2
F
and
r
a
I
a a a
~ ~ j
~ ~
~ ~
~ ~
~ ~ ~
':1 II

66
 Note that eighth notes in rock are "felt"-and In other words, the difference between rock and jazz
thus played-differently than they are in jazz. The performances of straight eighth-notes is:
following example would be played as it is written in a
rock situation.

J J
•
IL.....-.1 ---.JV
f'I I
However, in a jazz situation it would be played like
this:

II

Syncopation is the shift of accent from the nor-

mally accented beat to the normally unaccented off-
beat ("and" beats). The goal of tension and release in
rhythmic improvisation can best be achieved by main-
taining a balance of syncopation versus normal accent-
patterns.

9:t
Unsyncopated
, II , Syncopated
:> :>
......-

r~ r :::>

r
Count: 1 and
~
Fand
2
'------J
p
4 and 1
F
and
~
2
~
and 3 and 4
P
and
II
'------J

Unsyncopated Syncopated
:> :> :>
9:1 ...~d
......-

Count: 1
j
and
F !r
2
--
MI
and
q
a
II If
1
r
e and a
~
wi rt r
2 e and a

Making Up a Bass Figure

Frequently, the bassist in a group is asked to make up
a bass riff, or ostinato (definition: a short melodic
phrase or figure persistently repeated by the same in-
strument). Usually this is done spontaneously and is
based on the feel of the music in question.
This section deals with a practical way to gain
ability in this area. Since it's usually not possible to sit
down and figure out a bass riff on a piece of paper in a
playing situation, this exercise provides a good oppor-
tunity to explore this process on your own. It is a use-
ful way to come up with interesting rhythmic lines for
bass figures and can be used in all styles and in various
time signatures.

Exercise in Bass Figures

Notice that there are sixteen eighth-notes in two
measures of t.
4 + 4 + 4 + 4
,.
= 16
A
• •
9:1 r r r r r r r F Ir r c F C j r r :11

67
By adding up combinations of numbers 1, 2, and 3, to
equal 16, some interesting syncopated rhythms can
occur. Select the numbers at random and put them in
various combinations. Avoid using all equal numbers as
no syncopation will occur.

1 + 2 + 2 + 1 + 1 + 2 + 1 + 3 + 1 + 1 + 1 = 16

r r r r :11

Using the above rhythmic line in combination with the

following chord scale
D7 Mixolydian (.a)
Q

9: e (j
e a '1 e
II
a bass line could be made as follows:

;1:1 ~
D7

E
>....---......
Fie f r rrr
~

:11

When choosing the melodic shape of the figure, aim to

outline the important notes of the chord; i. e., the
root, third, fifth, and seventh. They need not necessari-
ly be in that order. Strive for a good balance of intervals
and a logical, stepwise motion. The last tone used
should lead smoothly back to the beginning of the
figure.
In the example given above, the notes in relation
to the scale (and chord symbol) are:

(Cit r c r
D7

scale
r F 1 L I•
degrees: root 6 7 3 4 5 6 7 root 5 6
t t t t t t t
chord tones
Here is an example of the same rhythmic line and
chord scale, but using wider intervals.

scale
D7
r r ErIC F r F :11
degrees: root 7 3 5 6 root 2 root 3 4 5
(10) (9)
t t t t t t t t t
chord tones
To put in rests, select numbers at random and circle
them. For example:

CD + 2 + 2 + 1 + 1 + 2 + 1 +@ + 1 + 1 + 1 = 16

,: I 'I r Fe f= FC l r :11

68
A new bass figure could be as follows:

':1
D7
y r
:>
i-p r F !fl7e :J
~ I r it :11

You can get additional rhythmic figures by taking

your original idea and writing it out backwards. For
example:
Original:
..,...
. ,.
./
... I I
r-
,..-..
I
-
r-
..-
r- -
r-
.....
----
,.
r-\
I
.-
r-
.-
,.
J
..- .- .-
··
r I I I I

Backwards:
,.. - - ,.-. - ,- - - ,.- ··
....
V
... .....-
~

If.

I
_r- r-
.-
I
r-

I
r-
I
r-
I
r-
.-
r-
I
r- r-
I
..-
r-

I
.-
,.
"\
I

These can be strung together to make one four-bar

figure.

Applying this "numbers game" to sixteenth notes

increases rhythmic activity since there are thirty-two
sixteenth notes in two measures.

4 + 4 + 4 + 4 + 4 + 4 + 4 + 4 = 32
~ ~ r---"----... ~ ~ ~ ~ ~

~: t , j r r j , , F, , , F, , , F1, j C r , , , F, 5, F, , j F:1
The numbers 1, 2, 3, 4, and 5, can be used to cr.eate
syncopation.

5 + 3 + 2+2+3 + 4 + 3 + 1 + 1 + 1 + 1 + 1 +2 + 2 + 1 =32

By putting the above rhythmic figure together with the

scale below

~:
C-7 Dorian
e I~E!
E1
e i:.1 9 be ( ) . II
one gets the following figure:

Fast rock

2:1 u;>
C-7

ti'
::>
r be I' erl r·
:>,...---....
1* ~
tr r r r r QE 1 :11
-----
:>~:>

69
Here is the same basic pattern, but with the insertion
of rests.

+ 2 + 3 + 4 + ® 1+1+1+1+1 + ®+®+(!)=32
,
5 + 3 + 2 +
,: ,.......- ---....,
g- e ; iJi
F F C- -{C4' "rrF :11
Fast rock

@ cbr r ;
C-7
2: I j-.
:>
be It c- f 1
ti' 1=C' ~ i :11

By using sixteenth notes, you can create exercises

that flow melodically and use more than one chord
scale. Here is an example of two chords within one
figure.
D7 Mixolydian

t1 elL r B ¥~ t7==-=- rt n I :11

Four chords within one figure:

G7

d I- E
~
~~­ -r :11

Three chords within one figure:

Medium rock
D~ E7 A7

2: e #e C
-=----
C §~
~
fftCElH r-
:>

IT t~ ~ i t-
:>

:11

To get familiar with the numbers game, write out

several rhythmic lines using various combinations of
numbers and apply them to chord scales. Start with
eighth-notes and as you become fluent, move to six-
teenth notes. Play each example and see how your
choice of notes in the figure feels, and how it might be
improved. The aim is to create a musically interesting
bass figure for any type of musical situation, and ulti-
mately to have the ability to do this spontaneously.
This exercise can be a lot of fun and will greatly
increase your reading skills as well as develop your ear
for putting together notes that sound good. It's a great
game~njoy it!

70
Study Assignment-Bass Figures
Using the music on the preceding pages as an ex-
ample, make up three different bass figures based on
the following rhythms; then write them out and play
them.

D7 Mixolydian, A~A 7 Lydian, E-7 Aeolian

Medium Tempo

r r r r ~ 11 E E r P
:>
?:" C r C r ~ :11

07 Whole Tone, Db-7 Dorian, F7 Altered

Fast
, : , 'i P r - .
r r 't
.
r -
r r
. j

A-7,Phrygian, EbA 7 Ionian, Gb7 Mixolydian

Medium
. :>
.
F l
r :11

D-7 Dorian, CA 7 Lydian, A 7 Lydian

Fast

,: I r: r: j F',
:>

B-7 Aeolian, EA 7 Lydian Bb 7 Altered

Slo1V :> :>

?J.j r r j j j A r j e r r r r 't :11

C-7 Phrygian, G b7 Whole Tone, AA 7 Ionian

Medium :>
,: R C' r r r r =11

G-7 Aeolian, Db 7 Lydian, E Diminished

Slow :> :>

':2 E l r nEE r F' REEF:II

CA 7 Lydian, G7 Mixolydian, G b Diminished
Fast :> :>
,: S E' :rejjRj err j r :11

71
Bass Figures in
Odd Time Signatures
The majority of pop and jazz composition are written
1
in or common time, and the bulk of the music that a
bassist encounters is in this meter. For this reason
many musicians seem to resist the fun and challenge
that can be found in playing with odd time signatures.
While it's unlikely that music written in unusual
rhythms will ever become popular, it is well worth
the time and effort to experiment with it, if only for
the benefits gained by going against deeply ingrained
mechanical habits of thought, and allowing oneself to
realize a new way of looking at things.
Below is the basic eighth-note count in ~.
Music in odd time signatures has been in existence
for a very long time. Indian classical musicians come
immediately to mind as being the most proficient and
skilled when dealing with these meters. By listening to
recordings of Indian master musicians, one can gain a
good insight into their ingenious handling of unusual
rhythms. These recordings can be found in most large
record stores. The Inner Mounting Flame, by the
Mahavishnu Orchestra contains many examples of odd
time signatures within the context of jazz/fusion music.

1 2 3 4 5 6 7 8 9 10

':1 r
Count: 1 and
r E
2
r
and
r
3
r
and
r
4
r
and
E
5
r
and
II

However, the measure can be subdivided in several

other ways.

6 + 4 4 + 4 + 2
,
f7 j
A A A

':1 C
1 and
r EEEr r r
2 and 3 and 4 and
E
5 and
IIr ':1 f f r r 2Elil
7 + 3 etc.

1
rr
and 2
t jCEE1Rl1
and 3 and 4 and 5 and

As in the previous chapter, the use of sixteenth notes

offers many other variations.

2:1
Count: 1
! r r r
e and a
ec
2 e
r r
and a
(
3
C
e
r
and a
C «r
4 e
C
and
rFc
a 5 e
c
and
r II
a

Go through the following examples of creating

bass figures in various time signatures step by step.

~T1me
Step One-Write out a rhythm. Carefully tap, and
count it out.
Medium
,:; r . :>

Count: 1
r
and
'I

2
a
and
~
3
F
and 4
P
and
r
5
r
and
:11

L--
72
Step Two-Select a scale.

G-7 Dorian
D
e a ~e D II

Step Three-Take the notes found in the scale that you

have selected and put them into your basic rhythmic
figure (Step One).

Medium

G-~ b
':1 J="I Q C:J• 1D :11
Step Four-Play this figure on the bass, aiming for
rhythmic accuracy and an even tone.

47 T'Ime
Step One-

:>

Rrrrrr:11
Step Two-

E-7 Diatonic Pentatonic (G: 4th invel'Sion)

.a. (~)

~: " " II
Step Three-

Slow

r
E-7
,: 1
77!f
Play through the above figure (Step Four). Listen to
the contrast in sound when a different chord scale is
plugged into the same rhythm.
Bb 7 Lydian

a D
II
Medium
Bb7
,: I ~J
mp
b~
~ rr F FC; :11
73
~Time
Step One-

,:x r :> :> :> :>

C C r f r r r r C r F E C r C r r :11

Step Two- Step Three-

Fast
D-7 Diatonic Pentatonic (F: 3rd inversion) D-7
>-:>~ :> ~ ~~~
9 (.)

::::':~a=====1£9======9====="==============::1111 ,: I
mf
(r UcrFFeFf j:: CU E!! :11 :>

~Time
Step One- Step Two-

~!
F7 Altered

"
root
~-
b9
b.
~9
~o
3
,.
b5
i.
b13 b7
&u I-I
II

Notice in the following examples how the rhythmic

activity is increased by using sixteenth notes.
Medium rock
F~rian

2:1 f] (t t
1 2 3 4 5 6 7

':1
Slow rock
B-7 Pentatonic

C
1
~

IT! ew
2
f' J
~~
3
:>
,,
:::>

4
~
,. ~
5
--- -----~---

74
 Medium rock
F7 Mixolydian
.,.. F
~: 9 C· J
r - - r r r :11
1 2 3 4 5 6 7 8 9
Fast rock
C7 Altered

,: I t be br bE br ~r If t ~E
1 2 3 4 5 6 t 7 8 9 10 11

Fast
- :>
.
f): 1& q r r r r r F1 r ER c j C C C r :11

r p.
Slow
,: I ,.
r =11

Medium
tl: !l -ro - - - -
r ro ro F :11

Medium :>
t): t -
F ~ E E iF~ E r E E Fr E r :11

Study Assignment-Odd Times

1. Following the example of the preceding pages, write 2. Make up some odd-time-signature rhythms of your
three figures using each of the following rhythms. Try own choice and add chord scales. You may want to try
three different scales for each one, then play them. the numbers game to come up with ideas.

Medium :;:. :;:. :>

':j r r r p:~ F A E E r E r :11

Slow

C·-
:> :>
2:~ - ge r
wi
----- r E ~
wi r r :11

Medium
- ::>

':1 F e r r r ~t r r r ~ r p j r :11

75
Making a Walking Bass Line
The function of the bass in rock and fusion music is
for the most part based on repeated figures of percus-
sive riffs. In jazz the role is somewhat different as the
principal function consists of providing a walking bass
line. This style of playing evolved over the years and
was developed by many fine acoustic bassists.
To gain a good insight into this concept, the stu-
dent is urged to listen closely to some of the bassists
listed at the end of this book and find out the various
ways a walking bass line can be approached. The
walking bass line is a constant melodic line that is
played through the composition and provides an out-
line of the chord changes. It is over this line that the
soloists or ensemble perform. The main qualities to
strive for are (a) a stable and flowing rhythm, (b)· a
good sound, (c) smooth lines that also connect with
the chords, and (d) a solid support of the soloist or
group by being flexible and listening constantly.
Although the function of the walking bass line is
traditionally the territory of the acoustic bass, it is
quite common currently for the electric bass guitar to
also fill this role. Here are some points to observe when
playing a walking line on the electric bass:
1. Set the volume lower than it is usually used when
playing rock. Try to match the volume of the other
instruments in the rhythm section.
2. Set the tone for a nice fat sound without too much
treble.
3. Play quarter notes longer, striving for a continuous
flow of sound from note to note.
4. Be physically comfortable when you are playing.
Jazz pieces can go on for a long time and the bassist
must play throughout. Sitting on a stool or comfortable
chair can help you to be relaxed.

Open-String Rhythm Studies

Play through the following exercises using a met-
ronome. You are aiming for a stable and flowing
rhythm. The exercises progress from one to two, and
finally to three and four strings.

One String
Slow-Medium-Fast .-3----. ,-3---,
::::-

rF
::> :> :> :>

r r r
::> ~
a
1. ':1 I IF F F IF F F F

r r r r r r r r I r r r r r r r r r r r r I r r r r r r r r r r r r r r r r :11
::::- ::> :>:>::::-::::-::>:>::>:>
tJ:
3 3 3 3

? r
Slow-MediuM-Fast r--3 ---, ~3----,

2.9:1 ~ Ir r r IrFFFFr

Slow-MediuM-Fast ,--3 ----, ,....--3 - - ,

3. , : i " :>
I j
::>
j
::>
IJ J J J I J J J J J J I
::> :> ::> ::>

76
 - - - _I

Slow-Medium-Fast
~

T19
r---3--,
4. ':1 • IJ J IJ J J J I J J J I

Two Strings

1. ':1 "
:>

I
:>

r
:>

IF rEr
:> :> :>:>:>:>:>:>::>:>

,: frfr[rfr I EdIDWili
3 3 3 3
l FjQrFjFrQrfrFjFr:11
~3--, ~3--,

IF 2F i IF J F J r J I

r-- 3 ---, r-- 3 --,

"
:>
13 4 J 4 12JJ4J~

77
 Three and Four Strings
r--3 ~ ,--3 --.,

IF FJ rlfrJrFrl

2. V: I '" I2 J Ir 2; 2 I r
r---3 ---,

j J
r--3 ---,

J. r J I

r - 3 ---, r--3 ---,

IF Q I; 2r f If r J 4J r I

78
Study Assignment-Blues Lines
Play through the following blues bass line set to
a relatively standard progression. Once you have mas-
tered it, make up your own chord progression and
create a walking line to go with it.

G7 C7 G7

,:1 " roe

4
J J r r IJ r F r I r r r r
C7 C#O

,:1 ~ be
F F 'r I r Pm F j I DJ F F

,:ur G7

F r j
B-7

IJ F F ,J
E7

IJ J
A-7

J F
D7 G7 Bb7 A7 Ab7

r r r r r Ir
,:1 hr lib ~~~ .
I br F r r
b
J

Db7 Gb7 Db7

~Ii~
") r ~ ijr r I re 4
d J .J J I F F r ~r

Ab-7 Db7 Gb7 GO

r--3
'=gtk
121J
~r F r r27 I r J F F I ~-I ijr F J
Gb7 F-7 Bb7 Eb 7

r J r 1 r .J &J br 1 r r qE r
Eb·7 Ab7 B7 Bb7 A7 Ab7

r r
•
~:~Ki:
"I;
hE ~ I.J r br F 1 ~r &r T hr lI.ij~h_1
D.C.

79
Blues Lines with Embellishments
The following bass line uses the same chord pro-
gression as above, only it has been embellished rhyth-
mically and melodically to add interest.

G7 C7 G7

,:1., CiJ J r (plJ r rV5'I~r

3~

C7 c#o

OJ r r gr::a I r
r--3-----,
ttl #r F r J I BJ .F r r b

G7 B-7 E7 A-7
r--3 ----,
,:1 qr- •
J r r rr J
3
f ; F r nJ I J. QJ j r F
D7 G7 Bb7 A7 Ab7

:I I br
,--- 3--"1
,:1
e ~ r E r I Ei~r r c· ~
b
r F "J II·*~
Gb7 Db7
•
ijr ~ I ro J• W gJ c:p I ( 4 r
~ ~
I kr

Ab-7 Db7 Gb7 GO

':WIJ\ r F ~31
r r I ro J r t1 I qr ijr ~r bJ

Db7 Gb7 F-7 Bb7 Eb7

r--3 --,
~:~!61
b:: ~
r J b
r d J 9r I r r q(
~-
==
I

Ab7 B7 Bb7
r--3 ---,

F r F J IgJ> F Pge; r 3 D.C.

80
Study Assignment-Blues
Lines with Embellishments
When playing blues, the following scales can be
used on any Dominant 7th chord: Lydian, Mixolydian,
Altered, and Whole Tone.
1. Make a walking bass line (without embellishments)
through the chords in the following 12-bar blues.

Basic 12 bar blues (without embellishments)

G7 C7' G7

C7 G7 C7 B7 E7

A7 D7 G7 Bb7 A7 D7

:11

Once you have written out the line and played it, ask
yourself if each bar flows smoothly into the next.

2. Take the line that you wrote out above and add em-
bellishments. Do not add too many, or they will inter-
fere with the flow.

G7 C7 G7

C7 G7 C7 B7 E7

A7 D7 G7 Bb7 A7 D7

:11

81
Minor Blues Lines
The following example is of a walking bass line in
a minor key.

,:~
~
"r r r
D- Harm.

:J I
E7 Alt.

r r
A7 Alt.
.
C" riFa ~ I
D-

r J J ,J

D7 Alt. G-7 Dor. E7 Alt. A7 Alt.

,:~
r hr r "C IF r r u I ~" ttr ,J -~
D-7 Dor. G7 Mixo. C-7 Dor. F7 Mixo. B ~7 Lyd.

J
':b
Ei1 J .J F I J F hr ~ IJ r F
A7 Alt. D- G-7 Dor. A7 Alt.
Ii. I
,:~
r F r r If r F r IF ~ f &r ijl

Db7 Lyd. C7Alt. lit F- Melodic Bb-7 Dor. C7 Alt.

,:~ r
12.
gJ J
J II: ~ J h~ br I ~r J J ~r

':b r
F-

F ~r F I T SF
C-7( b5).e- F7 Alt.

f J I ;.
B~-7

,
Dor.

j b
r r
Bb-7 Dor. Eb7 Mixo. Ab67 Ion. Ab-7 Dor. Db7 Mixo. Gb67 Lyd.

':b r T e hr I~~ ,. J r I ~C .J br ~ Ibe ~r r ~

G-7(b5 )_ C7 Alt. F-7 Aeo. D7 Alt. 'Db7 Lyd. C7 Alt. B~7 Lyd.

!h r F
b
r bE I r;r r bJ Ibr F j
J I : I

82
Study Assign ment-
Minor Blues Lines
Write out a walking bass ine through these minor
blues changes.

~ E- Hann. A-7 Dor. B7 Alt.

~
, ... ~ •• ~
I
-.
E-
••
••
./ III
~ ••

B-7( ~5) Loc. E7 A~. A-7 Dor. D7 Mixo.

~.M
•• ••
•••
~T.~

••
7

••

GA7 Ion. CA7 Lyd. F#-7(~5) Loc.

~ ...
, '.M •• ••
./
•• ~
-.

B7 Alt. E-7 Aeo. B7 Alt.

, ... •
i1. I
,~

•••
.,. M T
./
,....
:~

E-7(b5) 91 A7 Al1. lm D- Harm. A7 Alt.

f2.
~.
.... II ~

./
" . I
•• ••

D- D7 Alt. G-7 Dor.

~o
,.. • ~
••
•

G-7 Dor. C7 MiXo. F# -7 Dor. B7 Mixo. F-7 Dor. Bb7 Mixo. E-7( b5)RS
~.
To
...
•• . •• ••
••
./ I I
" • •

A7 Alt.. D-7 Aeo. F7 Mixo. E7 Alt. Eb7 Lyd. D-

:11 II
83
Harmonic Rhythm
Harmonic rhythm refers to the duration of a
given chord. Look at the following series of examples.

1. F7 Bb7 A7 D7

':f ~ , ~
I
~ , ~

II
4 chords per bar

2. F7 A7 D7 or F7 A7 D7 or F7 Bb7 A7

':1 I' t
~
I
~ ,l II I
~
I
~
I
~ ,l II ,
7 ,~
I Il
II
3 chords per bar

3. F7 Bb7

':1 I I
7 ,l Il
II
2 chords per bar

4. F7

':1 I· I I
~
I
~

It
1 chord per bar

5. F7

':1 I
~
tl I
~
i
~
,.
.~

II
1 chord for 2 bars

6. F7

':1 I
~ , ~
I
~
I
~ ~
Y. ,.
.~
,.
.~

II
1 chord for 4 bars

7. F7 (4) (8)
':1 I
~
I
~
I
~
tl
.~
lJ
"e7
b ,...
.~ q
,~ ,.
.~
,..
.~
,!-.,. II
1 chord for 8 bars

There are many other variations. The last example

is the most challenging because the bassist must create
an interesting and flowing line on only one chord scale.
In the following example, we will take a look at this
type of harmonic rhythm in the context of a 32-bar
form (A A B A).

[AJ 0.7 Dorian lm Eb-7 Dorian ~ D-7 Dorian

8 8 8
':1 :11 '±If-'

84
In order to approach the chart given above, you must
first determine the chord scales for both the A and B
sections.

I!J D-7 Dorian

(.a)
rm Eb-7 Dorian
eo be (b.)
o
t): e e
a e b"
Lj
II
You can now create a bass line. Play through the follow-
ing to get a good feel of this particular kind of harmonic
rhythm. Continue by making up your own line from
the correct chord scales.

Medium
[AJ D-7

r r IF J J J Ir r
r ~ I ~ ..r ~ r Ir ~~ :11
r
t):
r F F r F F r F F
001 Eb-7
g b F b~ g
b~
I~ ~ b~ I
1"-3
~
~: ~ 6~ '!~ I b~ b~ ~ b~ ~E
r
,: t· Jbr ~r r I bF ~r
r b~ I'!F r r
b
~r I 6r r b
F r I!J)I
D. C. (Back to

Playa walking bass line through these changes:

Fast
[!] C-7 Dorian
I I

,.
.1
:11

I:Bl Db -7 Dorian
9: r
I
rI r~ I
~

85
 ,. ,.
.1 ,. II

lAl C-7 Dorian

I
I ,
I
I
I
I
I ,.

,: ,..
.~
,..
.~
,.
.~
,. .~

II
D.C.
Chromatic Tones
Chromatic tones are the notes found within the
octave not included in the chord scale. For example, in
C Major, the notes with an asterisk are chromatics:

* * * * *
,: a 10 0 Ie a e Ie n #" ~
10 &3 (-)
II
Chromatic tones that are not in the chord scale of the
moment may be used as passing tones in walking bass
lines, or solos. In the following example they are again
indicated by an asterisk.

Bb G-7 C-7 F7
• * r *3
':&" i ft·
b*
:J
F E' ~
~r I E ;: •
~ r ijr Sf
-=
D-7 G7 C-7 F7 Bb
* * * * *
J .J IJ ~J J
,:~
r ~r bJ J I bJ ~r ·r
Eb Ab.7 0.7 G7 C-7 F7
* * * * *
':WT ijr* r b
r I r hr r ~r I J bJ ~J J :11

86
Study Assignment-
Harmonic Rhythms
1. Play through the following example as it is written,
then begin to make up your own lines using the same
chord progression.

E b", 7 Eb-7
T-
9:1 ,.
~ b.
~r ~r I be br
I, .
F F r I 'r r I I

F7 E7

9: 1 be
"F
•
I I br r
r r q.
II "F =r
~r

Eb",7 C7 Alt. F-7

ijr 'I. ~r
9: r r r b
F IJ ~r
b
r Ir F 'r
Bb7 E b", 7 B b-7 E b7

9:
r r d r I "r F r b.
I I br be
F b.
I
Ab-7 Db7 Gb", 7

~): br -"r .r ~J hF Ir "r ~r gJ Id ~r

b.
I
be

F-7 B b7 F-7 D-7 G7

r r r
1/2.
r r
b
9: br ~r ~J
=11 hF Ir r F
C-7 F7 F#07 G-7 C7

~):
< •
I
r r b J Ir r "r r I r- J r Ij_
I
j

F-7 Bb7 G-7 C7 F-7 Bb7

ijr br be
9: r "r r j Id F j Ir r I
D. C.
87
2. Make a walking bass line through these chords:
Key of A b Major
Bright
IAJ F-7 Aeo. B~-7 Dor. Eb7 Mixo. A~A 7 Ion.

,:~;~ .,
DbA 7 Ion. D-7 Dor. G7 Mixo. CA7 Ion.

C-7 Aeo. F-7 Dor. Bb7 Mixo. EbA7 Ion.

AbA 7 Ion. A-7 Dor. D7 Mixo. GA 7 Ion.

II

[B] A-7 Dor. D7 Mixo. GA7 Ion.

':~~P

FI-7 Dor. B7 Mixo EA7 Ion. E7+ Whole Tone

II

IAJ F-7 Aeo. Bb·7 Dor. Eb7 Mixo. AbA 7 Ion.

,:~

DbA 7 Ion. Gb7 Lyd. C-7 Phryg. BO Dim.

Bb·7 Dor. Eb7 Mixo. AbA 7 Ion.

I Turnaround *
G-7(b5)Loc.C7 Alt.
II Final ending
AbA 7 IOD.

:11 II
*Tumaround: Chords leading back to the beginning.

88
3. Play the following line as written, then begin to
make up your own lines. Be aware of the notes that
lead from bar to bar, and respect the overall harmonic flow.

Fast
E-7 A7 F-7 Bb7 EbA7 Ab-7 Db7

':1 r ~ F ftJ I F F ~r r
b
Ibr r ~
~r I ~r b
r r ~r

D-7 G7 Eb-7 Ab7 DbA7 D-7 G7

~r T r br r r
9:
F r F J I br ~r J I ~r 1 g~ F
C-7 Bb-7 Eb7 AbA7 Db7

,: J
r r r
b I hr ~r F F IT F
b
r b
r Ibr
b
r r ~r

EbA7 Ab-7 Db7 GbA7 F-7 Bb'7

be b
~:
F I.r F I ~r gJ ~r r I br br b
r F I r I'F F r :11

89
4. Make a walking bass line through these chords:

Key of Eb Major
[N C-7 Aeo. Gb7 Lyd. F-7 Dor. Bb7 Mixo. Eb67 Ion. Ab7 Lyd. G-7(b5)Loc. C7(b9) Alt.

':WS f1

F-7 Dor. Bb7 Mixo. Eb67 Ion. Il.G7+ Whole Tone I

':Wh 11

[!!]
12. A-7(b5) Loc. D7 Alt. G- Harm. C-7 Dor. D7( b9) Alt. G-7 Aeo.

':fs II

C-7 Dor. F7 Lyd. F-7 Dor. D-7(b5) Loc.

G7+ Whole Tone IAJ C-7 Aeo. Gb7 Lyd. F-7 Dor. Bb 7 Mixo. E b6 7 Ion. A b7 Lyd.

II

G-7(b 5) C7( b9)

F-7 Dor. Bb7 Mixo.
Loc. Alt.
II

90
5. Play through this line as it's written a few times,
then begin making your own on these changes:

[AI E-7(b6)S ,--3--1 A7 Alt. C-7 Dor. F7 Mixo.

f):g' C flU#( Err I r J DJ E I J r FEI r F r EEJ I 3

F-7 Dor. Bb7(~9) Dim. Eb~ 7 Ion. Ah7 Lyd.

l '1 13 r-3--,
':r r F "r Fir .J ~J r Ir J r J J IbJ J 1.1 COG I 3

Bb~ 7 Ion. E-7( b6) g A7(b9) 0-7 Aeo. Bb-7 Dor. Eb7 Lyd.

,:~
r J r r l&c/r nJ t Ir r r J IJ J ~r F I
FA 7 Ion. E-7(b6 )..e1 Eb~ 7 Lyd. D7 Alt.

,:~
r rr r Iijr t r--3~
rE Ilb'F r r r I~ r "E F II

OOJ G7 (ti3) Alt. C-7 Dor.

tJ=jb [IF r F I~r r ~t

F I Gtr r J IW J
r F
6
A b7 Lyd. Bh~ 9

2:~
r F "r r Ibr ~r r r It r F. F I r
r F F II

~ E-7(~6)flI A7 Alt. 0-7 ~5 Loc. G7 Alt.

f):J' ~.
J
r F Sa I r
•
F r F I F J J "J I J r .J F

o b-7 Dor. Gb7 Mixo. C-7(b5)RJ F7(b9) Alt. BbA7

;>i ~r ijw "F J IJ Etr r ijJ I J. ~ r F Q I r r F r I D.C.

91
s. Make a walking bass line through these chords:

Bright
G-7 (~5)~ C7(~9) Alt. F67 Ion. B~6 7 Lyd. A-7 Phryg. D7 Mixo.

G-7 Dor. C7 Mixo. F67 Ion. D7 Alt.

G-7(~5)_ C7 Alt. B-7 Dor. E7 Mixo.

A67 Ion. B-7 Dor. E7 Mixo. A67 Ion.

G-7 Dor. C7 Mixo.

A-7(b 5) Loc. D7(~ 9) Alt. G7 Lyd. C7 Mixo.

G-7(b5)16 C7( ~9) Alt. A-7(~5) Loc. D7(~9) Alt.

G7 Lyd. G-7 Dor. C7 Mixo.

II
D.C.

92
Atonal Walking Bass Lines
Up to this point we have been dealing with tonal
applications of chord scales when ,creating a walking
bass line. However, there are certain styles of music
where the bassist must improvise bass lines that are
atonal; i.e., not related to any common chords or tonic
center.
This is a very challenging area as the object here is
to not outline recognizable harmonies and at the same
time to remain musical. In this next section we will
take a look at a way to approach this.
The following tone row will be used as the basis
for an atonal line:

" II
A tone row is made from the twelve tones of the
chromatic scale:

II
1 2 3 4 5 6 7 8 9 10 11 12

There are several possible permutations of the row. One

is through inversion, the reversal of the direction of the
intervals.

2. ho b.Q
2: e " bD
II
Here is the original row in retrograde (backwards);

3. bo
,: a Ie e " o
II

and the retrograde inversion:

4. b.a. be)
,: u D "
II
The following example is of a walking line using
the original row and its permutations in sequence with
an interesting rhythm added. Play it through as it's
written, then make up some of your own lines based
on the tone row and its permutations.

r
Medium

,: I b~.C ~• F r

r F IF f'F q~-= I
93
t):
=t Wu W ar l'zF
r-3~
r ~ r IF r F "~

2: Ir r r -r d I r
• ~r qr br bo
:11

Below is an example of the row used as an ostinato

line.

Rhythmic outline:

':1 at .FjjF?=tE i~'

:> :>
, . :>

p sFCpjjCFsr·:11

Study Assignment-
Walking Bass Lines
1. Find some standard or jazz composition. Write out
the chord progressions and figure out the correct chord
scale for each chord. Make up some walking lines
through these changes.
2. Select a recording by one of the bassists listed at the
end of this book and write out the bass line to a com-
position that he plays on. Then play along with the
record while reading the written line. This will give you
a good insight into the way a line relates to the music
of the group. It is also very good ear training. Pick
something simple at first, something that you can
handle easily.
3. Make up some chord progressions of your own and
walk a line through them.

94
About Soloing
One of the traditional functions of the acoustic bassist
in jazz is the ability to improvise a solo on the chords
or modes of a composition. This is the area in which a
bassist can really distinguish himself. Indeed, it is a
most challenging task, for it is where one's total musi-
cal wares are on display.
Soloing on the electric bass is a relatively recent
phenomenon and only a handful of players have risen
to the challenge. It is largely a matter of concept. By
opening one's imagination to all types of music-es-
pecially the solos of guitarists, tenor saxophonists,
pianists, etc.-and listening to their melodic interpre-
tations and phrasing ideas, one can begin to duplicate
and develop a true improvisational style. Think of a
solo as a conversation; or a statement about thoughts
and feelings. Don't limit yourself to thinking within
the confines of the bass but rather imagine you are
singing a song. It can be pretty, happy, sad, nasty-any
emotion you want it to be at that particular time. The
main thing is to communicate, and to do so through
your music.
By listening closely to all types of music-jazz,
pop, classical, Indian, Brazilian, country, Latin, etc.-
you can begin to see that the scope of musical ideas is
infinite and that you can draw your inspiration and
concept from many sources.
A primary characteristic of the skilled soloist is
the ability to develop an idea and logically build it
until it reaches its conclusion. While a facile technique
is admirable, speed in and of itself is not the only
criterion of skill for a soloist. A good example of a
soloist who uses an economy of notes is Miles Davis.
Following a solo of his, note by note from the begin-
ning, is a good way to gain insight into saying a lot
Developing an Ideo
on a Minor Blues
Basic idea
':fr=r,~-----------------
IT E7) l
Below are some examples of how this basic idea
II
can be explored and developed. The soloist is offered
a number of options in his approach.
E-7 Dor. A-7 Dor.
~j!
~:·I
Fast basic idea
pq r r d
~-r---~
l 'I ~ C:r
with very little. On the other hand, a different ap-
proach to soloing can be found in the work of the
late saxophonist, John Coltrane, who developed a re-
markable technique and used it most beautifully to
express himself.
In the following chapter, we will take a look at
some ways to approach a solo. This is where all of
the preceding concepts and information-chord scales,
intervals, triads, pentatonics, etc.-will be drawn upon.
Developing an Idea
Regardless of the style of music that one intends to
improvise, the substance or content of a well-made
solo is based on ideas and their development. A musi-
cal idea can be a short phrase, or a long one based on
the scale of the moment. It can even be an abstraction
outside of the scale. For our purposes here, we will
stick to phrases based on the scale of the moment,
as one must first learn the basics before breaking the
rules. The well-developed jazz soloist has usually done
his homework in these basics, and has reached a level
of creativity that is spontaneous; with ideas flowing
freely one to another. .
Running up and down scales, no matter how
facile and correct it may b~, does not a solo make.
The soloist must be able to communicate to the
listener, to sing through the instrument, and to make
a statement that can be understood and possibly
duplicated by others. Listen to solos on all instru-
ments in all types of music and observe how ideas are
developed. It is really very simple: Learn the material
(scales, intervals, rhythms, etc.), apply them, and
keep on doing it until it sounds good.
E-7
basic idea, different accent
EJ I i
B lITe t~1
~
>~
95
 A·7
E7 Alt. basic idea up a 4th
~ ~
If rC E t j i
C7 Lyd.
E·7 basic idea, new scale
basic idea modified ~

,:, F=t E14· I'I?~ 5~

=-J-C r
b· ~
'1~
D7 E·7 Fn·7(b5) B7 Alt.
basic idea motif
;,
r Ff I EJ l - :11

Further developments can grow out of l.&&, "1mic

change,

l 7 l II

f f r
3
r f) II 7 II
:>

EB -
etc.
j; EZJ
~ l II (11 3 \ 3
II
an inversion of the basic idea,
Basic idea Inversion
........,. -----...... ,,---
-,,
...
r-
~.
r-
- - ,
- - - ....~ \

---
./
I

..
f'
I .... I
f'

" I I "

.. - - - ----.....-.
--- ----
backwards backwards
........,. ...
, - • ...:.
.... .-
-,
- ..
--
~ \
I ....~ 1
....

---
./ I I I
~ I " ~

.
paring it down to motifs,

-C,.....--.j ~.

V:II C r l t7) - =11

using sequences,

':'1 fI e erG r r I r ~ r r r r L r I Em - I
96
or altering the original melodic concept.

II

,:11 r-- E ~
or

~ f) i I or ,:11 g r r f)
~

I I
or ..---- ----• --J•.
r s r r c: :J
".--
':#1 i Ilod):' 1 E r r r c I I
or

9:1 f
E1 r C) ~
j l I or il1l (1 F j• d) i II

or etc.

':'1 fI r ~ c J- t I or ':'1 ej c ---J 6) i II

Below is an example of the use of pentatonics in
developing an ide~.

E·7 Dorian G Diatonic (4th inversion) Kumoi

a .a. Ue-
e I a Ie a a

Fast rock
E-7 Dorian

;:°0 e1iIfl 1¥ ~ert· fl re eerr ccitt· , f=1

97
 The following is an example of soloing on blues
changes using substitute chords.
Medium
C7 Mixo . F7 Lyd . C7 Mixo .
·· -- - b~ (..) I 1- ~
-_ b~ (.)
- ~

u - ....
-= ~
- [J~ \.-1

Scale Pentatonic
, ... - .
./

Solo
·· ....
~;: /L ~

-
-
,...
I
I - _ b. ::>.....-
.......... ~-.
.... I
1..,
t'

2
I

--
Rt. 5
~ .b~"- 1'•.

b5
I

7 ----...
I

Rt. 6
- 5
•
intervals: 6 7 3 --+

C7 Mixo . F7 Lyd . F-7 Dor . Bb7 Lyd . L_(~.)

I"'"
./
.. ,.. -
-.. ~-...
_[J~\-I

_lJ'~~-
-,,-
--L
~
,-,
,-"_ D-'
... -
_U~-
_1Ioc.... . , -

U - D-
·c
'Pentatonl -.........
~bf_L~ ~. ~ ~ ::>,---..
.. -
L_
......
-
-
J
~.
.... t'

'"
7 3 3--. Rt. b5 7 3-

E-7 Dar. A7 Lyd. Eb-7 Dar. Ab7 Lyd.

_nBe.Q. (:!:) ~.a(b.)
1_\
-
I L._bn - I IL._\
·· 11.

-II
»-
l~-"'-
~
»-=
...-....
-~ .-1 I
I"J~ -
.,-
I ,,-
[J~"'-
~ -
_'1Ioc'JI -

eb~ b. - ~
-
I~.
.. ~
~

.......
J
r' v_ I

--- .....I
I

7 *9 Rt. 5 . 3 6 5 5--

··
DbA 7 Ion.

-
I
rJ~
L_
... -
bn .(a)
0.7 Dor.

= -r'W'
-=
....... ~ - o. . ( )
G7 Mixo.

- ~
--
_ I_I
,
-.......
-- ~
-
......

.,... b.
Pentatonic
. ~ b~ ~~. ~ ~ ~ ~
'"
.,, I
r--
11'_ -
I"""
1..-
,...
b-
I
I I

. ."
1

.;
9 9 10 7 5 13-

Bb7 Lyd. A7 Lyd. Ab7 Lyd. G7 Mixo.

L_tb.\ I' _ \ I il_\

'" ·· ,,- ~
- ~
- ~»-
··
1'000.....

... 1 #~~. ~
~~ -
"".
··
17
I r I --..
./

---. 13--+ 13 . 7
* Intervals above the octave: .
,: zz
,. .. A ~
A
A

(1 8) 9 10 it 18
98
 Exercises on Soloing
1. Before making a solo on these blues changes, playa
walking line on the chord scales until you are complete.
Iy familiar with the overall harmonic flow.

Key of F Major
Medium .. (.a.)
·...
I. . . .
- ~ - - ~
-- - ~
~ ,-,
1_\

-
I M
~ ~ ,. ~ lI-
v ~ ~

FA7 Ion. E·7(b5) Loc. A7 Alt.

...·...
L.;'
v-qo
&+
'-

.
, ,.
•• ...
--- --- ~-
_n· -
,
-- ~
1.._
... - ~h~

- -
_ a (..)
, I' _ \

---
~ ~_rJ~
-~~ _ r.J~ \-1
./ ... ~
-..
v
0--
- ~
~

D-7 Aeo. Db7 ·Lyd. C-7 Dor. F7 Mixo.

·
I..., .

1,/ L.
V

-- - - L_ l.)
-
L_ n - IL_\

--
-. ~
I~.
T., I ~ ~ . L:JIP I ~'v_,

-- . -
I
~~~ "'_liJP~- ~ "'_IJ~

.. -- ~ T
~ -",.,
~v_

BbA 7 Ion. Bb -7 Dor. Eb 7 Mixo. AbA 7 Ion.

'
./
...·...
--v

L_ ~
- n (.,.) L_l.)
·· -v
--nrw-
--
I

- ~ - ~ --- ~ -
- I_I

~ - -
~ ~---

--
~~ -- ~-
_ ~v--

DbA 7 Ion. G-7 Dor. C7 Mixo. Bb7 Lyd.

·...
~.

./
V

1_\ 11 ..
'-I
I~.
.".
./... ._ It
l~"'-
M_
M_
~M-
~
_
--
... _
~M-n
lL:JI

"'_1lL:JI
-
-
~
_1_1
- 'L
I~
_
--
M_
~M-
~

V ~._

- _ L:JI.. I'

A7 Lyd. D7 Lyd. G7 Lyd. C7 Lyd.

99

•
2. Play through this exercise as written; then make up
your own solo.
Medium
E-7 Aeo. FA7 Lyd. B7+

~:I
IA1
pf
>
~
~r r r >-----
r ,r n F ril
CA7 Lyd. A-7 Dor. FA 7 Lyd.
~ >.....--....

'ECCJCffElf UrFEr,
E-7 Aeo. IIlI A-7 Aeo. ~

:11 E F E r Err f
FA7 Lyd. A-7 Aeo. FA7 Lyd.
~

~
,: f f C J-- L E r Fir r r C fit" ~

D-7 Dor. G7

3. Play through this solo as written; then make up your

own solo on these modal changes.

\!1 A-7 Dorian [!!} D A 7 Lydian ~ A-7 Dorian

8 8 8
,: I

[N A-7 Dorian 1m D A 7 Lydian

o #-eo (.a.)
o o
a
II 9 a 1 9
~a II
"
Solo [!J A-7 Dorian~___ ,..--
_ _ __
Fast
tJ:" - (J II: r- VF if"
100
 I
-
,: r r .r r r r r rip:
~
~
~-'-
(repeat
:11
(AJ)

lr
I
>.....-.........

k-:f to ~ (first time only)

II

study Assignment -Solos

1. Find some standard jazz compositions and write out
the chord progressions. Figure out the chord scales.
First playa walking line through the changes; then
begin to make up a solo based on these chords.
2. Make up some chord progressions of your own and
use them to solo on.
3. Write a number of short melodic ideas and develop
them into a full length bass solo. Use some of the vari-
ous idea development suggestions: inversion, rhythmic
changes, etc.

101
Double Stops
It is possible to sound two or more notes on the bass
guitar simultaneously. This is achieved by plucking the
strings with the thumb and first (or second) finger; or
by strumming with the thumb or a pick.
Certain intervals lend themselves well to use as
double or triple stops. Because of the low frequency of
the bass's sound, wider intervals tend to sound best.
This is especially true in the higher range of the instru-
ment.
Intervals such as major and minor tenths give a
very full sound, as do parallel fifths. Sixths and thirds
also sound very good. Dissonant intervals such as major
sevenths and diminished fifths (augmented fourths)
are generally best used in the upper range. By experi-
menting, you can begin to see for yourself which in-
tervals sound best. This chapter will deal with some of
the more functional double stops.

Major and Minor Tenths:

Eand G Strings
GA Ionian

a
u e ') Ie "
II
Maj.
M·
ale Maj . Min. Min.
M~. Min. Min.
I! f.l ~
~ ~ ~ #e I- ~

·•• .. ""
f':J t- ~ t-
".
.•• ,I.
I
I I ~ ':J
I .. ~ ':J II
II
I .-
., I ~ 11
./
~ ~ I
~

• -..
I-"

Pluck with thumb and first finger

GA Lydian

e Do e D Ie u
II
e 'i

Maj.
MOIn. Maj . Min. Min.
Maj. Min. e£ ~
Maj.
e ~
·•• ..
#f.l ~ ~
~~ ~
..
... 'J
". -,.
./
~
I
I
I '- ~ -.
t-
~
~
~ ~

I
~ ~
• ""-" • ""'" I

G7 Mixolydian
,: e a e E!
II
e
"
e "
Min. Min. Maj. Min.
Min. Maj.

I i
Maj. Min.

':(1
~ F I ~ r I ~ e I II
G7 Lydian
<,
~: e
e a e It" e E:I
II
Min. Min. Maj. Maj.
Min.
~~~.
Min.

I i
Maj.

I~ I~
~ #r e I
':(1
II
102
..
~~~: that the Whole-Tone scale yields major tenths

G7+ Whole Tone

;1:
e 0 'it a,· we 1"
1::1
II
Maj.

:,
Maj. Maj. Maj.

,
M~. Maj.

~
M~.

~r I ft,
~
~: I~ I '1 ·1 II

G- Harmonic
;I: ~e a e ~D Ie a
e D II
Min.
Maj.
Min. Min. Maj.

G- Melodic
D
~:
e a be n e E!
"e II
Maj. Maj. Min.
Min. Min. Maj.

G-7 Dorian
n o
a e
II
Min . Min . Maj . Min.
Min. Min . Maj
~
(:"J. bJ!
~I~ .- ~ ~
~ ~
~.

L
.. '-.I
I-.
I
I
I
I
(:"J.

I'
~
I
I
I
I
to-
l-
I-
I

I
"'11
"'T1
,..
""""TI
I'""
I

G -7 Phrygian
e L,
" II
Min. Maj.

103
 G-7 Aeolian
a
e
a ~e n e b" II
.Min. Min. Maj.

G-7 Locrian
a
lie bE, e
e 1'1, be n
II
Min. Maj. Maj.

Note that the Diminished scale yields minor tenths

only:

G piminished
,: e " ~e
ij '! ~a
I

104
 The following is an exercise in playing tenths with
the fifth added.

Goe. G- Ab.e.
Finger: 1 3 2 3 1 3 1 3 etc.
,:. J
E
F
A
~
G
F
A
IJ F
E A
b
r F I&J 'r r F
String: G A etc.

Ab - Aoe. A-

~ #r be
t): b~ b
r r' I ~ F F I ~ F F
Bb.e. Bb- B.e. B-
tl: ~j
r' er I ~J r
bE
r' I j t
'e r' IJ 'e t- r
CA c- Dboe. Db-
,: ~ ~ f F I J F1 ~ I¥ ~F f r I br ~e [ r
Doe. D- Eb.e. Eb-
9:
F r #f
F IF r F b
b [
F Ir r
o ~

r I br I f ~

,:
Eoe.

F
•
I t ~
E-

I 'F ~ $ ~
Foe.

Ir r F r Ir r bE F-
r
FI.e. F#- G.e.

~: "r
#e ~ r I "r ~ ~ r I~ ~ ~ ~ E!
II

105
Bass Lines Using Tenths
The sambo, along with the boSSG novo, is one of
the Brazilian rhythms which has become a standard
part of the repertoire of many jazz groups. It is a great
rhythm to play, and the most important part of a bas-
sist's role in this music is the groove he gets into with
the percussion section. It is best felt i~ ~ time (¢' or
cut time) as the tempo is usually fairly brIght.
The best way to familiarize yourself with this
music is to listen to records of artists who feature it.
Milton Nascimento, Airto, or Chick Corea on Light tIS
o Feother are some good examples. Listening to and
playing along with their music will give you a good in-
sight as to what a bassist needs to do in order to func-
tion best within these rhythms.

Bright samba
G6'l
,:, J -
r·
~

P I ~.
---......

pIJ -
r·
~

~
p ~ r
--... Gb'l b::'-- ---......
,: ~.
p ~ F P I ~J b 'r ~ I ~. b~ ~ F ~
E-7
,:
~Q ~r' fj)' b~ ~ F P IJ J.
:::.,--

~ I

,: ~

~. ]J )J
r pI
A7

-~ r'
, 11'
#~
pp ~ p
#~"...--..

r
D67 G67
,: - ~ ~' -
r f I ~ ~ r pIJ r· I

~~g'
D67 Alt.
9: '"~. I ~F ~F' ~ ~ ~r
~ ~ r ~ I ~

,:
Gb7

~j ~r
h~~'
I ~~ ~ r , IJ
B-7

'F' 2
...--.....

B7

~ :11
106
 ~7 E~
Slow rock

¥ JI r (r rf reF I ~
B-7

':1
[ P r r'E
E·7
~
- e
cL B·7
r• I~

E·7
~ II

- .•• -,
• H• .
. :>
•••
... ..
.-
.,..• • n

- -'- ..
".

..
I-
••
~ ~
• •••
.... - • •••
~ I
I
rr I

':~ef
Medium funk
F·
f f E ~
:xl
.
, , 1-5 r r
:>
Eb7 ~.
J t r
.

rf1
Db7 C7

,:~ r ..
J/;
~
I 1: ~ :11

Other Intervals
The following are examples of different intervals
combined.

tenths and sevenths:

,:"
F67

~
f ~~A71:
~
F;-7

~
::-

F b~ E~7 ~!: D·7

,: D~7

~~ F
CA7

;p L. ,:: I
~

107

)
 Eb~ Db6 Gb7

,
F~ Bb7 Ab7 F~7
b
,:el be
I' 1 f I
~
e
II

E~7

j7 Db-7 B7 Bb7 E7 Eb67

I<,
(~~
2: e#1
If #~ j
#1 1
-
60
II

thirds and sixths:

F~ Bb6 Eb~ Ab~ Db~ Gb6 B6

b~ b~ ~~
~: I~ ~ I
! I bp
I
~#8
I
F6 C6 Db~ G~ E~ B6 C6 Gb6

P:o ~. i 11 ~r I #f #g
I~ f II

chorale style:

108
 Unaccompanied
Bass Guitar Solo
The following composition is an example of a way to
use various intervals in a bass guitar solo.
City and Eastem Blues
Rick Laird
(Harmonics) ~
Slow funk
f;l:" I y po! r r: ~;
II f: .fiB

112.

:11 i (J II

1m nl:~ J nJ:
f): § - - JJ ,
............::=------ r

);:::-~
- - nJ: l ·
cr I --lj,
a __________
tEE I
.
Pr r-::~

e£f I P:
-

+ Coda~

9: l~ II
© 1979, Quentin Music (ASCAP) rit. - - - - - - - - - - - - - -
All Rights Reserved. Used by Permission.
109
Conel""
The material offered in this book has been set forth
with one basic purpose: To offer the bassist interested
in learning about improvisation some insight into the
various ways it can be approached. Many of the sub-
jects covered could fill an entire book on their own.
Therefore, my intention has been to provide enough
data to stimulate the student into pursuing each of
these areas, and to encourage him to begin to formu-
late an individual way of applying the principles in-
volved to actual playing situations.
Much improvement in ability can be gained by
studying textbooks, but by far the most important
tool for speeding up the process is strong intention,
and the motivation and discipline to persist OD a
chosen course of action. It need not take ten years to
be an excellent bassist-though some may try to tell
you this. It takes as long as it takes for you to get a
grasp of the basics and learn to apply them. I hope
this book has taken some of the mystery out of
them for you, while you pursue your goals. Have fun!

Rick Laird

110
Bach, J. S. 371 Chorales. New York: Associated Music
Publishers, Inc. (For harmonic study.)
Bach, J. S. Two-Part Inventions. New York: Schirmer
Books. (For sight-reading practice.)
Brown, Ray. Ray Brown Bass Method. Ray Brown
Publishing.
Coker, Jerry. Improvising Jazz. Englewood Cliffs, NJ:
Prentice-Hall, Inc.
Hindemith, Paul. Elementary Training for Musicians.
London: Schott & Co., Ltd.
Nanny, Eduoard. Complete Method for Bass, Books I
and H.. Paris: Leduc Publishing.
Persichetti, Vincent. Twentieth Century Harmony.
New York: W. W. Norton & Company, Inc.
Reid, Rufus. The Evolving Bassist. Lebanon, IN:
Studio P/R, Inc.
Slonimsky, Nicholas. Thesaurus of Scales and Melodic
Patterns. New York: Charles Scribner's Sons.

111
-

Appendix: BaIliN to Lilten To

This list contains some of the key figures who have Oscar Pettiford* Various 1945-55
contributed, and continue to contribute, to the evolu- Ray Brown Oscar Peterson Trio 1955-65
tion of jazz bass in contemporary music. There are
many, many others who have made valuable contribu- Charles Mingus* Leader 1955-79
tions and have not been included. However, this list Percy Heath Modern Jazz Quartet 1955-75
will provide a well-rounded picture of some of the
ways to approach the art of bass playing. Paul Chambers* Miles Davis 1955-62
The dates given do not represent the total output Ron Carter Miles Davis 1964-68
of these artists. Rather, they define specific periods as
listening examples. Richard Davis Thad Jones/Mel Lewis
Orchestra 1965-70
Acoustic Bassists Scott La Faro* Bill Evans Trio 1959-62
Jimmy Blanton* Duke Ellington Band 1930-40s Eddie Gomez Bill Evans Trio 1968-77

Other Bassists
Jaco Pastorius Weather Report Columbia Buster Williams Piccolo Milestone 55004 with
PC-30661 Ron Carter
Jaco Pastorius Epic PE-33949
Steve Swallow Various albums with Gary Bur-
Stanley Clarke Return to Forever ECM 1022
ton on ECM Records
Light as a Feather Polydor 5525
with Chick Corea
Eberhard Weber Colors of Chloe ECM 1042 Rick Laird The Inner Mounting Flame
Columbia PC-31067
Dave Holland Conference of the Birds Birds of Fire Columbia PC-31996
ECM 1027 Between Nothingness and
Mike Richmond Dream Waves Inner City 1065 Eternity Columbia C-32766
with the Mahavishnu Orchestra
Will Lee Brecker Brothers Arista 4037
Still on the Planet Muse 5063
Niels Henning- with Eddie Jefferson
Orsted.Pederson Various albums with Oscar New York Afternoon Muse 5119
Peterson on Pablo Records with Richie Cole
Brief Encounter Muse 5154
Sam Jones Various albums with Cannonball
with Eddie Daniels
Adderley on Riverside Records
Rick Laird-Soft Focus Time-
Jack Bruce Various albums with Cream on less-Muse TI 308 featuring
RSO Records Joe Henderson

*deceased

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