Bass Improvisation: Part 3

Bass Improvisation

Part 3--Applying Line Construction Ideas

        This lesson will will take what we have learned in the previous lesson, and apply the concepts to a standard chord progression. In doing so, ask yourself and consider the following questions: (Question) Why so much emphasis on studying a "WALKING" bass line," when so many bass lines don't WALK? (Answer) The purpose of this exercise is to put melody under a microscope.   The walking bass line is these most direct way to examine the melodic content within ALL bass lines. By narrowing down our rhythmic options, we can better see melodic content within a line. We can then take this understanding to all types of lines. . . . using all types of rhythms. (Question): Why the absence of tablature? (Answer): These are music issues that won't make musical sense within the realm. The object of this lesson is not to simply memmorize the line, rather to understand the musical concepts. In addition, many of these ideas come from jazz upright bass. . . and the upright bass instrument doesn't have frets. . . . thus eliminating the use of tablature. If reading standard notation is a problem for you, you might want consult a teacher and take steps to remedy the situation.

        The following progression, MINOR MATTERS, makes use of the three melodic approaches discussed in the last lesson: 1) Scalar; 2) Chordal; and 3) Chromatic. This progression is a STANDARD PROGRESSION, meaning it can be found in pop music, rock, blues & jazz. For information on chord construction, click HERE. Chord Theory will be a topic of a future lesson, but until that lesson materializes, I'm reduced to having to thank you for your patience (sorry)!!

      Exericise: Minor Matters (Cool Jazz Approach)

1126Minor1.jpg (32311 bytes)

Exercise: Minor Matters (Fast Swing Improvisation)

1126Minor2.jpg (29398 bytes) 1126Minor3.jpg (30704 bytes)

QUESTIONS/COMMENTS/SUGGESTIONS???