Download e-book Constructing Walking Jazz Bass Lines Book III : Standard Lines - Jazz and Bebop standards

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Standard Lines - Jazz standard & Bebop bass lines - Bass Tab Edition ( Constructing Walking Jazz Bass Lines Book 3) - Kindle edition by Steven Mooney.
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Some of the techniques used in the Charlie Parker Saxophonist John Coltrane was one of the most innovative, creative, and influential jazz artists of the 20th Century. Both stylistically and harmonically, he opened doors for others to follow. This book will focus on the first period of Coltrane's career, when he was with Miles Davis, and the jazz vocabulary he used. First, to help the student better understand Coltrane's bebop style of improvising, the authors discuss the use of guide tones, bebop scales, three to flat nine, targeting, and other techniques Clifford Brown was one of the most influential jazz trumpeters and was a true master of jazz.


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His fantastic tone, time, feel and command of the jazz language have been inspiring jazz musicians on all instruments for decades. This book breaks down many of the one and two-bar phrases played by Clifford and helps students apply them to their own playing. Lines played over minor, dominant, and major chords as well as short, long and minor ii-V material can be mastered by practicing with the accompanying play-al Complete Jazz Bass Book Book. This comprehensive method includes every conceivable aspect of jazz bass performance. It begins with the teaching of the basics using illustrations of hand positions, basic theory, the first position, how to read music, fingering, accelerated fingerboard studies, a fingerboard note location chart to the 12th fret, four-string studies, rhythm studies, syncopated rhythms and dotted notes.

The book then introduces the second through seventeenth position, scale and arpeggio studies, accelerated fingerings using Complete Jazz Bass Book eBook. Mel Bay products are available through your local music store or through online dealers. They are, in roughly descending order of importance, the major scale, the melodic minor scale, the diminished scale, and the whole tone scale.

The modes of these scales are also used, so it's important to know those. And so on and so forth There are also pentatonic scales, which have only five notes and are generally formed of a subset of one of the above scales or modes. Bebop scales are derived from the above modes but with an extra note stuffed in between a couple of the others as a passing tone. There's also the blues scale, with a similar addition to the minor pentatonic scale. I personally prefer to identify a chord with one of the first four scales, then to make note choices with the latter scales in mind. Your mileage may vary.

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Substitutions are also useful to know. Look up and learn what a tritone substitution is. The Tadd Dameron turnaround is a related concept, and very useful. If you're feeling ambitious, try to figure out how Bird changes are related to a twelve-bar blues, or start digging into Coltrane changes.


  1. J.A.B. (Littérature Française) (French Edition).
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  3. Le Muse napolitane (Italian Edition).
  4. With regards to harmony, Jamey Aebersold's reference sheets "Jazz Nomenclature" and "The Scale Syllabus" will be good resources for you. I printed copies and kept them handy for years.

    How to Use Guide-Tones to Navigate Chord Changes

    Once you've learned a little about the theory behind what notes you can play, you'll have to choose the notes you want to play. Smooth transitions are nice. In the first couple bars of a blues progression, for example, moving from a Bb7 chord to an Eb7 chord, you might transition to the Eb7 from the third of the Bb7 chord, a D.

    Slide in from a half-step below, like. Or you could jump up to the 5th of the Bb7 chord, an F, and drop in stepwise from above. Or you may want to remain static while the rest of the band moves around you, playing a pedal point. Or you could employ sequencing to give a structured feel to notes that don't actually belong to the chord or key you're playing in at all.

    The sky's the limit. Much of this will come from listening, and much of this will come from practice. You're going to make mistakes, and you're going to discover beautiful things. There's a lot to digest here, I know, but always remember, it's very possible to learn this stuff. People have done it, and will continue to do it for years to come.

    Listen to and play along with as many recordings as you can. Work your way up to some ballads they're slower, but tend to have more difficult chord changes like "Body and Soul" , "Misty" , or "God Bless The Child".

    scales - How to learn Jazz Bass Guitar? - Music: Practice & Theory Stack Exchange

    And always always follow your ears. If you hear somebody whose sound you like, there's a good chance they played on a whole bunch of albums. Ron Carter, for example, has appeared on over 2, albums. Listen, try to play along when you can, try to understand what they're doing.


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    Your question is not very well-formed, but try this: To do so, he must select notes which anchor or float, some of the time the chords in play. In fact, a rock bassist does pretty much the same thing, but in a more confined environment so far as note selection goes. By clicking "Post Your Answer", you acknowledge that you have read our updated terms of service , privacy policy and cookie policy , and that your continued use of the website is subject to these policies.

    The roots and 5ths of all three of these chords are the same two pitches: C and G which are typically the notes the bass player is most likely to emphasize while walking bass lines. So, since the bassist is already generally outlining roots and 5ths, you can focus on emphasizing the 3rds and 7ths of the chords as the key notes which define the harmonic progression. Notice how the 3rds and 7ths of the chords voice-lead well into each other — there are a lot of common tones and stepwise intervals between the various sets of 3rds and 7ths as the chord changes progress usually with the 7th of one chord resolving neatly into the 3rd of the next chord.

    Jazz Walking Bass Lesson - Bebop standard in the key of F

    You can take the shells of the chords as notated above and turn them into an equally clear and melodic guide-tone melody, like this:. One of the best ways to do this is by deploying the strategy of adding neighboring chromatic tones to the guide-tone line. The use of added chromatic tones is an entrenched part of the jazz tradition and an effective strategy especially prevalent in bebop.

    If you want to get more information on guide tones and dig in a little further to the basic approach, check out this related video that Brent put together.