bassist, author, clinician, educator
July/August
1999
Chord Study: Blues in F (Part 3)
by Michael Dimin
So far, I've presented 2 choruses of a 12 measures, blues in F. The first was
played in a simple "comping" style. Last time we added some
interesting harmonic variations through reharmonization and chord substitutions.
In this lesson I will add a walking bass line.
When creating a walking bass line, the goal is to connect one chord to the
next in a smooth linear motion. A walking bass line makes the piece swing.
There are two features to a good walking bass line, rhythm and note choice.
The rhythm of a walking bass line is characterized by a quarter note feel,
with "jazz eighth" embellishments. Lets take a moment to look at
the "jazz eighth". The jazz eighth is notated just like any other
eighth note. The difference is in the interpretation. Although the jazz eighth
is a "feel" thing, it can best be approximated as three eighth note
triplets, the first two being tied. The jazz eighth could be the single biggest
factor in making a piece swing!
In building this walking bass line, I will use three rhythmic techniques:
- Alternate the bass note, played on the down beat, with a double stop, of the guide tones, played on the following eighth note (measures 1,2,9 &10).
- Play chords on each of the four beats of the measure (measure 3).
- I will play 4 quarter notes per measure while playing chords on the downbeat or on a chord change (measures 7 & 8).
In
choosing notes for the walking bass line, I will prioritize the notes
available. The most important notes are chord tones (root, third,
fifth and seventh). These notes are usually played on the strong
beats (1 and 3) of the measure. For example, in measure 1, I play
a F arpeggio for beats 1-3. On beat 4, I play a chromatic passing
tone (B) leading to the root of the Bb7 in measure 2.
Of next importance, are the notes of the related chord scale. Chord scales
are scales based on the chord and its function within the harmony. Chord scale
theory is quite an involved topic and will be the topic of a future lessons.
Notes of the scale are often played on the weaker beats of the measure. As
an example, I use a G minor scale (actually Dorian) on beats 1-3 in measure
9. On beat 4, I play a chromatic passing tone (B) leading to the root of the
C7 in measure 10. The scale tone, A, is played on beat 2. In measure 10, I
use a descending Mixolydian scale to link the C7 to the F7 in measure 11.
Finally, there are the chromatic passing tones. These notes usually fall on
weak beats and chromatically link one chord to the next. Examples of chromatic
passing tones can be found in measures 1,2,7,8, and 9.
Next time we'll add the melody.