This means using chromatic, dominant, or scaleapproach to a chord tone on beat one of a new bar or the firct beat of a new chord. The structure of this scale is R-2-6345-7-8. If you are interested in becoming a professional musician, Ihighly rccommetrd that you make rcading a priority. Next pray through with quarter notes using roots, fifths and octaves. This is not so much theory on how to construct them but just great examples of lines which you can incorporate into your own understanding of a tune and your bass lines.
However, if you were playing behind a tenor sax in a lesscommercial situatiol, it would be appropriate to be less straight ahead. This book literally gives bassists the tools they need to build their own walking bass lines. A good bass line has a variety of ideas behind it. In the key of C, you will again find the R, 5 and 8 to be the same as on many chords from the otherkeys covered so far. The fifth now has a dual function and will be analyzed wifh two layem of symbols. Another approach is to play the chord tones in different sequences, not straight up and down. If something you play sounds good but isn,t specifically discussei in this book,figure out why it sounds good and use it.
This will happen when any m7 chord goes to a dominant chord whose root is up afourth. The types of motion we will look at arc scolewise, q. Take note of this pattern; it can be transDosed to anv kev. Do you see this happening anywhere else in this example? Listen to the chordal instruments to getmelodic ideas. It's a helpful tool for the absolute beginner bassist. Refer to the numbered scale above if you need to.
By using scale tones that occur in between the chord tones, the line takes on a very smooth, flowing motion. It should be obvious by now which notes are upper or lower approaches. This means if you are in a band, or just jamming out, your fellow musicians and friends are going to be keeping time with your pace. These three notes are included in virtually every chord type. And the grooviest bass lines of all time are walking bass lines.
I agree 100% that starting with the roots then add the 5ths etc. As stated earlier, walking bass lines are made of a steady quarter note rhythm. Use different approach techniques to get to your target rotes. As with any idea used to build a bass line, this technique worksbest when balanced with other conceDts. The walking feel occurs as a result of the bass line simply marching on along with the primary beat of the time signature. Arpeggiation creates more drastic vertical motions, Arpeggios spell the chord changes out veryliterally -your note choices are all chord tones. The progressions are taught in jazz and are building walking bass lines ed friedland pdf enough to be accommodating but not so slow that they're insulting.
To make thingseasier, all the example chords win be built off the root c. Lifles with Chromatic and Dominant ApproachNew Keys for Chromatic arld Dominant ApproachScale Approach. Registered users can basss in file request form or Subscribe for alert and we will notify you when new ed friedland walking basslines pdf files will be found. CmajT c1 c7 3 5 r 7Minor Seventh Of course, along with these new note choices will be all the approach notes that came before, upperand lower chromatic, upper and lower dominant, and upper and lower scale. Notes that have more than onefunction make the line stronser. The specific goal of this book is to familiarize players with the techniques used to build walking bass lines and to make them aware of how the process works.
Remember, have fun, and be patient. The root of the new chord is represented by the open circle; the leading tones are represented by the solid dots. Notice horsmooth the motion is between chords with this apDroach. The term 'walking' is used to describe the moving feeling that quarter notes create in the bass part. Ed's book isn't the be all end all - there are some topics that get a cursory glance at best - but it really is the best beginning resource out there. This means that you should be playing along with the metronome, beginning each note on the click and holding it until the next click, where you will be once again starting a new note.
Also notice that there are dual functioning notes. Larn about the other instruments you play with, includitrg their roles in an ensembre, and how your bassline interacts with their parts. In bars 5 and 6, Cld goes to M again. I feel like I've already made good progress in the few short lessons I've completed, and am really looking forward to working through the rest of this book. The ciords are labeled according to which scare tone they are built on.