How to write KILLER bass lines
This gets a bit techie from our bass specialist but ask any questions and I will pass them on!
Here goes
One thing that seems to give students a headache is choosing notes to construct a walking bass line. More often then not, the hang-ups are mental and can be easily remedied with some practice and a little theory knowledge. Let's look "under the hood" of walking lines to help and remove some of the mystery behind their construction.
One thing that seems to give students a headache is choosing notes to construct a walking bass line. More often then not, the hang-ups are mental and can be easily remedied with some practice and a little theory knowledge. Let's look "under the hood" of walking lines to help and remove some of the mystery behind their construction. First off when dealing with theory, there are really only three types of walking bass line phases:
1. Chord-Tone Based Lines
These are walking phrases which focus on the use of the chord tones. For example, if a Cmaj7 chord is seen, then the line would be utilizing the notes CEGB and we'll throw the 9 (D) in there as well.
2. Diatonic (or scalar) Based Lines
Scalar lines are walking phrases that use the notes of the parent scale for the chord symbol seen. This requires a little more in depth knowledge of jazz theory. For example, for the chord symbol Cmaj7 the notes from the C major scale would be used, and for a G7 chord the notes from the G mixolydian scale would be used and so forth.
This gets a bit techie from our bass specialist but ask any questions and I will pass them on!
Here goes
One thing that seems to give students a headache is choosing notes to construct a walking bass line. More often then not, the hang-ups are mental and can be easily remedied with some practice and a little theory knowledge. Let's look "under the hood" of walking lines to help and remove some of the mystery behind their construction.
One thing that seems to give students a headache is choosing notes to construct a walking bass line. More often then not, the hang-ups are mental and can be easily remedied with some practice and a little theory knowledge. Let's look "under the hood" of walking lines to help and remove some of the mystery behind their construction. First off when dealing with theory, there are really only three types of walking bass line phases:
1. Chord-Tone Based Lines
These are walking phrases which focus on the use of the chord tones. For example, if a Cmaj7 chord is seen, then the line would be utilizing the notes CEGB and we'll throw the 9 (D) in there as well.
2. Diatonic (or scalar) Based Lines
Scalar lines are walking phrases that use the notes of the parent scale for the chord symbol seen. This requires a little more in depth knowledge of jazz theory. For example, for the chord symbol Cmaj7 the notes from the C major scale would be used, and for a G7 chord the notes from the G mixolydian scale would be used and so forth.
3. Chromatic Based Lines
This type of line is a little trickier to master as it involves mixing chromatic or Non-Chord tones into the first two types of lines. The best way to begin using chromatic notes in walking lines is to use them to lead into another non-chromatic note. A great example of this is found in the bass line for "Killer Joe" where the chords alternate between C7 and Bb7. The bass line is C G
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