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by D.

ob Magnusson

~llilItrot!i:h,H:t'ion. i, m • i i ~ '. a ~ ~ e • ., ~ • • ,. • • • ~ • • • ., • ,l

l1h!il!!' l'l':a:!lii r.s • . "' " . , "' '. . . ., . . . " '" . .' '. . . . ~ '. e ~ ~ e ,l;Ij,

11: 'Th~ Bh.i,es;=Triad~ .. '.' ' .... ' -e • ~ •••• '" •• "' '" • 9

2: The Bhj,e:5.-[jli;a~lonic IP;;lilss'i,~lg lDne,~, , .. "' 2'1

::I: 'jh~ 'Bi l"H~5-(:tiIlllI'Qm a'lllu:c To f111~S ~ •••• , ~ • i, ,] 01

~: Mlliin 0 r s.c"aJ~le5 !~'fri d IMln1l O!"' B~,u es ... '" .. "' " '. i 4,'1 5:; Ahyth1fn (hal~lgl~s, .• ' ' •.. '" '" . "' '" . "' " '" ...... ~ 45 6,:' Othelli Gom men H a rm eNl it Pro g,re~,~h) ns, . "' ,53

GI~,CIs;salifY'. .. '. • • .. ~ • e. a. ~ -a a a. -e • a. • • • ~ ~ • • "' '" • • "' 153

,tAb D'~!t th'E!' A,LI!rtho,r ~ ~ . . ~ '" . • ~ '. . m ~ • • i, ,. • • ~ 164,

.AII IC~ 'ills e'.!'l.15'fI'!j:1tM !j'IJ linl!l ,lJoal<o: wra ~ biJ' P:!i:iY d If! s.l8I'1d:a!rd ~unill!;!. E-A-O--G. klw ~D high.

Tbe ias I Im~ ,j) IJJ!!! I ,e ~ffiP.!)i'¥j!1of!1J CO Dr~~, a lOi'uli3iS Q:f n~e5 ~o whlwh lfiJiw Ba~ LuM rjJ~

-e· ..

. c____::

,

'Cloutents

111ilr1:_ ... od uctlon. .' m • • • ~ '. • a. ~ '. • .' ~ • • ,. • • • ~ • • • m • ,2

Th I!!!' i)'j[I,!!lih:s •• "' .••• "' ' •••• , ••• '" '" •• ' ' •••• '. '. e " ~ e 4,

11 : 'The BhJ,~s;==Tri a d::i •• '.' ' •• , .' ' •• "' .. "' .. ..• '" . 9 2: Th,e BhJ'e~.-DI~'(j;tonh: IPaltssirnlg lDlru~,s, , .. "' •.. ,2" ::I: ihli! 'B~ Ut~:5-C:h rom at~!c To Hes ~ ... m ~ .' .' m ' •• ' 30' ~: M,I!'n or S.caile~ a n d IMi~'f1 Or' B~,tI e ~ .. "' ~ .. ~ " .. 4'1 ~i:, Ahythlffl Cham1,g,,~s, .• ' ' ..... '" . "' .. "' " ~ .. " .• ~ 45 6,: OthellJ' (!Dm Melfi H ~ rm eHl ~( Pro g,re:§:si,o I1S, • ~ 53

III Ii:...II"'i ut tha A ..• 111,tb"", r-'

,Mt&!J!y,_f .. _~l!!I;; ",~ . ...:,:~uJ. II!!J !!II •• II!l l •• II!! 1I!!1 I!II • II!' III I •• iii Iii e a ~

An IIJ~ Ilia o.Jol.'amjj: as !!!II'il\ls ,bC!:ik: arc to bl} p:lEi,~cd In sJaP"ldard ~uniR!;l> E-A.--0-6. low 1[11 tJlgl-..

Tbe las I I[adol ~ lJi'iI I ~e' (biXiImp.~"l'Ioft" CO D~a;s. ;0 SiJrl~s- air noles ~D \iii hli:ili'l ]fiJlLi ca~ LunG 'up

I

Walk~n;g bass lmes are< tll~ hll.l!c11mg b~oc.ks, Of fIBUIr~t:h:lhtl:l'l. upon whic~, a ~(]f1g is, laud. The term "w.@lkin~( descrllbe:5! the ioolirlg, OJ rnonon. cd UH::: uass lute, Much 1,lke P"J~~!l;':!i'l! walkmg lane sl~1ll ~rlr:r ;;;m[}~IIi=n, lne continuous How ot quarter rlOtr; .. ,:~, Cfea,t.t~,a teelillg or 'Imward mj}m~l'ItUflt.;

1'..1

t .Il; I

J ~J

IJJlII]

H1

I~

~ -

Wil,1 k!!l.~ b;:clS'S I FneS are If! herent W Lr,atl1!ljOa I 8.1 Idl2 pi aYI ngt but. the~ ;1r'I~ used In mallV other leu n~ a~ n IIJ:J It:. liJlt-~JI ut!!:!, rUt.. k, Fh~.J~. 3:i,m.pcl, t.;t;I U! I i1)I, I: lasstca I. el'L-_ .D~I,'t!lop II1~l II Ii:;! abi III), 'I Q CDr 1- struc l a good INal kr Il~ bass l.r r U:: 'C il r ~ Ihe~ elore OJ] I 't II np m\,l~~ ~{I~! r chmc.e of" notes in creat i r ~~ iZU ry t~pe' of lila'Ss 11Il~ _ II r .;;III Sl!lies, air m usic, the proced line use-d r n bu i I d i r~e: wa,1 k~1 r:!il, uass ~illL8$ IS. es.se nil t.liUJ t he sa me: <G iven ~ set o~ hannon r,es or {;h~Ii\GI ch a il;ge$, j/O'u, the ba~si'St, must choose

wh i c n notes to pi ary a tid III W~1~lt order to pJ,tI~ t he-Ill. The speci rit: goa' ot this. book IS ID hel p ~ou Ll'rI(Jer.i;l:.and tne \1'i:lnl)uS, teChfliques used ~!}. constrcet a ~ walkinrg ~3~ IIII~'_ Anf\oo with these ted I mques" y,au will t Ilen be able .'0 btl! Id st.rong bass II ~ I~i:i, 011 y:ou~ 'Owil 35 we:.! I as an,.';1IYl'C' bass IIEliI:!':i awj tletelf11U'Hac what nl@!i«ls flame lmes strong arid aUvar:j, weak .

• Here-Is Ihow the. U!"1Iok. work~ __ •

Form

III my yea rs oJ ~e!;}r:: h 11l~, I've, Mt i CIP..rJ H~ii31 i he {m:ti'J or a song is a n tlir>8t1 often o~eFI![J()kfL...d hV st L! dents: ~el II, is an e~5Ernjal par l. of ah'nrlS~ a II st~~iES of music j list a~ aUf hOI!J$"8 'has a bl LLep~ml, ail'!' !;jong 1H!S a f!Dtm. SQ, In UU~ 'brook, "",,~'U Jearn how HJ, p~a)l and write wal~lng ba~:::i, lines ill the C{lme-x~ .of S!2ve'~1 common son~ [orms. Spe!:ir'ic'all~; lNe'll Jook ,8!t eacn Q'I' Ure foJIO'WIHg rtCtHr.t3. ~nd p~ Qlil;reS"5LOflS, ccveri ng tnsm lhomt!gtlly~

~ tlloi:ljdf hi UeS ~ rrunor b I ues

t 11- V-I plOElH~:'S::m] rr s Ii rh'1t~ un ell a [\ga~

;jI [ll~ her. comrnnn harmomc pro!re~i ons

"~h . 3 iW'loioi.. --·1 E . , .. ,I 'I'·"

_.I Ie _. , __ In.iI, . emen'.·5

As we lear f11 these 'F(I~ms a nd progressens, w~'11 also loek at U1Je nuts .§nd Ii:IIO lts of IlIJW '10 COl iS lruct cl 'Hal k,1 f1~ nass I! Ili:!'_ We,'11 see that arry wt:ll k I il~ bass I Ul~ r::~n be tJHlki~ n tiOOd I I nto Ui'f:!tI b~'JC mu~ic~1 HlexitJ8<,i1Il$;'

'.. chQfdI t:on:e.s ~ m p~i j}c~)

'i< d [atonic tones tsc~le I'one:;:) 'I ch ro mal:i C toriES ~ ha.l f' Me'p~}

w.~' U loo'k ~I each of \~ 1'f:'3.i:1 etemen ts 'S-e-pa~iiI1t{l·ly! i 50hdmg exercises an d I!.xamp les tn see nil;lw tlle<y wmK. lhrot~gh thrs approach, we-'ll build our VQc~bul;;:r.ry grauLllaHv, I.lIndeF5lflildlr:t~ each mdl'!I.~d ual elelll8:I'll be fOfll 010\1 111ItJ: on to. the rr;foR t--:u I III I tat€:ly (:"i1m.bfll i ng 2111 tJl ree e.I'!:!~ I i!"::WI't::"i ~I nd 'I h r.'1 r 'liar LQ!J!S espccts, '11110 orie a pprn;3cb lu cr 00 l,a- mel on iJ{:: W.a!1l;-II.~ bass I i ties.

,:2

t. [Begli'n 'PractiiC:lng

- ~. tn i SI [book are the bass ihte exerc i ses, each Qr which tNlrS its wn audio tr8ck on lhe panying CD. FDr ~~IY €!x'e'rdoor you sho.uld a"~~~l~ tfle 005'5, line Hrst I~nders.tand how ~t. s, prad~r:~ i~ on ,your own, and ~he{n ptaV it f)long wrth the CD. In "this way, you"11 becorn h1y Gornl·ar~··a b'le wi lh vI .

.... '(;1 as; 'IOU to WrJte' ymJf own bass, Imels) For the same progression. lin the oogitulIin,g, wll~n rem ~o wri.le ,~om own bass ~ I n~. I highly ~~r.ommend that yoo sill down with~our bass SDm .... sneets 'C( t11an Ulocr.pt paper. he n, 11icSiing ~OUf Il:ill " lr~ to constrlLlct one, 'WO~ three. or s on your 'bass usin,g the triE)Hmd·~.rrur method, When l(rOu ha~e as.eElmen'l. tif any. l~ngl.h t eu Ii k~! write i I d(WIn. Th~!1 IPla~r the part YOIJ"v~ writteo, -Eill"'ldi cent i In ue . iii rn th LS mali'! ner

I :oo:r bass Ii J1'IC is COIi1J.l~i!\e. In lhis. ~~y. ~our ear becC!mas, an !a(.tiv ~J.ti,\ o.~ HiE QFOC{S:S,

I Ir'I1 IS, erueie I (II pl.31i1 ng aO}! ~ rn pro\,r~se.d music. Wtj;!:~n you r lij n-e rs oom ~ Ileled I then ;EliIlJI~' e

n I any what it IS you ' ... e ~ayed. TIhT(}II~h Ih i 5 met~o I. you I n be a ble to establish a ~fic.ah unl tn w{lil kmg bass 18!lilgu~ge. V:ou'll gralJl iJ~ll)' bu i 10 a grcu p !lJ! phrases. ~ i I;; ks, 01 ideas, th;'lt

_ no Hood In various recl!Jrrirt~ IHllFl'flonie situations. As your mU$iCEllI vocil:allaTY graws, yom amed ear will take (lver and gUldie }loulhrough 501"IlB! Sllrp.li'Slng and !Bflj:oyable excursions w~U"j war u nli!l bass I ill I 1::5,.

B)" impro'l!iser has, ~hemat1{; material or "Iir:ks'· that lh~ ttraw lrom to creale a solo, ikewise, can develop ~ set of id·eas .or ph ases for your bass Unes that m V.~1rIOUS hermontc sltuatiens.

r.roygl1 ttl e use L) the r~:Qr,ded myth m tracks 0'11 ttl e aCDomp.8Jnyi fig CO, you ·11 "ave the o,pp(K' 11y to app1 tnes idf!ti5 10 a muskaf s.itIMtioi:1l. 111 that w~, Yol,JI willi be iJble to hear and c-el your bass Ii ns wam-h.

tor each autli'o hack on the CD. the bass LS en Ulf: left ctnmlilel, and '(tie rhVt'tnn section is, on

I B (I!!l:nt. To imrrol{i'5~ ~'OUI' own b.f.Is5part turn YOIJ~ t)f.ilfilIlGe control to the righi, i)mj Illay iilIlonfg Ith j list t he rhythm sect lon.

Good I Ill; , and eojoyl

Abau,t the ICompact Disc

nen rr:t:ord i ng the COl1lP,j3;;::t disc (or tJlis. ~ook my aim was lo e eat an e IWlfOTI merit as close to a 11'~'e plaYing SltU.alt'i:[lIf1 as. possible. The h~rripns. aN! in the medlurn ~IO'IN FiirD8i2 to gilole tJle stl~Ql.l.:nt suUiclerit Lime l heijf and . erlorrn the wri'lt, III lines. WiUl the et'c€plmoll or examples 1 and 2. all the examples are repeated. [JClfliliplll:! 23 has a slm and. a medium version 'iYhrle Sect~on 5 Indudes. medlum tempns to coincide. wntJ the student"'s progress In construcnng walking bass lines"

ach {!K;;Ill11ple is \ ritten so~{!ly m quar~,er notes In orde-r to I''ileus directly on U e nec.~sary techniques tor C;:(lilstruf:tin~ ettectnre w~lklng bass imes.. Alihol"lgh II am readlll§ th~ notated C'xj.]Imp'le'S on the reco,diflE, t he careful II sten~ wi II notice hcwl,l I uti I ize rnyt hrn ic a ntlci pat i on a rid etner 1il1J-

sees to add life to Ire musIC: and r Be iIi tateo fi eractmn iN i'th the rhyth rn S@!t: ion

Each track begins with ~e-te-r Erskine counting off Ule< tempo. Mike WofhJuj t!I:~n~rall~ comps s.pa~ly on ltie ffrst chorus an.d solos 'spa rmgty 011 thl! second. I kflj~ YQlJ 'IN i 1'1 en joy plaYing Mlong witih H ese t~ OWQrld--'C.~as.s rnusicians,

For thesa wit~ lillie tn no e):peri~H')I;;;:~ in music tnoof'ljj the I(lllawint!i: Inhoductorv seeboo; e nl~t I ed "The B as lcs, n prOlli'd as a crash 1;0 Ijrs.e 1 n rrltervats. sea les, a nd chord S i ,:3'5 well as ~ dS$(u~iml of bass 1 i Iil{!' r.OnIIOUIr and chord con nection. Wha,te-ve:.r you I evelbe:~in ne r or pro--I su~$1 you girve this· section a qu r.ck read -H~rtJ iJ~t1 befme we g~1

. tarfed... "

URders,t"anldin.g IlnlelrV,allrS Inlen:ill: 11 I ... rJ istance l..MoIlween ~wa ~ ieies.

tach IIlLer,..a~ name IS m rI@ Up ol (:I i[OFflib11li:U~Ofl ct 1Vi'{) elements:

~ l ,qu~1iIU~.r--Ttte tO~'!l1 number of I,etll!::r.' names or scale d~grtle:il" an intBF'oI'al~ UDn~~lIIfI:S_ We d'f.i! terrni ne Ltl i s b~ count mg C!l, leUE'r n.::nlll::l:s~ 01' 'Ii nes and spaces, btHween the two notes,

i f1;C I ud Illg I II E! 1111~ Of space me glV~f1I notes ere pi a{;ecl on, Tni 5 I'l:ives UlS a ge.rullftlll rn easurem~{1 t, F OF IDlam p e1

~ c. D. 1:., r, G_ This I~ FIf\'8: II~th';!r names, 'SO tl.~ II I terva I IS a ~j'll

Now ml.linl the lines end SIX _~: .3 spaces 2. Ii rl13S = 5 tot~1

- 'the I rrterva~ (J r a 5th

C, D, :E~ This ls three I et ter names, 50 the mtcrV.;;l1 IS tl. .3 Nt Now counl tl.e lines. and spaces! 2 spaces + I linf! ~ 3 lutal = th e 11i!1er'-'i!l1 01' a :ira

/"--'. I - I -.... ..
! ~ .. .. /' :-:.0 .. -II
• . .. I'
. ': iii iii' ~ ., -JIll ~ ~ iii' ii' ..
JIll
~BIJJI 2'r'll :1 Ii I lUI t:IiI~ 7 L u;:~ 2) q.u~U(r-- The total n umaer or ha~ r steps L:Ol1iaDrlf;!d In an in terva I, Quality gives us a n esac t mJ!:!~5'11 rsment _ I n1Ji::II'¥al q ~~al I'll es r re dlJ,l id~d into two rnam grou pSi:

~ede;c'~.

1 (unison), 4, 5, 8

m.al!}i' and minijF 2.3,6,'7

• Whe.n a mafClf' 11"'1 terval is dec reasad by OIlP- hall step, it becomes ~ rn i r1aE' inleJva I ·iii When a minor ill erval IS I nereased by one naJf 'Sort! p, i L be-comes ~ mi:l,~[lIF i CD larval. I) Perfect imervals ne rer become major ()( rrunor Intervals,

~ All If! lefV.c Is ~ t'hr"oLJi?!h th 8< IJ~ of ace I den ta I·s) ca n become auglfUBJl ~OO 'C!F I~hlrm nisl led, ii:I) ~ Ilu::n a mi(lw or per [H:'l i nte ~ I IS Dec ~E'ase.(] by Q[1C ha I r step, I t becomes e (lilmil1 i shee ill tef\ia1

b~ ~~'hen i::l Hli::IilOr o ~Ilrf{!ct mterea] ~5 IHG.reiflS€lO hy nne l1al'f ~tep, It becomes augrne ntec,

To help YIlUJI deLerrtline ~1;e: Qualll~ cl ,;:II~ int.ef'l,[al, eonslder H1e 'foU{lwlIlg:

ill If rne lop note (J'r Hie • .nl,e-rval be10ngs tu the majo scale 01 rhe lower note, the inh:rval Will b~ perfect OJ rna.!or,

II IF '[he tap note {II Hl mll!r'llar L1£1es, not beionl::, Ltl the nlJlor scale ur the 100'lCr note, compare hE! upper uoie to th€ scale tnne wi1f1 the same loI::lue, name,

For example,

c to G'

The qmmti'ly or this mtc,f\I(31 is 5.

4

Is the t[)lP noie oiF thij'S; i tl.~Ii!F'If.a1 (Gfi ~ m till e ma,jor s;;;:~I~ Ii)'[ the Ifli!N€~ nClU!' (C)? No.

I r' nll l; i 5 it hiig"'er 01 jowe.o.r tha'n 't l'tel! sea I@ 't'lJInl! Gf ~'hlf same name? Hfgher

By h IJW m uc hi~ One ha'll'sl¥J

What is' the Mme 1Of' Hue ~ntei'V3t? AiUg.,5

DOIibl~ '!l.ha~f;lis :and! dmlllbl'e tU'a~'S;

It' i~ iljCC,13Si OOlijiHy m~c@ss<liry '~II' us:.i1:' a QiijU b~~ sharp ID~' dou ble 'fl a t. .111 order to n~G!in talfl [he prOD~ (J1[J.:i!f1Wy wtieii bu i I di ng an i I'IitC'riI~ I. Tll'e~~ !lollrJl bel s r3Il"C \l'ir it ten as ~(1llom:

CJf X,'~i: -b6 n I

Ibtrhlr.- dDulJlu

;;:J Ifj 'Ilnl

~. armion'i,zinlg lihe Majo,r Sc:ale'

Harmlbln i lif!:E ttle m,ajl)r' s.~Eilfe isa 'i/tei)l' 51 rnpl e pl"OC€iSs. Firat, ytJu 'S.t,B lit ~y I;;I}!1str[J:c:t i fj~: a mt'ljOli £~@.I e. We'll use th e ,ke~ (11' C major DOCi2iiU se il h a;s nc slurps, or '~I ats:

iiI!"

Ntf}W', IJsil1iE 'l)nly the' tGWII~6 (rom the scale, !build triad'S on each scale deg;ree .. This is ctiOM by. stackl ng l!f.i'O; tI'JH'dS. ~b(;i'ie each 5CalE' sle p, For IIl!SHmc e, 110QI,le: ~ he ~ i rst n ole, C:; we Write' 'tIi~ 3n:l srtd 5th d€gree:s af the sc8I1 ~=

Th is f!lJrm S 8 C rnarnr triad.

__ II

And we c nnti n'1J e t h i'5i pm~.:S'5 -r'{l~ each seLI'le. :£tep; :5 6. 7 8 9
.3 4- 5 ,6 7
1 2 3 4- 5 etc, {' J']:lllt F.1fI i F rJ Aml ll~
I' :1 ,I ~I·
:§ll=--=' '[']--- -'~ ~
" ,
~-
~!mi lllmi .IV V Vlllli VII· N O't ke th~t 't he sea Ie, posH ion Cl!r eac h lFi ad ca n be: mdlrc ated b!f! aI I tHge Roms n nu meral, and t h f.I t the q 1I[1,IIl'iL1S, Dr t h P.: hmcls. ;f.lre. I ~KJ! ca ted Wi'lh tin.:!:! sun i I((i$ OJ ms, II II rn i," (I'{ II ~ ." The qua I ities ef the lriads ln i'J herrnaruzed n1'f'ljm 3c:"le [.lIw-t!~s h)Uow ~I.i[:j, ::;;tI~:111::! lorrou!a, no tflaHID' wi1al lhp. k~ (C Hl1lijor, F malor; B~ m.aJor; etc.l-

,I J III i HI mi I V 'i/ \J I rni V 1'1';'

Harmenizing the Majer Sc,al,e· [into Se·ven-th ChD,tlds

SeVfh!1.th JC~PfJilrj~ jj r'l..I'!Jr-IIOI.1::!: l hm>L1 c·orrtai n Ulg the ~.hr e& noms of the lnad p Ius. a WurUI

rto e he iJ .1~fVi:l1 0' a llJ ab YL; the root.

I !! SIS. i be sarue plOcess wI;! I.ISC(l io l1ar Il1tmile the mil.~('Ir 51: 1:IIl~ Ifll0 LII ads. uri 1.'1' ~'JI~. w II ~ n'" add .a llh l.o edl;lI sea! ~ degree_ Wl:-'rI '$tdr~ by J(:OIl~,iH]ctmg d C Inaj r sc:al~

C Ina j{H' scale

.J - -rilll

__. .. _-- -

Now usi ng ofll'j the tones from ~ he scale, l'Ie'll b LJlld d 1.fJ ton Ie ~vefl tll chords,

:mr7 I n,;~1 G7 ,"'~1I.1 B_mj7t~i.f
I I---I~ :1-
l~
_, -
Ilhllil I "-'mn7 ~II \.'h11l1 Vlhl(I~~~~ ~ rnu ~ n [1111

Eoco seventn chord 11 i::Iti Il5 own un iQLJC form ula:

ChQrdlt ,~e I,ffterva~ formu loa lrijad +. 7th !Htel'Y8 I
rn t17 rMI. Ina3, P5. rna? major tm~d + rna 7
mi7 rout, rrl13, P5. mil rlIIIIEJI triad + mil
7 root. ma3, P5 i 1T117 major U'ifldi + mil
rm7~~ 5) root, miJ., chm5, mi7 dimrnisned triad + mLI Not I ee til at there am Ill! I WO I rrportara ~ iUerences oo~weer.l lr l.ad! ~~~rn FL{lIn~' and seven HI ,cr.l{1~d hEir mQ:n~t=

liii In triad h~HTL{]!llr, U'ire I, IV, and V en ords are al ~ the same qtl (:Illll~1 b ul i n $€~e ntn enorc ih!;lFll'IillflV, 1I1~ I anu IV cnerds are tfI,ajnr 'SIev.enlll chQrds (major triad! + ma? mterwal) whereas th!! V chard c'lla,rlges iiI'Llu a dominant S:e'llellln chord ~m.[lJolJf '1:rlad -I" mi7 lntervan_

ill The VII chord Ch~H~g8S lrom (} diminished triad to' a mmor s.e'lJleI1I.h flilt-h'J{! .dmid (cHm i rushed tn~r,I I rn i""l Irllef'rl.itI ll,

Tnese seven t.I chon.! harrnnn, es ~ Or m tll~ basis {jo'f our 't"estern ion I music.

Ch,.reI S,mb,uls,

Chord s,ymbC!1-s are used as 131 rlwstcal :sll1)l'tIK:il'ldi DUf: to. reg~Ofl;[31 'tItlt!,at!'OIlS, there are mall d bUEln'!rlt s~'mbols. ~ II.al rep;resetl [ tile: same r:ho.rd_ l-l[}'W€Wf, serne bas ic gefl!i:!~al ru les a re 'INml h nliling;

~ A rna jM trri:1d IS. assumed when 110 £~mblij i 'fallU'hvs a chQrd I eUffi'_ IFo ~~afl1p lc, Hie I elter "C" uy i tse II I nd I C(3 te 5. a C I r~iII~or Lri ad,

Ij The Soy-moo I "l" by 113e I r, iol.lowi,ng any I ettef n EI me, I ndica!:.f~ a dom i I ian t se.vr.-nth chtltti, [iN e. amj)ll:!. C7 rndicates a maio triad plus a minor 7 h Intel"!/i:lil above lhe rool-a, k, a" '!:! C domlHa~ LL SB'IoI'>E! 11 til chord.

• 1 he S~IffiOOI_; "ma 7", ., ma9." o I ma '1,3" $i1ow that a IDf. Jo; 71h is inc I uded in tile ct1ord.

!iii The syrllbol " I .. reters 1@ _he .tItlgm~nted 5th; no~ 1J1'£! ~1J~m'i'!n1:~d 9th 0[' 1 Hh .. For ~x~ ample, G+9 [!i1Iii:~!:!I!1S, a G9 with a n a ugrnen ted .5rth, not aC: II; ho-nrl w~ldii an au.glliilp.!l'ltoo 9th,

~ All alteratiens should be "'"' Ithm ifl Pi3W'F.!n~h~~p:~: for example, C7'~5) or C7t\o9'). Chi2Fd s~nl bols WI HN severa I ~ Il.eratiUil'5 are- wF~He;n Wit h the: "i ghest harmarnc !'L!im:hon 15[11 ~(lVr withm palmn ~ heses,

Namfll Spe!Uijl1:~ S)lmlil'IJlI~. Nalui!!! Spe'l~ill£ .SFl'!ilbo~:s
c. I'f'.ia~r S!i;w;lh ~L , n e :!:i'!\I!!!1'II '"b1 ('1'r1"h
- _:__ 1- ~ ~ Frat Ili,~el ~}'~ C7(-'"'~

C f1'18Jor 011137, C .... 7. 01 c "!j.e'.i\I!!n _j._.~~'~ C'i~I~},
~;
" ~ ,I
sevenrh (s,bFiI"f.! nin-e) C1r+'!)~

-c l'IliI.jlJl'" runth I~ Cili;f'il. {"jl.1,1 C il!llglhenlerl ~~I_- II ('+ 7. O!1fg7,
~' -~~
!! J S~Vf!fI CJ(-""5l
-
C ml.nr:lr 'Sinn O~r.rr.,i("-f· C :;mgrFisnl ed I C~4J!. ('RUi!!.Q.
l')i!n8 ('9(+51 C minor' nill1e fUi3~ f ... sj

nkli('.lf~ ~], C' A (I. s}. ~

G durn fll!>hed 1): ~b~I_' _ C'l', {'t~1I~17
~VEIil
C:S~jlW~ ')" ~Jl: n,'1!fo:;, r],
- _-
lPel:u;:lerl' fQIIJ! h liil nslB-'4·
C. nine "5~l'S- ?: bJ (,7~"U~, eli!
pi3ridcd' fou:rth Cq(~'lll
(: f!~iflflt eievefl I· bkl=d Cmi'l 'I. C- ~ i
C ~\It'1'I ') b~1 I C7('111
~h;jiftl !p.h:!".'f'11
,iI!'
C mi:r !tl'!'o'P.n :q.:' ~r- CI11171l1 ,
ffilf'FE': - -Ii: :;!!i";"" C_i'/FfIl c n'I~n~ Clr!lI, [-.7

sa ... .en!h

I

C d'll'minal;)i" niAC!

k'I' tJ=--'

fraflis~t:'llil~ 1Il:!1'~rs ttl 'I"hE m(]vem~nl. t hi'l!t con 11~15 one cih(mj lQ .il! [lot he;r h~-8·. (; "tllJ H tn a walkmg bass II ne. Th 1'5 most ollen occ urs b'eil'rflel"l tl1 e last OOilit IJt ttl€": chord ~I]lu'f"e ,pi a,yl i'!I~ a Ilfl the first Deijlll !lJ r I he new eJmrd We'll be wor-IIII n~, Of'! I"F~ nsmons t~ mug hou l 1h!F! bOl]k, U5~aUy, tli!f!' 0:; lmnge!1;l mclio~s to a pprooch tll~ ~ i rsl nnte 01 a ne.'j'I,! !: hord a re ((if the. bass bne 'to go;

Up 3 p€rrecl 4th ... m.;. OrIWII1 a pN'fec[ 5t I
U I~I t
-~)' .iii' - -==-1- :1' J
-..:. "l -, etc. ., J l-_
,-.
LJ P IlJfh::: wJ]Qh~' step ... (:II •• []lOIN I I I(J I Ie wlllJlE! sre P
t L ml b
_iII"'r'l; J ek. -9" •
j "'-
_.2..._
LI p one ~ laU ste p: ... or ... Down on e ha I F s.tefJ
L t
.!): -l· ((:-=T- etc .. ':
F'

Urn:: (,MIlUi\I'" DF s1lape of a line beoomlllS very ~mfJmt.aJ1! as ~ow kllllWledge o'f mr[slruJ.:tin,R a bass lir1l:'!.gro.lNs. We:·IJ be ~e"'::mnlllll..'l trris aspect oi buildmg bass lines lllmugllO!).i' this oodt as vanOus, m,IJS ical SllU;;lIILOlts arise,

Tnere are a COlJ,pl@ D' aspects h.l consider when d Isc,u'Ssm~ mrU.UUf S. lFi rst, t he shape er Co.l'1tDut tOr a line can dictate our choice 01 !;Drmelliflllg I ores. for example.

...,!_:·::4, _. -,- -_'_

-~.---.

r -r--' -'-rr

NI)~ice the 'C(JIl~ClUf ol ~I~[~ lint. MeablJrl; 1. ~ I~S ,up the Omit i31!)e'tiii:Il:I, and th-G!il', l:i;eglflnmg on bear 4! descends d latOI'HCaUy (sle pIN I'SB- J 'th ough measure :2 to best I IOf meastl rtl :3. 1 his d e,_ SOEloFl;dillg Il::OntDIJ~ d~tl ales It:ldl (I U f f'ji 3\ nah~ (J f measure :3 b.El' the Jrd of the: 11P.W chord. E I IfIs.~sd of (he r. t, C. Ihis is a good example: of [he contour of ':our Ime dictating till: choice of llSi Il~ a chord Inne ollter 111i:m the root as yrnJr cormecti I I Ill: ton e. Holli;;:{! the II'n met! i i::Ile frumne or the C ~hilrdls{)lll"'ld i n measure :3.

l.esten to the same II na If 100' l u m p horn 'the. f tooal' g'Ii of measure 2l to UtI;!! IT!lJIl of the C cnorc {tN:=;al 1 .or measure 3).

en

r r---f _- .:_

Hear hr:rn.r the wllule. flow ;!lInQ contour of tlil:l- line is InhmuplM tI:'!!!' jU&1fHJ.lng, from the F to the C? A second aspect to consider with contours i creating ~I mO,M-a baSil: recurring shalJ€ U13t C,all I'TIiIJ.!\{I:l !;hrOt.lflln c:nangmg harmomc '$tl,lJati 0'115. r he recuuing rnotl] need rr,ot be !"l!1 ident ical d up 11" canon of Um or igi mill mea, but a gene-fa~ or basie ~hape sErrdlsrrly. Tlna creates ,a ~'e:ry rnusicat bass 1~ll!e ~llk~' ill r.ecurrin,g maladJl}. Hllat the ear grasps ~as.lly_ Here's a blltf exarnple:

(' {;
J ;;.
')I~ ~ r -~ r -- ~
r -- r iI!! etc.
, Jus.t lookinEll,l'lsuaHy aL !.he line, yo1l CJrl see: tl e contour !l'Ilo\l1: from he.al· 1 to beat 2, a 1a~ge jUFr"lr- upwanl; It'ile~l heats 2'. 3. and 4 fall (}r~ In ~ OIJW[lrNBrd rnotten, 1- vrm I:hougn the rlarmOr)Y chafj~r-~ [ram one her to the next, the basic snape lOr. ccntour of tne' line remains the ~i:lme. l.rsten wiU1' yuur ear to lhe cantllmity that (he molii creates lill the line.

e blues is Cine 6 the- mOs. camrnnnly ll~ed forms in an of popular mll!j;lc. For most of us, it's lo.rrn thal W~ li'rsl jammeden inOLJf lJ~d(ll1Jl5 ~w.age bar'ld5. Nnlic:e ll1a~. lt's ['!Helve bars long artd uhh7P.s chords built on the Ist, 4'th~ 20 d, and 5th degr~ of th rna iar :s:c;(il~!f!-i I'll tihB ke.y 01 C maJe! I that's C, F,. Drru, a [lei Gi.

81 ses in C: n118,jOf

••

"111.1_

J I I I

ill I I

I II/"- J

- [ I

1" -I

F

-l l_'-'

In his f~rst eXll1!rc.ise, W€'II cnnflns oursellJes to u5ing !ilIl1'ly 1hli1' ~riacil ("root, Jrd, arid 51h) of' each chord wi th "no other I(1lFilI2~ rlII01,i'ffl~. I·

',': Vl. t

tt.. r

--·3

.5

c
.. "
I +-

- J ~ s -,
21 ~a :2: s Z
1I ---ar---- ~I

~--5-~2

--I-~

-1-3,

-

l

~ -I-a ~
r,
-J- i J I
~
~ I .2:
s ____ 5 il

] -2-.§

:Ii

W,htle the bass hne' 111 e:.:ercise ~ ~~ cp..rt01mly ~lmcti{lnal [mea,nin 1 1hiil't It ouUmes the 11armony o~ the C bluss), ll 1110 hardly mus-ira I (altracllw.:~ ~o the ear), Notice that it IS rep~tilive, in al redundi3Jf"I~ rnanner. the ifi'rsl lbree beats 0 all twell~ bars are ascendrng 11(1 ~'he root. 3ro, and 51.h i]I~ rea ~ til chard, U Sf' 101 ir R4'lf r and I IOL ice ho'lt' monotoneus I'll! is Ii n e is. to I isten to.

t,N.~h .. ,!S~ ~ I~ :s.11~ltll~ 11I{U~ ~.II.o::..C ... L, fil.)\i' l; UII:' s.ml~ 0 I..IJUll"llll ui [tu.:: III..:!. _ ~II ~'I~Hd_I~, r~

more mlerest I Ilg,

+ 13., 2
.
l' F l.'
l ,; i!i -~ 1 r
.. I r ~.
,
-- --
1 ~ s ~ J_ s
2 S 2 J 2' 5 :2 5 -2- -
3 3 -- -~
~ F c
'~;>L -I J. ~I .. r r ..
II!! r oil I
- "
- __ , is 5.
;:3 I a. I 5 2-=[ S 2
:3 3 3 3 ---
1 '~
a i)mi (; C (J We nO'i~ I~a'!l~ lines ascem.lllfig an a desce n d'i ng, ow men crestes more II..."Untr.@sl, .a. nd co lor. Btl L till e lioel ceule be: 'Stronger II 11 tli:ld smoother cennections between rneasuresZ !i:lw-i 3, f) and 7. dHU II and! 12. The ke~ to do I flg lhl~ rs 10 use lf1.iJerSIOJlS o~ triads ..

In V-,f!lsion:s- are Cr ea tflG .by sun pl~ U)1aliflg the: O«tJ;~-r III r lhe 'tones i n a triad ~

1. .3, 5. -----,;... 3, 5, 1 ........----:!' 5J 1, :3 1, 3, 5

1[:; Tdad
met poslllun 1 sr Ilwet!:;IOII 2~1!£J 11'1'113('51011 root 1"'05.llIon '.
iI! ;ill,
,!it iiI!' •
'" ,,,I itI!' --;l_:_ 11

;,!l :5 3 !i. .!:I ::I- 21 50
., 1'1_- s-~ -- 91 ~!j -f~ ~I
~ Iii '11(1 '1111
a-- HII

F Triiald
11D[J I (lI:Jt>d j 00 l~L inrersion 2nd I nYl:!r'sH.'I1 root pcts.itinn
,iii'
.-=-J -l ,iii -"-d~ oil -n
,!III! .if
~j Jill
~lI!j Jill ---
3 '. J 5 !j, ;) ~ s
~ t :2 ~ ~ s II
j
_Ii! -[) ;!I 3 II J
~I -.' 1~
b ---~ I-~ .,

!; '~ :;j ~i !i.
1 :t ~ -2~

5
'5 -----. '.

~j-~ -_-.' --'~_' =====_---'t=_~=~-=--=--=-==-~-===~b===~=~:---~~====--==~

l!:it m~E!rsl'Dn - r--==- - ,. - _liI ---11- -.iI!i-""

-I _~l - -- l:

!UiilL pes I L ~ 11 III'

3 s
- .s
IS 'J

] - _~~

-'S ----~:--========.::-,:--',§-- -=--=----

.LiI!!..
~
5
l' - ~ .!j_

The above f l'1I\lef:jiorrs i{ln:~ j'1i Ic.fi}$.M ~i[':i~;;tj!(.1j'J'. A i'Hll~ her w~y In b~jll'[J OF 'i/O ice '13' lr11ii1d ~s. (,1:1 Ired open 'JKtiC i I'R. or ~\!'Ji p(liSm~l'iI. This ~imlJJy m~iJns. UH!t, i nsrcadel tJilvin~ the I ones ~'r the triad ss

II: I~ tilg:cthlQf as poss i ble, :f!Du sjJlac£l them ou ~ ever a I a'rger area 1 le3!Jijrng Sptl!e:!I'1! ~ei'YJ€el"l tones where ether ,11 ord tones COlli d ha\'e resfdled.

Ie Tlf,j:a 0,
f
~' ~-' ... 1
-I
!!i ;3 ~ !!i ~, 3 'j
s-- J-'~2- -12 -I-~ t1
f,(II i


IF'il'lii~d -f
==---f--=- .[: -~,j r H


~ ~ ~ !l !'10 a 1
Ii! 1 §~ !5 - ±;-- :[,iJi- -f~
-:3- -7
:3
,0, - ---
--~
rr ! II

J:
"1 ;q
II
-
GlI)iad f
.. .-
:~ l~ - -- -I 1'1


s a :t !'J 3
JII I '~ i~1 ;]
-- -e
:!!
'ji\.. No.'i~, annec with (.fui 11~~ !;I.rJu'~li;;:u~t:; l,lIj ICJ\lc:l~ll..)llS; j3IIU tI~JI lX':5.illl.,1n';), let's create SO~I ~ Ii: ll~ mUSl~ [It DI'll es !lEIs'S lines Usi filg "on I t he three tones err the triaJ jl

'. Ex. ,3, ("

f ('
,J==-- -
I- •
,--


:'o! _:_ --d ~
l ' ,
~ 5 :2
-::11- ~_-
I -
~ . I ~ 5
a 1-~~3 3 '5--2- 5 1- - 5,-§



Uml G (j
~ .,.-
~ I -' U
- C-
-- - ,jill r~
-r
II!! s ~-
1 I
;S- iii 50 2: !!i 5
iI 5-
3
• [Ex. 4-
, .
c ~ .

,.
I

__ ~, ~I
1:-1--9 ~ -
!5 .2 5> - ;z, 2
3- -
:S
F C
s
(-t' ~



!Ii 'llil'
l ~~
'1' 7 5
J
II -a
I)nl~ ~i t· G
0 ill
_1 I r -L-F==~ ~- ~ [- r

1 ~ S .. !i-::--:5 -,: II
1 -5- -~,-I" I
5 :5 2 s
a - If iiiI se"ql.ilence hum lhe I hree tOI'ltC:!s of ,a, triiilld ~5 a gr at W3'j In creai'!3. melQdh:: I n I3I1?S':-iI!StaUy wfilE'1fiI a c 11IJrd is shi,1l1c (s.tand!mg s1l II, not rna king a i ransll lo n ~fi :r'I n olhar chord} _ Nol'i C,i3 ItIi ., bl Yes rorm how rnessuses 3. a Ft:.d 4 remain static on the I chard (Cl r m~i3is!Jr'E!S 5 and 6 rerna 11 S attc on the IIV chord (F l, .and mtP. ~'II ras 7 iilflifl .R tljl! rlrl i 11 ~I.rI1 iii': fin I'I).!!! I i.11hi'd' agr:t i n tel, nese art: 15.000 ~~."K:e5 to usa senuences,

-'-1-7

11 'F L m I' Ip-t·~ look at a r.ew seuue neos t l" 'I' I used bi3-ok j n IID:.EreESeS 3 a no 4. The - i rst orUi!: ace: ured 1111 p.~rclse 3. beat 3. of rneasure ,3 ~ 11 k'wu-bea& seq ue"ce ! hal con tj nued 'for six beats,

i!!\c_

etc.

--

t

'J I

Ii

-;

e asle Seq uenc I!S

Following am Sj~~Iije..Ilces that re-cycle. 'ill v.a lous dura'-oft's. Some are. tw{)-it:m~ IDr}Uems, some are hmr-berl~ j1BItterns, ;3I~d some are IP.'ighl-beallPaHerris., Wh~n you find! om') 'thal you like, ana, Iy~e the ~q Lienee- IOf Ilhle chord I'[me.~, troot, 3n:l, !!ili'i ~, and ira n !:oflQ-se it 10 other ,ke~s a ni1 'Ot.hN q ual ibes (m;i3Jor, ,augmented, CiI i m~ llIi~h~d) ..

~~ -1--5 -

~ 3

-- --_

5- L~- __ ~

5-

5--g;-

:IF

iii!' .h\ll

. ~

I -1 _ --: _ oj- -I~·I ~~ 1- ~~ .1 __ __.

2==J--~- -

---=-.l=:9.- _-

_$ - '~-I~_-_-_

,~ '-U-:,-_-:__'_'i'l'_.' _ 1~ __ 21 ~

rh.!l 2L!-fr<:' ~~, l.dJr 1. II iH~ i.h.UW

~ __ -- 2 ----l~ --r -==--~-!II' -- J -- t 3--

-~, - ~--9- - J

- '2: "2--5 - -- -u!

- -- -_ - --'Ii) __

--- --- --- --- -- --

-!Ii!i'

Jill.

-----'5 -1-( -'1 i , _ -Ii

---- -- --3 --

-i.t.-- - -- ~ --- ----

91--- -----'~~ ~I_~

, I.Q-_~_-+---~. --i!Jo

-'-" - 'lti --+-

--- ---__"'-J1;Q:~----

,III'

ill'



___ iII_r-- ~. ;U

1-------3 ---

1....-..---0 ---

_s._~_--:_:l_ ~_iJJ -_ -_5_-_

-- 2

..

., n
...
iiil
~ 9 1(11 II
-----=ilri! ;1Ii
if' 'l- -'I"
:3
~ -..oo.a 'SeQIJefle.e
iili-
,~ "iI!
-~- ~ iiI!- ----=J -II
~-
,"'"
=1 -dl
~;u
11 io :a.;

3
- t~ uenc€
;!iii' .p. _iii!.. ' ..
- ~ ,., I • " 1_'· ~l t • 11
iiil ---~ rII!'
.'
s
-J -, -111--~1 -a-3
1[J1 1 !Ii 'M)--~7 3
L II) 1
3. Ba,stc Se.qIJn~f1lces....JBack.w,ard:$
• eH! iJfe ~he same s@ql ences, bu t" in re'Ii'e'rse.
ii! ~
. ;j; ~ iI! iII!'_l • ;j' I ~
.,_ ;i!
-- ~ '"
!I!!I' .-
,!!Ii
:5 ,;:;
'2 -6~ Jf
~ ~ J -:2 ~
~

• .- .i#!-
1 f---iIi! !!!I' -ill II
~J
. ' ..
..
~
S lZ 5i--~ -~;]

~ iJ
]I! . --------,.-- ~i1-
"'I". -------_. . - .. ---I iIii'
,.. ..
-
iI! . -=-1 El
I.

'21- U' 'l2 '9 iii
10-] , 03
_;'iE 't iLl ~ Z ;.
::I :3.;

~h~
E .,iIl'-
...
l: j-




I 5 Et 5 f1i_l ~ II

~- a ~ :31 -
-; -i]- 15

!:. «Ii !'
iii' !Ii ~
b-'ll 9 I ,iii' - r ;ill 1- ~-- ,._::_ .. -
iii' .. --
--iii' III!'
!! S
- 1 -[-
liD ---- 5, 2 s
It'! 1 :J
,ril a.
,. 'iI!'
~, ill' I ill 0--·- I
iii! ~--.. ill!
ill! - ilL .,

.'
9 §-
a :2 1 :i! .s ~I :Ji :t

(I--~
~] II!I"
'jjl ..
=-~ 1- ,._ .' -=-1-~"
,"--
,,.-:- '"
.'
~
51
Br-~-~- ~
a 2, 5- ~3
-51-- 3'
~ 3
..
,l1li _L II _iii! -1 H
.. !if

- - IIII' - .. -
.. 1#
---s - ij~
-~ -~-a
-:r---5(-- ~- ~ i!i
9, :i
-3.
[[j ';jI-
-;ji-
I~ ;ll
ItI'
..
1!!! -t 5:-- :2 o=ll

1IJ, ~' 9, s
,8 ~-
00 ... .-----...
OIl' .... 'L'
~~-p ., t= Iii! J1

-.'
~
I -I' 1<D
:3- 7 U--7 II

.3 -[J.-- ,9 .B
mJ ,III"
.". iii-
I iI!I' '!!l' Iii!
.!II' ..
--_ill'

1iI- g
~--1--_"! ~---M- Ui~
IIIl
3. 1- ;1) '~ 10
-li!i- fo FUlllhe~ P~liIdice

·2 - fCItJl'F'~ toml'ormbl'e p1ayi "g. tJie b I Jules illa:ss lin es An 8)!erC i 5!Sl ~ and 4.--fJ no! canl play them ·atD g wTlh the ~liylhm section 0[11 the C D~ll) wri mi Ii1g, YE'li r []WIITl bass, I ilnes IlJIIer tllij: same ti:msic

, lues .p!'iogre~5j'[]n using "only the triads" of the chords_ R'e(€f to pj!l~~ 31 "!low to Be.~rll Pl'dcth::illl,g.'1f rf yOll need he I D ~eW ng started.

C F C
I @

r e
!"): = =---oJ
Dl'I1i G C G
~': ~II
lZl (_' F C
~ I t4

c
--
JiJmi n c 'G
.. & "~
• The II-'V~'I [P.rog!r,ess,iunl

The 11-V ~ proPBJe5sion is pf(]baJblll the mosl common: hatfrwnil[ motion in tile Slf1lfld'ar'd! re pertn ire. As tile R'amiln numerals, ImplYr tit 1$ a mDhQIl involving (he 1:1 chord (rbI1Jill: art En@ 2nd degJi'lee erf the. rTLariDr s.ce Ie), !1l{l'Vine 10 't'hL'! 'fI eho d tbu i It 0.11'1 tht:J 5 t h de~r~ of thf! ma.lor :5[08,1 Pol. re:sol''-'ilf1g to tl e ~ ChOH~ (built on the Lst degree (I'f the maiar scsle).

The nrP.J.:~ two et(ercl'Si2S will app1y thiS, 11-11-1 pl;ogressmrn mOij~ !g lhF1:m~h si Keys each. in b,fads 0.111'1

'Ou.§

'l,...IIU 1
-_- 1

-t--,
E9hw ~C I,j·
b· , b:
1 1iJ_~_!i __

.' ,

_I

~ 5 __ 6 _=6.=_~, d

__ ILi_t a __ :;_

~
- I
B
-I
4
~
2'
A '5

GlIli

.. -

:1--

--~

~--

E

~~ _- ~

l -- ]-

-'- - ~" -'. -

1

--i 2!

j' ---.:t-. -7-. ~~_'H :...J:::.!

~]' -.1(1- __ "fil

__ -- -5,-- -

-- --5- ",

l

r-Ip~-r l1-f

, 31

5

.~

-!---

1

-_2 - _:io-. _1_- _. __ ~i _~- ,

"llI __ '1 --~ 1- -- III -- ~--_l -,-

-- -- --- --

_i} =1_

-j-, - --I

I't,b (j>
6-: =--:J
6 :8 'II
" '"

'Fil ~ E 1--oiI! b ,

ill 1;- ..
, ,
E: A

'iI!!
~ ,. ~ 1- =
,-~-"" I :i! ~;]
2 i!
ij -- - ~~

I} ~I~-

I.,.__--

n ()
. ;1

~' ~
~-t
ill ,5 Iii
is 2 5 For F1tJI rth er Praldice

Onc~ yoU can Ip13~ along comfortably 'WIth the "·V~II b8!JS lines I"w ghmn you, try ihiFiti",1:ll yaurr rnHi1 bass I inres !l]\I'l,Ir these pr&gre!Slsiolls I usl tlg jusl t In=!! notes <[!If each ~fiad'. Relet' bee k" to page 3 if YDU need help in ~e.tling start~d.

m Omi

::J$t

$A ::

j

emr

r-

7l

iii .•

Bfonti f:I. AI
,.
-;t}~ E : $I 1

~ II

The roost !mpurtant i3i~pec.t ot plaYIfI~ llle bass IS, keeptng goo.d nne, films is. i'FUC In almost any s~y~e I!J.f IPIlPiLI h1r mill SIC. No m attsr no'r;\oI g, eat YQIJF m usieal a .... p'l'oa'C h, I f your pi ayillg rs !'lot estab-

h5hlll~ ,a gl:l~'. !t Id tlldlid!~l a II I he otlfier C1 !Jam €IS o'f yaur playi !lB- As ~ he. let , great. D u ke

Eill ifllglon &.aldi, "I t don'l m ean fJJ nun;g, i'f it ain't glJt I.ihat 5wi ng .. P

P layi n~ atona ~ith l he CD snou I ~ Ihel p ~a WI ln II us' regar-d .. YOUI W 11 811 so OO~'I n to t.h~1~clop ttl I S aspect or your plaYing ib~' prachc! Ilg ,~ I H~ a metronome. Tn i s w II h.e p you I D de'oielop a se fI se j)~ e\,lEnnl!!!SS In )lour tunc. DtJfL't be disG.j}ljrngeil j'f It's not c·onn~Plg right .a.w~y, Remember; pla·Yllllg guod oolLd time Hlv!JIl~es. kn~ledg;e 01 ~ Ie nn~crbOi!irdJ lJeeihmr..I31 camm'and et lour insuument, and. liti:i1irlg the phrase 'you want to play.

1B'='Sld.e5 lIS1!1g the rn13!t..nmOITNp. and p1.a~il'lllli: ~I['jrlg wj'~h the CD, listen to rocordlf1gs et some of the ~Jtla.t bassists, Stud~ ~Eld lr)l to absorb [heir sense of 'swlng, TI)' to pia: wtlh as many good drummers as possi bile, and W'Or . I u I OCK-IJ P ~Otl r gnJo~re w~th til eirs. AI ~ of 't hese aspects. will help ycm develop :yo Uir ~flfie.f c·loc'k and g~t Y<l1J on ij he Hlfi@ to' pi aymg i:1tea~. ti me.

m.aIIQni'C pas$it!g wnllS !lire. n otes derflJed hom [he scare corre£~:IIj)(ldmg to the c h ord I hal, Y{l!U are 1l1!'l)!lIl~f~;;ITt hom '~h!! chord tones thernselves. UHrt is

H !3:r'~ ,j3i"@ H':I€ scales tha t correspond lo tbe r~u~ ehords we'V-8_ been HS1'Ilg to o!Jtllf!~ ~ C b I ues progrtl'S.'Sioiil, Til eo dmtofl it IPoosi Ill!!: 1(t[1Ii2:S are- c i FoC led:

c G-~-;~
~ ~
............... <=-- l1
----

~ ~, I iJ !5 11
-,IIr---

-0- -2-1~1----::I~----11

______ --------_---1..

_ .. ---

-Ii

:._- -----

~-,-,..-- c·\

~ 031 -s

--

--i---=--~--i!\-,F -II

---;"j-- --i5--

Notice ~hal all s.c:ale 11MiCS for I his blues prf'l,gJf!S$r~r! a~e verwed ~,om the c: rna ior seal e, SQ ji[ Y.I}U krill[!W one scale, y.ou know ~ hem ~ I ~, H OWIll.iW, tor I he C. end f scales, you [n8Y .a 100' use a

1111 i nor 'si'!'ientti'-Ht:- j n till B C scale, 0 i n the F sea,1 e This i::; a c har:ac Lerist ire 5!iJum.:l u'f ihFa blues j:m)gress1orl, (Adu;ijlly. IL':.;; the ~ nt-. 01' ~hc deminant sevenl II climrJ. whidl WJ"!"II SP,I~ nil}r~ 1JIf'

I Q:ted U~ l({I1JIr 'Bar te p,i,[Ji: the- SiI U rid Or SlI unds I h~1' you I th best,

ln thi5!o ~lhflpter, W~IU also be addin.g two more chords to our bask blues IJ'rogf"€lssi!l;ln= Emi ~nd A. ThIBS{l, '1'0'111 i:3d1d 'SOf1iliJ1! color a n d Ih a rmon ic rnauon to our- bi3iSIC progression:

rml

.0

1

__ -_--=-_-_0_· -_~_- ~- -31 -- ---iI ~_' r[

_~I -- t

'~1

(i-----=----:2 - II

__ --_---

-----

---II].

g -- 2' --,"'

--3

Nut lee tM::low lhal rneasur es 7-8 now nlOlJe HV 111111 i-V Land IT .aasu rss 1 I. - I 2 move I-V I-I ~ rn I-V. Trlese are con I mon harrno II u; n iotlons l!sl:!{l 111 thll!! bllJle-a to create more- f-t'J lor_

9 E~.7

t-

----:~.

-9'9--1'

---7 ir'-----

I'mll

(.

A

ill NoU~ he s tel_h'Y i~-e mIlt 1011 of meaSl!Je :2! thl! tom notes bDn I beat ~ o~ i neasure 6. 10 beal I of measure 7, and lne 'r~~ notes r rom heat 3 or measure 7 to beat 3 O'f measure 8_

i Notl ce 'l he- re pea ted Jour-on ote ~qlle nCQ \~sed 1 n measores 9 &111 d 10 .. (I t a I'SoQ begLflS t hI.'!

I inti! 1!1 measure 1 -)

[:.:err: ist=: 8 uses Ste'qUI!::Hl CI~-!i .. 1!.BHswe Iy.

4) Ex. B.

f

c:

~ ,~ __ i_

---5.- ----=1 s. ~- I-~--§j. --i~ ~

-ii!!- T-5--F2 &.- -I
31 ~- ~~ ~, Ii<
c:= :;: '[J
5---- - ~
Dmi n C A ~Nli a '1 J--!-,!ii

18 S. --0:-

~~---

7

.;;!,

:5.-~ ~II'

I~ Nl;l't'in ~h!ll! 't\!IO-bea~ seqllJitlflCe o~ d~ti11lliildi'lll5 l'll.:ljiOf ilf1d mmor thuds IrJ measure :3 arid! beats 1 iillldi 2' ilF mec:!SIJJH 4,. ~he.n! starling arl tn~ th lrd beat of r~:;Iii!a;s.IJ!I'e, 5, ~ rotlI-beat ge(J.!JeJ1ce (iCL urFi'r1€ three t imres, !2ndif1E ijill'1 the 5eCll}ftd beat iJr mP.'3'.;Um: :8: ![j~rF;;) ppiflg til l·lMJ-ooa[ seq!:JIence of majllf ~ndi m i !lor tl'! i rrls, 'IXt'lrrri ng 'I i'!1~ ti rrfI~s. @ndinl3: on '~he: seoond beat or measure 10.,

;i; C::Q~tpar~ ttlif!' two seq uences of ~h i,FJJjc'1!. Notke lhe Ji rst seq 11~i1C~ i ill ifr~a$Ur,e5 3 ,a n d ,oil!. wherl:!' the lh i rd int~l"!.i',i3ll~ ascend as does tJI<e: $€Cj uence, But in th ~ secen d '~'El{j usn ce rmeasures 81 9; and UJ), th~ third ~fjte~a~ descends W.h~le the 'MQ~b@i3t sequence aSQe;nds.

Exe~'L ise '9 ODm bin I:!-S ~fIl'rge, ~ Ill:eF'llars w,I," ~terwise mot ion to creal'~ ;(Iifl i nteresli ng bass ri ne. The .s1~pwiS€ motlen ODLlJlrS in m!faSiIJr'~ ,111 to meaflUII'€ 5, measure 5 to measure fi. artd me'.a5'IJre 9 '00 rneasu 1'1~ 'l O .

• : Ex. 9-

C

F

'Ii]!

HI J '~'

--

1m J

Ro -- J
t
-B;--'Iil!
F II'Ii ~ 1-- -

·-.B------

1'Q!

-iiiT

~ 'VO 1\4 U;--F'~ '10 7 --;o-F 5

j J,fj 7 II'

[lnll o c i-\ I-=~_' .~ .. '_ ...J.!.....__ 1 7

,-~I--IIi-~~d

Drni r:

--!;i

---'~---~f~~

5i-~. 1-- -- ~-: -l. _0_' _ 7'

.:: 3, tI~ -4

----

!I! N(ltice: ttl e earrh;!!J.]r o~ 'ftljEfI(5UH'! 8" [If.ell th!i)1i~h bea!.!i. 2. 3. and 4 ~iI"f,: filQ~ a II stepwuse. It ereI!'~e3 the same rEp'11 f ni5 1;iI~ stepwise fi1{ill;\elnen'l thai' rneasure .1 has,

23

!Ii huLn.1.::: hlJ"'" II~I~~' LIIIIIC~ I ~II:: u~~L.1 IIlki'lloJl'!i 01 tUIl .... ~n~ .",:..,1'75, SrJlnt:H c!eall? the Op€ll re~liflg tnis III~~ cuntarns.

Hecatl'!=(! we:1lile aiJd ed moru ~l an non II:: I nu110:11 1 . .0 iO'LJ r h I ues pfogressl{Hli Ih~JI 'IN€' h ad In ,ft.8rl i er e;o.arnples, I"d like 10 sha-e a concept ""'I~h VOUI thai has I) en vcr V Iff j)!lrtaflt to me O'iie-r the .~el3r:s.. I I ik~ lo U Sf!: the III ustraltm I o r two trams,

The 'f ust tram i ~ lh~ II local" j it stops. j n E!--;Jer'l lanl@ 1[;1wr" T :h.E!' 'E.~cond train IS. afl "sxpress", it

b passes the srnall towns .a!ltl (fill ~ stops m II e ~dr K • rnore I mpartant c.~ms. Our concept of CQI1ShLl~'liIlR ii, bass line [311 00 Ilkef! tllO"S~ h~o lrains, wrlh 11"l{! enords ur Ille prQE:~es5iol1 rHprLl'sen t i UE: Hie i,,;,lues, all d towus. Wllt:'i I 'W~ censnu ct a bOiS:::; I II Ie E!!nd take the "local," om bass IIIIII:! gOffi 1O in] d out I i nes €lITer 5.1 rle:~e Ct10 d. When We' ti:lke the .11 express, II mu oass ll ne c an bypass chords lhal are Ulere to add color and create more mollon, ,am~ 150 directly to the more Irrlptlrtam chocus

To 5e<e 'i1_0'I.'I to ap.ply 't 1f5 coacept, let's look bark at &erc.~s g and g. fliere In 'B!x~r{;jse 3~ mea. sures ]' 2l~d ;g; I've ~i!~~11 the "express." I'm 1101 c I ~a t.1 't 1)!iJI'U I n i!1g p':iJ~ry c hem c:til aFlE:eI,

L.:
~~-

.5 ) ~
Ii 3'---

-:5i---

TI1 LS oOCI.mel1 becau $E!' {lot a ssq uence I wa'S usl 1'lI~ .h,1t begal ~ 1[1111 be-~t 3 of rn ~sure ~. ~tf1 ttl is case, ttl4.:! sn f'..(I:5,1 ~ t lim lll~ III!iIj "':0111 (j II r d IlIJW~tJ ,,~ Lu Il)Ym,Ja5'S the r a~!i.J Em L:llunJ-s.

Nep f! measures 7 and B 01 exercise 9, I've taken the "local " Notice lhat each chard ChCill@ IS. cllP.£Ir~y C U Ui~l 00.

IC .~, l!1nj A li.Jt!IL!
I ~- ~

--
ate,
5 ;q~s-
r 5, -- 'I-T
Ii. -1'- q
18 :3 05-- Now nonce measures I ~ and 12 IO~ lhese II,I.ifl exercises. liere In ~lterci'S'e.8, measures 11 and 1. :!., I've LMte~ I t Ie "exnress."

i!'

11:.atlui!I HlIilIn {]ulltne thc A and! OWl .;;;horch" I Ileard rhts hne m(]\!in~ trorn trtM:!: G chore, rnatoniCa.Ulf descend In~ U''Itoug!h t.he G chortll] .ill 11 d a~ri v IIlg af t h eo ta gel note C 1111 rneasure 1:3. Not tee 111,f!; s.tronf:. !JI)I\'II[LW.uld coutuur til HIC nne.

ere. in measures 1 J GI d 12 of eXercISe 91 I'VE: taken the "local.' Notice ho',,' [he bass. line c:te~rr~ IUIll.Ill i t1!£!5 ea c h G~ijjrd ch a r1ge.

fie) fu ft~jl,e,r IPracin ~e

Flf£lr.:l ice the bl ~J€S bass II nes in exerc:~~s 7, 81 i31nd 9 un i II YOll r.an pl'i3Y th em oomfrniably 8'long wlltn t he CO. Tltiten try writl ng. ~oll!lr awn II i nes. RlIlrtli9mbet~ we 1'IIt8, added r:,nord thi!liPIges in mea- 5'.uH~"$ 7 -8 and ] 1-12" creale .a 5ilie:ht Iy more sophist lc a led blues p~·Qg,fe~5.1o'n _ Feel fT@@ 'to t~ e the "local" nr the j'e~pre$s ii)i'lr~y, l.ilSIfl notes, af thE! triad plU'lii diatonic .passiJng, lones, and wat.ch tbe' eonteurs or your I~ 11E:.

c

F

c

=

G A
J
c 1\ [) _lj D F

Omi

=3

--i'F===

1~
~ j

F C r I[ll[~ll A
-
~

bllll G lJrni G
/. ; ;I~
l'
.~ Tlh.e Dial •. ni'e l~ lades,

The dlalornc modes are essential to I am as you begil"! bui:ldin~ yO\I sc2l4e ~cahula y_ These modes. are constructed hom each of the sr.ve:n deaH~es at '!he Fl'lajGt scaie, r's~rt;g only notes O'~ lIH' kl:'\1 )I~lIl"v ... CllClSf!II, Wif1'11 f'O!i"'I~Hr'l IIW·lr~ nil I"'f' 11("11 1)1 C 1I1.1ifll, ;!Ii:; ,'I h;l<';. 110 o;;l~"'rr5 or Hats and 1,'11'11 be ,(!3SY to v i'$u.a I ize,

l; t.: JQ[li.3J i, 'i,1'II:i!lIi}1 J
iIIi-
-- ii- ~U
-_- ..
j!!~
.:! ,4 s i!J 7 ~
i ~ 5 J]
2' !S ---
J '5 - --

II': [) Dom:U1
!ii' •
,"'_---.

1 ~J, -I '~ ~1 I!o
~ n
'5 7
5; ~-~--- i!!i

II ~; E Phry~!i!f! ., .'
.... 11

"1 h J :;; .0 7 ri
1 7- -]
-,-- '!I --;iJi
]1 11]1

IV~ F lyrlHH1
==n
.-- ,ill
--- iii.
..
':j , t. 1 ~
--@ 2' ~ 11

I} :2
1 -3
11= G Mixc_.l dian
!!!I' -- IfII--~1
~ iII'
_II~ ...
-
J: , u ~1' ~
- - -~
~ <::
'2 !5
31- -~
III: It Aeoll(lll (N aturat M illlorl
tli- ~
.1 ill'
,ill .'

----
.! h 4 j L~] ~~ ~
---- ~
--- 7
7 7
iii
VII; Eli l~CI1'~.a!l
--.'-- ....
.. ,!!!!' JJ
,,. . '
~,
---
r..~ IL ~1 ~0 ~7
2: ~,- ~
- -- ~ :l
~ ---i!, -- IPfilr.:tiC"~ tlLe&e modes If! .0.11 h!,iel~ tkers to get iarrulia-r with I:he wa:)' nat I'hey sound and tHel, W() T f ~ ~C'h moti COO..eSPOfJd{. 10 the chord [milt. 0.11 UN! sarne s.ca.le d-egref}.

Th,e lll:,,,,'¥"'li IPrDgre(!i1S- ainl

uefs V!ltll~ en nut 11-"11-1 Cllt1if1!:1!S I add i JIg til iaten nc ~®ssm~ ttJTI'f'5 to our VOCfl bILlJa,),. [at h 'el'li8'1{:4$\! m!)'ll.8S thrq!J~h ~i:( k'Ey5_

,~ iE_l(.10'

l ~

1 B!-+~--~1'

-:5-1

IB""

30 T+-" -~'l-

_,G ---t~

;- -:+ r--§

J - S l 3- -~-

- s· ~ J ~~~ ~-i
-a- s -,5, .3~
G\ i6 ,F
-

i3 ,Ii,~ lilli 11)" q b
~J_d b .L±~~ bJ -'r I. 1-- b-: Gr,
- - &

l ~, -1 ~ 4 ~
61- ~~ 'Ii "
4--1- 1 ';1' 4 ~

I~ f1mi 'B 'Hi: 1--~2!----r-1 ~ _~~ P

ill! " ~~--~~ '"

1----~-~~-----+_-~-~-~--~--4--~- 4 __ ~~!-------.L

1-

2-------'

I)

--

~,

---t III!
~ri I - 1 ij ~II
.Iil ,~ ~ 7 ~ r'
s,_ 4>' &.11.

-1- --- -5" __ ~-_ --------I-

7- S l=;- s

-L!-

~I

Iii ~-I

IIIII
~ ~ ,
r'-r lit bj
r
:a: !iii
6, 13

&:::t.IIJI
~ r
---
t- - ~
'!
2
Ol'lll~
~ ill!'

I

~ .. p
;II! r 1 Lt -Pr' ., - L-' ~F-~
r •
I
4 1 _l aJ J
3 5, i) s 5 0
~ 'e, 'I [.

r- ~r' 1 t;ll!~ -r- - r

_1_-;6 1 "4

li

f ,-'~' r :1::::1 ==- ~!:I===I=:::::::- ----'----'---.I!!

l-

I 4.

~.~~----;I----c J -r - r~,

I----"il- -l--s- ~, I

::il.

3

'1

-~-~-.

---

- - I"

_____'___--I------.I - J

-I - !i----.---------

_]-1!--i- - - _J- -=t-'-6 - 9'- 1,_j

F~r' F~rthi!,r I?lr,adtc)~

W.h en :ro:lI CZI n play esercises lOami l 1. corn Farli31b Iy I~,I DIi!ll W~Uil ttl e IFny!h rn sectian on I'IilC CD, it's time til 'try wliHi1~, jlCllir own bass Jines. O'lltlr these II~\I-i pro.gres5u;ms. IR:emif;!mlber= Qnly US>tl, t~he netes !~i' each Ii lad plus dihaiOlr'l ic passing to n es, Tn i ntt f1boHl the comours ~Jf :you r I i'fHe,

[jJ II iii G C
~ ~ ~ t
.

aid J,' I ~~
:gr_ -=1
-

.Ia~lm fl~ -~
~1 [ ~ t:- ~I

A·mi [lJ. uf
1 -I
- Flml n IE
~: k g

Emi A D
~;, -] ~ j :~
[11 (;!T1~ C I?
~: ~ -I l

Frni nb ~
=" ~ ::=r
.'
J

f_!;H.i A~ rf
"9L: b- 4-


0~liIJi pi B
=9= A =J t-=---_ -f


if.'Jnil F ....
-~' - -I -I 1
.:....11
'. , -
!\uni n {j
~I~ t ,i,111
Chromafic failles cs 11 be used 10 s e'!,i'e ra I W.i::llfS III con] IJ !lr.:tl on wilt! IJr lads lo o!.nl1 ne t be ulues. In his S cuon, we'll break dOi,"111 each of these loclllilques Emd apply them W (,l{J f b~ue5. pmgre.~SIOil.

C 1- A-' h

- ~ .. ' -;--',. " 1- ... -:- .' ,

I I Dina -IE . lPproac, ,

111 ~he I rst method I t I HOl'n2lh.r: approac 11. a t;IIfUn ,;Itll;.. lor re alP prose hes • hI!;! • arget note C mol, 3wd, ~OI ~Ul o.f title tnad) from either a. hal r 51 Ep a oove f.f.1' below

f' Or e~mpte. he1li~ I l~e ness I in I; ascen tls u po U I~' tll.a{J (Foot! 3nj, 5U1) ;311d lh~iIlI on beat 4 IU ses 81 cnrornene ~tiof1Ie m ,) to ap-pmac h the ti:llrg.f·t 'II oie (B h ) ro Il'l! !ill h~'1 F sle p a bove,



I'll trns next 'eoJ.a.mpleJ the IF5t three beats a:r,e cherd I{)FH~~ {root, 5tJlj rcot), then beat 4. is a c hromahc: approac h from be,low to .the target note {B ~l i

!E1.c_

Ii

~--

No.hc~ th~i. ~his A ~$ balm .;:I chromahc eppreacn tlLllf'I~ trI B~ i1[1d ~hl2 3~d of the F chord. A. chmmat c apprnac h t{HlIb doesnot a 1'W~rs- hiillJe to be outside the lcmaHty-lt rna',' be ;J cham: ('0 n I!!! J too, andi :mll aehieve Hie same' effect

eh H) malic appro.ach tones may go to '0 'her r. MIOJ!'d ton as be5Jd~s the root, as well. For e.xarTI P 118 I 1108[19 i I he c nroma t i.e a PPI'Oa.c.h tone t Ep) nm~es to the t~e 3rd O'~ 'th~ ne;.:! chosd I( D, the 3rd of 181,) hom above.

etc

T .A

f!'-~_-; _

9---

----

-I-~-

i--

etc.

~>

The chromehc ~~proa(:h Innes 'IltEI,io'~ S~iJ!1'iI sO fa.r halols ,aU oc:turt\e:d ,at a lr.an5~tfl}n P011l[ (one

C !lrd mDvJl!lg to aneth ~T), but c hrernat ic apprnac h ~'OflIes ma-y a I so be u,sed ifl (lI 5(al~ j',c; si t U;:Iit i on; Llni 11 ,3 singl e c:h iJrd, The sa me f1ri I1cipl ~ a prd i e:5~ the chrmnahe appreac n ron~' ~Iway.s moves to a chord tone.

lis e~;!iImp lof rep:t€~nls m easuees 3; 4,. and 5 of a n F blues. Notice ~n III ~5U r€ 3; I,hal we frlill~ two static chromaljc i!lipprooches~ 1B~ (c:nromaltic. .aPl1fC1a!:Ji hDm below) to tile- target note C Uhe 5tl:1 ~ 03f1d Gi'" ('Gtuotrli'l't'ic apprcach from ,ahl::t\r,e) to ~ne targgt, Iii IJr,e F (tli e rool) ,

F

n'i

~~-~ __ TT~~F~-r_'I--~~~~

etc.

I rIi E!!l{1MC+~:e:S I 2 and 13. I've- c i Fe I r1:d i1n 'til ~ transil innal ,r3!1 d static r.:hwm8lir ;;l1J preaches W Y(ltJ can cl$!!l:lrly &€t .. ..iW.usp en how t~'L5 technique [5 US,'BJ]. S,h.!KJy them :cIO'S'ely with YOlJlr eye and :four i;:lir: befor,e writi rug '~Oi.J'F OWl'l bass I,i ne.

[x. l~

b-2fJt -

~ ---§JI t

~ ~~-- ~~ 1

~------------ ----------------~------------

F

F
--t h~

~~ _I
3C
j-~ -1- ~d
0 a-
D, :!ij ~ OS
:2 1
'F r9 0 -- :i!: t :3 T~ __ I£I -2~
III 3, n .3 :Ii 1
'~ I!l

io Clrni C 'F [I (:jmi 1-----1J----O-----4.d-.3~ 2'

---i,_____: -

" I\lQU':'..I:;:" I eJ(cfCL~r= 1,j I Ilt'U;l I res 1 i (! • .JIIJ. 3, • tr..r.V I' 'i . .: l.d I.IJ 1"Ic.;U r:J lour-(k!<ll cull Wur II Ill!. r -lit h ~ he c hrornanc ;:jlJwooch.

~I b.n

,

~b ~fG~ 1-

--;l

, I}

-.!f "-d-_} ---~I

_-

f-~-.~_ ~

~-f-'5. ~I J =3

,- -- - '2

- -- --

1)---.;3.

J

Gnu

f

D

UIUI

a

~~~---=l

-- ~ .' .-1

~'2 ..

-~--;j --. 'I

For' FurtheJ' Pracflce

Wh€lfl ~GI!.i! Ciin pla~ alOlI~ comtj}f~bl ~I wllh exercises 1 2 and 13, tty wrj'bj rlg your OWr'I 'O(l<SS II nes in [Ills st~le. Use only mimes of Ihe triad plu'S 'Chmm.atl{; "pp oach times-tj)i uSlf~g them In both lFans~tl(t1 !ill and sla,tic 5i mat 10 n s.

fl u~
1-
!IP
-~
(iLoi c F

Anu

D

c

-;1

f. B~ Iluli
E I-
c r. IJ (juli C
E ~-- ..--- - -~11
~- Omi

Chralmati\E'Surround

Anuthe.r il!~d or chromatic approach is. to stJffcH;md the target note. with chror~~aUc b:me. above aad below n e l.arg:e' IiTIClte--or ~he reverse, below and ~bove, This tschnique can 00 IIJse'fl Ilfl transttion [0 ol!f1o'l'h ~F e h ord or i Ii'I a stane sttuat ion whet! the, eil{M',d stands stU I.

Thes 'hst !(;!xal11pl.e i'S in 'lran'5r ton, w~th 'I Ie large' no if!' b fng, lhe Bb in measure .2. Nolice th-e two c_hmma'llC (ol"!es o:n bearts :3 and 4 of measure I. lhe B~ ls ,above.r tile A ts bellow. comDlel:ely su rreu nd i ng th-e target nole f2lb.

He~e are messu ss 3'-5, (rf an F' IJlliCS" NO~Ic.e ttla! tl e statlc chrOnl.f,i1'1f.: s.lmt!Ulnd moves from abtJve rIB) to below (G'~) on beats .3 ~.,d 4 01 measure 3. Because he f chord 15 :stalu:: througJl'l[ilrd m~.a£i:Jfes :3 and 4 I the M (3NiI of ~h~ F ch ord) on beat 1 Clr nle.t1SlJIrE:.Ai is the ta rgel note,

F

__ --'3_" -_~~I_} . J----- ---111---

. - -~ --IO----If--ll-

nus If! '8mple s alsa n Brl'S-ures 3-5 of an f h IIE!$_ Notice tt'ra,t the '5tar(I-C chro.ma ,r; :SLlr~ound moves frern belov, [E b ') to a bo'il:'l! ~G~l fI []J of!ats- 3 <lind! ;ii, of measure 3. BetauJ..':1I1i!! tin!! F c herd is sl'f'J1if: IhrouJ~h rneasu 'es ,3. and 4. the F'~ (root or F chord) is IhlE! t~r~f!i rime.

etc_

III 1 . .I{tjH. .~~ 1 ... 1 l:J. LII' I U_Jlitlh:l.lW ~ppr~.cH . .JIt:~" 11,; J!lr~l~LJi' 111'1'.1 LI~t:! -·C'tm:J~lhJlll"r !!oUW..'J,IIIL ~.

(tf! Ii 1 d~iillrll!llldS

'. El_,l.4

I~

I) 4~l ;]I 81 ~~ :}---- --==i
:;)- t,
'F OJ,. AmI IJ -0

I-~---'Ii~--.,...-i~.

-3--

-1-

(I ~

1)--

-'I

111·--3

{J-

-~,

For If'li.:uflher IPr~~Uce

{hen you can p~~y along cotr'lfortab~~ with rii!):'P.n:iSflS 14 and 15, try writing )'DUlf own bass tlnes usi 1'iI~ only notes 0.1 each tnad plolJS chromatic. ,a IJIproac h tones arrd chroma tic su rrou nos,

f al- Ii'
I~ A : g

IP Ami D
-:w= -==-i 8

Gmi C to 11
-t~1 b 2
III ~.

-f). --

IIh F
:I d
f 1~ Ami [)
J
n Gmi r:
~ Ihlf) [ina'i phase. nf c.frIromati.c a-pproacl'1 is to rnova chromatically {ram one elm d ~(rFle to 8110thBF. Thi:s. ean ueeur w~tih in t:n eo same thm'dl ~ s~a t irr:) or wn i I e olle c horl1 n'miVp.s ~[JI anot her [trans i tiof!'s).

Our lus] eXJilmp It! is n ieasures 3,...41· 01 a II F bhJes, wherll he chord: re mai ns stal~i L. i'4otiC'I3: tll.e

c.h FO Ilali e Un e begi ns (I n A~ tne .3 rd 0 the: F chord (he'll 2' or meaSIIJ re 3 ~ and mo~es chrolTl;:fmcally up to C" the 5tli1 of Une f chord ~ lJ€~t 1 nt rneasu re 4),

]

F

iii'

_-----..!IJ __

elc,

~- 51

~ -4 !~-43--- __ 3 _

Thi$ f\~t -one is also measures 3-4 o-f an F elues, Noticp.: thl2 chromatic line begil"ls on A, tile 3fdi (iJetlii I o~ mea.sU!fe, 3~ and Fal.;)-'lt{!S C l1Joijmi!lt~c(:d Iv down to F, th e mol tbeal 1 of measure 4:).


]
J r--
ill!'
P.t~.
1 III I
41 :II "
III a -
-_.--- nli:!r Ci 31 'i:! If It;:!~ldl::'l~, j, u~ ,HI I- ulues. L,I\i' PC II j measure 1 Lh~ll 1 fie I me ~ l.df ''!1 .IL II "'" !\ino.l.e S lep and U tlH be ms "he , hfarrli:lJt tc 1 notion, The Ii'l'holfl ~rep Is :£5en\ll2i I lu at ri ye on nme ii!lt lhe ~ar~~t fmle (BI., on b~t]1 I or moo~lI~~ '2 lids IS s conunou chrom,;ilm .. mom when chords 1I10\i~ up In perfecl tOlJr[ilb. M@'lSllle 2 mOVtl: ' (ram the "1rd or U. Ell; chord trH. dum nanc;:)1 I up lo the- root 01 U re F cl1iUU:l t F J on heal 1. ul I neasu ffl j.

Cleo

-]~~

--------- ~--------

G -~- t ~-3

.-------~._

~Ej(e~cisii!!s 16 and 17 are bolh F blues, usirig triads ,wd .all facets 01' chrom . .atlc aoprcach.

Ii' Ch~D.m.a l ic a~pro8iC hes ere CITe led,

,ilil Chmm a t rc sunuu n cis are In d larnorrd$.

11 Chrromattic cllord-toElc 1'0 [hor!'J:Hone. tlnes aI''€! in bores.

9' lEx. 16

f B~ F

2, -I-I sid
!!!- CIt :Ii 4
O~cj2 a

w LJ
~
~ l
- ill!
- r-

---~ B 'g .::J-'l,D- ..
~- I
B ~ ---- HJ.-5i ~
5- fI! 5.
<Ii
Gnu t' F U GlIIj C 5-

/I T'~-

4-

'5-

3

----;2- :3

'4> IE::w:. 1~' I'

I,r).<

-i)-

8-

-----til! ------

~ U]-- 1- 0-] e

~ -----BJ=-~

1-------------r-----~~~1- _1 -,'2---5 ~ i

1--------!!i:~-iG- --iIo -1--c5-_==_~ _~~~_-_-_---1__.__ __ -_-_-_-_-_-~_' -=--=--=-1_-1 . Ci

'------>6

-a.--,o~----a

:il.

Gmi C

I) .1-----1---' .

r--"":"J!- -

-_ 1-3

'~

IF'ju f'~ !it1i1>er Pr~ctic~

When yO-1J 'C~I'! ;~Iajl along comfmt~bl:y wft~ exe~,c:ises, I Ei and! 1. '}. wFi ~e yQ(jr O'!'!,Ifi 'bass lines, IJ'S~ on Iy' notes ot ,each lrl'a..-d I pius cf:Jro~nal~Jc apPflUliIcdl:l!fS; c hremat lc surrounds. "mol c:11i{om a'l1c G hordtQI"!IC- te-e hord-tene ,I i nes,

rn

g;;li1

f

r

-=-j- -

~I

}'i,fII'd .[)
=)
~Jmi 'I:
5[1 C f

:

[£J ~H

F

~~ r
L
F' 13b i\ti'Ji D
t- q,
(" r- I) Gmi c
r= Grni

-

An(dyil1~ iCllld tnen play these 11 V·~ ..,roweSSIOfI::t. il ChrOlfhltit ~PIP4"(J1:ICI1~S are i.!ln:eled.

Iii Ch rnmauc surrou nds Fe: m d i arnon l1s.

Ii Chwloahc '-=hurd-bJIl Ie-clu .. m:Hone IlIIe~ JJI~ In iI1l.)~~ .

• lEx. 18

DI1~11 ~.
• [ - 1
-~~~]J ;iii
I
.,
-- 2 -1 G 2 s ,."
01 :li J

-31- __ 2_1~!_ I -t f ~-

_'_- __ ~--E.._____:_I

-_9_1 __ 2 -~

__ 1- !i I

-~ "

---'1 ·4-

-

__ ==-=--=-----------I-.---------:...-:...-=--=--:.-=--=--=-::.-=---4!----;'r--_:9-9-_~_- __ . _ 3 -}- .11---

1---"- 'ill;- ............ '--t--- _.___-- ---

-,4;-.-

~- I --.j}-

ill

/\

IJ

-- ~ ]~4~1

~ --- --

- - --

-2--1

~I

--

h 19

Bm~

i}-I---

-HI_:--f--

For IrtlrtlITler Pracffce

Whl!1'1I ~ou can pJa~J a~(Jilg comf'lli'tr:lbl~ with tne II~V-I prae:l€:55:iuHS U I ,ej_\erc islj!:.l!.. I 8 1lIndi 19, Wtr i'fuEI },our [\Iwn II 'Ii I bass hJIe'5 LJ5ili~ ollly notes 01' each triad plus all the c:hlO~natic tcchruques \'iie'\!1€ hi!iim~C uomatu; .ct,PlIliOact'l, cnromanc SIJPlOlJl1d, and chmrn~llC cnord-tone-to chcrd-tune.

l'
--1 -k


nL.
~-- -1


IJ..
-I -I


(]~
----=-1

:L~
d=- ~j


u
:I~ !r

L\I'lI

I, ,J;,ll

_g",-- --8-~~

Eml

-I 1:--

00 Glui c I."
--=0=1-

Frui 1110
tj

[jolnl Ai· !1Jl>
-~" J 1- -I
' ,


r.:illli H L)
8= ;q

T1i!!ll IE ,i\ Ami

D

{]

4.0

Sec-tion

C natural nlit~qr Of pure minor ta.k.a.. Uw C Aeoli .. an mooe}

--b,. _6_, iIll'
---=~

3 • i5 "e- "'7 13
--a --., =Il
a 15 i&
91----::5,----

--.'

..

iii

-=---'1

5

1

s-~

--G

NOlteI'! t Il~ .FI !Jgm Emted 2 n iJI ill etvB II bet'Neen sea'e steps. 6 a r d 7 ~ ltl is glVp.s ti he harmon ic m lnor s.l:ale its ch a ad ~nstk sou nd.

G melooic: J'I!lI riM

"'--

13

-5-_-lfl

7

--4

Pe'lf:l'tiJIton~c Slcafles

Pen la lome sea 1:$, I¥le sea les. centa in~ ng otdy. f iv.e tones, (The I'l,ame '!S, ~If!l illed rom the Gtel2k word "panta, 11 msan ~ng II i .... e." l Thl!'!re are m~f!Y pent £I to n i C '9£;:,[31'85 bu t thaw: lwo ~re. the most comrnon Iy used.

C maior p~rrt,ato II i c G rn i lior pen laton Ie

,- - --Ill ~

_, 3l- -5- --

- 3- 15, -- -- --

-- ----

M I R'I(Jr b lues i::Iire ~Iel)l III uetl like major b~u~s.. except ttl lit th e-y're bualt Ofl ,a I r.liYl0r ton f;l1 it~: both types consist r ~ brei e-bar IOWlI, A 1Jarrahon oHen il,ICeliJf5J, haWeliffi:1 in measure '9 (If the rmnnr blues, w here composers r~qlle n Uy prefer the sou ntl or th~ by I 7 chord 10 'L i ~ljt of th-e ltrru f(~G] chord.

[Blue 5 ~ n C minor

I

I

I:ml. l'mJ
I 1 _I I' I 7- I ,I 1-"-
. -'_.1_1' -J---/- ~

I I ~I

lililill

I

f

· ... -----=11

We wi I i lise bD~t1 chords ln uu r '~):,flJlI'IfJo~es so )IOU! e_gr Gi3i1Tl h ear U Ie diUere:nce.. AlsQ, minor b..ll.r.es~ lIke major blues., can have vafyll~ h,alr!lClflic rnonons m.o COfHU~ "l ~h!:! main pOints of the fm'm. In IE!JI;,e rcises 20 22 i 111Iil:' used .a 'r~w djifer~flt 'l,l'ariat ions,

From here. di'l OU~, we'! H.s~ aN lfJre~ facets of walkmg l)iiSS:~ ofPeggio.s, dlaionic p.f}ssmg tolli'S, BfJd chromatJc to.r:J-e~ • .4i...:a, a1/ haflTJO',[JIJ1:'5 wiIJ be oaJ;ed on ~ewm~'b r:;IUJrds,

C7

:1 :5 -=1 ~ 50 :2
is e 6 '5 ~
3
5 L-m17 ell117 .1!1 IS ,---51 -~I
~ :Ji a 'I ID s Ei
IC- S
U1 L"ml7' 1\ 11~11t~) 1 Dl1ultl~:)~ G7
r it_ q~_ I r ____!,_ ~~- ,I
.. "
, - - -
51 ~.
-j [-;- ""2-,d]1
l'I-~- tj' s
5 2 3 5, a,
" lEI.. 2.1

'=1

_j

I_I 5 ~-:;--I

iIi--~ :t -:5- ..

_1~ __ .• __ 2 __ 1_:3_ ~

$ IE:.:. ,2:2

Drni

7 r 11

9

-~--~1~ ~B-~~7----10---B.I---

I------_-:.-:._::-_-_-_-_~L. =~g_. __ ___JIL- .. _ 1{1f

u

F,~ r If~;llft'l'iier Prlici.ic;'e

Whert you 'n~ oomforM31l!e pl.mYI nt;;: a~clHlg WIHl e\l(~flCIIS~ 20-22 I ~,ry writ i ng, ~!J!lJ{ aWEl bass I ines 0'IIE!,r a C m i ner blues ,p:rugteMiuil, Remeilfl mter; YOUi ca il uOO~ S8il,l',enth ICll O!rd erpeggies, dll!'!1IO'llic pa$sj n,g tones H WI i1 any nF the C. rnln Uf' seal e'S}. and ,c:~romM:i G tones lo help Sf'liiilPC: ~ i.J r lines,

m

~~---

--l-

1117

~~i~ _

U1

QlIli

Cmi

r.1'1JI em. ('1

r

-I

1J] ~:'~-

-, •• " I ~:_~1:----:;', .

._....;.. -. --

Fmi

.oj'

_, l _[ J .J;_JL__I

G7 =:~JI= gb-::_C=f~=-~_____.:J~L-~/_' ~/~-I-_' ~/:_"-_--:ll-_:-~"-=--~""=' ~.'-'~' __.-I,--, =j----:r~__. .. '--, - -;:;:/~~===·.'-==-=-l--_____]J·II

em]

~.~~~~~ •• 1 ... ~ ~~:!!~.-.' .. ~ .. ~~~~:~!:~

AA:B:,A IFor'm

AfleIr th~ blues, "rlt'lvt'h m chanl11:es" ~n~1 probab Iy 1:l'Ie most wid:e Iy usM set O'f c.hltlr,GI c~al'lges in imJJn]l'.dse~ musk, RhyUI m changes c!l:!II1prfse a .3 2'-bar r{lffi]l, d ivid.ed i I'1I~O te u r cHt.ar 3ec~i I}[lS, The fiTS,t r-i@ltU b~rs ~Ci]Ir~ the A, 5eCtiOill) state Ule mer~clic. th@l'le.. 11le S>FJCQnd eJ'-1:1l1 htH'S ~~Is[j a-n A sechon) r~'peal ~hE lherne, The Ifilird ei.gl1t oots; (caned Hre B s~di(}n) es.tabli$n a contrasti 1i1~ rn eloo)' and set ·Dr- ch I)Jd L hanges, The IllU r~h and fi na I ~ ig11I' bsrs (~l::io an A seetlen) am: a retu rn to the. opel'! ing. I hem!!.

I ncsde n ~·a.1 ty! th€: chords. toll til rs ~]JIU I,af wow-ess:iofl come fr.cMTI the ctassic is erslll,i,i i 11 tune '''1 Gat R h !llh rn" -he:nce the term, rhythm. oCoh~Iii!~:e3,

R hyn!fil c h ~n~$' in B,~

i3~ 0'7 'Urlli1 ~'i !'i~I~,r Oil ( If I 11 fil
.1-1 I - f -I--lg
I I I- r I I l -r-


EJ~1 r'" i~~7 rJb {~1 ['mil Fl
-'. ~ -- i-7
z; ·"J;-6 - f r I I I _I
- - "" n1, Ui' C'mi 1 1-7 Ii !I!~l 1[_j1 Clll!r I,'
~):~~6 I I I-I d·
. - l I I I I' I I r I L __ __J_ j
~ --- --
@1 EI> .E~7 ij. f1 11~
~-,. ~ - ']. tr: ,_-f -=f -l~
~ -'6.!, J I -l~ I I I -/'- /'--/' /'- -I _r
. . 1D IJl

:~~ .1- t=_-=;--:::=---;l;:-Y------':·=_""'II!"": -------,.,.~L_l-t-/-/-;-/~--;lr---· ---+-1 r= -_.~ -.~

PI

- n 1Il~ G' ll'H J I· 7

_.~_: }~~I I j' :j - _I T I - ~=_ ~}r-. _=--=I=~=:.Ir-: ~,.'-1

~7 ~

~~~_l =J-~-' F-.-E--7

ED? ~:b G7 Clf~i~' F7

I =7'--=-=t J- _I' --I--/' -~. - __;/- {- I :

T~1 is ':l2-oor 501l.1i riOITfl J~ ruferr'€dI to as .a FII AAIBA form. it WiiS, om:. of thp- most wide Iy usee S{lng 1!IJM1S by our .gnfa t /J;m~nc8in C:lJffrpO:5er!i;~Git!0i'~e G e r8hwin, J!2mm€ K~m, Cole lP'orllQF, I PVU ng

, t.:::dJl, i I~, lJ 1111 , I[ .I:;:~ I, L! I, I!OII!..:' ~I.i!yer !fULI'1 ~ I~.:m ilIJ~ d Il!ew ~W 1£, III '/hl , ~ -!.;II nn I~ lll... tf1)~m. ~ .... }' )tl

have Ii' p-ICllJf~ IJt .e sll-ape or L H~ 'SOng in yDur rrnnd's eye. Th is Willi ie I p YiI U Fe member ! he

s,Qn~ il3nGl also be able to uauspose it to anctner key.

NQt ilCe how rhe har rlliU III es Idl ~he A secnons move almost .eJ(th..isrvejv I n two- beal. p:.idtr=ms., INnj I e tM B sectlon 1li1[ln .. nries move In lw.o·Oiilf p.j terns. Pta)! t trough, h'SiL'I:!H, .ami anal~ze: how the bass Ime mcves Ullougil these qUJck fllOIJUlg. lwo-bc!1\l cI orr:ll cllange~ n1 ~ erclse 23._

~ & .. 23

Il~ {l1 ~ 11,,1 I-"l
.. -, ~
r r
-5 j
·5
0
nJ;jI IJ 17"'7 t mit

I ~ 2 _I-'!i-~' -o-~

---'5'---L..- ---.4,------:i- -- __ :1= __ 2 ==r

fH

Clml

F7

_L~ ..
Bi a 41 s
5 7 g, ~
~
l!J f(Jo m t..uui' 17 .c:~I~'L7 ill 1'/
B 0- -<4

9

:J--~--3--q __ b

u

8-- ~ j 5 !J; ., j !I

:5 is 1 '---~G .5 8.--'li 6·
e- !
rm 1.3":' (i7 .5

-;l9 -4.-

7 -- '5

;-- ;;r-;--__;;;5_; ---:;5--'. --1

._j--s____'ij --~-I~-- '1
7' ,{j<
--- {(,-Ii ill
00 r:r.L- fi) C!IJ.!7 Ir"l UUlit G7 ...
t=--r· ~. 'II' tl
!

BI
Ul ?-. ~ H

CllIm 1 F7 6

.:3

1-

___ ---+--........._.._____.________,---+-------'---!'-------L..--__,_._r:-' ----'--~FF -, ~~I

--------~r--1~' ------~----------------~--------------~~

~ t o_=__=_-:I:=i5===_!i ~====~-,_ -_ -_-...Jo.~ -_ -_e< ===:1 ==:'_e.------: 7'-=-_=_....Ji.__iB_· 5i_' __ ~D ~31

F1

1=1

,~, D.:::6eJw meaSL~F'CS 6-7 I 111-15. amd ,2H)-31. U~, ygljr ear and n(ltior_ tnilt 'th E! Ii n e contour ~ri S '[he bass I,in~ to. t tl~ n cite f Ww 5th ~ OfT) the 'B~' ebon] change, 1'0 h i3\fe, placed 'th B n!l:it~ ''1 he rootl IDfI the dO'i'fllIl~t woYIO' htlrv,e i rde::rnrptei1 the 'i:I~' a n 1:1 centm UII)!' i(Jf i he II ne.

(J------4 13- 2'- -----r- ~ - -F -3;~-!'-- -I-~-- - D
1 2: iii
~ 1-
'IJrj ~ P, f!I~ G'il Cllli"i P'
- i-~ ~i-' -_~~~==~9 __ ~I __ ~ a 7-' __

r' II
ill =EM -lB-' -7 a~ll

('rr,i1 I I
---till
j
~
F

5 -3
a- lii
111- '-'----_-----II-

-1-5:------til-;~--

L- ~_ &- -5

L__ ----12 iJ!- '1- +

----__.__-

- I iii
Ii! -,5'
~ i1
I~ _:__u

~----------~&-

--~II----

----------+is -

tfi-~-

Ami7

1)'7

I ~1~117

--I- r - ~--, -r'-

---!i--t8~' ----

------1----4--1

~------'1'- I~ ~----------

~,

lJrm7

-1--

. h-; I

- ----=-~-.

-,

- -i' - -. -=--=11

&_1=.::::;p ----+11.1

-a:---'l~-~--5i-

---- j~ ~

-~

I ~

j ~ L,I
ill' kllll'
t J

'7 4
U
~ l./

I ~

4

__ _!- J--ii-' _ S -

~- --~

-L_~

"- J
~ 2
-
H=1
~·U

(] ~j
9i
- .~

Exercise 24 is much [TiDFe' .a-d:l,lenturous than erercise 2:.3. A. IJIlI?- ~Ike lhlis Wl[Ju!d be p..Iayed behind a sol o~M UM-l is "M!r·dcn i r'~ aut h DIl] till e- cohQr-rn c.hanges_ N oli c~ some tee hniques ~ '~e ll'500:

'ii, I neasu res 1 and .2-ma.lor 3rd5 ascen d lrig L hrcrna t.i ca II,~

.' rneasu res 7 - 1 2 -£I tou r-beat deseen a.1 ill!!: m;e·1 odie s.eq~~nce

'I' measure z 5 [meats 3 -4)' a n d rneasu re 2115 ch F.q m~tic su rround ,~ mli?r}su~~s:2"{ - 2·8----d~sce:l1'Id Iilg Ci1 rcrnatie sequence

AI:so not ice S-OI ne harm omc '{~rlatlQn'5 ,tllrn:paredl to e.1l.!f rcrse 23=

~ measures: 1 7 -2:.t'II-i instead of' lw<o i neasu res of 'each d!om i nant ell ord I we iPr-tOCed~ each doru i narll ch&d wi ttl its IIJ I ,i7 chord,

!III mea~lJ~~S,2 7 - 2..8--<zJ II rOllr chords .an~ dermnent s.eYe,fl H~ chords.

FCH IFUIrthe ~ IP'ract ~cle

Wlher1 y!Jll ca n p I-"IY !;I1!!l rf\!ll r:omforl ably wll h ~.\e:.~ ises 23 and 24, I ry WI i r i rlij. ~rJU [. nwn bass lines !iJ\I't!( ttl EtS~ myUlJli'I changes Ul Bb, use I!~ryth i n~~ilIrp@~1a~La~, dJa~oll 10£;; pass i ",g tones, snd eh roo. malIc' tones,

G7 ('1.1 Ii')' Pi
J
~~ riD"
-- Grni7

.In
=J
IP7
~
"7
-===j G'J

~I

Cmil'

·8~7 ~~ .. '[<1-1 B~ F] I!.i~
~- j- ~ -j I

-.,. .. ' ---- ....L II

Ell GjI Clnil' :Jlmli!' Or CII1li7 iF7
E ~I ~==

tI~7' ~ Bal jfo lii1 B>
4~~ = : ; 111
_ ,iIII

-D· - ressl. ,n

These ~~-V-I bliss. lines use f!.lery'lJling W(!\II',:! learnedi--f1tpcggIO::l., diatoruc passing tones, and

c hrmnCili e tones. NtJli~e t hal W~! re au II ill i fig the III \/-11 j:JfO~res:~iori uel n~ seven t h ,[ nards now instead (Iof j u s~. triads, Anal ~le U18W II nes, 211l'uJ lhefl ~ta(l pi a~ing them.

., E'tl .... 2S

"I ----1.'111-- 9. I-_v - _-____ ~

___ _L 1e -II---=' 1

liJ-ilI-

Ir----F; -1)1,--

--~- B.

~-

'13;

---

l 1-

---i-

§ -a. -_~-_-_5 _ 1~

--.~

---'-- ---

16

I 5 6 i5-~

--81

s -4--:c-1

'S "-1-

4--.2

__ 9<_' '=-15.-. -- 11 - 1 -_. -1 g-

...:.. . I ~ir'- ~, ---F -

- ~'.----

- -

.' =--~I :-_1 4 =JI

C7

Fm a ?

:._==~- _~=-_~~q =- -==_ -=., '==:__--:t-----:D--===~,-~ ::~f-Irl ~-4-' =~~=~-;~- _- _- _~ __ ' _ _._F_3~==~I~--6~-~' _+-1_15 __ 5_

e-7==d

~'~I--

-'1

Unit;

A ms 7

-+---_,5 __ -5----t1-~ _ ill -r-_:__t-_ ~-'I --j-

F'QI~ Further Pril'CU~e

Wne.jlJ j'DU carl plr.JJY ,a:lorlg comtQrt,ab!~ with tile II~V~I bas's nnes il1 eJ(el'{;~~ 25 fIInd 26, try wrllth'g '~O'LLF OWl;. Think IJl h::nlrl'S 01 s{!:'VP-nlh chords, and .add ("atonrc passing Cones and chmrll8tic ~oiles, to. 'Shape !tou, li nes,

Crml

F7

~~iL~---;-;;;:=:=.::....::=- -1 ~~~~~~~§E~~~I

JJ.m17

.~

"

-I

l)Io-1 L'imn7
-I
,i}i
1- -l
i\i !JIll;;!'
~ t -~II
-- '-.'1

ol-mu7

• '"'I'

- ."--

---Il~

-b

[J]m,7

USillllgl 'Ch[ord To -I ie,s Oalts,id@ th,e ~ey Cel'nler' Over the ~ea~s I ! bis £;@Iltept has 'YI\Orked ve:ry we II; ~ find that 5hj{h~JlitS gITJSJP t h'e' I~ea an d [i3Jfl use it almnsl i m med i ate Iy, rl erie i'~ 15~ 'r I !'S-I. take (I h.! ne o-r prugre5siofl you! rs worki ng on, end

'Wf rte out (or me rua I t~ 'oJ I sua II Z®) en lthe selient'hi cnmd;s; i iii Hl'B pi'ae, For exam pJe;

GmiUF

1 t~ -8

Gm;1'

C7

-=-1

[3h,(,1 ~ j ~ Aluii !1-m,"1' C,lfIii'" M Filla 7 C1
'8 be j.
~ ~[q:-- 11:· 1 ~ ru 4-~ ~

Now! wri ~!e: out [he majar (O~ m i rll!:w) 5car.e ,ol Ute k€y center, Our IProgression is in 'f he key I1f f major:

F 'ililajOf scale

How gimpl~(' go thlliiJugh ~ur harmonized p ogr e-sSIO" a FI d pf,ck out ~he chord tones that 8rE! net in yrmr t::~ 'C'i)J:n~er 'SCt~1 e- Ft!}r ,e):~mp 1'8~;,

[I' Mea5.~re'.2 h@s ~ notes that are not in lhe F majm -scale. E6 .,lnd 06. [II M~as.ti re' 3 ,11 a s [k

'I' M:~a5~fe 4- has ii="~'_

III!I Ml2drS!lIf@S 7-:8 h rlV~ E~ ~nftj: 06,

[I The SeCJJwKI! hal f' or rne!l!!SUlre 13 has C ' [I The secCliliidi hal'f' (!If measura 1. ~ has B~_ III! M ~a~~lr-e i 7 has B!Ii:,

~, Mf!a;sjj]H~ ~ 8 ha_~ Ab.

h(I~'I I; .... "H.,:I ~. ~II;:;: h';l~'·L ILtll_ I·~~~ IjmUoL!U I",,: L:.~~ P~(ii:l_rt;>~lL)II . .J11';h Imue€: h,.1.~ :i'~t' iil(;ul !j. Icltll'iJ

t hese c.nwdl ton es I nn n oul $Iehl' t I L~ looy ce II r r:( 'I nto my bass, I me, TII"LiS IS'[]: 32' -bar pm~re:s5.01l wi Hil an AB AC Imm. I:,acill S€!ctlon IS ~tgl,.t 'b~l"s IUl"!g. T 1'1 ~ t~o A ~.t::tIJOI!S art! iden tica I ~ wh i let he El .a nd C SOCblDH$ '.@j Ell clilnharshng.

9b.21·

I:~_J _6_, iii'

._ -3 __ 6i __ 51 __ 5 --P.t· ~-_- _- _- _ _;_1~~~~-~~~~...;:a_r------,I=-_;G<;_,_ e~~~~7 ;]-=--=-~--;~---;R-- --5i,-, --~=d--'I

fHlli'J

I:J

k=--f-'~

:2 Q ---

.~

-!.II

emi7

'F-----.,.-I------I±J~ ~. ==~-=--I-r= - :1:_ -I---------i'----I

1 __ 1 :3, i],- ~- :;i [ Iil'

-ij!

t

,j!

-t ~ ----=i ~-----+-t ----,~-I~~-

-- -s---,-t -lSlI!-----I6.-----'------L---

,~-Ij

5

IAI l'nl!lf7 1.:17 b ~l '~'!lliI_i(i1'S"J ~ iI! [t.7
17 -t-,j ~~~~ [r-- r
r' -I=~ r- ~~ ~-l r

=~ -- -6 ~_'_S 13!

I.:---- ----.'-'~---i'lor-- ---'l3-~__j-.~-,~r----_D ____Lt ~

~-_ ~,

~ -5:------~' ~~~---

6

!_ ~ _--=3 __ ,~

LIIIIII]

1

~-,s_----.111--:9~===5r--l ,~

Gmi7

(:7

.~ =F~Ii_: _

.0-- 1--:)1

------

r 3

t -&- l-ii

. -'I-~- -:_]I

,ii ol~n if! rneasores t 9-2'1 th,~ I ~se of liFg0f3 1 nl~afs Ito create 81 'feel i 1'i'If{ of root rnotle 1 on

~tS, 1 .and 4! anti c:hmd COro.r.s on bests :2 and 3.

Iii OOSBVI! ~tte contour sequence in measures 27-El.

for Further Practice

Jhen Y6u~re com f{jrlab Ie, play n,g a long W.i<tIl ~xerdse 27 I try Iri tiliilg yout OVlf'l bass I,im!:, IJstn~ 'I tillS. same COliltElpL 'rhmk of 'the. chord "toiles, ('nat tm~ QlJt:m:re t~e kev center as. Ii Itle jewels din fli1lW colors to your hal I non ic p(3lt~Ue.

AI iJmi7
1
~?'
~ Ami7".:n 1117
A
b~'I(~ II)
~ ~

umi7 Grnil/F
1 J

01' lultlli' '(:7
~
,i\m17'(b5l D7 ~I

IJomiJ

. ,

=-- ~b

Aml':i'

Ami7

H ere '50 a 3.2 ba r progre~5 ion ""i ~h an MEC form, Esc h sec ~ i on is e ighl bars len g_ Not ice ttJ e [I Sf!! of U te!:.g 011 I he -don Ii! li.:U I tel ~DFd5. in measures 2 i .l.4! 1 8, £:Injj 2(i, Nul ice tll€ ,piooes wher:e I've:

USf;iG: sequentes: rnaasures 3· 4, 5 10,. 9 1.0. anC!l 1 5· 16_

* IE~. za
-
[jJ ·"!;mll ~ lji(l~ ~b- (~!I !!~ ,r ~.lll;~ 1
I'
~] J J_ 'iii! - 1
-- ~~' r ~I

;(I. iB l' S 1.4
2' r s !!I l~ _j
~ ,JI .!i. ~ .2
- -- ~
~
FlhlJl'j'(~j,) H1 Ellii
~

'i~



0
C -I tl
.- -2-
--il :2
iii
00 Allll7' .l)!' l'lllil?
.D.
~-' Fl



'11 r-
l '!~ ;g j
- 1----'10- S! ----'!:2- - 11 1-
I[i------t'i 'liS!: 19
(IJ --
rlmi I.b~j u, L!llli
13
;1==lJ


--- p=-_O o :;d
-'~- ~___!- 'U 4- '" I

:9- 0 -\]I ~. - ~
,Bi a
1m 11·lml](~ 5, jJ7
i~ ___ --L-~_iil--~_-_'5_· __ . __ ~ _ __,_1_.!! __ 1==~~!;I __ ~~-91 -9----5 ~

~--y- ",.
!a
funi7
,~1
;ill
l
1
I 10
8~
[Q ~'-111lI1(1';;')
Z& t'm.n7

-i-II

____ -+- § __ 4 l::l :Ii!---'I--~3J

t

117

Emi

,~.

F'D_~-

Further p]iaC~EC~

you ca n I4II::ry ~'Iong (:omfort',ghly wUh. 13 etc ise' 28. try WF~tin.g fO~J r l!]wn bass nne (}f11 this. l~n~t::\I:;~On, Use' c:hm"d 'kmeg outslde Hie k,~ cel1l'a:r hJI color your- ~ i nes •

..

lim:lx
J I A
-
-
Emi
~ ---t~ A

CIl'1R7' Cmll'7
-=--=r-=
I!lui
-I
Enn
?j
tin ('I) i
-~



IEmn I~b, Omi7 Ij."I
1-
Em)
, :U
I " '. III,"

1 Iii r

E

l\nul

01'

F

Il1'

Here's ,81 .3 2· ba~ ~JO~~'8':S.SlOfl wil h (In AABP( f(lnn. E.actl sectlon is eig11l bars lOIll,g. Notice iifl Ute A Se!ctillfilS hID'! the Cm.a'l and D/~h 1 J remain static tor tJNoO bars, and In lhe 13 section, lhe Fmlii7 re mains stali c ror Fallr bR!'S. A lla~Jle how thl's bass 'irt e de-a I S with i'JlI}se (lIteas.

.. Notice J t~k ' ttte- "exfJle$s," fnlrotli!:h rnessures 31 (lnd 32,

emJi?

L.n h I

---0-

1- .[-1 ~ #-

~- 2' -, s

~~,..-# iii -l ~. I'· DI-I
I r r
6-'-r7 4 5:=__j
r

1\1 D~~1.1 U7 ~,

-1-

--

llrml

1-----_:::~~_7===_!S_· _-1- 1(1_-- ==-9- b

:~-Dr- __j

lli.III')

~----~ ~

---.,1 -+-L-;5S -18-

tm 1

-rn----'l -+-1 -;- 1

1 cO; B

1 3_o

~--

f :5-,G"~ .. j 5 , -
P ,B~

i!I
L)r t=t 1D.~ljl' G7
l'~
~


JI-'I 1 ill a~~~~

11


!AI f.J1t'i i I

~
5, j 2~== , '2- -J_-l

t -"2 '" 3 -
ifi ~ 9, - !ll
!LiJ' t:111;1'i' 1\7 f)1!li7 Gi ~-----

11

J

l ~

ar f'lUlher P~'a dic1e·

lII"OUire eom ro~ta b~e pi i3"yiflg d,hn:ng wi ~h ~erci se 2.9, try wri l~ng' your own bass ~ilf'l~ on [I, is Irtr~'¥IS';Ul.f! •

--f-

+

-- .

IJmlJ 0'1 Q:rJ~7 CJ
9': ~f ~
-.

Frnfl1
~~ 1 1-


m Dlilli1 ·Q7
~';'- -=I==--~ E


~ CI11I3J"i'
-- - .1
---

[)~t' 01 ('iT1 +I 7 h7 F'lInlr? ;:',i1'
g: t -I=- ~

- ILl ere's a 32~haT P.F~SSII)~ wIth CIT! ABAC f'Ctrm. Each sechon is eiglll bers '100 ng, ,.".. E ... ·, 30

2~F- -Q .~ ;3 r 2' /-1
~~o-
4 ~.
-
fH (I ---.------;'0-

-&----1- 9

I '10

----~5-- -8,

-----60

emil

I.:J

1'1

~V'1111

l.Jmll,7 _

'f

I f - _b ~ _kl~ __ -;__;j_ ,r I ~

_]-- -12- 1'11- Q

18 --1;- _

I 1 _ Q

t-u117
~' [ f r' _]


]-;-- -- --'~'-r--,t-~
~, 'Ii 2, II
~ u
-
C1 !:,!~llji MIlI7(~5) 117' I-r-,~,--I ~

I----~' ~~f-I-~ -~r - :::""'--' ---+---+----+----:T"'-T------rI

'-- i------i_ ______, _ ~ 1:5

'- -_ ~_ -_- _- _-_s=~- _ _=_§~· _ _=__i9 __ 7 _1 --~

J'Jom_,1

~ . i~-' _.1

-[',

::=======t--=-3-i-~-_=::-'~'-=--=-_--,o~--J C

iii ~----

-- iii

Prni7

IFO~' F~rU~i;! ~ ,Pf.ac.tr~le

WI.en ~(JlJ r r E!' cOl1'dort:a ble pli.:lyf ng. alo.ng W rt hi ~~rc i:se 30 I ~ry i!.".lTil't I n~ your I]]wn bass ~ i ne Q",er ~h is pro.~mss~olJl ,

Fl.lJii

EhTIIJ7 /!lhi~1I7 rn C7
~ - - ~

IW IFmi;'j' A'l.I:I1~ [)I., ~rnjj1 Dl11i'j'~5} G,t
~::: ~I
" , 1;
emi' r1 "mil ~b'j't~l
3E§ ~I, I - II
: :: ::::
00 ~lmiil ('j;riiliI1~,:J,~ C7 flll!7 AIJiiiIJ~:5) 117
'~§!f F%

U.'1in7 A mal til' GJ
~ 2 -- I- - ~~~II
.• r-
~ rm'i7 I'Jimi1 E!P7 '@-~m"i' Pi"'7 Gm~i"~s.) C7
~,,::~t~~ i- ::
....-.;- -&
'j:mil llI~jI J3-LTIi1i7 C7 l'mjOl' Il~J
~* $ ~r==- I~ =-=ill
~" -FE Henis ,8' 32- bar progt ession wit h an /J;/l, BA 'form" Eacn section [S' eijghl ba rs IOl1g, N.ot.i ce the rapld key eft a t1Iges,j'Fli tile B sectlo n:--Elb m~j(lr! G~!'i!lfl i'llF. D mator ~ Gb frli:ljor I iilrld bill£ k to F 1l!~1:ij!)r_ III an area I ike nu~. be sure 10 c lear:~y (I urtrillle. til et;e ra pid kev en 3Inges SI:) I he scloist can hea r

t he c h~IiI~J n~ lQ!1alH las. :Excep~ r ~~ tlllO pass i ri;g tones {measures 19 and 21 t Uus bass line I s a III cherd tenes lh m u;ghloul th ~ IB section.

,A,,~ 31 ~ ._.1,

00 Fm;.'lj

{I!o7

J

fi'll!li7

~ "

('7

I r' bt

I-S' - -~'_O_'13-----l

~

: ~-

, :I!---- =1--'!'----'IlI

-1[11--3 '!~ ,

.['7

--+---r-J ~l-f- -;J-~,J ==t=Jd::3'~

-----,...------ --2

___ -11_0- 3

'iJ! -3 -

"-------

'11-1Zl-, --II]

U7

( 111111

16, -5--

j

III

7

I]

~\11117

UIJ~L7

--1~

loJomn7

---iB-81---~-B=--' ,--~--':=_~ __ 1_

9 ,----------==

~1

~-6-----~1_ 4 --,~--~- _----.-I==~,===.:;- ~=.' =-~Ir--=---+:-=-:5==-=--=-3 -=--=--~ --!ij; ~1

C?

1- ~J - ~t- r'==r:==~E:;j ~==t=J~~=_=~~==t~-.e=-----.::::JI. II

o .:I

1 =J ~- 0' ~ ] -3---'4 ~ .2~1

(i~nj7

1-------0 "4

3,·----

,For f'u rther Pr-actice

Whij f) you irre COFlI h.l1lal! Ie 1,il1~~ i liB _,I OI"1l€ wilh exerctse .3 1. lr'l' wr Ili ng 1OUF: own bass lin!:!: tW.ef th i s pr>Ogres~ion_

00 t'm!lf ]3~7 ALl1l1 tJ.l Gmi7
_!j~1- I=- -- - ~

.'\11111 1)1[lli ,L;imlu?
1-
J

112

arpeggjo= A chord m wh I ell the IlOtes are played in succession, r~t"'er tfmn simu I (aneou,s,1 _

mMif': A U:tE!:ffiE! or I iell: of any jeif!~ h.

statr-c: Rema,inmlX Oil 1'he same chord ..

~r<1llsiHj}"; 'rwl ng hom one chord 10 anDfher., B'frJi; rplayed ot"le Oc.U;ive 11 igher t.:h M wri tten

lo(:'o~ Played wherE! wril[eti.

llIllJefll'iij,I,: The' dtata nee betWBen two pi tehas. '~alf[g~~t ifIDti;!'~ h 11' dl tOWillird ~ which 8 m Ild.Co II n ts lleildifl~_

eh romalic: Mffill n:g' b\' hall' st!2'PS_

s.hl1l' ( }~ Rtuses i!l note by ona hal 5 ~ pr

'~Iat { 'r Lewers a note 'oj' on h~~ s;,' p.

II'lHlltlJlrnl (~l: Caru:€~5, i3J pre'JiOlJ5 sllarp or nat ac;dden1l11l! I sharp, let, or Ilatlirat tio.l diatMic to the key,

ik~~ fL tonill. or pitch, cen tel' a!J!GJtlI(!!Jll To enlarge_ cliirnini's..h; To make. smaller,

dl:111J h~~, sharp t ~}; Ri.llSES ~ note b~ tlI~il:' whQI'~ s-tP.'P-

Itr.'II'It!>I1l!O'5'.t:l' Ctl~FIlgi:!: til a dl Her'E1l1 ke~

repeal :signs,: (I' fl.1 - RelJeat au I i!:IrrS wi ttl ifl

Ithe SJgn8: (X') = ~CJli2at chord Irom PI"flYIIJoUS bar.

Bom III New rOik C;Jt~ o.n t'ftmJ,i:'I!)I 24. 1947, Rob Ma.gnu~.s.or W(JlS l'i3]i:~e.t1 ill a m!Jslr.:al fal'flil~; lie 'Irst ~n 'sludVlIlg FreHl:.11 1101f! .J'I 0lIgt' so: and conunuec leu lwe~JoIe. )leaFs Ullilil as. i3J tf!il1!nager., tie di~c...o'.le.~ed ~u I ta ill'1U, UE."!::i:l11 JlI ayi 11g etectrrc ba::;.s 1 r, I ck ( .ndls. By 19 5~, he was ina S1:.in DIego based R&1B bat U ano ~hei"e had hI's fir~t (l);.POS re to ~~ll_ Miles :lJ~VIS.\i Kmo of BILJe, ShmlI)' me calter, Il€ pl,.lf'{,:hat:.ed an acoustlc IJ;W!~ IlIJIiKIi began to l~rJ~n to play_

III 195-8 he jomedtne 8uddy R[ct1 Biind tor a ~~:!iIr. 1t':l 1971 72 and 1~U5-.!6 he wt1l'l-i,eci1 with UteSarah \lJl1:d~h.!3fl ifr io, per~(ifmllllg WlI, h II.~e ~enClwfled oru rnrner .Jil nnw Cob b. fJAio'l'li II g to LD"S An~ele5 in 197!J" S{lt) was .r.ctl~~Y per olming ;j3ild recordll'lg will, the. AlJt 'I 'eppm Quartet .Benny Golson Qu.iulet, drld tile Joe: F arrcll Quar let

.Atte.or an e.:demil'!le career pe:dorrrung III 51 OJ, hands, ifill, dubs, and sympho!"!!es. en ooitJ the. 'We51 sud East CPt:1S.tS and abroad, Bob 31 so g,a Ined Ji!I 0 tor 1I:ty as i3I te.ac:he~ 'Pl.lld elifl tt ~a:J~ the '!.Iii'S sn arti lJe f~(;ult~ II1Il{!mbcr 01 Mu~ici.alls i[lS1T ute fin HullyW{i{Hj' from 1.977--1996). He mov.e-d back 1'0 Sail Oleg(l I rJ ~ 983, wllem'e h~ curren U resides wit h his W1i fe a rrd tam i Iy. S i nee IJil:8 t timc, he nas rscorded (\flO

1l2:€1l KPBS j(J;U. specials lor tel"€!vis.iM, and ollle'[Wise kB'fPS busj playing ,and recordlng, His pers:.oflii3i1 di~l')gr(Jpki~ ilsts In ~es.'S of IlJo.~rbtlJm5 and CDs to hls credit] itlchtr,hng reoordings b:y such line pop artists ,;JiS ILinda ROllstadt, Neil Oli:l[fICl~ld. 8001110: Raitt, 10~aOO Ma,ruacs~ and Madon,m~_ H,~ has alsn perfouned with numerous ~aLl wc-ats, includiui:! I-Iall'k. Jones, Ceda~ Wa~ton. .hrnrny Hea~h, Art Fanner, Kenny B.aHl:m, Fre<1die i"llJlb:bard, S:llde Hampton, Billy Hi~I'J!lIs] Carl Fontana! Tommy FI~.ilaWtn, IKe Ill"lj\!' Burrell, Roger Kel b::MiEly, IEnH~ W.QU~. Ed dije "Cti,}anhead" IIi nson I Leu OOrl~!dS£lfl ~ Joe i-tendefSO I r ell f'tord Jordan. George C~b les, ViClOI Le ""~s, B ud S 11a ilk, and many ot le.::.o.

In .1.9831 BOb !MaS honored b)l lhe San Dlego Ha II oJ Fame as lh e .. Jazz Payer [)r' tn e 'r(@ar:'

A'b - th - - Ii!!!

,'oult ;_1 • Mus,.re:lans

1M ikiil; WEI·fJom el'il.~red tne Los AFlgr=I~. I r'ltJsir,- scene 1111 the I ate trt~ i es ,eU I dearly SI:d IE'S wi th lile leg· iiilfidary LI'gtrJ{~o.use AII-5r,3 5 and t.111;; l)fHNds.. of She Ily MaJ~ na, TQdd'y [ch\1iJrds, Chet. Ba er, Zoot Sim s, Bud St1i!mk, Sonny C iss, Drld Shorty R'ogers, ,among others. OvBr Ultl fotfowin-g )'l"'.i3J:J. JII~ has appeared and r~illFded wjtlL 'Such 'lrW~~'!i as Kenny ~lJrre!l. Sla,ri Getz, Lee' KOnl'l.t. Joo 1i~lldeF50I'I] H~rr1 ·'Sweeffi" E(IISOrl, SlIde 11~ rnpton, Befll1)! i3;OI'5ili1, Art Farmer] Ch,u11fl Haden and Jce Pa~"'S. III ],979 arid 1983 tlt: ~s Sar.a1h Vaughan's rl1anisl. and cQfld1l.dor. From 1989 to 1992 he W8:S; llle- Mus.ica.1 DiFi;lcl.or ltnd p;lIams1'(1 BI(I Fil'1ge~[ Id. In .add,jl1il:vJi, M~k1l has recorded ten solo. :atbums. or his (JiWlt IDawnbeal M~alme c~1ledJ turn ~UII€' of tne o1Jl~'Sta nd iag pian lsts tlf our li me" and noted music cntic ]Le.:JJl am F I!,a\ ier wrote .. WIJHard nOW oceu p es I3i plateau a longsl de precious few others!"

]P\eler Erskine has bee" at 11l~ r (]I Ith{tl I of \~OJl'UJ-{; I ass cnsembl C'S Jw O'llf!f 26 )'€3r,S. In 1972 to 1975 he pLa~ed wiUI the Sran Kenlml OJchesb~, in 1976 and 1977 lie was he dnnnmai with the Mayn~rd F-E1E:USOrl Big fl8.nd, and m 1.9/8 he joined We-IIt'IlP-J R~IJI}I r. '1 he €.M:crellellce ot the- parlnership be-~we~1l l4m.t~r and i.J2I':i$ISl .J':.!iCfi P'astClriu-s was H!'lI Intew'al pan of Ih.i:lt ~r'D!Jp's success. I~I tJ;1!~ f(J.J1 eElln~ w! II W~"JI'I1.:1 1{ICJ.It.I1l, t-'u-lt.-'f loilled Mllirlel B.Ctcker In UIif3. grolJl1p' 5Ie[J~ .An~{E_ H.s ClUI~' to ri ng' and record i ng 'I; F'f{hts (300 (II bu rns) 1m.: iude Ste.e.'ly Oi::llrl i eh lc k Corea. jOe. lien uerson, Fr~ddi~ Hubbard, GiliFY Burlon, p~t· Methen~, 811d Jon, Mllcbell PiIllter has recorded 12 -:;0.10 albums of hIs ow!'!!. In 1999 lIe became Ul~ i1e1,!'ltilst member o' the Yellowjac·ket5.. P~~r a~s.o has three instnrctiQfl.i:l1 irrueos, a pr:rrorm3l1ce Video tiUecl "Peter Erskine II ioJll've,a1 Jazz 8altlcJ." (Hal Leonarc Co-q.nnahonJ as. w~11 as h'lO drum u1<$lrut1l0n books, HIt! '1110:0\ f~nl ~illlUed "The Drum Perspec tl'.,re,·' oi;Il!:.)o I.l u b.J I shed by Ha I Le!Jnar d C.::!f'lXl'r"t icn,

I ha\I{! been Ilt:HliJred to DI;,)~ wl1h Ih~e- two wOlld;e'rrUilaflu'S,icians, in lJariolls s-ell ings Ulit'[ the Y~iilJrs and 'the~ never C:E'i:I~ 10 srnaze me with .h~ir mlJ'siClfll:lstUrp and warmth as human OOll1gS; I l11i:1nk them both [or ~h~l.I'r conlnlm~11J11 to this projecl.