Walking Bass Solo Book

U

;ii

Mel Bay Presents

walking

Bass SoloB

by John E. Lawrence

CD CONTENTS n-t-5thoverMajorTthChords[:461 lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll R*t - 5th over Minor 7th Chords [:35] [Zl g--l n""t - 5th over Dominant ?th Chord [:35] I Root - 5th - Lrading Tone over Major 7th Chords [:43] Fl n""t - 5th - Leading Tone over Minor 7th Chords [:361 Sl I

@

MajorWalkNo.2[:41]

Ed

E

Major Walk No. 3 [:42] Root - 5th and Octave over Major 7th Chords [:44] Root - 5th and Octave over Minor 7th Chords [:42]

E

Root - 5th and Octave over Dominant Chords [:42]

E

Fl

noot - 5th - trading Tone over Dominant 7th Chords [:35] noot - 5th - kading Tone over a ii-V-I Progression[:401

l 8l

Scalesfor a [-V-I ProgressionNo. I [:4O]

@

l9 I

S c a l e s f o r a l l - V - I P r o g r e s s i o n N o .[ 2: z l 4 ]

@

1 2 - B a r B l u e s B a s s L i n e N o . 3[ l : 4 7 ]

F0l

Scalesforall-V-IProgressionNo.3[:45]

E

PufiingltAllTogether[:19]

FTI

uajor walk No. I [:43]

@

New Bossa [2:24]

I Ol

m E

Slow Blues Bass Line [:49] 12 - Bar Blues Bass Line No. I [1:0O] 12 - Bar Blues Bass Line No. 2 [ :00]

John E. Lawrence plays Heritage Electric Guitars, Thkamine Acoustic Guitars, and GHS Guitar Strings.

@ 2OO.IBY MEL BAY PUBLICATIONS,iNC., PACIFIC,MO 63069.

A L L R I G H T SR E S E R V E DI.N T E R N A T I O N ACLO P Y R I G H TS E C U R E DB . . M . I .M A D EA N D P R I N T E DI N U . S . A .

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Contents AbouttheAuthor ConstructingWalking BassSolos Root-sth..

Root-Sth-LeadingTone W h a t i s a l l - V - I C h o r d P r o g r e s s i.o. n . ?

Scalesforall-V-IProgression....

ConstructingBassLinesOverAll-V-IProgression....

TheMajorWalk Root - 5th and Octave

......3 ... 4 .....5 ....8 .......

11

......13 .... 15 ......18 . . 19

SlowBluesline.

...-.22

l Z - B a rB l u e s P r o g r e s s i o n N 1 .o. . .

.....23

I 2 - B a rB l u e s P r o g r e s s i o n N o . -2. . .

.. -..25

l2-Bar Blues ProgressionNo. 3 . . . .

. . . . . 27

PuttingltAllTogether..

NewBossa

....30 .....32

This book is designedto: 1) 2) 3) 4)

Teachyou how to play chordsand basslines simultaneously Give insight into how basslines are constructed Develop the techniquefor playing chordsand basslinesthrough specificexercises Teachspecificbasssolosin the form of walking blues,jazz swing , and bossanova

JohnE. Lawrence JohnE. Lawrence,a life long residentof Ypsilanti is one of Michigan's most talentedandrespectedguitarists.Johnis now gaining national recognition with the recent contract with Mel Bay Publications, Inc., one of the country's largest publishersof instructionalmaterials.Mel Bay hasproduced for John a video tape entitled "Jazz Improvisation, Walking BassLines, and Chord Melodies," which is available in musicstoresthroughouttheU.S.The videotapewasincluded in Mel Bay's most recent "Hot List," which selectsthe company's top picks within its catalogue.Slated to be releasedin the summer of 2000 are three companion instructionalbookswithcompactdiscs(CD's).ThebooksandCD's can be used alone or in conjunction with the videotape.

John's most recent accomplishmentsinclude contractsto endorseHeritage Guitars, TakamineGuitars and GHS Guitar Strings and a solo in Mel Bay's "Collectors Edition Anthologyof JazzGuitar Solos" which is now publishedand in music storeseverywhere.This collectionfeaturessolosby the world's finest jazz guitaist. John has also written two articles in Mel Bay's new Internet magazine,one entitled " Practice is the key to musical success"and anotherentitled "Blues Improvisation" for March and April 2000 issues.

They canbe found at www.melbay.comunderguitarlessons.

Mr. Lawrence credits his musical talents first and foremost to God, then to the late Dr. Morris Lawrence (no relation).Dr. Lawrencewas an instructor and chair of the Music Departmentat WashtenawCommunity College (WCC). Under the tutelageof Dr. Lawrence,John was challengedand inspiredto continuouslyimprove his skills as a guitarist.Following in the footstepsof his mentor,John becamean instructorat WCC where he hastaughtfor over 20 years.

In the realm of performance, Mr. Lawrence served as musical director and lead guitarist for vocalist Carl Carlton,who was the openingact for suchfamed artistsas SmokeyRobinson,ChakaKhan, Lionel Richie and the Commodores,Rick James,Teena Marie and Frankie Beverly and Maze.

Among Mr. Lawrence's many accomplishmentsis a performanceat CarnegieHall. In addition to touring throughoutthe United StatesandperformingatlazzFestivals suchas:BostonGlobe,New Orleans,andMontreaux Detroit, he has performed in Haiti, Surinam, Germany, and the Montreaux Jazz Festival in Switzerland.

John has made television appearanceson three nationally syndicatedprograms: Kelly & Company, PM Magazine and Good Morning America. He has also performed with Atlantic Records recording artists, Straight Ahead,a Detroit-basedfemalejazz group.

One of Mr. Lawrence'smost memorableoccasionswas with legendaryjazzguitarist,Mr. Kenny Burrell. Mr. Burrell asked John to sit in with him at the famed Baker's Keyboard Lounge in Detroit, Michigan. After the performance,Kenny commendedJohn on his playing ability.

His soundrecordingsinclude, "Merry Christmas from John E. Lawrence," "The SupremeDream" and a third recordingentitled"Old Smooth".A (CD) that is compiledof hits from the 60s70sand 80s.His latestprojectentitled "Summer Nights" compiled of original material that fits the adult contemporary smooth jazzformat, was released in the summerof 2000.Theseaccomplishmentshave laid the foundationfor an explosivecareerin today's music industry.JohnE. Lawrenceis sureto becomea householdname.For more information,pleasecontacthis web-site at http://wwwjohnelawrence.comor e-mail him at jel @johnelawrence.com

Learning the Techniqueof PlayingBASSLINES and CHORDS Simultaneously 1) The bassline is played primarily on the 5th and 6th strings.

You will usethe 3rd and 4th stringsoccasionally,but to emulatethe bassguitar the bassline shouldsoundas low as possible. /) The bassnotes are played on the downbeat and the chords on the up beat. , 3) The chord is played after every other bassnote. This gives the chords a separaterhythm from the bass line. It also gives the illusion of a bassand rhythm guitar playing simultaneously.

4) It is not alwaysnecessaryto play a full chord employing all six strings;sometimesa two or three-stringchord will do.

5) The bassline is played with the thumb insteadof with a guitar pick. Using the thumb makesthe tone darker and smoother.The strumming of the chords is done with the fingers.

ConstructingWalking BassSolos Root to the 5th BassLine Therootand5threferstothe firstandfifth noteof themajorscalebasedonthechordyouareplaying.Forexample, if you play a D major 7th chord, you can constructa bassline using the first and the fifth note of a D major scale.

Example: Major scale with the root of the chord on the 6th string

r.ot+ffi

roor+ffi

ffi ,,offim

ffi ,,nfu

Major scale with the root of the chord on the 5th string

rTrflt

root-.{'Oi

mfn

root-bO | | | |

| | |

n-rfit

rFn-F-] rIffi

t-ffil-t

,*tfIT-I

,*.EffiE

In order to simulate a bassguitar sound, play the bassline on the 6th and 5th strings. Given the above scale pattern,we must take the fifth scaletone (as shown in the 4th string) down an octave and play it on the sixth string: Root on the 5th string root

,rn /

5th down an octave

4

Root - 5th over Major 7th

3fr'm

ffi

3fr.F5[n

t"l-Hil Trrrn

3frfllJTl

ffi

cM7 3frrfrm H-+tll

l-fiffl

cfiurz 4fr.8m

L.lJJ.ll

Htfr

5frI[m il rtrl

HffI

Root - 5th over Minor 7th Chords Cm7

3f.TilJI

ffi

3fr.qFm uj-tt.l

Hll+l

Cm7 3fr.qm

H++l rrrrn

6

Root - 5th over a DominantTthChord

ffi

3fr.Hil

IIIIN

st l-lttH Trrrn

cilz ffiil lt.FlltH

TTTTN

D7 iITm st l-tttH rrTrn

Root - 5th - LeadingTone A leadingtone is the note aboveor below the chord you are going to play. For examplea leadingtoneto D would be D-flat or E-flat. Note: Plav the leadine tone on beat4 of the measure.Try theseexercises:

Root - 5th - LeadingToneover Major 7th Chords cM7 3frTlTfl

ffi

ur.ffi

H}TH

3fr.ro I t t a t l trml

cf,tttz 3fr.TlITl

ffi

'*m rT.Tfl

Root - 5th - Leading Tone over Minor 7th Chords

3fr.trm u-l-itl

HtH

3frm

ffi

CmTlDb

Cm7 3fr.tffiI Ltutl

r*.ffi

Htfi

FI+H

9

Dm7 5frIflJI

ffi

Root - 5th - LeadingToneover DominantTth Chords

ffffi sr,.[m

tlm | | | l a t

fTtltl 3fr.|'r5n

cil7

D7

ffi ffi +rtEffi ru.Fffi

10

Whatis a II-V-I ChordProgression?

The II-V-I chord progressionis widely usedin jazz. If you masterthe constructionof basslines over a II-VIprogressionyou will be ableto spontaneouslycreatebasslinesover jazzstandards by examiningthechordchanges.

So, what is a II-V-I progression?

Let's look at a C major scale.The C major scaleis made up of eight notes that are spacedeither a whole-step orahalf-stepapart.FromCtoDisawholestep,fromDtoEisawholestep,fromEtoFisahalfstep,fromFto G is a whole step, from G to A is a whole step, from A to B is a whole step and from B to C is a half.

Example C Major Scale:

half step

':lfJ" ':l'""i" :lJJ" $s

The distancefrom one note to another is called an interval. The distancefrom the first note of the major scale to the secondnote is an interval of a major second,from the 1st to the 3rd is a major 3rd interval, from the 1st to the 4th is a perfect 4th, from the lst to the 5th is a perfect 5th, from the lst to the 6th is a major 6th, from the lst to the 7th is a major 7th, and from the lst to the 8th is the interval of a perfect octave.

Example The Scale Intervals:

major

major 3rd

perfecl 4th

*j,nff,T,i" T,fl"frTTi

1l

When the lst noteof the C major scaleis playedalongwith the 3rd, 5th, and7th, it forms aCmajTchord.Since this chord usesthe lst note of the C major scale as its root, it is referred to as the I chord. Therefore the I chord in the key of C is C major 7.

CmajT Maior 7th --

Perfectstn-].F Maior 3rd -+ Root

I

Basedon the whole-step/tralf-step relationshipswithin the C major or "model" scales,we can now proceedto the seconddegreeof the scale(D) stacking its respective3rd, 5th, and 7th intervals to build the next chord - D minor 7. As this chord is constructedwith the secondnote of the C major scale serving as its root, it is referred to as the II chord.

If we continue to stack th intervals in the sameway on each note of the C major scale,we will get a different chord for eachscaledegree.With eachchord having a correspondingnumber for every chord name.This holds true in all keys. The I chord is major, the II is minor, the III chord is minor, the IV chord is major, the V chord is dominant, the VI is minor, and the VII chord is a 7b5 or a half diminished. This can also be written as VII..

Example: The 7th chords basedon each degreeof the C major scale.

A II-V-I chord progressionin the key of C consistsof: DminT-G7-Cmaj7 Here is a list of II-V-I chord progressionsin all twelve major keys:

C F Bb Eb Ab Db

il

V

AminT GminT CminT FminT BhminT EbminT

G7 C7

I

CmajT FmajT w BbmajT Bb7 EbmajT Eb7 AbmajT Ab7 DbmajT

I

Gb B E A D G

I

AbminT DbminT GbminT BminT EminT AminT

V

Db7 Gb7 87 E7 A7 D7

I GbmajT BmajT EmajT AmajT DmajT GmajT

Note: The seventhof the chords in the II-V-I progressionsare understoodto mean IJ7-V7-I. ln this book, I have written all of the II-V-I exercisesin the key of G, but it would be very beneficial to learn the IIV-I exercisesin all twelve kevs.

t2

Scalesfor a II-V-I Progression There aretwo ways to resolvedominant7th chords.The dominant7th that resolvesto the I chord, suchas the kind you will find in a II-V7-I progression.The other is the dominant7th that doesnot resolveto the I chord directly, as in a blues progression.

When playing over a dominant 7th chord in a ii-V-I progression,use the minor scale.

Example:

Am7 I

D7 Gmaj7 I

V

I

For the Am7, play notes from the A minor scale.For the D7, play notes from the D minor scale.And for the Gmaj7, play notesfrom the MAJOR WALK.

The Major Walk The MAJOR WALK consistsof the lst noteof a major scaleto the 3rd thenmoveschromaticallyto the 5th note.

The EXTENDED MAJOR WALK continuesto the 6th note of the major scaleand moveschromatically to the 8th note.

Example:

aa 3fr. r a a aa

ao Major walk extended

Major walk

t3

Playinga scalefor eachchordin the II-V-I Progression

A minor scale Over the Am7 chordplay an A minor scale.

5fr.

I

al

ara t a

D minor scale Over the D7 chordplay a D minor scale.

G Major walk Over the GmajTchordplay a G major walk.

Note: Playthefrst threenotesof the scaleoverthe first threebeatsof themeasure,on thefourth beatplay theleadingtone.

t4

ConstructingBassLines over a II-V-I Progression Root - 5th - LeadingToneover a II-V-I Progression D7

ffi

u*.ffin

ffi r*ffi

GM7

ffi

3frf1Jlil I tttrt

Scalesfor the II-V-I ProgressionNo. I Am7 5fr.mfl

GM7/D

ffi r*ffi

ffi

Tnn

fl+ffi r*m

srH#

f r t

ffi u*Fffi

Scalesfor the II-V-I ProgressionNo. 2 D7 5fr.fFfl

ffi r*ffi

ffi

Am7 sfrffflll

ffi

GM7

ffi raffi

ffi r*m

Fffi rrm

rffi

rtffi

3fr.ffim

I t a o t l

f++++.1 t..ru

Scalesfor the II-V-I ProgressionNo. 3 D7

Am7

5frm

GM7

ffi r.ffi

ffi

5fr.m

ffi 3rifiII{

Itaatl

ffi

Jr]]ltlIi

Am7 5fi.m t-H+H Trrrn

D7

GM7

ffin

ffi ,*m

r*ffi

D7

Fffi uoffifl

FFTTN

rTTT' ttaatl

5frfiIm

ffi r*m

-- rmfi

ffi

GM7/D

GM7

ffi

3friIffi llaat

I

t7

GM7

trTffi ,om

The Major Walk I,2,3 Major Walk No.l

Major Walk No.2

Major Walk No.3

18

Root-5thand Octave Theroot,5th andoctavevariationis a veryusefultechniquefor creatinga bassline becauseit workswith major,minor, anddominantchords.It is appropriatein all stylesof musicfromJazzto Country,to Rock,Latin, to Classical,etc.

Root-5th and Octaveover Major 7th Chords AM7 5fr.mil H?t1.1

GM7 3fr.{I]In H+TH ffr|F

TTTTN

hL!t-

i -

t r

-

l

_--_-----__-5

5fr.m Htfll ||ffl1

3m.m H1IN r|-r|H

3fr.m

l{+++] Frfffi

hrjj; o

7tt \

l

l

I9

Root-5thand Octaveover Minor 7th Chords Am7

Gm7

'.frTh

FTTM Iilill tiil il

ffi

Am7

Am7

5f..f]TJl

brr.?.lJttt

FHI+I ttnT]

ffi i lt

7

- . r ll

20

Root-5thand Octaveover DominantTth Chords

3ft.m Htf+l rrffi1

A7

5n'fTm

3n.m

ffi

ffi i

tt -

f

Jl

A7 5frm

G7

3frflTlll

ffi

ffi

I

3fr.m

5fr.5fflTl

ffi

C

lt

-

ffi

tl

2l

BluesBassLines ln a Blues Progression,play the MAJOR WALK over the Dominant 7th chords.

Slow Blues BassLine G7

F*7

,flffi

r*.ffi

TlTrn

22

G7

ffi 3fr.m

l}-Bar BluesProgression No. 1 l}-Bar BluesBassLine No.1

Transcription by Joe Palmer and Rudolph Washington G7

GTtC

G7

HXffi 3F.m

ffi 3frFTffi

G7 ffi

r*.m

c9 ffi 3fr.Hm

GTtC

ffi 3fr.ffifi

Writtenby JohnE. Lawrence Copynght@1998

GTtC

G7

trHfl Sfr.Fm

ffi r*.m

c9 ffi 3fr.4m

ffi 3frfflffi

G7

TTM r*.ffi

GTtC

D7

ffi 3fr.8m

ffi 5fr.m

GTtC TFM

G7

ffi ru.m

rr.ffi

23

ffi 5fr.Fm

GT|C

ffi 3fr.Fffi

G7

ffi ,*.m

GTtC

ffin

3ft[flfl

G7

G7

ffi 3fr.m

ffi r*m

GTtC

TtiI

3fr$H

-

r f

c9 ffim ,*.m

ffi 3fr.Fm

HTH r*.m

ffi 3fr.Fm

c9 ffi 3fr.Fm

G7

D7

ffi r*.m

ffi sfr.Fffffl

24

G7

ffi r'.m

l2-Bar BluesProgression No. 2 l2-Bar BluesBassLine No. 2

Transcriptionby JoePalmerand RudolphWashington

GTtC

G7 atatal

rTraTl

c11 ilTlTl snFltH'i

GTIF tllll

ffi 3frFflfl

ffi

'*ffi n-rrn

F7

ln.m

ffi

s*ffiH

c9 ffi 3frm

c9/F RTN

rum

Written by JohnE. Lawrence Copyright@1998

c6 ffi 5frHfrfl

cz1$sy 3fr.rrarn

[ffi TTTTN

c9 ffi 3frm

E7

ffi t*m

'*ffi Trrrn

oz1f;sy

D7

ffi 5fr.m

25

G13 3fr.fff,m l-+-l+t-.]

D9

G7

HH

ffi r*m

5fr.m

t-+-Hfl

ffi u*m

G/D

c9 ffi 3frm

c7fi5) |+M 3rl{Iflfl tlrttl

c9 ffi 3*m

c11tF ffi

r*m

= h- ill

G7

ffi ,*m

F7

A7 5frm

rfr.fTTm

Ft-ful Trrrn

ffi

GM7 I t t a a l

ffi

l0frmm

ezfisy ffi

ozfisy ffil uum

7fi.Fm

26

G13

3fr.m

ffi

t

l

l2-Bar Blues ProgressionNo. 3 Transcription by Joe Palmer and Ruldolph Washington GM7

HM t*.ffi

Written by JohnE. Lawrence Copyright@1998

rfimz FtmT

GM7/C

'*ffi rrrFn

D7

rirn

srH#

ffiH s*.ffi

'"ffi

l]-H'fl

cr7 *ffi

ffi

Em7

*ffi

ttrln

5frm

BT

rTTTI

Dfim11

Dm11

uuffi H+tfl

ffi t*.ffi

7fr.flTiTl

i?i+u

Ff,M7 G M 7 FFfl+t ffi

E7(f,e) _tTIm 'oflf?ll Trrrn

*^EilXt* ffi

c7

cz05)

ffi ror.$ffi

413

r*.ffi

H+TH

ffi tr..[ffi

D7(f,e)

'offi ITTTN

cf,e

rlnn

*m ffi

erH#

27

trffi 5frffflfl

ffi n*.ffi

c9 rrrm

'*H#

c9

c11

T[m rr'.ffi

GM7

lm

sffi r*m

'*Hffi

Am7

Bbmt

Bm7

rnffi ffi

hffi ffi

oi'.ffi ffi

lhrnu Am7

D11

saffi ffi

GM7

ffi tofr.ffiil

sfr..mfl

rrrI|l

HIH

ffi

GM7/C

l0fr.T5rrn

B7

arffi

Em7

?fr.m t-t-ttH

frrrn

trffi

Hlffl

cft TFTAN

IIm

*ffi

HTffi

r0frtrm

28

ETqe) t*.ffi Htffi

r"ffi

Df,m7

Dm7

erffi

rT.TN

t-ftfll

uom |TaTn

G7 G7(hs)

ff+H ffi ronffi *flffi

Bm7

E7

?fr.fffin

ffi ta.Fffi

ffi

D7

rf,naz cM7

5F.lfffft

t-l-tf+t Ff++tt H+tfl Htfu gfr.rfiTn lofr.T5Trn

H#+l rrrrn

ez1fisy t*ffi H+t+I

A13

u"ffi rTTTfl

oz1f,sy u*.ffi hHfl

cf,e

ttrM

'"H#

,*m ffi

r*ffi

H-ITH

ffi r*.[ffi

Eqm

rnH#

I hriltj

c11

FW

r*m

mm

ffi 3fr.m

'u$H

stffi ffftfl

Trrm

ebmt ?frflfffl |-|Hn TFTTN

I hrnfj- r

E7f,e t+-t-l-H -^ t-l-tl-l.t

"ofifffl

Lllttt LLLLIJ

erHfl#

ffi

ror.FttfH

29

?frrym urffi Ufifl

rFrr-l

D7(f,e) bfr.m sr.m Hrfr Hf#

6frflTiit

ffi

Putting It All Together Transcription by Joe Palmer and Rudolph Washington

Writtenby JohnE. Lawrence Copyright@1998

I

ebusleb

EbMT | | taaa

ffi

blr.lal I | |

nbrvrz TFTFN

4fr.{ItrX Iattl n-rrn

u"ffi

t

EIMT

l

Fl-l?l1 TFTN

I

EbMT

6frmm ffann

mrrn

[Tm

r

t hrf t l

cbnt

LLLITU

H+H

D11

ilTm srH#

ffi 4fr.Fm

n*.m

or.l-JltH

l

Eb7b5)

'"ffi Trrrn

obg

AbmT

m LLLrl]

gnfffu

t

ITTIII

AbMTIEb

l

l

Eb11

6fr.lf5FH TTTN

[rrTn

i

6fi.mn

BbmT

-

/

l

abt

B7

u"ffi 'uffi

zn.ffi

cbnt

'*HtrH FFI-FH

A7

rrrrn

rrrffl

B7 TTTTN

2fr.m L|ltttl

30

Fm7

rnffi ffi

Trrrn

Br11 'fr.lTifl

ffi

ebt

u"ffi TTTTN

ebuz

BbmT

m 6fr.tf5Ffl

u"ffi

FI-T5|t

rrm

ori.l-ltHl

Trrrn

TTTN

efut

Bbmleb gm

*fm

rI-IrN

otHSl Trrrn

- f hr t_Tr xbut

"n-m n-ffn

TTTSF TTTTN |T-ffl

[fr"mn

Gbmz

6FrflJTl

sfr.m

Ht+tl

ffi

Gm7

rorffi

ffi

unffH

rrFl-n

ab^7

gtrlfu Hltfl rrTTn

Fm7 sfr.dm H+fi1 rrrrn

B7

'"ffi rrrrn

abt

ar"ffifi FFt-tfl rrrrn

I

E'MT

u*ffi

I t t t a a

ttrIn or,.l-JttH

FTFTN

31

New Bossa The lastexerciseutilizesthe Root, 5th, Octave,andl.eadingTone in orderto createan excitingBossaNova rhythm.

Note: If a chord has a raisedor lowered 5th,you must raiseor lower the 5th in your bassline as well.

Transcription by Joe Palmer and Rudolph Washington Am7 TIITI

New Bossa Am7

Bm7(f5)

tm

r*.m

r*m

Written by John E. Lawrence Copyright @1998

ffi t*.m

E7 ttrIil

ZAHH

lt

V

Am7

[m r*.m

uu.m

Am7

ffi r*m

emzfisy

Am7

qm

ffi rfr.m

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