IV. Developing a Bass Line

IV. Developing a Bass Line

With the exception of solo jazz pianists and the occasional jazz duo (e.g., two guitars, guitar and a horn, etc.), most jazz groups have a bass player. Jazz bass players usually create their own bass lines from the information provided by chord symbols; however, it is important for any jazz musician who wants a complete understanding of jazz harmony to be able to write appropriate bass lines.

1. 
   Place the roots of the indicated chords on beats 1 and 3 to create the skeleton of the bass line. As far as possible, select the root notes so that the interval between them is minimized (e.g., choose a fourth up rather than a fifth down, a third down rather than a sixth up, etc.).
   

2. 
   Fill in beats 2 and 4 according to the interval between the notes on beats 1 and 3:
   

The different intervallic situations, and their solutions, are as follows:

1. 
   If the roots are separated by a third, put a diatonic passing tone between them. In measure 1 we insert E between F and D, and from measure 2 to measure 3, we insert BÓ between C and A.
   
2. 
   If the roots are separated by a fourth or fifth, fill out the interval with a tone drawn from the first chord. In measure 1 we insert F between D and the G in the following measure, and in measure 2 we insert D between G and C.
   
3. 
   If the roots are separated by a major or minor second, repeat the bass note as shown in measures 3 and 4. As can be seen in measure 4, an octave leap can be used instead of a repetition. This move is sometimes used reposition a bass line that is approaching either the lower or the upper extreme of the range of the instrument.
   
4. 
   If a chord is held for the entire duration of a measure, the bass line can be filled out with a scalewise line from the root of the chord down to the fifth. This is done under the FÎ chord in measure 5.
   

3. 
   Finally, look for opportunities to smooth out the bass line through judicious use of the third, fifth, or seventh of a chord, or non-chord tones. Here, for example, the scalewise line in measure 1 is continued downward through C (the 7^th of the DmÏ chord) to the BÓ on the first beat of measure 2. This movement puts the root of the
   

This method is unlikely to produce a bass line with the fire and drive of one by a Ray Brown or a Charles Mingus, but a competent bass player will be able to make the line swing and it will adequately support the harmony of a piece.

1. 
   Write a bass line for a tune selected by your instructor. The bass part should include both chord symbols and a written-out bass line. Also prepare a guitar/piano part that includes chord symbols and “vergules” (bolded slashes) to indicate the rhythm. If possible, have class members play the tune, the chords, and your bass line.
   
2. 
   Choose a tune from the lists in the Form section of Chapter I and write a bass part for it. The bass part should include both chord symbols and a written-out bass line. Also prepare a guitar/piano part that includes chord symbols and “vergules” (bolded slashes) to indicate the rhythm. If possible, have class members play the tune, the chords, and your bass line.