Lesson 3 - Bass Lines (continued)

Principles of Jazz Bass Line Construction

(Cont.)

Almost all of the practices so far have been predicated on the assumption that there
will be one or more chord changes per measure of 4/4 or 3/4 time. Other conditions
prevail when the chord is extended over more than one measure.

Here are some typical two-measure patterns.

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Here are some more examples.

4/4 QUARTER NOTE LINES:

When chords move by step - two per measure, simple octave alternation is often a
good choice. (This emphasizes 2 feel and provides extra weight.) Make a change to
stepwise motion in the opposite direction of the last octave skip.

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When the roots of the chords outline a cycle of 5ths - descending lines in the
(diatonic) scale of the moment will result in smooth lines with correct arrivals
(resolutions). If a bass line changes direction often enough and in a balanced way,
problems of range may not arise. Sometimes it is dramatically useful to keep a bass
line moving in one direction for a long enough time that it is possible to run out of
practical range. In such cases, a switch of register at an appropriate moment can
solve the problem while maintaining the illusion that the line is continuing in the
same direction. In all cases such changes of register should occur on weak beats so
that they are least noticeable. (The 2nd or 4th beats of 4/4 lines - or the 2nd beat of
3/4 lines).
Here is an example of the chord progression of the first few measures of Jerome

Kerns All the Things You Are.

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When the roots outline a cycle of 5ths but ascending lines are needed to maintain
independence from the motion of the melody, extra passing tones must be inserted to
control the arrival time of the next chord root. These chromatic passing tones are
best inserted so that chord tones - or at least the tones of the scale (key) of the
moment, fall on the strong beats.

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When the melody is a simple pattern sometimes a note for note counterpoint can be
useful.
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When the melody is complex, a steadily moving chromatic line can provide
interesting contrast. This line must arrive at a satisfying and correct resolution at an
important cadential point.

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The upper chords represent the basic harmony of the excerpt, and the lower ones are
the result of finding inner voices that rationalize the stepwise bass line with the
melody. This passage reminds me of a conversation with Gerry Mulligan in which he
complimented me on my playing but expressed the wish that I play more roots. I had

no rejoinder at the time. I was grateful for the compliment and somewhat puzzled by
Gerrys dissatisfaction. I thought every note I played was a root - if not a root of the
main chord of the measure - then certainly of a passing chord. To me, playing D, E, F,
G, when the chord of the measure was G7, represented the correct roots for a series
of chords (Dm7, Em7, FM7, G7, that substituted for the simple G7) rather than an
incorrect expression of the G7 chord. I had learned from Bill Evans the principle of
delaying the dominant 7th of the moment as long as possible in order to maintain
harmonic movement. My ears have been trained to continue to perceive this practice
as useful and correct in constructing interesting bass lines. It is not necessary that
the soloist or all upper voices parallel the bass activity. Sometimes beautiful tension
and resolution is achieved by the soloist creating a melodic pattern that expresses a
simpler, less active, series of chords while some or all of the accompanying voices
move logically through passing chords and suspensions to points of agreement and
resolution with the melodic line. Much of Bill Evans music can be correctly analyzed
in this light.
Symmetrical patterns like whole tone scales, diminished 7th arpeggios (and scales)
are useful in suggesting tonal ambiguity and serve to increase harmonic tension until
the pattern is broken.

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Whole tone patterns are often used to express the harmony of altered chords. In
every case such symmetrical patterns must be resolved on the downbeat by perfect
4th up, perfect 5th down, or by semitone.
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Another consideration - passing tones sound most appropriate when they clearly
describe the key of the moment. For example: An E natural between D and F in a D
halfdiminished 7th chord suggests the keys of C Major, F Major, A minor or D minor
(with an Ab upper neighbor, resolving to the G), while an Eb suggests Bb Major, Eb
Major, G minor, or C minor.

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Generally, a balance between stepwise motion and skips is to be sought, not only
within the bass line, but also in relation to the combined effect of bass line and
melody. Since melodies tend towards more disjunct (skip-wise) motion, effective

bass lines will tend towards a preponderance of conjunct (step-wise) motion.

Here is an example of a well-developed bass line based on Satin Doll. The example
includes passages in a 2 beat feel, short solo melodic turnaround passages using
passing chords that connect the main sections of the form, a balance of stepwise
motion and skips, walking passages in 4, and enough rhythmic variety to keep things
interesting without disturbing the overall feel of the pulse.

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Here is another example of an elaborate bass line using the simplest of blues
harmonies. The rhythmic pattern in the bass part repeats every two measures. The
overall shape of the gesture remains the same until weve heard it enough and an
inverted variation appears. Small rhythmic and melodic variations occur in the piano
part, really small variations, just enough to balance the development in the bass. The
simplicity of the piano part, and its repetitive return to the same note, focuses the
attention on the bass part where most of the interesting development occurs.

Example 2-23
(Note: an animate score for this example will be posted soom)

There is no substitute for learning the guiding principles that inform the bass lines of
J.S. Bach. Except for the addition of some chromaticism, little has changed in
functional harmony since Bach - and no one does it better.
Good models for bass lines among jazz bass players include Oscar Pettiford, Red
Mitchell, Percy Heath, Israel Crosby, Ray Brown, Paul Chambers, Scott La Faro and
Charlie Haden, who represent good examples of ways to free the bass part from the
tyranny of the quarter note while still performing an effective and vital bass function,
and younger players like Rodney Whitaker and Christian McBride, among many
others. Composer/arrangers who demonstrate a high level of sensitivity to the
construction of bass lines include Benny Golson, Bill Evans, and John Lewis.
It is important to understand that lead sheets and fake books - while they may
include essentially correct chord symbols from which effective lines may be inferred are often full of misleading information in which the chord symbol represents only
the upper voices and ignores bass line implications. (Chuck Shers publications are
notable exceptions to this rule.) In all cases it is essential to refer to good recordings

as examples.
MORE ON RHYTHMIC VARIETY:
Anticipations are more common - and usually more effective than delayed entrances.
Delayed entrances are most effective when some or all of the upper voices sound the
chord on the beat. Another effective possibility is for some or all of the upper voices
to express anticipations while the bass part stays grounded on the beat. Count Basies
music often made effective use of this device.
Effective bass line movement will often suggest a series of substitute chords. There
are typical patterns that will appear in certain situations; a series of chords that will
serve to provide interesting movement from one harmonic spot to another. These
chord patterns imply specific inner voice motion in what would be the alto and tenor
parts, were we to reduce the movements to a four-voice chorale texture. The bassist
(composer/arranger) should become aware of these implications in order to
understand how bass note choices affect decisions made by soloists or inner voice
accompanists.
Here is an example of a well-developed and integrated relationship between a
melody and an accompanying bass line. (Some of the bass notes suggest the
possibility of additional passing chords.)

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Remember: If chord symbols alone allow any doubt as to the direction of the bass
line, write it out (and provide the chord symbols as an encouragement to variations
and embellishment).
One of the unfortunate results of the industrialization of music is a tendency towards
standardization of aspects of the art that do not benefit from such standardization.
(Standardization is a boon to industry but has little to do with art.) One place this
habit appears, to the detriment of variety and artistic invention, is in the choice of
bass line orchestration. The plucked bass violin in its most developed form has
evolved into an ideal instrument for the expression of jazz bass lines. There is a
balance between energetic attack and proportional decay; enough impact to express
rhythmic vitality and enough resonance to connect notes into lines. Possibilities of
micro dynamics and pitch shading along with the variety of articulation resulting
from fingers in intimate contact with strings add to the expressive range. For these
reasons, the bass violin has become the instrument of choice for this musical role.
There is however, no artistic reason to limit the assignment of bass lines only to the
bass violin. A number of other jazz and orchestral instruments are suited to doing the
job while providing a refreshing change of character. A short list might include the
baritone saxophone, bass clarinet, trombone, bass trombone, tuba, piano and guitar.
Using any of these instruments to fulfill the bass function can give welcome relief
from the sound of the bass violin. Then the bass violin can re-enter dramatically

either in the bass function or in some other role in the ensemble.

When using other instruments to provide the bass line function, care must be taken
to choose patterns and textures that suit the character of the instrument. For
instance, playing quarter note walking bass lines on the piano becomes
overwhelming in a matter of only a few notes. The volume of sound the piano
produces and the shape of its sound envelope result in a far more dominant sound
than the bass violin, so pianos need fewer notes to produce the same weight in the
bass register than the bass violin can supply.