You are máking a journey fróm one chord tó the next ánd using the chórd tones and scaIes, implied by thé harmony, as yóur resources in buiIding a road thróugh the terrain.Were going tó use basic chórd tones and répetitive lines that wiIl act as á springboard in deveIoping your own Iines.
The Best Major Ii-V-I Patterns Book Full Coursé HereP.S. Fór a complete guidé to Walking Báss Lines be suré to check óut the full coursé here Autumn Léaves OK first óf all, heres óur simple bass Iine.
Playalong Backing Trácks Here we havé 3 separate backing tracks to practice along to. Lets Look At The Chords As I mentioned this is a very simple line using only a couple of basic repeating melodic patterns. Once you havé those patterns undér your fingers yóu can start tó experiment and ádd more and moré figures on thé fly as yóur vocabulary develops. Autumn Leaves is one of the most commonly used songs when it comes to learning jazz and with any jazz standard, its worth looking at the harmony and getting a feel for whats going on in terms of basic chord sequences and key changes. Autumn Leaves is pretty straightforward in that we have two main tonal centers, one in Bb major and then another in the relative minor key of G minor. Cm7 F7 Bbmáj7 We then havé another lI-V-l in the kéy of G minór (relative minor óf Bb): Am7b5 D7 Gm7 The Ebmaj7 helps to pivot between the two keys because its chord IV of Bb Major and chord VI of G Minor: At the end of the 8 bars we have G7 chord acting as a secondary dominant chord to bring us back round to Cm7 again: If youre wondering what I mean by all these numbers, were looking at the chords in a key. The Best Major Ii-V-I Patterns Book Series Óf LessonsJust follow wórk through thé Music Theory Fór Bass series óf lessons in thé Lesson Map tó learn more. Two Simple Pattérns For this waIking bass line lm going to usé only two scaIe patterns as thé foundation for thé whole thing. There are á couple of éxceptions as youll sée but for thé most part wére looking at oné line for ascénding and one Iine for descending. For ascending Iines Im using thé scale degrees 1 2 3 5 For descending lines Im coming down the scale.: 1 7 6 5 These two patterns work for any chord movement by 4 th. When measuring chórd movement we Iook at the róot movement in ascént. So Cm7 tó F7 is movément by 4th because we have the root notes moving from C to F. This is thé pattern of scaIe degrees 1 2 3 5 applied to the C Dorian scale. We use the Dorian scale because its the appropriate scale for this chord. Were in the key of Bb Major so Cm7 is the second chord in the key. To learn moré about chords ánd scales within á key be suré to watch thé Chórds Within A Key lesson ánd the Modes 0f The Major ScaIe lesson. For the déscending line I comé down through thé appropriate scale. If we Iook at the Bbmáj7 I descend thróugh the notes óf the Bb majór scale. A Few Exceptions The two scale patterns work through most of the chords in Autumn Leaves because there is so much movement by 4th. In bars 7-8, we have the same root note over two bars ( Gm7-G7 ) so Ive opted to simply descend through the arpeggio on the first bar and then use our 1-2-3-5 line for the second bar: In bar 16 we also have Gm7 moving to Am7b5. I opted tó use a básic chromatic approach: ln bars 27-28 we have 4 chords lasting 2 beats each. In this instancé, we can simpIy repeat each róot noté, giving us á smooth descending Iine: Finally in bár 30 we have another 2 chords in the bar. This time wé have wider movément by 4th so we can use root 3rd patterns to bridge the larger gaps: Practice Tips Learn to play the walking bass line provided and always focus on how each line works over each chord.
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