Walking Bass Line BasicsBYANDY LAVERNEJune 1, 2011

Jazz pianists are always on the lookout for good bass players.Theyre always in demand and can therefore be difficult to find. Fortunately, thanks to the nature of keyboard instruments, if all else fails, we can take matters into our own handsour left hands, to be exact.All great bass players have two things in common: They walk great bass lines, and they create great grooves. Additional components of convincing bass lines are note choice and forward motion. The bass provides the rhythmic and harmonic foundation for the rest of the band, so its imperative that theres no hesitation when walking a bass line. In jazz, the quarter-note pulse generated by the bassist is mirrored by the drummers ride cymbal. The subtle accents and anticipations in the bass line are the glue that holds the groove together.Here are some exercises to help you get your bass lines together. You can practice each one in four ways, ascending in complexity. To start, play the left hand alone as all quarter-notes, without the grace notes and anticipations. Second, play the left hand alonewithgrace notes and anticipations. From there, advance to playing the left hand as quarternotes only, but add the right hand chords. Finally, play the left hand including all embellishments, along with the right hand chords.

Click thumbnails to enlarge sheet music examples. Scroll down for audio examples.1. Roots and Chromatic Approach NotesEx. 1abuilds bass lines withrootsandchromatic approach notesonly, and is a good way to ease into bass lines. This technique works well with a harmonic rhythm of two chords per measure (in 4/4 time). Were using chromatic approach notes from a half-step below the root of the next chord.

Ex. 1bis similar, but uses chromatic approach notes a half-stepabovethe root of the next chord.InEx. 1c, we build bass lines with a combination of roots and approach notes a half-step aboveanda half-step below the root of the next chord.

2. Roots, Fifths, and Scalar TricksWhen faced with longer harmonic rhythms, the use of roots and fifths goes a long way. First playEx. 2aas quarter-notes only, omitting grace notes and eighth-note triplets. (Play the first note of the eighth-note triplet as a quarter-note.) Notice the chromatic approach notes (upper and lower), along with repeated notes. Next, add the grace notes and triplet.

Ex. 2baddsscalaror stepwise motion to the mix. Here we walk up diatonically, but with the addition of chromatic tones. Use the same procedure as previously, playing left-hand quarter-notes only, then adding grace notes and anticipations along with the right hand chords.

Ex. 2cadds stepwise descendingandascending motion.

3. I Got Bass Line!

Ex. 3is built over chord changes based on George Gershwins jazz standard I Got Rhythm, incorporating many of the devices from the previous examples. Rhythm Changes, as theyre often called, make a great practice platform, as they employ varying harmonic rhythms and common chord progressions. Notice the use ofoctave displacement: going up or down the octave as the chords change. Try breaking this exercise up into smaller ones, and make sure to practice with a metronome. You can also accent the second and fourth beats of each measure for varying dynamic effect.

Pianist, composer, and longtimeKeyboardcontributor Andy LaVerne has played and recorded with such renowned artists as Frank Sinatra, Stan Getz, and Chick Corea. A Professor of Jazz Piano at the Hartt School of Music at the University of Hartford, his latest CD is titledLive From NY!Visit him atandylaverne.com. --Jon Regen

Scroll down for audio examples.Link: http://www.keyboardmag.com/lessons/1251/walking-bass-line-basics/28187[NB: audio file on url]