Bass Lines

Jazz Handbook

In this section, you will find the rules of bass line construction.  As a bass player, you must have a basic knowledge of scale/chord relationships to comprehend the concepts of bass line construction.  The role of the bassist in a jazz group is twofold.  The bassist must provide the pulse or beat of the music and must also outline the harmonies. 

Bassists should remember that the beginning of each note is very important.  The following important points about articulation should be noted by all bassists:

Stand up string bass:

  1. Index finger pointing down to the bridge as it rests on the string.  It should be located just below the fingerboard.  The thumb should anchor comfortably on the side of the fingerboard.

  2. Index finger should roll off  one string and land on the next string if possible.

  3. The wrist should should have a rolling motion as well.  Upper arm should remain relaxed

  4. The action of the hand and wrist are similar to dribbling a basketball. (Pull at the string)

  5. Each articulation should be pointed and precise.  The beginning of each note should have a slight accent or "ping"

Electric bass:

  1. Index finger pointing down perpendicular to the strings as it rests on the string.  The thumb should anchor comfortably on the thumb rest.

  2. Index finger should pull off one string an land on the next string if possible.

  3. Each articulation should be pointed and precise.  The beginning of each note should have a slight accent or "ping"

There are a few crucial styles which a jazz bassist must be able to function.  These include:

  1. Walking

  2. Two-Beat

  3. Samba

  4. Bossa Nova

Styles:

These are certainly not the only styles that are required in the repertoire, but they are probably the most widely used.  In all of these styles, it is necessary for the bassist to play the root when a chord changes. This will establish the tonal center of the chord for all of the members of the ensemble.

Walking Bass:

The most difficult, but most necessary, style that every jazz bassist must learn is the "walking bass line."  It can be found in several time signatures including 4/4, 3/4, and 6/8, and it can be found in numerous tempos.  In the walking bass style, the bassist plays on each beat of the measure (quarter notes) and outlines the harmony of the given chord changes.  This can be accomplished by using scales, arpeggios, and/or a combination of the two.  Good walking bass lines are like good melodies; they have high points and low points, tension and relaxation, and they are interesting to the ear.  There are some basic rules that bassists should learn:

  1. Provide a steady pulse

  2. Play the root on the first beat of the chord change.

  3. Choose notes from the chord or scale for the remaining beats of the chord change.  It is common practice to outline the harmony by using the notes of the triad.

  4. Roots on the first beat of a chord change may be approached by half-step from above and below. (Passing tones may be utilized on beats 2 & 4.

After the bassist has begun to learn the basics of good bass lines, it is a good idea to begin composing and performing them. As the bassist successfully composes some of his/her own bass lines, the next step is to transcribe some bass lines from recordings in order to learn from the masters and develop some of your own ideas.  There are many excellent walking bassists in the jazz idiom including, Paul Chambers, Ray Brown, and Eddie Jones.

    

Click on the sheet music above for and example of a "Walking Bass Line" and a "Bass Line Blues in C"

Two-Beat:

Two-beat style refers to a swing or ballad style in a 4/4 time signature where the bassist and drummer emphasize the first and third beats.  Rhythm section parts will commonly have the words  "In Two" written above the staff  to denote this practice.  Jazz ballads are almost always played "in two."  Generally, the bassist plays the first and third beat and omits the second and fourth beats in this style.  If a chord lasts for four beats, it is recommended that that another chord tone be placed on the third beat.  The note is usually the fifth, but can also be a different chord tone that better leads to the root of the chord that follows.  Bassists should remember that the root of the chord is needed every time the chord changes.  More advanced players can begin to ornament these basics with notes that approach the first and third beats.

Click on the sheet music above for and example of a "Two Beat Bass Line"

Samba: 

The jazz samba is a derivative of the samba of Brazil.  It is usually notated in cut-time.  In the samba, the bassist's basic role is very similar to the two-beat.  Note choices consist primarily of roots and fifths with additional chord tones used to accomplish the root of the chord change that follows.  It is crucial that the bassist play on the first and third beats of each measure.  The more advanced player can play the rhythm dotted quarter-eighth, dotted quarter-eighth in each measure.

Click on the sheet music above for and example of a "Samba Bass Line"

Bossa Nova:

The bossa nova is a derivative of the Brazilian samba.  It is notated in a 4/4 time signature and is generally quite a but slower than the samba.  The same rules for note choices hold true as in the samba.  However, in the bossa nova, it is required that the bassist use the rhythm dotted quarter-eighth, dotted quarter-eighth in each measure.

Click on the sheet music above for and example of a "Samba Bass Line"

      

After you understand the rules for composing bass lines, print out the following worksheets.

The chord symbols are given...your job is to compose a bass line!