1) so if I am improvising a bassline over a 12 bar blues progression using a blues scale, say in the key of C, should I be playing in a C blues scale for the entire 12 bar progression? Or should I be switching into playing in F blues for the IV chord, and then G blues for the V chord? both seem to have equaly dissonant bits here and there...

2) more open ended question, what are bassists typically thinking when playing over a blues progression? playing the blues scales? hitting chord tones? just hitting the root over and over? what makes the best accompanyment for a guitarist soloing overhead?

3) Ok, so the I chord in the blues is a dominant 7th... that has a major third in it... and yet the blues scale has a *minor third* in it. what the?!?!?

thanks!

I am no expert on theory, or much else on the bass but I am also working on improving my walking over blues changes,

Right now I am mixing arpeggiated chords with concentration on R, 3, 5 and dominant 7th with diatonic notes from the mixolydian scale (W-W-H-W-W-H-W) based on the tonic note of the song's key. this includes the major 3rds but not the minor 3rds. Also, chromatic approaches to the chord roots can sound good even though they include non-diatonic notes. I think conventional practice is to pretty much stick with one scale through the 12 bars, targeting the chord roots within that scale.

I think the reason for the minor 3rd/major 3rd paradox you mention is that the blues form kinda breaks the rules of conventional harmony - fear not dominant 7th chords and the blues scale is known to be a kickin' combination.

Soloing and walking are of 2 different mindsets.

When soloing people try to think of the big picture more often. When soloing over a blues in C they play a C pentatonic, yes there is a minor 3rd, yes not all of the notes fit all the time but any note that doesnt fit will create tension that will be released very soon when the chord changes back.

When walking you are trying to set up the chord progression. Playing chord tones is the only way to do that. You are never playing in "F blues" you are playing an F Major chord or an F7 chord. For example in a C blues the first bar is C Major so C-E-G or passing tones in between these notes are great, the 2nd bar is F Major so F-A-C or passing tones in between work great. Then you are back to C Major, Etc.

I hear so many guitarists who think exclusively in scales and modes so when you throw out a chord chart at them, they ask "but what mode is it in???" Modes and scales are what soloists play OVER chords. Unless it is a bass solo, I would think in terms of chords, ecspecially when walking.

There are some really good threads here on soloing, improvising and walking.

One thing to keep in mind is to not think so much around the theory (scales, modes, chords) as to think about "having something to say". You should reference the motive (melody/hook) that has been established, make nods to things your fellow musicians have introduced in their improv and be lyrical and phrase-oriented.

Of course you should be playing in the proper key - as has been described above. Knowing what key you are in and simple scales and modes to use is very helpful in crafting your solo and helping you find the melody. So when you practice soloing (as I am doing these days - after many, many years of hiding from solos) - be sure you practice playing the actual melody of the song. Then take that melody and "shake it up" rhythmically and harmonically and you will be on your way.

What notes to play is important, but when walking (supporting the soloist) I feel the most important thing is crafting a fat groove with the drummer, that creates the foundation for the soloist. Don't get fancy, save your chops for your solo, simple=good, overplaying=bad. Listen to the GP (it is a GP, yes?) and as he builds his solo, follow and support that. At the beginning, the dynamics are moderate, play a simple, basic line, maybe not letting the notes ring much. As the solo progresses, the dynamics will rise, dig in a bit, but be firm with what you're doing, let the notes last a microsecond longer. As it finishes, the dynamics come to a high point, and you and the drummer are right there with him. IME/IMO the rhythm is more critical that the notes, not that you can fatfinger your way through it, but you have to be aware of it. Listening to what the others are doing and playing with them is making music.

Most important, have fun.


Edit: what you said at the beginning is one place to start, ie, play c scale when in c and play f and g scales when switching to those chords, being mindful to hit the root note of each respective chord on the 'one' of the measure when changing.

When accompanying blues, you must follow the chord progression. Rhythmically, you can choose between binary and ternary rythms. The ternary rhythm is the typical blues "shuffle". This is a kind of jumpy rhythm. In a 4/4 measure blues, it is usually represented as a triplet consisting of a quarter and an eight note for each of the 4 beats. You can play that rhythm on the root only, but also on an arpeggio of the chord (two or more notes of the chord). There are many possibilities here. Listen to blues records, and/or have a look at blues bass books.

For a faster feel, you would probably choose to play a "walking" bass line. This means playing one note on each of the 4 beats of the measure, mostly using the all notes in the chord, and even the scale, and emphasising the transition when the chord has to change into another one. Here again, there are many possibilities.

Whether you play binary or ternary rhythms is something to decide with the drummer. In a band, the foundation is the two of you, and you have to lock in with eachother. If you play without a drummer, it's all up to you, which may be exciting, but all the more difficult, since you're all alone to keep the soloists on the right track.

I typically follow the chord changes while accompanying. Thus, sticking to the notes outlineing the chord. However, in an effort to depict movement, playing notes outside the chord wich lead to the next chord are very prudent, ( say the 5 of the 1 chord to flat 5 leading to the 4 chord). Emphasizing common notes such as the 6 of the 1 chord to the 3 of the 4 chord also works to help movement. It is a constant game of tension and release. Also, don't think of the typical minor blues scale. Try thinking of the relative minor's blues scale, (i.e. Emin over a Gmaj blues.). This allows for the dom7 for the 4 chord and only requires the 1 chord to be changed to a dom7.
When soloing, think of a musical phrase, more of what one might hear someone singing. Then move and alter that concept to emphasize rhythmic patterns playing with or against the drums and emphasize the 12 bar movement of the chord prog.. Move the solo with the progression.
Of course, some of the best solos out there are accomplished by going against all the rules.
Oh yeah, when in doubt follow the KISS theory. Keep It Simple Stupid.

The BASSics:

Chord tones on beats 1&3, non chord/leading tones on beats 2&4

1) so if I am improvising a bassline over a 12 bar blues progression using a blues scale, say in the key of C, should I be playing in a C blues scale for the entire 12 bar progression? Or should I be switching into playing in F blues for the IV chord, and then G blues for the V chord? both seem to have equaly dissonant bits here and there...

2) more open ended question, what are bassists typically thinking when playing over a blues progression? playing the blues scales? hitting chord tones? just hitting the root over and over? what makes the best accompanyment for a guitarist soloing overhead?

3) Ok, so the I chord in the blues is a dominant 7th... that has a major third in it... and yet the blues scale has a *minor third* in it. what the?!?!?

thanks!
1. For basslines, you should keep to the chords and forget about the blues scale unless you play a specific bassline made from the blues scale. For soloing, you can do it both ways. It ultimately comes down to what sounds best. Each way has a unique sound; do it the way you want it to sound. Soloing as a bassist, you may want to outline the chord changes more obviously than any other instrument, so hitting the chord's roots relatively more often is a good idea.

2. When playing a bassline for a blues, you want to outline the changes using the actual notes from the chords. Passing tones are okay too.

3. I don't know why, but the blues scale with the minor third just happens to sound good when soloing over a blues scale progression which is made of dominant 7th chords. It just works.

The minor third played over a dominant chord is the enharmonic equivalent of the augmented ninth (#9). It's not that strange to play a #9 over a dominant chord.

Play the Major Blues scale on the I chord (1 b3, 3, 5, 6) and uses the Minor Blues on the IV and V chords. (1, b3, 4, 5, b7). Remember in soloing all the scales and such are not hard and fast rules. The idea is something to get you started then work out your own ideas and sounds. Record them and see which are keepers and which to not to do again. Then figure out which notes are the sound that you like and which are the "avoid" notes. That will make creating more lines in more keys easier later on.

This is a great question that many of my students confront when learning the blues and trying to expand on more than a basic repitive motif, which of course may be the best way to play a particular tune.

Some observations- Their are always exceptions to the following but its a starting point.

The blues scale can be used as the bass line but it is generally a doubled riff with the guitar or another instrument.

Led Zepp, Heartbreaker or Moby Dick are classic examples in a rock idiom.

If its a shuffle well it might be good old 1-3-5-6-8-6-5-3. Or if its an Elvis tune thats what you play most of the time.

A Chicago blues may use just 1-8-7-5 with some kicks from the blues scale usually the 4-b5-5.

When you get to jazz well its rare to here the blues scale in a descending or ascending manner in a walking line but it does happen at times for effect.

There are so many variations on the blues that it becomes a matter of the tune in question and what sounds right to you, the rest of the band and its relationship to the melody. and the style.

As for soloing well, it all goes into the mixing pot as one of teachers used to say.