Hello TBers,

I'm starting this thread because every now and then I see people asking either how they can make walking bass lines, or how they can get better at walking bass lines. When I was in college (and dinosaurs roamed the earth), my teacher suggested keeping a library of walking bass "licks" in order to keep my walking lines interesting and not as repetitive. Just like a saxophonist might use the Charlie Parker Omnibook so as to have some soloing licks at the ready, bassists can also use walking bass "licks" or phrases to navigate through even the more angular jazz chord progressions.

So I decided to post some from my own collection, and I hope people learning this stuff will come up with more of their own. I'm not any sort of jazz pro, although I have played a great many of these before guys like Pat Labarbera, Don Thompson, and Charles Tolliver with no complaints.

Some notes:

1. Most of these (except for the rhythm changes and modal sheets) are collections of discreet, two-bar phrases. So don't look at them as one big page of continuous II-V (for example) vamps...sorry if that's confusing.

2. Because of that, the accidentals usually reset every two bars...oops. Again, sorry about that.

3. The naming convention is a bit weird, but I wasn't sure where to go with that. The page that's called "II-V basslines", well obviously you can also use that for I-IV or III-VI chord progressions too...I just wanted to present the different ways that a walking line can get from point A to point B.

4. You'll notice that not all the lines start off on the root. You're allowed to do this, believe it or not! But, you have to use your ears and discretion. It can depend on some factors, like tempo, style, what kind of band you're playing for, etc. Some of the walking lines have more emphasis on making a nice "shape" rather than spelling out the chord exactly...there's stuff here that will be easier to get away with at 300 bpm rather than 70 bpm.

5. You'll notice some repetition, mostly because my emphasis will be on getting from point A to point B, and not necessarily on getting from point B to point C.

6. Make sure to transcribe from the masters!

So here's the II-V licks:

http://www.vaughn-s.net/wb/wb1.jpg

http://www.vaughn-s.net/wb/wb2.jpg

Here are the pages for I-II-(V) (http://www.vaughn-s.net/wb/wb3.jpg)

Bb7-A7-(Dm7) (http://www.vaughn-s.net/wb/wb4.jpg) type chord progressions

I-VI-(II) chord progressions (http://www.vaughn-s.net/wb/wb5.jpg)

IV7-#IVdim-(I) chord progressions (http://www.vaughn-s.net/wb/wb6.jpg)

Bb7-C7-Fm type chord progressions (http://www.vaughn-s.net/wb/wb7.jpg)

I-IIIm7-(VI7) chord progressions (http://www.vaughn-s.net/wb/wb8.jpg)

I7-V7-(I7) chord progressions (http://www.vaughn-s.net/wb/wb9.jpg)

Walking lines for repeating chords (http://www.vaughn-s.net/wb/wb10.jpg)

Rhythm changes (http://www.vaughn-s.net/wb/wb11.jpg) (mostly eight bar phrases)

Modal (http://www.vaughn-s.net/wb/wb12.jpg) (four bar phrases

If you have any questions, feel free to ask! Hopefully this thread is helpful to those needing help with walking bass lines.

Wow....

Looks like a lot of good material in there to practice.

Thanks!

Thanks for sharing!

This should help me with my sight reading.

This should help me with my sight reading.

Never thought of that, but I guess that would be a good application too :) especially since some of them have unusual position jumps.

Never thought of that, but I guess that would be a good application too :) especially since some of them have unusual position jumps.

Well, I've been spending more time with my instrument lately, playing, studying theory, sight reading, and trying to figure out modes (still having trouble with that one, but coming around).

Having something different to study is a welcome addition. Especially something written by someone else and not the stuff in my sight reading book.

Once again, thanks.

Perfect timing!
I just started learning this with my teacher :cool:

Good stuff ... thanks for sharing.

Thanks!

Thanks for posting. There are a couple things to be wary of here:

1.) Where's is your key sign, time sig and clef?

2.) I'd be careful of that D# on beat two of the first ii-V line. That is a note I would generally avoid. Did you mean:

D - E - F - F# to the G, like the one on the 2nd page, 4th system?

In my hundred or so transcriptions of PC, Ray Brown, Oscar Pettiford, Sam Jones I have never seen that line, and it kind of obfuscates the harmony of the minor chord.

3.) There's at least one instance where you start on a F over a G7 that don't really make sense to me given the way it resolves, not that that's generally a bad thing. The one I'm looking at is the 2nd page, 3rd system, 2nd bar. I think if you called that a Dmin it would make more sense.

The other lines look good though, at rough glance. Thanks for sharing.

Actually, the more I look through this the more I'm finding some funky things.

Again, D#s over Dmin chords; not so much.

1st page, 3rd system, 3rd bar. Call it a D half dim and I'm sold. Otherwise playing those Ab's, and in some other places B naturals where a C would make more sense given the Dm7 label, would help in outlining dimished chord rather than straight up minor chords.

and one other thing,

before everyone starts flaming me for these "corrections"

1.) yes,you can make any note work over any chord in "jaaaaaazzzzzz"

2.) if you think my "corrections" are "wrong" or out of place or whatever, go ahead, play those lines as written. Enjoy yourself. I'm not going to argue with you ;)

LoL.

Epic.

Thank you!

I don't mean to belittle Toronto Bassists efforts. These lines are a good place to start, and his advice to "transcribe the masters" is sagacious.

Totally righteous. Party on Toronto Bassist!

While I agree that not every note may be the single best choice, it seems a good starter for people seeking to learn the fundamentals of walking bass. There's not enough of this kind of stuff here. Thanks for posting.

Thanks for posting. There are a couple things to be wary of here:

1.) Where's is your key sign, time sig and clef?

There isn't one. I wrote these primarily for myself and then provided them here as an afterthought. There's no key signature and it's all in 4/4.

2.) I'd be careful of that D# on beat two of the first ii-V line. That is a note I would generally avoid. Did you mean:

D - E - F - F# to the G, like the one on the 2nd page, 4th system?

No, I meant what was written.

In my hundred or so transcriptions of PC, Ray Brown, Oscar Pettiford, Sam Jones I have never seen that line, and it kind of obfuscates the harmony of the minor chord.

I think it would only obfuscate the harmony if you sat there on the D#. It's setting up an obvious motion from the D to the F and then onwards to the G. My teacher used it and his teacher (who teaches, or at least has taught at Berklee) used it and if I'm not mistaken, they pulled it from Paul Chambers. So it's never posed any problems for me.



3.) There's at least one instance where you start on a F over a G7 that don't really make sense to me given the way it resolves, not that that's generally a bad thing. The one I'm looking at is the 2nd page, 3rd system, 2nd bar. I think if you called that a Dmin it would make more sense.

If I'm reading you correctly, this is the G7 line that goes F-E-D-Db. I'm not sure what would be wrong with the way it resolves. The Db leads directly in to the C which would have been the next chord in the progression. Remember, it's a discreet two-bar phrase so although you don't see it, all of the G7 phrases are leading to C. Not sure how calling it a Dm would alleviate that.

Granted, starting a G7 chord on F is unorthodox, but I went over that in my notes.

1st page, 3rd system, 3rd bar. Call it a D half dim and I'm sold. Otherwise playing those Ab's, and in some other places B naturals where a C would make more sense given the Dm7 label, would help in outlining dimished chord rather than straight up minor chords.

I would both agree and disagree. I agree that it doesn't spell out the chord "properly". On the other hand, its whole purpose is to create tension which then gets resolved in the next bar. I think one has to look at walking over chorus after chorus with an eye towards dynamics and "storytelling", depending on what kind of band you're in. As such I think some walking lines are justified in going "out" or using dissonant pedals in order to create a certain tension and then resolve it. As Frank Zappa said, "A song that's completely diatonic is like a movie with no villains in it". That's why I emphasized context because there are some bands where you just stick to spelling out chords and there are some bands where you can be (or are required to be) more adventurous.

and one other thing,

before everyone starts flaming me for these "corrections"

1.) yes,you can make any note work over any chord in "jaaaaaazzzzzz"

2.) if you think my "corrections" are "wrong" or out of place or whatever, go ahead, play those lines as written. Enjoy yourself. I'm not going to argue with you

Nah, no one should be immune to criticism. However, I've played most of these lines over standards to one degree or another.

"There isn't one. I wrote these primarily for myself and then provided them here as an afterthought. There's no key signature and it's all in 4/4."

I know, just bustin you for it

"My teacher used it and his teacher (who teaches, or at least has taught at Berklee) used it and if I'm not mistaken, they pulled it from Paul Chambers."

which PC line? Even in the quarter note context, I'd avoid that D#. All the PC things I've seen with that kind of chromaticism go from root to second then up chromatically. I'd be curious to check out which recording that was pulled from.

Ray Brown and Oscar Pettiford might throw in a chromatic root to flat nine to nine to three, but I've only seen them do that on straight up 7th chords, not minor sevenths chords.

"If I'm reading you correctly, this is the G7 line that goes F-E-D-Db. I'm not sure what would be wrong with the way it resolves. The Db leads directly in to the C which would have been the next chord in the progression. Remember, it's a discreet two-bar phrase so although you don't see it, all of the G7 phrases are leading to C. Not sure how calling it a Dm would alleviate that."

Ah, I see. I didn't quite get the "two-bar phrase thing", so yes, Db used as a passing tone resolves nicely to C. But what, pray tell, do F, E, and D have to do with outlining a G7 chord? How about a root in there bass brother from Toronto? :smug:

"However, I've played most of these lines over standards to one degree or another."

I'm sure you have.

Oh, and how do use that darned "select quote" button?

which PC line? Even in the quarter note context, I'd avoid that D#. All the PC things I've seen with that kind of chromaticism go from root to second then up chromatically. I'd be curious to check out which recording that was pulled from.

It's been so long that I honestly couldn't tell you. I'm tempted to say that it was from the "Blues and the Abstract Truth" album, but I couldn't guarantee it. You'll notice that page 1 stave 2 bar 2 also has G7 going to C via G-G#-A-B, and I see this as being the minor variation of that lick. We might have to agree to disagree on this one, since I've never had a problem with it. And on a tune like "Autumn Leaves", I use it a lot.

Ah, I see. I didn't quite get the "two-bar phrase thing", so yes, Db used as a passing tone resolves nicely to C. But what, pray tell, do F, E, and D have to do with outlining a G7 chord? How about a root in there bass brother from Toronto? :smug:

The emphasis in this case is more on the motion it sets up than spelling out the chord exactly. Assuming that you would even start a G7 chord on F, there's a nice little direction that you can get from A to B here. Since I'm also a composer, I also tend to think keep things like linear motion in mind as well.

I'm sure you have.

And I should add that they've sounded good to my ears. To each their own, of course. Anyone who's unsure of these lines can test them out with an Aebersold track or something.

crap. I think I edited some stuff while you were responding!

Anyway, that Oliver Nelson record is one that I've never transcribed from, but listened to a million times. I will check it out.

Yes, we are agreeing on using flat 9s on major seventh chords, but man, that flat nine on a minor chord would ruuuuuubbbbbb. LOL. I'll try it out next chance I get and see how it goes.

as far as that moving line goes (F, E, D, Db) I think it would work as an alto or tenor line in the context of moving voices. Again, I'll suspend judgment until I try it out, but my initial inclination would be to throw a root or even a third in there instead of a 6th.

I notice that you're from Boston...have you ever heard of a bassist named Michael Farquharson?

Anyway, that Oliver Nelson record is one that I've never transcribed from, but listened to a million times. I will check it out.

Speaking for myself, I've only transcribed "Teenie's Blues" from that record - but I remember seeing the lick in a book of transcriptions. Again, it was more than ten years ago so it might not've been a Paul Chambers transcription, but I vaguely recall my teacher getting that lick from him somewhere.

Yes, we are agreeing on using flat 9s on major seventh chords, but man, that flat nine on a minor chord would ruuuuuubbbbbb. LOL. I'll try it out next chance I get and see how it goes.

Again, I think you can get away with quite a bit when you consider motion and velocity. Oddly enough, one thing one of my cohorts was against was using (for example) C-D-D#-E when going from C7 to F. The reason being that you had a minor third on beat three of a major chord. Yet it's a pretty common line to play, it still seems to work.

as far as that moving line goes (F, E, D, Db) I think it would work as an alto or tenor line in the context of moving voices. Again, I'll suspend judgment until I try it out, but my initial inclination would be to throw a root or even a third in there instead of a 6th.

I think if your band were unorthodox enough to let you start a G7 chord on an F, then this should be pretty harmless. Either that, or they've blown through so many choruses that the harmony is pretty much established. Altos and tenors can't have all the fun, after all!

You have to admit that some of the masters use some pretty weird note choices at times, too.

I notice that you're from Boston...have you ever heard of a bassist named Michael Farquharson?

no, never heard of him. boston is a mele of musicians.

Again, I think you can get away with quite a bit when you consider motion and velocity. Oddly enough, one thing one of my cohorts was against was using (for example) C-D-D#-E when going from C7 to F. The reason being that you had a minor third on beat three of a major chord. Yet it's a pretty common line to play, it still seems to work.

Yes, that's even more common than playing a flat 9 on a minor chord, IME, IMO, etc, etc, but I prefer the walk up C-C#-D-E. Those reading at home can try both to their liking.


I think if your band were unorthodox enough to let you start a G7 chord on an F, then this should be pretty harmless. Either that, or they've blown through so many choruses that the harmony is pretty much established. Altos and tenors can't have all the fun, after all!

I don't think it's too unorthodox about starting on the flat seven of seventh chord. At least not as unorthodox as the flat 9 on the minor chord or some the 6ths you've thrown in to the lines above. I can think of at least 10 ways off the top of my head to make that work. For example, F-F#-G-G (leading to C), or F-F#-G-B, F-D-G-B, F-B-D-G, F-D-G-Db, F-G-Bb-B, F-F-D-G, F-A-G-B, F-Ab-G-B or, in favor of linear motion F-G-A-B.

You have to admit that some of the masters use some pretty weird note choices at times, too.

True. But even the masters made mistakes. For example, PCs intonation was sometimes off and some of his notes just seem a little too out there, but then, most times his note choices (not to mention his sense of time) are just amazing. i think we can agree on that much.

Ultimately, the job of the bass player is to accompany, showing the time and harmony. I still think some of the lines you presented put the notion of spelling out the chord change second to some other interest (or perhaps they were taken out of context). We can respectfully agree to disagree, but, generally speaking, I don't think 6ths are a good substitute for roots, thirds, fifths or passing tones. In context of improvisation, anything can happen, granted, but I don't think of those instances as "licks" that will work over anything.

Those lines are a good place to start and are of value to those beginning to think about ii-Vs, but I would encourage folks to put pencil to staff paper and start transcribing some of these things on their own.

Excellent topic, very usefull.

I don't think it's too unorthodox about starting on the flat seven of seventh chord. At least not as unorthodox as the flat 9 on the minor chord or some the 6ths you've thrown in to the lines above. I can think of at least 10 ways off the top of my head to make that work. For example, F-F#-G-G (leading to C), or F-F#-G-B, F-D-G-B, F-B-D-G, F-D-G-Db, F-G-Bb-B, F-F-D-G, F-A-G-B, F-Ab-G-B or, in favor of linear motion F-G-A-B.

Except for the last one, these examples are fairly clunky. Sure, they spell out the G7 but the emphasis in my example was making a smooth transition from point A to point B. You keep making a big deal about the use of the 6th, but it should be clear that it's simply a passing tone to get to the DB, which gets you to the C. This should be pretty uncontroversial.

True. But even the masters made mistakes. For example, PCs intonation was sometimes off and some of his notes just seem a little too out there, but then, most times his note choices (not to mention his sense of time) are just amazing. i think we can agree on that much.

No, we're talking about more than mistakes. They sometimes (or often) deliberately make weird note choices because there are times when the context allows it. I'm transcribing a Ron Carter line where he plays F-E-F-E over a Bb chord. Percy Heath's bass line on "Lazy Susan" has him playing the sixth (G) on beat one of a Bb chord. Doug Watkins, more than once, on "Soft Winds" plays a major 7 on the first beat of a chord with a minor or dominant 7. And these are just a few examples.

I think that you're just going to have to accept that sometimes spelling out the chord is sacrificed for tension, linearity, etc.

Ultimately, the job of the bass player is to accompany, showing the time and harmony. I still think some of the lines you presented put the notion of spelling out the chord change second to some other interest (or perhaps they were taken out of context). We can respectfully agree to disagree, but, generally speaking, I don't think 6ths are a good substitute for roots, thirds, fifths or passing tones. In context of improvisation, anything can happen, granted, but I don't think of those instances as "licks" that will work over anything.

Ok, I think I'm pretty much done here because you're not listening. I've been repeating myself over and over again and these points keep sailing past you. Yes, the primary purpose of a bass line is to accompany and to spell out the chords. That's why these examples have plenty of bass lines that do just that. All of these pages have lines at the beginning that start on the root of each chord and uses either chord tones or typical passing tones throughout. However, depending on context, sometimes one uses unorthodox note choices in favor of motion, tension, motif, or anything else that might generate interest. This is a point that I've been making since the first post.

Those lines are a good place to start and are of value to those beginning to think about ii-Vs, but I would encourage folks to put pencil to staff paper and start transcribing some of these things on their own.

You can take down the warning sign, since I don't consider these walking lines to necessarily be "just for beginners". The aspect of this thread that's just for beginners is the idea of forming a library of walking basslines. If people wanted to use these lines on a gig, then I'd encourage them to go for it - again, depending on context. The more dissonant or unorthodox ones would not be used in The Gentleman's Social Teatime Club Band - but in a hard bop band, sure. And certainly they wouldn't be played on the first couple of choruses...they would be left until the harmonic structure had been firmly established, and especially used if the soloist has a penchant for playing "out". I've played them on gigs, my teacher's played them on gigs, and his teacher's played them on gigs. So if you don't care for them, that's fine by me - but neither do I believe that experienced users should be wary of them. I don't doubt that you have a great deal of experience with walking bass on gigs, transcriptions, and practice - but so do others, and in my own experience, the use of these techniques are allowable, if one keeps an ear to context and dynamics.

And again, I've played a lot of these - even the unusual ones - before folks like Don Thompson, Pat Labarbera, Charles Tolliver, Al Kay, and Phil Dwyer, with no problems. And since these were for "band critiques" or performance reviews, they would usually have no problem saying if something were wrong with the bassline - and often did. So the lines that I've included here have "passed the test" in my own estimation.

I just love school children!

But not in a creepy way....

As well, I don't think there's anything about getting from Dm7 to G7 via D-D#-E-F that's as unusual as adbass suggests. The D# occurs on a weak beat, goes immediately to a diatonic tone (E), then a chord tone (F), before hitting the target chord. This is the whole point of using chromatic passing tones.

I'm transcribing a Ron Carter line where he plays F-E-F-E over a Bb chord.

Classic Ron. Does he resolve it to the Eb in the next measure?

Percy Heath's bass line on "Lazy Susan" has him playing the sixth (G) on beat one of a Bb chord.

Resolving up the Bb chromatically?

Doug Watkins, more than once, on "Soft Winds" plays a major 7 on the first beat of a chord with a minor or dominant 7.

Displacement, resolving to the root on the 2nd beat, yes? Ray Brown mixed that in from time to time too.

Ok, I think I'm pretty much done here because you're not listening.

I'm listening, responding and interested.

. . . . and in my own experience, the use of these techniques are allowable, if one keeps an ear to context and dynamics.

Agreed.

And again, I've played a lot of these - even the unusual ones - before folks like Don Thompson, Pat Labarbera, Charles Tolliver, Al Kay, and Phil Dwyer, with no problems. And since these were for "band critiques" or performance reviews, they would usually have no problem saying if something were wrong with the bassline - and often did. So the lines that I've included here have "passed the test" in my own estimation.

That's great news Toronto.

My purpose in tearing apart the lines you put up is not to discredit them, but to help myself and other readers understand the context you've put them.

I wouldn't want someone to read the bit about Doug Watkins playing an 'A' on beat one of a 'Bb7' chord without understanding what context it was in.

Or maybe I would. More work for me.:smug:

I just love school children!

But not in a creepy way....

Ed, your input here on discussing passing tones would be helpful.

As well, I don't think there's anything about getting from Dm7 to G7 via D-D#-E-F that's as unusual as adbass suggests. The D# occurs on a weak beat, goes immediately to a diatonic tone (E), then a chord tone (F), before hitting the target chord. This is the whole point of using chromatic passing tones.

I'm hearing you, listening to you, and last night listened to the line itself against the chord. We're just not in agreement. I still think it's unusual in that I've never seen PC, Ray, or Oscar Pettiford use chromatic passing tones in that way. I haven't transcribed everything they've recorded, but a fair share. In the right context it could work.

Classic Ron. Does he resolve it to the Eb in the next measure?

Yes, but that would just show my point...that even the masters aren't always spelling out the chords; that sometimes they ditch spelling out the chord pedantically, in favor of motif, tension, etc.

Resolving up the Bb chromatically?

No.

Displacement, resolving to the root on the 2nd beat, yes? Ray Brown mixed that in from time to time too.

Yes, but that's guilty (guiltier, even) of the same sort of thing that you've taken umbrage to throughout the thread.


My purpose in tearing apart the lines you put up is not to discredit them, but to help myself and other readers understand the context you've put them.

I wouldn't want someone to read the bit about Doug Watkins playing an 'A' on beat one of a 'Bb7' chord without understanding what context it was in.

Or maybe I would. More work for me.:smug:

If that's true, then we agree. However, this feels kind of "tacked on", since I've consistently maintained throughout that playing these kind of outside lines is very dependant on context and situation. Your objections, on the other hand, haven't had any sort of similar qualifier. So if you agree as well that some of the more unusual walking lines are context dependant, then that's fine - however, your earlier posts didn't give that impression. Otherwise, I would have just let them stand.

I'm hearing you, listening to you, and last night listened to the line itself against the chord. We're just not in agreement. I still think it's unusual in that I've never seen PC, Ray, or Oscar Pettiford use chromatic passing tones in that way. I haven't transcribed everything they've recorded, but a fair share. In the right context it could work.

While it would be interesting if any one of them had played it, the fact that they haven't doesn't alone invalidate it, though. It makes good harmonic sense to me and is uncontroversial to my ear. Again, especially at medium or higher tempos, I think the ear "hears" where it's going - it's pulling upwards to the F and then makes its way to the root of the next chord. And, as I've mentioned, the only controversial note in there (D#) starts on a weak beat and immediately resolves itself in a linear manner to a diatonic note (E).

Nice use of the word 'umbrage'.

The Percy Heath example: you sure it's not a G minor chord, then? How does Percy resolve it? Down tot he 5? Anyway, two out of three ain't bad.

Yea, I agree, it's all about context.

And resolution.

We good now?


( . . . ah, we'll always have flat nines over minor chords, won't we Toronto? . . . )

Nice use of the word 'umbrage'.

The Percy Heath example: you sure it's not a G minor chord, then? How does Percy resolve it? Down tot he 5? Anyway, two out of three ain't bad.

He does go down to the F, yes. It's in John Goldsby's jazz book if you want to take a peek.

Yea, I agree, it's all about context.

And resolution.

We good now?

Well the important thing is that playing "out" will make you hip and therefore score you HOT CHICKS, which is an invincible argument.


( . . . ah, we'll always have flat nines over minor chords, won't we Toronto? . . . )

As a passing tone http://img.photobucket.com/albums/v188/Helios1971/smilies/emot-argh.gif

The reason I put that particular Percy Heath line from Lazy Susan in The Jazz Bass Book (http://www.amazon.com/gp/product/0879307161?ie=UTF8&tag=thegoldsbwebsite&linkCode=as2&camp=1789&creative=9325&creativeASIN=0879307161) is because I liked that it was somewhat untraditional. To me, it clearly shows the development of the mid-fifties style of walking. It wasn't about the swing-style anymore, only hooking-up-the-roots. Percy constructed his line melodically and rhythmically to fit the vibe of the music.

Toronto Bassist: Yes, but that would just show my point...that even the masters aren't always spelling out the chords; that sometimes they ditch spelling out the chord pedantically, in favor of motif, tension, etc.

This is the great lesson about Toronto's bass lines—there almost always seems to be a bit of magic and fairy dust on a good sounding bass line. But that is the very thing that is hard to teach—it is easier to write down all the rules of bass line construction to come up with a system that produces a generic sounding "correct" bass line. Often, the master players take a very adventurous approach to what we think are the accepted rules of bass line construction, which is what many of Toronto's little phrases demonstrate.

adbass: Yea, I agree, it's all about context.

This is also very true—if you played with Miles in the mid-50s, you might have played different types of lines than if you had the gig in the mid-60s.

So, I'd say you're both right. You guys sure quote each other a lot, though.

This is pretty helpful, one question, though: I see that you're using a B to "approach" the Dm7 chord several times. I thought using approach notes other than ones that are a full/half step away from where you want to go or the fifth of the next chord are sort of a no-no in walking bass lines?

If you're talking about the Dm7 - G7 page, the B's are usually approaching Cmaj7. All of that page is a collection of 2-bar phrases, so it assumes that the G7 leads to C, not Dm7.

On your IV to #IV diminished page,,,,, Wouldn't those typically resolve to I over it's 5th? Bb/F?






Aj

Well, that particular example was taken from "Doxy", so not always. And at any rate, the main emphasis in those examples was how to get from Eb7 to Edim7. Even in cases where it might go to F7 or Bb/F, there are already patterns that deal with that kind of root motion.

Sweet deal! I've been looking for something like this for a long time. Great stuff. :)

Thanks for posting your examples.

I have just a couple of questions:

I assume your " 'Bb7-C7-Fm' type chord progressions" could also be called " 'IV7-V7-i' -type chord progressions, correct?

Given the apparent labelling convention on your other pages, could your " 'I-IIIm7-(VI7)' chord progressions" also be called " 'III7-vi7-I7' chord progressions"?

On your last sheet, what do you mean by "Modal Progressions"? I admit that I haven't analyzed all 12 figures to determine which mode(s) is/are involved and hoped you could label them. And what do you by mean "Dm7" in a modal context? Are you using only the Dorian (D-mode) mode?

Thanks again.

Bluesy Soul :cool:

If you're in functional harmony world, the four chord of a minor key is a minor chord not a dominant. I don't think yo can take that fragment and analyze it as a secondary function. Sure the C7 points to a tonic resolution, but what's the rest of the progression? C7 to Fm to Bb7 all points to Eb major...

This is not a comment on the lines themselves, but you could (should?) use double bar lines (or final bar lines) between phrases to specify that they are unrelated. Just my 0.02%

Thanks for posting your examples.

I have just a couple of questions:

I assume your " 'Bb7-C7-Fm' type chord progressions" could also be called " 'IV7-V7-i' -type chord progressions, correct?

Given the apparent labelling convention on your other pages, could your " 'I-IIIm7-(VI7)' chord progressions" also be called " 'III7-vi7-I7' chord progressions"?

Well, I guess the first point is that at the bottom, you can see that this progression is taken from the song "Sweet Clifford"...I don't have a fake book with me right now, but if someone does, they could pop it open and see where the key center is in that part of the song.

The next point is that I'm mainly just emphasizing how to get from one root note to another. So even if it was Bbm7-C7, you'd still have a general idea of how to walk from one chord to another. (and yes, not all of these basslines start on the root, but the motion of the chords is still the same)

On your last sheet, what do you mean by "Modal Progressions"? I admit that I haven't analyzed all 12 figures to determine which mode(s) is/are involved and hoped you could label them. And what do you by mean "Dm7" in a modal context? Are you using only the Dorian (D-mode) mode?

I mean modal songs such as "So What", "Impressions", "Milestones", "Little Sunflower", etc.

Also, one last point is don't forget that you can add triplets, eighth notes, and other kinds of fills to come up with even more variations. Walking lines don't have to be just quarter notes!

Thanks for posting. There are a couple things to be wary of here:

1.) Where's is your key sign, time sig and clef?

2.) I'd be careful of that D# on beat two of the first ii-V line. That is a note I would generally avoid. Did you mean:

D - E - F - F# to the G, like the one on the 2nd page, 4th system?

In my hundred or so transcriptions of PC, Ray Brown, Oscar Pettiford, Sam Jones I have never seen that line, and it kind of obfuscates the harmony of the minor chord.

3.) There's at least one instance where you start on a F over a G7 that don't really make sense to me given the way it resolves, not that that's generally a bad thing. The one I'm looking at is the 2nd page, 3rd system, 2nd bar. I think if you called that a Dmin it would make more sense.

The other lines look good though, at rough glance. Thanks for sharing.i tried that D D# E F G thing and found that the D# worked ok as a chromatic passing tone......the F seems to resolve better to the G as an F# tho......not to hijack but i have a bunch of transcriptions i'd love to swap for those pc,ray brown,oscar pettiford,sam jones....if you are interested.......