Walking

Basslines
a guide to creating and improvising jazz basslines

by chuck bianchi

ArtSong Publishing
 CONTENTS
INTRODUCTION

PART ONE: 1

Blues in F
Bassline Exercises
Scales and Arpeggios

PART TWO: 13

Blues in Bb
Bassline Exercises
Scales and Arpeggios

PART THREE: 25

Blues in g minor
Bassline Exercises
Scales and Arpeggios

PART FOUR: 37

Chord Changes in the Style of “Summertime”

Bassline Exercises
Scales and Arpeggios

PART FIVE: 47

Chord Changes in the Style of “Perdido”

Bassline Exercises
Scales and Arpeggios

PART SIX: 57

Chord Changes in the Style of “Autumn Leaves”

Bassline Exercises
Scales and Arpeggios

PART SEVEN: 69

Bassline Construction
 INTRODUCTION
Simply put, the term “walking” refers to the steady quarter note basslines played
by a jazz bassist. It is a continuous, ever changing and evolving melody that
guides us through the chord progressions found in jazz music. The main function
of a walking bassline is to establish the root motion of a chord progression while
creating a steady, (heart-beat like) rhythmic foundation. But, in the hands of a
skilled improviser, the walking bassline can be a beautiful and complex melody
line that is as interesting as any “solo”.

The purpose of this book is to provide the beginning to intermediate jazz bassist
a working vocabulary of walking basslines and concepts for improvising. Each
example includes not only written basslines, but also a series of exercises that
step-by-step introduce root motion, chord tones, scale patterns and chromatic
half-step approaches. Also included in each example are the scales, modes and
arpeggios that correspond with the chords in the progression. The written
basslines begin as simple quarter note rhythms then progress into skips, ghost
notes, syncopations and triplets.

In performance, the quarter notes should be held out for their full value, steadily
decaying until the next beat or attack. All of the eighth note rhythms should be
played with a triplet swing feel.

Practice with a metronome clicking on beats 2 and 4 and play those beats with a
slight accent.

Practice slowly at first and increase your tempo incrementally once you feel
comfortable with a bassline or exercise.
PART I
Blues in F
 A
F7
          
      


5 Bb7 F7
                

9 Gm7 C7 F7 C7
        
       

B
13 F7
         
      

17 Bb7 F7 D7

            
  

21 Gm7 C7 F7 D7 Gm7 C7
           
    

C
25 F7 Cm7 F7
     
          

29 Bb7 Am7 D7

            
  

33 Gm7 C7 F7 C7
                
2
 D
37 F7 Bb7 F7 Cm7 F7
     
          

 F7
41 Bb7         D7

     


F7 D7 Gm7
45 Gm7 C7
        C7
 
      

E
F7 Bb7 F7
49          
      

53 Bb7 Bº F7 D7(b9)
                 

57 Gm7 C7 F7 D7 Gm7 Gb7

           
    

F
61 F7 Gm7 C7 F7
            
    

65 Bb7 Am7 D7
        
       

69 Gm7 C7 F7 D7 Gm7 C7
          
    

3
 G
F7 Bb7 F7 Cm7
73
       B7
       


Bb7
77
 
    Bº 
Am7(b5) D7(b9)
 
       

F7 Gm7
81 Gm7 C7
        C7
 
       

H
F7
85      
         


89 Bb7 Am7 D7 Abm7 Db7

        
       


93 Gm7 C7 F7   Gm7  C7
  
         


I
97 F7 F#º Gm7 C7 F7 Cm7 B7
        
       

101 Bb7 F7 Am7 D7

                  

F7 D7
105 Gm7 C7    Gm7 C7
     
     
 
4
 J
109 F7
     
               

F7
113 Bb7         D7 
         
  

117 Gm7 C7 Am7 D7 Db7 C7

    
             
 

K
121 F7 Dm7
  G7 Cm7 F7
            
       
3

125 Bb7 Em7 A7 D7

                     

3

Gm7
Gm7 C7 Am7 D7   C7
129         
           
3 3

L
133 F7
           3
      
    

137 Bb7 Em7 A7 D7

                   
  

141 Gm7 3 C7 F7 C7
      

        
     
3 3
   
5
 M
145 F7 Gm7 C7 F7
               
    
 3 3

149 Bb7 Bº Am7 D7

               
      


153 Gm7 C7
 F7 Ab7 Gm7 C7  
                    
   
3 3 3
3

N
157 F7
               


161 Bb7 F7   
        
           
3
3

165 Gm7 C7 F7 C7
            3
            
3 3

O
169 Fmaj7 Em7(b5) A7 Dm7 G7 3 Cm7 F7
       
         
 

173 Bb7 Am7 D7 Abm7 Db7

             
    

177 Gm7 C7 F7 D7 Gm7 C7 F7

      3

               
3
  
6
 Bassline Exercises
BEAT 1 2 3 4

A ROOT ROOT ROOT ROOT

B ROOT ROOT ROOT ½ STEP

C ROOT THIRD ROOT ROOT

D ROOT FIFTH ROOT ROOT

E ROOT SEVENTH ROOT ROOT

F ROOT THIRD ROOT ½ STEP

G ROOT FIFTH ROOT ½ STEP

H ROOT SEVENTH ROOT ½ STEP

I ROOT THIRD FIFTH ½ STEP

J ROOT SECOND THIRD FIFTH

K (1ST HALF) ROOT SECOND THIRD FIFTH

(2ND HALF) ROOT SEVENTH SIXTH FIFTH

L ROOT ½ STEP ½ STEP ½ STEP

Each of the examples represent a one or two measure bass pattern that should be
applied to each chord of the progression. For example, in letter I, (shown below) beat one
will be the root, beat two is the 3rd, beat three is the 5th and beat four is a half-step
(chromatic) approach to the next chord. Half-step approaches can come from below or
above the target note.

½ step approaches from above:

½ step approaches from below:

In exercise K try and alternate the two patterns as much as possible.

An example of each exercise is notated in the following section.

 F7 Bb7 F7
 

Bb7 F7 D7


Gm7 C7 F7 C7
 

8
 Bassline Exercises
A
F7 Bb7 F7 Bb7
              
           
R R R R

F7 D7 Gm7 C7 F7 C7
             
           

B
F7 Bb7 F7 Bb7
     
                    
R R R 1/2

F7 D7 Gm7 C7 F7 C7
            
            

C
F7 Bb7 F7 Bb7
  
                       
R 3 R R

F7 D7 Gm7 C7 F7 C7
             
           

D
F7 Bb7 F7 Bb7
         
          
     
R 5 R R

F7 D7 Gm7 C7 F7 C7

   
   


              

9
 E
F7 Bb7 F7 F7 Bb7
                 
        
R 7 R R

F7 D7 Gm7 C7 F7 C7
             
            

F
F7 Bb7 F7 Bb7
            
             
R 3 R 1/2

F7 D7 Gm7 C7 F7 C7
          
   

         

G
F7 Bb7 F7 Bb7
           
              
R 5 R 1/2

F7 D7 Gm7 C7 F7 C7
        
      
         


H
F7 Bb7 F7 F7 Bb7
                
         
R 7 R 1/2

F7 D7 Gm7 C7 F7 C7
              
   
        

10
 I
F7 Bb7 F7 Bb7
              
           
R 3 5 1/2

F7 D7 Gm7 C7 F7 C7
 
            
    
     

J
F7 Bb7 F7 Bb7
              
           
R 2 3 5

F7 D7 Gm7 C7 F7 C7
                 
  
    

K
F7 Bb7 F7 Bb7
           
              
R 2 3 5 R 7 6 5

F7 D7 Gm7 C7 F7 C7
    
                    

L
F7 Bb7 F7 Bb7
         
                
R 1/2 1/2 1/2

F7 D7 Gm7 C7 F7 C7
                 
         
11
 Arpeggios / Chord Scales
F7 F Mixolydian
        
    

Bb7 Bb Mixolydian
         
   

Bº B Half/Whole Diminished
          
   

D7  D Mixolydian 
       
   

Gm7 G Dorian
        
    

C7 C Mixolydian
         
   

12
PART II
Blues in Bb
 A
Bb7
               
  

5 Eb7 Bb7
           
     

9 Cm7 F7 Bb7 F7
                 

B
13 Bb7
               
 

17 Eb7 Bb7  G7  
          
   

21 Cm7 F7 Bb7 Cm7 F7

    
            

C
25 Bb7
             
   

29 Eb7 Bb7 G7
          
      

33 Cm7 F7 Bb7 G7 Cm7 F7

          
      
14
 D
37 Bb7
      
         


41 Eb7     Dm7
 G7
            

45 Cm7 F7 Bb7   F7
       
       

E
49 Bb7 Eb7 Bb7     
           


53 Eb7
  Bb7 Dm7 G7
              


57 Cm7    F7 Dm7 G7 Cm7 F7

       
      

F
61 Bb7 Eb7 Bb7 Fm7 Bb7
          
       

65 Eb7 Eº Bb7 G7
                 

69 Cm7   F7 Dm7
  G7 Cm7 F7
    

     
 

15
 G
73 Bb7 Eb7 Bb7  
             
    


77 Eb7
    Eº Bb7 Dm7 G7
    
     
       

Cm7 F7 Bb7 Cm7

81
              F7
     

H
85 Bb7 Eb7 Bb7
                   
 
 

G7
89 Eb7
        Dm7
     
     

93 Cm7 F7 Bb7   F7
               

        

I
97 Bb7 Eb7 Bb7
                   
  

101 Eb7 Bb7 G7

        
            

105 Cm7 F7 Bb7 G7 Cm7 F7

                       

16
 J
109 Bb7 Eb7 Eº Fm7 Bb7
       
        
       

3
3

113 Eb7 Bb7 G7

        3             
   
  
3 3

117 Cm7 F7 3 Bb7 Cm7 F7

    
                
   3

3

K
121 Bb7 Fm7 E7
           
        
 

G7
125 Eb7 Dm7        
                 
         
3 3
3

Cm7 F7 Bb7
129
  
3   G7 Cm7
  B7 
             
3

L
133 Bb7
   Cm7
  F7 Bb7
        
     

137 Eb7
  Eº Bb7 G7
3 3
        
             


141 Cm7 F7
    Bb7 G7 Cm7 F7 Bb7
        3
            
3
17
 Bassline Exercises
BEAT 1 2 3 4

A ROOT ROOT ROOT ROOT

B ROOT ROOT ROOT ½ STEP

C ROOT THIRD ROOT ROOT

D ROOT FIFTH ROOT ROOT

E ROOT SEVENTH ROOT ROOT

F ROOT THIRD ROOT ½ STEP

G ROOT FIFTH ROOT ½ STEP

H ROOT SEVENTH ROOT ½ STEP

I ROOT THIRD FIFTH ½ STEP

J ROOT SECOND THIRD FIFTH

K (1ST HALF) ROOT SECOND THIRD FIFTH

(2ND HALF) ROOT SEVENTH SIXTH FIFTH

L ROOT ½ STEP ½ STEP ½ STEP

Each of the examples represent a one or two measure bass pattern that should be
applied to each chord of the progression. For example, in letter I, (shown below) beat one
will be the root, beat two is the 3rd, beat three is the 5th and beat four is a half-step
(chromatic) approach to the next chord. Half-step approaches can come from below or
above the target note.

½ step approaches from above:

½ step approaches from below:

In exercise K try and alternate the two patterns as much as possible.

An example of each exercise is notated in the following section.

 Bb7 Eb7 Bb7
 

Eb7 Bb7 G7


Cm7 F7 Bb7 F7
 

19
 Bassline Exercises
A
Bb7 Eb7 Bb7 Eb7
                          
R R R R

Bb7 G7 Cm7 F7 Bb7 F7

                      
   

B
Bb7 Eb7 Bb7 Eb7
                          
R R R 1/2

Bb7 G7 Cm7 F7 Bb7 F7

                   
      

C
Bb7 Eb7 Bb7 Eb7
   
                      
R 3 R R

Bb7 G7 Cm7 F7 Bb7 F7

                      
   

D
Bb7 Eb7 Bb7 Eb7  
   
        

 
  
      
R 5 R R

Bb7 G7 Cm7 F7 Bb7 F7

                          

20
 E
Bb7 Eb7 Bb7 Bb7 Eb7    
              
       
R 7 R R

Bb7 G7 Cm7 F7 Bb7 F7

                          

F
Bb7 Eb7 Bb7 Eb7
                   
      
R 3 R 1/2

Bb7 G7 Cm7 F7 Bb7 F7

            
       
  
   

G
Bb7 Eb7 Bb7
               Eb7
       
   
R 5 R 1/2

Bb7 G7 Cm7 F7 Bb7 F7

         
           
    

H
Bb7 Eb7     Bb7 Bb7 Eb7

            
         

R 7 R 1/2

F7
Bb7 G7 Cm7 F7 Bb7      
                
     

21
 I
Bb7 Eb7 Bb7 Eb7
                          
R 3 5 1/2

Bb7 G7 Cm7 F7 Bb7 F7

      
           
   
   

J
Bb7 Eb7 Bb7 Eb7
                          
R 2 3 5

Bb7 G7 Cm7 F7 Bb7 F7

  

            
         

K
Bb7 Eb7 Bb7 Eb7    
                  
   
R 2 3 5 R 7 6 5

Bb7 G7 Cm7 F7 Bb7 F7

              
           

L
Bb7 Eb7 Bb7 Eb7
     
                     
R 1/2 1/2 1/2

Bb7 G7 Cm7 F7 Bb7 F7

        
                 

22
 Arpeggios / Chord Scales
Bb7 Bb Mixolydian
         
   

Eb7   Eb Mixolydian  
        


Eº   E Half/Whole Diminished  
      
   

G7 G Mixolydian
        
    

Cm7 C Dorian
      
      

F7 F Mixolydian
       
     

23
PART III
Blues in g minor
 A
Gm7
          
       

5 Cm7 Gm7
            
    

9 Am7(b5) D7(b9) Gm7 D7(b9)


      
        


B
13 Gm7
                  

17 Cm7 Gm7 
            
   

21 Am7(b5) D7(b9) Gm7 D7

            
    

C
25 Gm7   
      
      


29 Cm7 Gm7
                 

33 Am7(b5) D7(b9) Gm7 D7

           
     
26
 D
37 Gm7 G7
        
        

41 Cm7 Gm7
      
          

45 Am7(b5) D7  Gm7 D7(b9)


        
     


E
49 Gm7   
              

53 Cm7 Gm7
            
    

57 Am7(b5) D7    Gm7
    D7

        


F
61 Gm7 G7
         
        

65 Cm7  Gm7      
       
  

Am7(b5)
69   D7 Gm7 D7
     
     
   
27
 G
73 Gm7
    
3
    
 
            
3

77 Cm7   Gm7
       
          
3

81 Am7(b5) D7(b9) Gm7 Am7 3

D7
3
            
            
3

H
85 Gm7
         
         
3

89 Cm7    Gm7 
      3
    
   
   
3

93 Am7(b5)
 D7 Gm7 D7 
     
           


I
97 Gm7 
           
      
3

101 Cm7
        Gm7     
      
3

105 Am7(b5) D7 Gm7 Am7(b5) D7

                 
   
28
 J
109 Gm7     
        

    
 

113 Cm7 Gm7

       
             


117 Am7(b5) 3
D7      Gm7

     D7 
 
            

3 3 3

K
121 Gm7 3
           
          

125 Cm7    Gm7

          3
     
     
3

129 Am7(b5) D7(b9) Gm7    D7(b9)

   
              

3
L
Gm7
133           G7
     
   

137 Cm7    Gm7

            
 

141 Am7(b5) D7 Gm7 D7 Gm7

        
         
     
3
3 29
 Bassline Exercises
BEAT 1 2 3 4

A ROOT ROOT ROOT ROOT

B ROOT ROOT ROOT ½ STEP

C ROOT THIRD ROOT ROOT

D ROOT FIFTH ROOT ROOT

E ROOT SEVENTH ROOT ROOT

F ROOT THIRD ROOT ½ STEP

G ROOT FIFTH ROOT ½ STEP

H ROOT SEVENTH ROOT ½ STEP

I ROOT THIRD FIFTH ½ STEP

J ROOT SECOND THIRD FIFTH

K (1ST HALF) ROOT SECOND THIRD FIFTH

(2ND HALF) ROOT SEVENTH SIXTH FIFTH

L ROOT ½ STEP ½ STEP ½ STEP

Each of the examples represent a one or two measure bass pattern that should be
applied to each chord of the progression. For example, in letter I, (shown below) beat one
will be the root, beat two is the 3rd, beat three is the 5th and beat four is a half-step
(chromatic) approach to the next chord. Half-step approaches can come from below or
above the target note.

½ step approaches from above:

½ step approaches from below:

In exercise K try and alternate the two patterns as much as possible.

An example of each exercise is notated in the following section.

 Gm7
 

Cm7 Gm7


Am7(b5) D7 Gm7 D7
 

31
 Bassline Exercises
A
Gm7 Cm7
              
           
R R R R

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

                  
       

B
Gm7 Cm7
                   
      
R R R 1/2

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

 
              
         

C
Gm7 Cm7
      
                   
R 3 R R

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

              
           

D
Gm7 Cm7
           
               
R 5 R R

Gm7
   Am7(b5) D7(b9) Gm7 D7(b9)
    
             
    
32
 E
Gm7 Cm7
              
           
R 7 R R

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

                  
       

F
Gm7 Cm7
               
          
R 3 R 1/2

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

           
              

G
Gm7 Cm7
       
   

  

 
       
R 5 R 1/2

Gm7
   Am7(b5) D7(b9) Gm7 D7(b9)
     
                
 

H
Gm7 Cm7
              
           
R 7 R 1/2

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

        
              



33
 I
Gm7 Cm7
                
         
R 3 5 1/2

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

        
              
   

J
Gm7 Cm7
                 
        
R 2 3 5

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

 
                
       

K
Gm7 Cm7
               
  

  
   
R 2 3 5 R 7 6 5

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

     
                    

L
Gm7 Cm7
           
                  
R 1/2 1/2 1/2

Gm7 Am7(b5) D7(b9) Gm7 D7(b9)

            
                
34
 Arpeggios / Chord Scales
Gm7 G Aeolian (natural minor) G Dorian
        
            

Cm7 C Aeolian ( natural minor) C Dorian

      
              

Am7(b5) A Locrian
        
    

D7  D Mixolydian 
         
 

D7(b9)  D Altered Dominant 

        
  

35
PART IV
Chord Changes in the Style of Summertime
 A
Dm7
             
    

5 Gm7 Em7(b5) A7(b9)

         
      

9 Dm7      Gm7 C7
          


13 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

        
      


B
17 Dm7
       
     
  

21 Gm7 Em7(b5) A7(b9)

         
     


25 Dm7  Gm7 C7
         
     

29 Fmaj7 Em7(b5) A7(b9) Dm7  Em7(b5) A7(b9)

         
     

38
 C
33 Dm7  
 
        
    

Gm7
37       Em7(b5) A7(b9)
           

41 Dm7 Gm7 C7
         
       


45 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) Eb7


             
    

D
49 Dm7           
     

53 Gm7 Em7(b5) A7(b9)

               
     
3

57 Dm7 Gm7 C7
                 
  
3

61 Fmaj7
   Em7(b5)
 A7(b9) Dm7 Em7(b5) A7(b9) 3
     
   
      
    
3
3 3

39
 E
65 Dm7       
       
       

3 3

Em7(b5)
69 Gm7    A7(b9)
 
    
      

Gm7
73 Dm7
              C7
          

3

Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5)

77
      
3
  A7(b9)
   
          

F
81 Dm7      
            
3
   
3

85 Gm7 Em7(b5)   A7(b9)

     
              

89 Dm7
 Gm7 C7
             
     

3

93 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5)

 A7(b9) Dm7
   3
   
  
             
3 3

40
 Bassline Exercises
BEAT 1 2 3 4

A ROOT ROOT ROOT ROOT

B ROOT ROOT ROOT ½ STEP

C ROOT THIRD ROOT ROOT

D ROOT FIFTH ROOT ROOT

E ROOT SEVENTH ROOT ROOT

F ROOT THIRD ROOT ½ STEP

G ROOT FIFTH ROOT ½ STEP

H ROOT SEVENTH ROOT ½ STEP

I ROOT THIRD FIFTH ½ STEP

J ROOT SECOND THIRD FIFTH

K (1ST HALF) ROOT SECOND THIRD FIFTH

(2ND HALF) ROOT SEVENTH SIXTH FIFTH

L ROOT ½ STEP ½ STEP ½ STEP

Each of the examples represent a one or two measure bass pattern that should be
applied to each chord of the progression. For example, in letter I, (shown below) beat one
will be the root, beat two is the 3rd, beat three is the 5th and beat four is a half-step
(chromatic) approach to the next chord. Half-step approaches can come from below or
above the target note.

½ step approaches from above:

½ step approaches from below:

In exercise K try and alternate the two patterns as much as possible.

An example of each exercise is notated in the following section.

 Dm7
 

Gm7 Em7(b5) A7(b9)



Dm7 Gm7 C7


Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

 

42
 Bassline Exercises
A
Dm7  Gm7 Em7(b5) A7(b9)
             
 
R R R R

Dm7   Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

              
  

B
Dm7  Gm7 Em7(b5) A7(b9)
                            

R R R 1/2

Dm7 Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

               
                
  

C
Dm7   Gm7 Em7(b5) A7(b9)
           
               
R 3 R R

Dm7   Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

             

     

D
Dm7   Gm7 Em7(b5) A7(b9)

              
   
R 5 R R

Dm7    Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

         
             
   
43
 E
Dm7       Gm7 Em7(b5) A7(b9)
             
  
R 7 R R

Dm7 Gm7 C7
Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5)
 A7(b9)
      
         
     

F
Dm7  Gm7 Em7(b5) A7(b9)
                
               
R 3 R 1/2

Dm7      Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

                      
  

G
Dm7     Gm7 Em7(b5) A7(b9)

              
    
         
R 5 R 1/2

Dm7
   
Gm7 C7

Fmaj7 Em7(b5) A7(b9)
 
Dm7
    Em7(b5)
 A7(b9)
  
                 
 

H
Dm7          Gm7 Em7(b5) A7(b9)
          
      
    
     
R 7 R 1/2

Dm7 Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

  
                            


44
 I
Dm7   Gm7  Em7(b5) A7(b9)

                 
         
  

R 3 5 1/2

Dm7   Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

                         
  

J
Dm7 Gm7 Em7(b5) A7(b9)
          

       
       
  
R 2 3 5

Dm7 Gm7 C7 Fmaj7



         Em7(b5)A7(b9)

Dm7
 
Em7(b5) A7(b9)
             
   
(R 1/2 R 1/2) (R 1/2 R 1/2) (R 1/2 R 1/2)

K
Dm7  Gm7 Em7(b5) A7(b9)
            
    

R 2 3 5 R 7 6 5

Dm7  Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)

       
              
     
(R 1/2 R 1/2)
(R 1/2 R 1/2) (R 1/2 R 1/2)

L
Dm7  Gm7 Em7(b5) A7(b9)
                
                
  
R 1/2 1/2 1/2

Dm7
           Gm7 C7 Fmaj7 Em7(b5) A7(b9) Dm7 Em7(b5) A7(b9)
                    
   
(R 1/2 R 1/2) (R 1/2 R 1/2) (R 1/2 R 1/2)
45
 Arpeggios / Chord Scales
Dm7  D Aeolian (natural minor) D Dorian
                 
   

Gm7 G Dorian
        
    

Em7(b5) E Locrian
       
     

A7(b9) A Altered Dominant

       
     

C7 C Mixolydian
      
      

Fmaj7 F Ionian (major)

       
     

46
PART V
Chord Changes in the Style of Perdido
 A
Cm7 F7 Bbmaj7 G7
              
    

5 Cm7 F7 Bbmaj7 G7 
         
      

9 Cm7 F7 Bbmaj7 G7
           
     

13 Cm7 F7 Bbmaj7 
          
     

17 D7 G7
             
   

21 C7 F7
        
       


25 Cm7 F7 Bbmaj7 G7
        
       

29 Cm7 F7 Bbmaj7
                 

48
 B
33 Cm7 F7 Bbmaj7 G7
          
        

37 Cm7 F7 Bbmaj7 G7
            
     
   3

41 Cm7 F7 Bbmaj7 G7
         
              
3

45 Cm7   F7 Bbmaj7
                 

49 D7  G7
          
      
 
3

  F7
53 C7  
      

      

57 Cm7 F7
 Bbmaj7 G7
         
       


61 Cm7 F7 Bbmaj7
 
             
   
49
 C
Cm
65
        F7 
3
Bbmaj7
    G7
         
3

G7
Cm7 F7 Bbmaj7 
69
   3
        
        
  3
3

73 Cm7 F7 Bbmaj7 G7
            
          
3

77 Cm7 F7 Bbmaj7
                
 
  

81 D7
        G7
      
  

85 C7 F7
    
                  
3
3 3

89 Cm7 F7
    Bbmaj7 G7
       
          
3 3

93 Cm7   F7 Bbmaj7
           
     

50
 Bassline Exercises
BEAT 1 2 3 4

A ROOT ROOT ROOT ROOT

B ROOT ROOT ROOT ½ STEP

C ROOT THIRD ROOT ½ STEP

D ROOT FIFTH ROOT ½ STEP

E ROOT SEVENTH ROOT ½ STEP

F (FIRST HALF) ROOT THIRD FIFTH ½ STEP

(2ND HALF) ROOT SEVENTH FIFTH ½ STEP

G (FIRST HALF) ROOT SECOND THIRD FIFTH

(2ND HALF) ROOT SEVENTH SIXTH FIFTH

H ROOT ½ STEP ½ STEP ½ STEP

Each of the examples represent a one or two measure bass pattern that should be
applied to each chord of the progression. For example, in the first part of letter F, (shown
below) beat one will be the root, beat two is the 3rd, beat three is the 5th and beat four is a
half-step (chromatic) approach to the next chord. Half-step approaches can come from
below or above the target note.

½ step approaches from above:

½ step approaches from below:

In exercises F and G try and alternate the two patterns as much as possible.

An example of each exercise is notated in the following section.

 Cm7 F7 Bbmaj7 G7
 

Cm7 F7 Bbmaj7 G7


Cm7 F7 Bbmaj7 G7


Cm7 F7 Bbmaj7


D7 G7


C7 F7


Cm7 F7 Bbmaj7 G7


Cm7 F7 Bbmaj7
 

51
 Bassline Exercises
A
Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7 G7
                 
    
R R R R

Cm7 F7 Bbmaj7
Cm7 F7 G7
Bbmaj7
             
   

D7  G7    C7
     
       F7    

      

Cm7 F7 Bbmaj7
         G7    Cm7
  F7   Bbmaj7
  
 
 
     

B
Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7 G7
     
                    
       
R R R 1/2

Cm7 F7 Bbmaj7
Cm7 F7G7 Bbmaj7
                 
     
       

D7  G7 C7 F7
                
         
 

  

Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7


              
               
 
52
 C
Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7 G7
                      
       
    
R 3 R 1/2

Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7

      
                        
   

D7 G7 C7 F7
                            
    

Cm7 F7 Bbmaj7 G7
            Cm7
 F7
  
Bbmaj7
 
              

D
Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7 G7 

               
               
R 5 R 1/2

Cm7 F7 Bbmaj7
G7 Cm7 F7 Bbmaj7
        
                    
 


D7 G7  C7 F7

                          
       

Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7


                      
           

53
 E
Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7 G7
                    
     
     
R 7 R 1/2

Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7

                           
   

D7 G7 C7 F7
              
               

Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7

                             
   

F
Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7 G7
                           
    
R 3 5 1/2 R 7 5 1/2

Cm7 F7 Bbmaj7 G7Cm7     F7

     Bbmaj7
                 
        
 

D7     G7 C7 F7
           
         
             

Cm7 F7 Bbmaj7 G7 Cm7  F7 Bbmaj7

                        
        
54
 G
Cm7 F7 Bbmaj7 G7 Bbmaj7 Cm7G7 F7
                                  
R 2 3 5 R 7 6 5

Cm7 F7 Bbmaj7 G7 Cm7

        F7 Bbmaj7
 
                  

D7     G7 C7
              F7
    
   

G7
Cm7 F7 Bbmaj7        Cm7

               F7 Bbmaj7
 
    


H
Cm7 F7
Bbmaj7 G7 Cm7 F7 Bbmaj7 G7
            
              
     
R 1/2 1/2 1/2

Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7

          
                      

D7 G7 C7 F7
                       
            

Cm7 F7 Bbmaj7 G7 Cm7 F7 Bbmaj7

                    
         
       
55
 Arpeggios / Chord Scales
Cm7 C Dorian
         
   

F7 F Mixolydian
        
    

Bbmaj7 Bb Ionian (major)

         
   

G7  G Mixolydian
    
     
 

D7  D Mixolydian 
     
     

C7 C Mixolydian
         
   

56
PART VI
Chord Changes in the Style of Autumn Leaves
 A
Am7 D7 Gmaj7 Cmaj7
          
       

5 F#m7(b5) B7 Em7
         
     


9 Am7 D7 Gmaj7 Cmaj7

                

13 F#m7(b5) B7 Em7
      
         

17 F#m7(b5) B7 Em7
         
      

21 Am7 D7 Gmaj7 
          
    

25 F#m7(b5) B7 Em7 A7 Dm7 G7

       
        

29 Cmaj7 B7 Em7
      
         
60
 B
33 Am7 D7 Gmaj7 Cmaj7
    
           


37 F#m7(b5) B7 Em7
            
    

41 Am7 D7 Gmaj7 Cmaj7

          
      

45 F#m7(b5) B7 Em7
    
        
      

49 F#m7(b5) B7 Em7
    
              

53 Am7 D7 Gmaj7
          
     
   

57 F#m7(b5) B7 Em7 A7 Dm7 G7

3 3
               
     

61 Cmaj7 B7 Em7
               
   
 3 3

61
 C
65 Am7 D7 Gmaj7 Cmaj7
           
       

69 F#m7(b5) B7 Em7
         
        

Gmaj7

73 Am7 D7       Cmaj7
        
    
3

77 F#m7(b5) B7 Em7
   3
 
            
     
3

81 F#m7(b5) B7 Em7
             
        

85 Am7 D7
  Gmaj7
    
   
        

89 F#m7(b5) B7 Em7 Eb7 Dm7 Db7

          
       

93 Cmaj7 B7 Em7
3
 
                 
 
62
 Bassline Exercises
BEAT 1 2 3 4

A ROOT ROOT ROOT ROOT

B ROOT ROOT ROOT ½ STEP

C ROOT THIRD ROOT ½ STEP

D ROOT FIFTH ROOT ½ STEP

E ROOT SEVENTH ROOT ½ STEP

F ROOT THIRD FIFTH ½ STEP

G (FIRST HALF) ROOT SECOND THIRD FIFTH

(2ND HALF) ROOT SEVENTH SIXTH FIFTH

H ROOT ½ STEP ½ STEP ½ STEP

Each of the examples represent a one or two measure bass pattern that should be
applied to each chord of the progression. For example, in letter F, (shown below) beat one
will be the root, beat two is the 3rd, beat three is the 5th and beat four is a half-step
(chromatic) approach to the next chord. Half-step approaches can come from below or
above the target note.

½ step approaches from above:

½ step approaches from below:

In exercise G try and alternate the two patterns as much as possible.

An example of each exercise is notated in the following section.

 Am7 D7 Gmaj7 Cmaj7
 

F#m7(b5) B7(b9) Em7



Am7 D7 Gmaj7 Cmaj7



F#m7(b5) B7(b9) Em7



F#m7(b5) B7(b9) Em7



Am7 D7 Gmaj7


F#m7(b5) B7(b9) Em7 A7 Dm7 G7



Cmaj7 B7(b9) Em7

 

62
 Bassline Exercises
A
Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
  
       
R R R R

Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7

                            
   

F#m7(b5) B7(b9) Em7 Am7 D7 Gmaj7

         
   
       

F#m7(b5) B7(b9) Cmaj7 Em7 A7 Dm7 G7

      B7(b9)
 Em7
        
        

B
Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
           
                      
R R R 1/2

Am7 D7 Gmaj7   Cmaj7 F#m7(b5) B7(b9) Em7

                        
   
 

F#m7(b5) B7(b9) Em7 Am7

  D7  Gmaj7
 

                     
    

F#m7(b5) B7(b9) Em7 A7 Dm7 G7 Cmaj7

     B7(b9)
 Em7

                   
     
63
 C
Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
       
       
              
  
R 3 R 1/2

Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9)

                 Em7
           
   

F#m7(b5) B7(b9) Em7 Am7 D7 Gmaj7

       
               
         

F#m7(b5) B7(b9)
A7 Em7
     Dm7
 G7  Cmaj7
     B7(b9)
   Em7 
            
   


D
Am7 Gmaj7 D7
Cmaj7 F#m7(b5) B7(b9) Em7

        

           
           
R 5 R 1/2

Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7


                         
  
 

F#m7(b5) B7(b9) Em7

Am7 D7 Gmaj7
  
               
      
     

F#m7(b5) B7(b9) A7 Em7

Dm7
  G7 Cmaj7  B7(b9) Em7
            
       
     
  
64
 E
Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
   
                              
R 7 R 1/2

Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9)

 
          
              Em7
      


F#m7(b5) B7(b9) Em7 Am7 D7 Gmaj7

                 
     
        

F#m7(b5) B7(b9) Em7 A7 Dm7

  G7     B7(b9) Em7
                       
 
Cmaj7

F
Am7 D7
Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
                         
       
   
R 3 5 1/2

Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7

    
               
   
   
 

F#m7(b5)B7(b9) Em7 Am7 D7 Gmaj7 

          
                   


F#m7(b5)
B7(b9) Em7 A7 Dm7
  G7  Cmaj7 B7(b9) Em7
                   
         
    
(R 1/2 R 1/2 R 1/2 R 1/2)

65
 G
Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
                 
      
R 2 3 5 R 7 6 5

Am7  D7   Gmaj7   Cmaj7

          F#m7(b5) B7(b9)
  
Em7   

F#m7(b5) B7(b9) Em7 Am7 D7 Gmaj7

                    
    

F#m7(b5) B7(b9) Em7 A7 Dm7

 G7 Cmaj7 B7(b9) Em7
                               
  
(R 1/2 R 1/2 R 1/2 R 1/2)

H
Am7 D7 Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
                         
       
R 1/2 1/2 1/2

Am7 D7
    Gmaj7 Cmaj7 F#m7(b5) B7(b9) Em7
           
                


F#m7(b5) B7(b9) Em7

      Am7 D7
 Gmaj7
      

           
        

F#m7(b5) B7(b9) Em7 A7 Dm7 G7 Cmaj7 B7(b9) Em7

                      
           
(R 1/2 R 1/2 R 1/2 R 1/2)

66
 Arpeggios / Chord Scales
Am7 A Dorian
        
    

D7  D Mixolydian 
         
 

Gmaj7 G Ionian (major)

        
    

Cmaj7 C Lydian
         
   

F#m7(b5) F# Locrian 
    
     
 

B7 B Mixolydian B Altered Dominant

             
       

Em7 E Aeolian (natural minor) E Dorian

           
         

A7 A Mixolydian
        
    

Dm7  D Dorian 
         
 

G7 G Mixolydian
        
    
67
PART VII
Bassline Construction
EXAMPLE 1 - CHORD TONES & HALF-STEP APPROACHES

Step 1 - Establish Root Motion. Beat one of each measure is the root of the chord.

Step 2 - Beat 4 of each measure approaches the root of the next chord by a half-step above or
below the target note. Half-step notes may sometimes also be a chord tone.

Step 3 - Beats 2 and 3 of each measure can be any chord tone. An analysis of the chord tones and
half-steps is provided to show how they are used to create a walking bassline. Do your own
analysis of all of the basslines that follow.
EXAMPLE 2 - CHORD TONES, PASSING TONES & HALF STEP APPROACHES

Step 1 - Establish Root Motion. Beat one of each measure is the root of the chord.

Step 2 - Beat 4 of each measure approaches the root of the next chord by a half-step above or
below the target note.

Step 3 - Beats 2 and 3 of each measure is either a chord tone or a passing tone. (PT)
EXAMPLE 3 - CHORD TONES, PASSING TONES & DIATONC APPROCHES

Step 1 - Establish Root Motion. Beat one of each measure is the root of the chord.

Step 2 - Beat 4 of each measure approaches the root of the next chord by a diatonic (in the scale)
note leading stepwise to the next chord.

Step 3 - Beats 2 and 3 of each measure is either a chord tone or a passing tone.
EXAMPLE 4 - DOUBLE PASSING TONES

Step 1 - Beat one of each new chord is the root. Chords that last more than one measure alternate
between using the root and 5th as beat one.

Step 2 - Beat 4 approaches each new chord by a half-step.

Step 3 - Beats 2 and 3 of each measure is a chord tone or passing tone. Two consecutive passing
tones (non-chord tones) create the double passing tone.
EXAMPLE 5 - NEIGHBORING TONES

Lower neighboring tone:

Upper neighboring tone:

Double neighboring tones - combing the upper and lower neighboring tone:
EXAMPLE 6 - INVERSIONS

Step 1 - Begin each measure with a chord tone other than the root note.

Step 2 - Beat 4 approaches each new chord by a half-step. (The half-step approaches here are also
chord tones.)

Step 3 - Beats 2 and 3 of each measure can be any chord tone.

EXAMPLE 7 - BROKEN 3RDS

Practicing scale patterns in 3rds can give you some ideas for additional walking
patterns.

F Mixolydian in 3rds:

Below is an example of how to incorporate broken 3rds into a walking bass line.

Try and write out your own bass lines using the concepts in these examples, then
combine these ideas with the bass line exercises in the previous sections. All of
the exercises in this book are only a starting point to creating a good walking
bass line. You must be able to use these ideas interchangeably throughout a
chord progression. Learning to improvise walking bass lines is one of the most
challenging aspects to being a bass player. From a technical standpoint it is
pretty simple since they are primarily just quarter note lines, but it takes a clear
understanding of chord construction, scales/modes and harmony. It also takes
patience and methodical practicing. Aside from practicing these types of ideas
one of the most valuable things you can do when learning to play walking bass
lines (or any style of music) is to transcribe bass lines from recordings. This will
not only give you insight to how the great bass players approached a
progression, it will also help develop your most valuable asset as a musician,
your ears.