BASS MASTER CLASS

JB Dyas, PhD
As Published in DownBeat Magazine

Linear Bass Line Construction

It has been said that the definition of a jazz combo is a bassist and at least one other player, hence, the importance
placed on the former’s vital role in jazz. Indeed, the bassist has the dual responsibility of providing both a rhythmic
and harmonic foundation simultaneously. In most straight-ahead jazz, this is accomplished through the use of
walking bass lines, that is, quarter note lines performed with a long, warm tone in which the root of each chord is
attacked (played) as each chord changes. The remaining notes “connect” one chord to another in deference to the
harmony (chord) of the moment.

In analyzing the lines constructed by the walking masters (e.g., Ray, Ron, Rufus, Christian…), we find that the
majority of their straight-ahead walking lines are comprised primarily of three elements: scales, arpeggios,
and chromatics, and the combination of the three. The rule of thumb when constructing lines using scales and
arpeggios is to be cognizant of each chord’s scale and chord tones, i.e., use correct 3rds, 7ths, and appropriate
alterations (e.g., #5, b9, etc.) as indicated. The guideline for using chromatics is that as long as you start your
chromatic line on a chord tone of the chord you’re on, and land on a chord tone (preferably the root) of the next
chord as it changes, chromatics are cool.

The following exercises are meant to be practiced not only by up-and-coming bassists, but also on piano (left
hand) by all musicians, especially jazz improvisation teachers and instructors of all instruments. When
accompanying an improv class or private student, nothing beats walking a bass line in the left hand while comping
the chords in the right.

Following are three one-measure bass lines that connect two chords that progress up a 4th
(aka down a 5th), the most common progression in jazz. Called “cycle patterns” because
they progress around the cycle of 4ths (up a 4th/down a 5th), the three lines are:
1) down the scale (1 7 6 5) – regarding the 7th: be sure to use a b7th for minor 7 and
dominant 7 chords, and a major 7th for major chords

2) 1 3 5 chromatic – regarding the 3rd: be sure to use a minor 3rd for minor 7 chords,
and a major 3rd for dominant 7 and major chords

3) whole, half, half, half (steps going up)

Cycle Patterns

With just these three patterns, nine combinations can be used to construct nine distinctive ways of walking a II- V7
I∆ progression. The combinations are 1&1, 1&2, 1&3, 2&1, 2&2, 2&3, 3&1, 3&2, and 3&3.
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Cycle Pattern Combinations

After mastering these nine combinations in the key given, the next step is to practice the nine combinations in all 12
keys:
ll D- l G7 l C∆ ll ll Bb- l Eb7 l Ab∆ ll ll F#- l B7 l E∆ ll

ll G- l C7 l F∆ ll ll Eb- l Ab7 l Db∆ ll ll B- l E7 l A∆ ll

ll C- l F7 l Bb∆ ll ll Ab- l Db7 l Gb∆ ll ll E- l A7 l D∆ ll

ll F- l Bb7 l Eb∆ ll ll C#- l F#7 l B∆ ll ll A- l D7 l G∆ ll

Similar lines can be constructed for II V I progressions in minor (IIø V7alt I-). Note that the following three patterns
are altered from their major key counterparts in order to fit the chord qualities, i.e., half diminished (aka minor 7 b5)
for the II chord, dominant 7 altered (meaning flat & sharp 5th and flat & sharp 9th) for the V chord, and minor 7 for
the I chord. The “altered cycle patterns” are:

1) down the altered scale (1 b7 #5 b5)

2) 1 b2 3 b5 – regarding the 3rd: be sure to use a minor 3rd for half diminished chords and a major 3rd for
dominant 7 altered chords

3) half, whole, half, half (steps going up)

JB Dyas, PhD • [email protected]

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Altered Cycle Patterns

Again, with just these three patterns, you have nine combinations that can be used to construct nine distinctive ways
of walking a IIø V7alt I- progression. The combinations are the same (1&1, 1&2, 1&3, 2&1, 2&2, 2&3, 3&1, 3&2,
and 3&3), we’re simply substituting the altered cycle patterns for the regular cycle patterns so as to better fit the
chord qualities.

Altered Cycle Pattern Combinations

Again, after mastering these nine combinations in the key given, practice them in all 12 keys:

ll Dø l G7alt l C- ll ll Bbø l Eb7alt l Ab- ll ll F#ø l B7alt l E- ll

ll Gø l C7alt l F- ll ll Ebø l Ab7alt l Db- ll ll Bø l E7alt l A- ll

ll Cø l F7alt l Bb- ll ll Abø l Db7alt l Gb- ll ll Eø l A7alt l D- ll

ll Fø l Bb7alt l Eb- ll ll C#ø l F#7alt l B- ll ll Aø l D7alt l G- ll

The next step is to apply these patterns to a tune that utilizes II V I progressions in both major and minor, such as
Autumn Leaves. Using just these six patterns (i.e., three cycle patterns and three altered cycle patterns), plus a scale
for the tritone progression (Eb∆ to Aø in the 4th to 5th bar) and an arpeggio for the unison progression (G- to G7alt
in the 7th to 8th bar), there are now literally hundreds of ways to walk the first 8 bars. Following are but a few:

JB Dyas, PhD • [email protected]

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Examples of the First Eight Bars of Autumn Leaves

Once you feel comfortable walking the first eight bars of Autumn Leaves and are able to vary the different cycle
patterns and altered cycle patterns at will, the final step is to practice this eight-bar progression in all keys, say, one
key per week for 12 weeks. I also suggest you say the name of each chord aloud as you land on it. At the end of the
three-month stint, you will find that you have a much better handle on walking through changes, including being
considerably more aware of correct 3rds, 7ths, and alterations. This exercise also will substantially increase your
familiarity with the entire instrument -- low to high, common and uncommon keys alike. More importantly, it will
give you far more confidence when approaching new tunes to walk, allowing your mind and spirit to focus less on
the notes and more on TGIF (time, groove, interaction, feel) with that at-least-one-other-player in your combo.

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Former Executive Director of the Brubeck Institute, bassist J.B. Dyas currently serves as Vice President
for Education and Curriculum Development at the Herbie Hancock Institute of Jazz in Los Angeles. He
received his PhD in Music Education from Indiana University and is a past recipient of the DownBeat Achievement
Award for Jazz Education.

JB Dyas, PhD • [email protected]

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First Eight Bars of Autumn Leaves in All Keys

ll D- l G7 l C∆ l F∆ l Bø l E7alt l A- l A7alt ll

ll G- l C7 l F∆ l Bb∆ l Eø l A7alt l D- l D7alt ll

ll C- l F7 l Bb∆ l Eb∆ l Aø l D7alt l G- l G7alt ll

ll F- l Bb7 l Eb∆ l Ab∆ l Dø l G7alt l C- l C7alt ll

ll Bb- l Eb7 l Ab∆ l Db∆ l Gø l C7alt l F- l F7alt ll

ll Eb- l Ab7 l Db∆ l Gb∆ l Cø l F7alt l Bb- l Bb7alt ll

ll Ab- l Db7 l Gb∆ l B∆ l Fø l Bb7alt l Eb- l Eb7alt ll

ll C#- l F#7 l B∆ l E∆ l Bbø l Eb7alt l Ab- l G#7alt ll

ll F#- l B7 l E∆ l A∆ l Ebø l Ab7alt l Db- l C#7alt ll

ll B- l E7 l A∆ l D∆ l Abø l Db7alt l Gb- l F#7alt ll

ll E- l A7 l D∆ l G∆ l C#ø l F#7alt l B- l B7alt ll

ll A- l D7 l G∆ l C∆ l F#ø l B7alt l E- l E7alt ll

JB Dyas, PhD • [email protected]

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12-Bar Blues (I - IV - V)
e.g., Shuffle Time, Blue 7, etc.

l Bb7 l l l l
arpeggio up or down arpeggio up or down arpeggio up or down cycle pattern
or bebop scale up or down…………………… arpeggio up or down

l Eb7 l l Bb7 l l
arpeggio up or down 1 3 4 chro arpeggio up or down 1 3 4 chro

l F7 l Eb7 l Bb7 l F7 l
1 3 5 6 1 3 4 chro 1 3 4 chro cycle pattern
or
1 5 1 chro
(“Killer Joe” lick)
12-Bar Blues (Bebop)
e.g., Tenor Madness, etc.

l Bb7 l Eb7 l Bb7 l l

cycle pattern 1 3 4 chro arpeggio up or down cycle pattern

l Eb7 l l Bb7 l G7alt l

arpeggio up or down 1 3 4 chro 1 3 5 chro alt. cycle pattern
(or b7)

l C- l F7 l Bb7 G7alt l C- F7 l
cycle pattern cycle pattern 1 b7 1 3 1 b3 1 3
(or b5) (or b5) (or b5)

12-Bar Blues (Bebop)

e.g., Tootsie, Billie’s Bounce, Straight No Chaser, etc.

l F7 l Bb7 l F7 l C- F7 l
cycle pattern 1 3 4 chro 1 3 4 chro 1 b3 1 3
(or b5) (or b5)

l Bb7 l l F7 l A- D7 l
arpeggio up or down 1 3 4 chro chromatic up 1 b3 1 3
(or b5) (or b5)

l G- l C7 l F7 D7alt l G- C7 l
cycle pattern cycle pattern 1 b7 1 3 1 b3 1 3
(or b5) (or b5) (or b5)

JB Dyas, PhD • [email protected]

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Combo Preparation for Bassists
(in order of importance)

Construct Preparation
1. Play with a good sound. Carefully adjust sound on amp before rehearsal or
performance begins; strive for a warm, fat (but not boomy)
tone for straight-ahead jazz; dig in

2. Play in tune. Carefully tune up before every rehearsal or performance;

listen closely to the intonation while playing (especially for
upright and fretless players)

3. Keep your place; don’t get lost. Before playing, memorize the form. Common forms include:
• 12-bar blues (e.g., Tenor Madness, Billie’s Bounce)
• 16-bar tune (e.g., Blue Bossa, Summertime, Doxy)
• 32-bar standard
• AABA (e.g., I Got Rhythm, Misty, Satin Doll)
• ABAC (e.g., On Green Dolphin Street, All of Me)
Be on the lookout for tunes with uncommon forms, for
example:
• Alone Together: AABA´ (14-bar first A, 14-bar second A,
8-bar B, and 8-bar last A)
• Moment’s Notice: ABAB´V (8-bar first A, 8-bar first B, 8-
bar second A, 6-bar second B, 8-bar Vamp with Bb pedal)
• Song for My Father: AAB (24-bar tune)
• Peace: 10-bar tune
• Stablemates: ABA (14-bar first A, 8-bar bridge, 14-bar last
A)
• Yes and No: AABA (14-bar A sections with a 16-bar
bridge)

4. Play the style with good time and a good feel. If not sure of the style, ask combo director or a bandmate.
Common grooves include:
• bop: walking bass
• standard (swing): often the first chorus as a “2 feel” with
successive choruses in “4” (walking bass); sometimes the
last chorus returns to a “2 feel”
• bossa: dotted quarter/eighth note feel (straight, not swung)
• various Latin grooves: combination of playing on beats 1
& 3 and syncopating
• rock: straight eighths
• funk: syncopated sixteenths (with clear downbeats)
• waltz: 3/4 time; often the first chorus as a “1 feel” (dotted
half notes with successive chorus in “3” (walking) or a
“broken 3” (partly in “1” and partly in “3”)
• ballad: often the first chorus as a “2 feel” with successive
choruses in “4” (walking bass); also, ballads often provide
more room for interaction with soloist and other members of
the rhythm section

5. Play the “right” notes. Before the tune starts, check out root movement and chord
qualities (major, dominant, minor, half diminished, etc.); land
on the roots as the chords change; be sure to play correct 3rds
and 7ths; memorize what you can in the time you have

JB Dyas, PhD • [email protected]