EXCERPT 1

It is important for a bassist to know all the appropriate scales for each chord type. This knowledge will be useful in the aforementioned “diatonic bass lines” but also comes into play when using the bass lines discussed on page 2. You will notice that examples 2 and 4 on page 2 require either a chromatic or a diatonic note. Therefore it is important to list all chords and the diatonic scales that are used with those chords. You will find those on page 4 through 13. It is also important that a bassist understand what the chord tones are for each chord type. Examples 1 and 3 on page two require a chord tone to be played. Therefore as each chord scale you will also be given the chord tones.

Although beyond the scope of this book the available tensions for each chord type are also given. Tensions in a jazz concept are non-chord tones that don’t have to resolve. Therefore they are commonly added to chords to give them “color.” As you advance as a jazz bassist taking these tensions into consideration will make your bass lines even more connected to the music.

Along with the chord tones and tensions many chords have what are called avoid notes. For example a CΔ7 has the chord tones C,E,G,B, and has the available tension of D, F# and A. The chord scale for a CΔ7 chord is a C major scale C,D,E,F,G,A,B which contains an F. This F is the avoid note. Avoid notes are notes that can be played but are usually not stressed and feel like they need to resolve. If you try to apply the F avoid note to a CΔ7 chord you find that it totally changes the character of the chord. (Not that the sound is bad it just doesn't sound like a CΔ7 chord.) Avoid notes are always a half step above a chord tone and should be used sparingly especially on beat one of a measure. But, if you are using the diatonic type bass line shown in example 5 an occasional avoid note on one is fine (see measure 2)

I have limited the scales presented on pages 4 through 13 to the modes of major, jazz minor (melodic minor ascending), the 3 symmetrical scales diminished, symmetrical diminished and whole tone and two modes of Harmonic minor. The scales will be grouped into chord types to make all the possibilities easy to see.

Grouping scales and chords into overall chord types allows you the greatest amount of flexibility when building bass lines. Care must be taken because in some instances the original chord in a song is the only chord desired. For example if you have a C7b5 chord and this is the only chord sound desired, then you can only use notes from an Altered, Symmetrical Diminished or Whole Tone scale as your diatonic passing notes.