STANDARD LINES STANDARD LINES Book III Jazz standards, Bebop bass lines , Latin Jazz standards. For the ELECTRIC BASSIST Bass Tab Edition
Example 2 Scalar approaches to constructing
walking jazz bass lines " ascending "
FOREWARD
Standard Lines Book III in the Constructing Walking Jazz Bass
Lines series for the Double Bassist and Electric Bassist is a
comprehensive guide demonstrating the devices used to construct
walking jazz bass lines in the jazz standard tradition.
Book III covers 24 standard jazz chord progressions with 110 choruses
of professional jazz bass lines as an example.
Part I outlines the Modes and the chord scale relationships and the
fundamental knowledge required to be able to build the diatonic triads
and 7th chords in any key. Examples are given in the " 2 " feel and " 4 "
feel walking bass style enabling the bassist to develop a strong
rhythmic and harmonic foundation.
More advanced bass line construction examples including voice
leading and mode substitutions and mode applications related to specific
jazz chord progressions are also outlined.
Part II outlines the Symmetric Scales as well as the Modes of the
Melodic Minor Scale related to the Minor II V I progression.
Provided are written examples of the Symmetric Scales and the chord
scale relationships and how to apply the use of the Symmetric Scales
over popular jazz chord progressions.
The Minor II V I is outlined and compared to the Major II V I
outlining the differences with the suggested scale uses applied to
common jazz chord progressions.
Part III outlines the use of the BeBop Scales and their use in the jazz
walking bass tradition, providing suggested uses of the Be Bop scales
related to popular jazz chord progressions.
Part IV outlines the previous lesson devices and concepts with
examples of professional level bass lines over standard jazz chord
progressions.
All information builds in a stepwise progression enabling the bassist to
apply the techniques in all 12 keys.
TABLE OF CONTENTS
Part 1
The Chord Scale Relationships .....................................................
How to apply the Modes and chord scale relationships to
standard chord progressions...........................................................
How to construct the triads off of the major scale .........................
Jazz chord progression # 1 " Periodic "
Bass Line Construction Triads and the " 2 " feel ...........................
Triads " 4 " feel walking bass line .................................................
Triads and the chromatic approach from above .............................
Triads and the chromatic approach from below .............................
Triads and the Walk Up ................................................................
Triads and the Walk Down ...........................................................
Jazz chord progression # 2 " Greatest Glove "
Scalar approaches to constructing bass lines " ascending " .............
Applying 7th chords to scalar bass lines
How to construct the diatonic 7ths ...............................................
Applying 7th chords to scalar bass lines " descending "..................
Ascending scalar with chromatic approach from above .................
Descending scalar with chromatic approach from below ...............
Voice leading 7th chords & the II V I progression ........................
Jazz chord progression # 3 " Winters Coming "
Applying the voice leading technique to bass lines ........................
Voice leading the Dominant 7th chord .........................................
How to apply the Modes to constructing walking jazz bass lines
The Ionian mode .........................................................................
Jazz chord progression # 4 " Mr. K " .............................................
The Major II V I progression and the the Dorian &
Mixolydian modes .......................................................................
The II V I progression .................................................................
The application of the II V I progression in jazz chord
progressions .................................................................................
The III VI II V progression and the Phyrgian mode .....................
The III VI II V I progression ......................................................
The application of the III VI II V I progression in jazz
chord progressions .......................................................................
The I VI II V progression and the Aeolian mode .........................
The application of the I VI II V progression in jazz
chord progressions .......................................................................
The Lydian mode .........................................................................
Jazz chord progression # 5 " It Depends "
Applying the Lydian Mode to constructing jazz bass lines ............
The Locrian Mode .......................................................................
Jazz chord progression # 6 " The Weaving Stream " ....................
Applying the Locrian Mode to constructing jazz bass lines ..........
Part II
Symmetric & Melodic Minor Scales ............................................
The Whole Tone scale
Jazz chord progression # 7 " Wheres the subway ? " ....................
The Diminished scale ..................................................................
Jazz chord progression # 8 " Finding Candy "
Applying the use of the Diminished scale .....................................
The Half Whole Diminished scale ...............................................
Jazz chord progression # 9 " Vegetable Stew "
Applying the use of the Half Whole Diminished scale .................
The Diminished Whole Tone scale & the
Minor II V progression ...............................................................
Jazz chord progression # 10 " Moonlight View "
Applying the use of the diminished whole tone scale ....................
The Locrian # 2 & the Minor II V progression ...........................
Applying the use of the Locrian # 2 scale .....................................
The Minor II V progression .........................................................
Part III
The Bebop Scales
The ascending Major Bebop scale .................................................
The descending Major Bebop scale ...............................................
Jazz chord progression # 11 " More Stew ? "
Applying the use of the Major Bebop scale ...................................
The ascending Dorian minor Bebop scale .....................................
The descending Dorian minor Bebop scale ...................................
Jazz chord progression # 12 " Heard It "
Applying the use of the Dorian Minor bebop Scale ......................
The ascending Mixolydian Bebop scale .........................................
The descending Mixolydian Bebop scale .......................................
Jazz chord progression # 13 " Who's Glove ? "
Applying the use of the Mixolydian Bebop Scale ..........................
Part IV Jazz Bass Line examples over standard Jazz
chord progressions .......................................................................
Jazz chord progression # 14 " Ocean St " ....................................
Jazz chord progression # 15 " Slipped into the Stream " ..............
Jazz chord progression # 16 " Only You " ....................................
Jazz chord progression # 17 " The One in Gloves " ...................
Jazz chord progression # 18 " Garden Hoses " ...........................
Jazz chord progression # 19 " Who Are You ? " .........................
Jazz chord progression # 20 " Idiosyncrasy "...............................
Jazz chord progression # 21 " The Third " .................................
Jazz chord progression # 22 " New Gloves " ..............................
Jazz chord progression # 23 " Bring Your Strings " ....................
Jazz chord progression # 24 " No Ones Here " ..........................
In Conclusion .............................................................................
5.0 out of 5 stars Great book, very helpful, December 5, 2011
By
Mathemusician "David" (McLean, VA USA) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: Constructing Walking Jazz Bass Lines Book III - Walking Bass Lines - Standard Lines - The Modes & the chord scale relationship method (Volume 3) (Paperback)
I bought three of Steven's books - this one, "Blues in 12 Keys", and "Rhythm Changes" - and they are all excellent. The theory of bass line construction is clearly presented, but more importantly (to me) there are enough examples to put the theory in a musical context. Getting from one chord to the next is only the beginning; a really good bass line has a theme that is developed over the whole form of the song. The examples in these books are really good for that. I feel like my vocabulary has gotten bigger and my lines are sounding much better already, and I'm barely halfway through the book.
If you are an absolute beginner this book might be too challenging, ~ for an intermediate player (or a brave beginner) there is a lot here that will really help you get to the next level. For less than the price of one private lesson, it's a no-brainer. Buy it.
5.0 out of 5 stars A very Comprehensive and Practical Method for beginner and intermediate/advanced bass players, September 24, 2011
By
This review is from: Constructing Walking Jazz Bass Lines Book III - Walking Bass Lines - Standard Lines - The Modes & the chord scale relationship method (Volume 3) (Paperback)
I am highly recommending Steven Mooney's method for Constructing Walking Bass Lines Book I The Blues in 12 Keys, Book II Rhythm Changes in 12 Keys and Book III Standard lines which I purchased mid July and I am eagerly awaiting Book IV. If you can read music a little bit or read TAB, this is the Method for YOU.
Steven's approach is masterly crafted to ensure that you are playing strong Bass Lines right out of the Gate in all Twelve Keys with numerous exercises to reinforce each and every concept whether Theoretically and/or Harmonically in a very Comprehensive and Progressive approach including clearly written directions of the various concepts for the thoroughly written out exercises. As we all know, we all learn by doing. Steven's method provides numerous exercises to keep each and every aspiring Bassist enthuse about Learning and Creating Walking Bass Lines.
I have worked with literally over twenty different method books and Steven Mooney's approach is definitely the best of the best that I have worked with. It is very player friendly throughout and it is masterfully crafted! In addition to a lifetime's work going into creating these books more importantly is the willingness to patiently share this knowledge with others that makes all the difference and Steven should be very, very proud of that accomplishment.
In addition I am truly having the time of my life with these books and I have only just begun!!! So many varied exercises to reinforce the concepts, techniques and sight reading among others!
Moreover, it is a lot of FUN! Steven SHARES the Mysteries of Understanding and Creating Melodic Walking Bass Lines. I personally find it challenging to stay away from his books but I know I should actively be working on Simandl, Ray Brown, Rufus Reid, Harvey Vinson, John Goldsby, Chuck Sher, Ed Friedman, Bunny Brunel, Bob Magnusson, James Jamerson and Jamey Aebersol methods as well!!!
Enjoy!
5.0 out of 5 starsMr Mooney's Latest Tool for the Jazz Bassist,
By
Richard T. Harris - See all my reviews
"Standard Lines" is the 3rd installment of Steven Mooney's "Constructing Walking Jazz Bass Lines" series. Here's hoping it is far from the last. The book details many techniques that are a revelation to the aspiring bassist, and a good review for the advanced musician. For example Part 1 starts, innoculously enough, with the subject "How to Construct the Triads off the
major scale". Mr Mooney walks the reader through that subject detailing both the notes for the triads used and a nicely done example. Mr Mooney also goes into depth here by explaining chromatic approaches walks up and down. In the next section, we find the Scalar approach, which details the technique for the bassists usage of using scales as a foundation as opposed to triads.
Part 2 outlines the use of Symmetric and Melodic Minor scales. Diminished and Whole tone scales are covered for the avid reader. Part 3 covers Be Bop Scales. Is Hip Hop the grandchild of Be Bop? Someone should answer that burning question, but I don't expect Mr. Mooney to do so. He applies himself quite well to the serious subjects at hand. Part 4 is Jazz Bass line examples over Standard Jazz Chord Construction. In this section we find exercises for the bassist that are both challenging and therefore interesting for all bassists.
Mr. Mooney's latest book is a must read for all of us who ply the "Dark Strings". I keep opening all three of his books for education and fun playing. I'm sure you will also.
