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    Walking Bass 3: Piano Complementario

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    Oscar Giovanny Barbosa Moreno
    This document provides a bass line and chord progression in C major consisting of 17 measures. The bass line outlines the I, IV, and V chords of the C major scale and repeats over four phrases while the chord progression changes between common chords like C, F, and G7 in a standard blues/jazz format. A piano accompaniment is notated to complement the walking bass line.

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    Walking Bass 3: Piano Complementario

    Uploaded by

    Oscar Giovanny Barbosa Moreno
    16 views1 page
    This document provides a bass line and chord progression in C major consisting of 17 measures. The bass line outlines the I, IV, and V chords of the C major scale and repeats over four phrases while the chord progression changes between common chords like C, F, and G7 in a standard blues/jazz format. A piano accompaniment is notated to complement the walking bass line.

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    Walking_Bass_3

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    This document provides a bass line and chord progression in C major consisting of 17 measures. The bass line outlines the I, IV, and V chords of the C major scale and repeats over four phrases while the chord progression changes between common chords like C, F, and G7 in a standard blues/jazz format. A piano accompaniment is notated to complement the walking bass line.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    16 views1 page

    Walking Bass 3: Piano Complementario

    Uploaded by

    Oscar Giovanny Barbosa Moreno
    This document provides a bass line and chord progression in C major consisting of 17 measures. The bass line outlines the I, IV, and V chords of the C major scale and repeats over four phrases while the chord progression changes between common chords like C, F, and G7 in a standard blues/jazz format. A piano accompaniment is notated to complement the walking bass line.

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    of 1

    Walking

    Bass 3


    Piano complementario
    Jhonatan Arias
    A

           
     = 80 Swing

                           


    C Dm G

         
    B

    
    5

     
                    
         


          
    C V7

     
    9 Imaj7 IIm7


                  
          


       
         
    D

    
    13

                      
       


         
                      
    E


      
    17

          
                
           

    UNAD

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