BASS LINES

1. Roots and Fifths

Ex. 1 employs the root and fifth of each chord, with a chromatic approach tone on beat 4.
Notice the pattern adjustment on the B7 chord in order to stay in the proper bass range—
this happens regularly on the organ. I’m using the flatted fifth here on beat 4 as an
approach note to the root of the next chord. Always think ahead to the next chord!

2. Octaves and Fifths

The bass line in Ex. 2 uses octaves and fifths, along with a chromatic passing tone to the
next chord. The octave surrounds the fifth and provides motion to the bass line, and is also
contrasted by the chromatic motion leading to the root of each new chord. Octaves (and
interval skips in general) are often effective between beats 1 and 2.

3. Root, Fifth, Minor Seventh, Fifth

Ex. 3 employs the root, fifth, and minor seventh, then returns to the fifth of the chord, for a
very funky bass line. This type of motion also works well when syncopated over a funk
groove. I used this bass concept on the tune “Browne James” on the Cecil Brooks III
recording For Those Who Love to Groove. The passing tone on this bass line is a whole
step to the root of the next chord.
4. Putting It Together
Ex. 4 puts all these concepts to work over “cycle blues” changes, also called
“Confirmation changes” after the Charlie Parker standard. Note that sometimes on a II-
V chord progression, you can lead directly into the root of the V chord, as shown in
measures 4 and 8. I also stayed on the II chord in bar 2, and used chromatic motion into
the D minor chord in bar 3. This is a common result of using open intervals, and gives an
alternative to more standard-sounding ii-V-I bass lines. Also note that when you approach
your target note (root or fifth) from below, it’s almost always by a half step.