In part one of blues bass lines I had you playing a Bb blues progression using a basic chord-tone approach based predominantly on the root-third-fifth-seventh. However, we can use scale tones to move more seamlessly between chords and employ the upper register for a more interesting sound. Listen to the live audio mp3 before moving on.

Pay attention to the first 3 measures: the bass line continues to ascend while always managing to hit the root note on the downbeat of each chord change. Notice the use of the open strings when available, this can free up your fretting hand and allow it to move into a more comfortable position. The bass line begins to ascend once again on the Dm7 chord and peaks at the F7 before coming back down and finally wrapping up with the turnaround.

(Note: I mistakenly played a minor third instead of a major third on the G7 in measure 8, see if you can hear the difference!)

I’ve only recently gotten into playing bass, and I especially love swing jazz over a blues progression. Bass lines in most styles of music aren’t supposed to be in your face; they’re at their best when they sit perfectly behind the band and lay down a solid rhythmic and harmonic structure. Listen to the live audio mp3 before moving on.

Today’s lick is a perfect example of a bass line that sits in the pocket with quarter note after quarter note of juicy walking bass. It follows more closely a root-third-fifth-seventh model, or chord tones, but there are a few examples of bump notes. Playing the root note on the downbeat of a chord change is vital because it lays the foundation for the harmonic structure that the progression relies on.

Pay close attention to the patterns you play in this example, they will be useful over other keys and chord progressions as well. In part two of blues bass lines, we will explore a walking approach and move away from the first position.