Last lesson, we used the Dorian mode to solo over a static chord progression of Minor 7th chords. This lesson, we'll begin to look at one of the cornerstones of Jazz and Contemporary Harmony-the ii-V-I progression. This illustrates how the scales of the ii (Dorian), the V (Mixolydian) and the I (Ionian or Major) can be used against each ii-V-I Progression. In this example tune, I've written a simple chord progression over a Bossa feel. As you move the progression down by whole steps-the I chord of one cadence becomes the ii-chord of the next progression-i.e. Dm7-G7-Cmaj7/Cm7-F7-Bbmaj7. Remember that you are actually only playing the Major scale that matches the Tonic or I chord and that the Dorian and Mixolydian modes are just the same notes from a different starting place.

I've given you some practice patterns to play over the changes and you can check out the recording with bass to see how they apply to each chord. These patterns are ONLY for the Dm7-G7-Cmaj7 progression, so your homework is to work them out in the other 3 key centers and play them through the progression. Hint: Find a repeatable fingering pattern and move it around as you need to. I've given my pet solutions to each of these patterns.

Thinking "off the page" is a good skill for any musician to have, but especially bassists as we're often required to spontaneously compose bass lines and solos just from chord changes. I've recorded all of the patterns so you can compare what I play to what you work out and play with the backing track. I also played one track with just the bass line and two choruses of free improvisations on the modes so that you could see some of the possibilities in just the scale tones.

• Turn Down track (MP3, 1.7meg.)
• Turn Down with Samples (MP3, 1.7meg.)
• Turn Down with Free Improvisation of Bass (MP3, 1.7meg.)

Next column we'll look at building a walking bass line and some voice leading concepts for your solos.

Peace and Low Notes,
Roy C. Vogt
Nashville Bassist
Bass Instructor, Belmont University, Nashville, TN

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