This column deals with using the 3rd of the chord as a starting tone for your solo line and resolving it to the 7th of the chord. The 7th then resolves by ½ step or whole step to the 3rd of the next chord. This is a great way to outline the harmony, especially if no one is playing chords behind you as is often the case with bass solos. As bassists, we are ingrained (and rightly so) to think about the root first. As soloists we can (and should) step out of the bassist's mindset and think off of the other chord tones.

I've taken the Turn Down Track from the last column and written a series of ii-V-I patterns for this tune. These are all against the Dm7-G7-Cmaj7 so you will have to find workable fingerings and transpose for each ii-V-I cadence in the tune.

The first pattern is just the 3rd and 7th of each chord. The second is a pattern of quarter notes outlining the chords but using 3-5-R-7 as the pattern for the arpeggio. The third pattern is a simple modal run starting on the 3rd and ending on the 7th of each change.

Practice these patterns through the Turn Down progression without a backing track. Then, practice these patterns with the backing track from Intermediate Bass Lesson 4. I've included an mp3 of the patterns against the backing track and also one of me soloing using the 3rd-7th voice leading concepts. Have fun!

• Turn Down 3-7 Studies (MP3, 1.7meg.)
• Turn Down 3-7 Free Improv (MP3, 1.7meg.)

Next lesson we'll deal with swing time feel and walking bass lines…..

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

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