CHAPTER 17:MODAL BASS LINE CONSTRUCTIONI

Within the modern jazz repertoire is a category of compositions known as modal tunes. N,Iodal tunes arecharacterized by a símple harmonic formula containing few chords which last for several measures, thuscreating a single chord/scale sound over an extended period of time. Miies Davis is often given credit forintroducing modal composition to jazz with his 1959 composition entitled So Whar. The haimonic fonaulaofthistuneis:|| D_lD_|Eb'ID-|l. This represents a radical departure from thá harnonic conceptofthebebop era, which was characterized by more vertical harmonies and frequent changes of tonality.

Let us examine the problems that are presented by modal tunes such as So What. The main issue is howto walk on one chord,/scale sound so as to create the unique sound of (in this case) the dorian mode, but atthe same time create a line containing melodic interest. Probably the most common mistakes bassists makewhen walking on modal tunes is to obscure the feeling of the downbeat, the feelingof the symmetrical p|u.ase,a strong sense ofarrival at the root ofthe chord, and a feeling ofthe formof the cómposition. Withoui goinginto a lengthy explanadon of the rntricate Ieasons behind this, we shall instead creáte some generic ''rulesito follow when walking on modal tunes. These "rules" are only intended ro be a guide andiot a steadfasrIaw.

One technique commonly used inmodal tunes is to place the root on the downbeat ofevery other bar. Thishelps create both the affirmation of the root and the feeling of symmetrica] phrasing. Figúre 46 illustratesthis technique as applied to So What.

46

FIGURE 46

D-

AsyouplaythroughFígure46youshouldgetafeelingoftwo-barphrases,andtherootshouidtakeonadded sigáificance as a point of arrlval.

Another interesting technlque is to precede the loot by implying the chords Eo . ] :,:.^i: ^o.her

woÍds'

i',;iyi.g ; i1-y i."tition.r'ip. rnii-h.e1ps ,einforce botú tne.iáea ór root movement and the arrival of the

phiase. Figure 47 exempliíres this technique.

D- (EoFIGURE 47

A7) D- (Eo A7)

D_D- (E@ A7)

Since our music is built in two-, four-, and eight-bar phrases, the root is usually played on the downbeat

of ihe first bar and every other bar thereafter. Wittt ttris in mind, u-y placing the fifrh (A.1 on the downbeat

of the altemating bars (see Figure 47A). Another popular approach is io neaithe D- rs a D- to G7 sound (see

Fieure 478).

FIGUHE 474

47E.FIGURED_D- (ui, (G7)

Another problem created by this tune is that the last chord @) is the same as the- first chord in the next

chorus. This can often result rn people losing their place in the form. If this is a problem, a repetitive figule

(ostinato) or pedal point is one i"chnique thát can be used.' By,using an ostinato in the.last eight bars, you

cÍeate a tension that leads the lÍsien"i.i u ,oong sense of ''one'' o. ú" top of the next chorus. Figure 48 is

one such possibilitY.

47

FIGURE 48D-

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It is also important to use rhythmic embellishments in a modal bass line to help cre ate the feeling of tbrwiLrdmotion and to break anv sense of monoLony that may be inherent in modal tunes. Several ideas for thistechnique aie contained in Chapters lz and t3 of this book. This would be a good dme to revlew thoseconcepts and appl;' rhem to modal bass lines.

^. It would be wise for any bassist to transcribe some modal bass lines by an acknor.vledged experr (paul

Chambers and Ron Carter come to mind) and use these examples as etudes. Later in this book rs a sectiontitled "Erudes" which inciudes an original modal bass iine etude.

CHAPTER 17: REVIEW EXERCISES

l Takejust one major, minor, or dominant chord and walk on it for 32 bars. See if you can create both melodicand rhvthmic interest in this situation. You may tind this task more challenging than you thought 1r wasll2. Take a chord like C- and walk on it tbr tbur bars. Move up a fourth to F- and do the same' continlle .rÍoundrhe key circle untíl you have played through all 12 minor ihords. Have vou made tlre line interesnng at alltimes?3' Transcribe a recorded bass line on a modal tune from a recording rhat lzou enjoy. Use this rranscnprronas an etude to further your understanding of modal bass line consmrcrion.

ETUDE #3 - Modal TuneImpressions

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