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The Jazz Bass Line Book by Mike Downes is excellent. He's the bass instructor at Humber College in Toronto.

The book is published by Advance Music. It focuses strictly on the construction of lines. There's a terrific section where he presents transcriptions of about a dozen bass player's lines on rhythm changes. As well as the transcriptions, there's a section where he puts all the player's lines in score form so you can compare how they approach the changes.+1 I have read a bunch of different jazz bass books and this is by far the best one.

It systematically teaches you the different options for basslines in order of difficulty. It touches on thing other than just walking bass, which everyone treats as if it is the ONLY way to play jazz, and alos lays out a bunch of side by side comparisons of different greats playing through the same changes. This will bust a lot of myths about what is 'right' and 'wrong' when playing. Install Windows 7 Linpus Linux. This will give you and idea of what the real 'rules' are as opposed to what is easy to teach as rules. EDIT: damn, should have checked the date of this thread. Talk about resurection! One thing that has struck me about walking bass tutors, is that bass players can use the same lines, but think about their construction in totally different ways.

I read Ron Carter's work on walking bass.the way he thought about it all is different from how I was taught. Not to say that one method is wrong and another right, but it's useful to know that there are different approaches.for different students?

There are little Jamey Abersold booklets with transcriptions of Ron Carter and Rufus Reid. Can't recommend them enough. They supplemented what I was taught and are invaluable resources. Download Killer Instinct Pc here.

Also, transcribe everything you like. It's only bass (you can work out most of it in your head). Classical technique helps for the two finger (index middle) approach.too many guitarists play with plectrums when switching to bass. One thing that has struck me about walking bass tutors, is that bass players can use the same lines, but think about their construction in totally different ways. I read Ron Carter's work on walking bass.the way he thought about it all is different from how I was taught.

Not to say that one method is wrong and another right, but it's useful to know that there are different approaches.for different students? Well, how differently does Ron Carter think about walking bass lines?

I don't expect you to give a full lesson here, but what is fundamentally different about his thought process? (I don't doubt you, I just wonder what 'the other way' is like.). Well, how differently does Ron Carter think about walking bass lines?

I don't expect you to give a full lesson here, but what is fundamentally different about his thought process? (I don't doubt you, I just wonder what 'the other way' is like.)Mark, I would have to reread the book to remember. If I have some time over the weekend I'll have a skim through it and hopefully it will jog my memory.

One thing I remember from another book about bass lines, is the guy was using auxiliary notes/extensions to ornament chord tones. These formed part of his bass lines. It was really dumb (IMO). Those things might sound melodic, logical and beautiful when taken in isolation, but if a bass player is placing numerous non-chord notes on important beats with stresses on them (which coincide with the rhythm section), then they're screwing up everything going on above them (harmonically speaking). I'll make an effort to reply to your question (please be patient). Well, how differently does Ron Carter think about walking bass lines? I don't expect you to give a full lesson here, but what is fundamentally different about his thought process?

(I don't doubt you, I just wonder what 'the other way' is like.)You should have doubted me Mark. I've checked the Ron Carter book and there's nothing unconventional about his approach. I must be thinking of another book/author.

Either that or all that mushroom tea I drank in my early 20s is catching up with me (always a possibility). The only minor issue I have with the Carter book is a section where he outlines how to construct bass lines for static minor progressions. He uses non-chord notes on strong accents within the bar (1 & 3). Because they resolve into chord tones on the next beat, the tonality is soon established. Plus, the rhythm section will be comping freely with that sort of music, so there aren't going to be any harmonic car-crashes. However, he isn't explicit in saying that these ideas should only be used in those situations (playing modal music).

Perhaps it's obvious to most, but I can see that it could give beginners the false impression that they can get away with all that stuff under any set of circumstances. In the case of big band arrangements, where conventionally you have pianist and guitarist slamming out four-to-the-bar on the downbeats, that approach creates serious clashes and destroys what's going on above (horn arrangements), harmonically speaking. A lot of chromaticism and use of non-chord notes should be kept to solo sections (IMO), with big band writing, unless you use the technique of harmonizing chromatic bass lines (in which case the rhythm section moves with the bass). Only a minor issue. I really admire Ron Carter, and his book has some great bass lines in it.

Anyway, my apologies for getting it wrong. Last edited by GuitarGerry; at 12:39 PM. Well, how differently does Ron Carter think about walking bass lines? I don't expect you to give a full lesson here, but what is fundamentally different about his thought process?

(I don't doubt you, I just wonder what 'the other way' is like.)Not Ron Carter but Bob Magnusson's book takes a different approach. He uses a term called root bound which basically means often playing the root of the chord as the first note when the chord changes. He made his book different in that his lines, exercises, avoid the 'root bound' approach. An amazing bass player with great ears. Not Ron Carter but Bob Magnusson's book takes a different approach.

He uses a term called root bound which basically means often playing the root of the chord as the first note when the chord changes. He made his book different in that his lines, exercises, avoid the 'root bound' approach. You know, I think that's the book I was thinking of. IIR, there a whole load of cool stuff regarding sequences.

That's something that hadn't occurred to me before (at least not applied to the bass). As you say, it means that (sequentially) different notes of the chord appear on the downbeat of successive bars, so it's not root dominated. You know, I think that's the book I was thinking of. IIR, there a whole load of cool stuff regarding sequences. That's something that hadn't occurred to me before (at least not applied to the bass). As you say, it means that (sequentially) different notes of the chord appear on the downbeat of successive bars, so it's not root dominated.There's a guitar instruction book called Introduction to Jazz Guitar Soloing by Joe Elliot. He has an exercise called the connecting game where you play arpeggios and just lands on the nearest chord tone of the next chord when there is a chord change.

Bob Magnusson teaches a similar exercise. Introduction to Jazz Guiar Soloing is a MI book and Bob Magnusson also taught for a while at MI. I tried the connecting came over a ii V i loop using a bass and quarter notes. It does work well for bass and breaks one away from being to 'root bound'.