I Could Write A Bass Line #1 | Method from Rufus Reid's "The Evolving Bassist"

Support me on Patreon:
/ jaredplane
Buy the Real Book: 6th Edition (Bass Clef) using my SheetMusicPlus affiliate link:
www.sheetmusic...
Buy the book, The Evolving Bassist using my Amazon affiliate link:
amzn.to/3l7rELt
Get some merch!
jplanemusic.redbubble.com
Book a bass lesson with me:
www.musicteache...
My Facebook Musician's Page
/ jplanemusic
I Could Write A Bass Line | I Could Write A Book Walking Bass Lesson
In this video I discuss the Rufus Reid method for improving at walking bass lines - simply writing them out yourself! This comes from Rufus Reid's fantastic jazz bass book, "The Evolving Bassist". Reid recommends writing out your bass lines BY HAND using a pencil and music paper. As you go, play what you've written and ask yourself if you like how it sounds. If the answer is yes, keep writing. If the answer is no, erase and change it. It's by no means a revolutionary method, but it's surprisingly effective. You'll internalise walking bass vocabulary more easily and improve your music literacy skills too.
You can download the finished walking bass line typed up in MuseScore PDF format from my Patreon page. Link above.
#icouldwriteabook #walkingbass #jazzbass

[@dytakeda]

The stringing of D and G around the tuners gives me pause about how much of an expert you are.

[@wysiwyg2489]

Advice from Mr. Reid relative to how approach bass playing, which is spot on (IMHO): "My concept is that we as bassists should be able to play completely alone and relay the essence of a song by the construction of our bass line. We don't need need the keyboard to clarify the kind of chord. We don't need the drummer to clarify your rhythm. You should be able to swing and radiate energy all alone. Obviously, when we add a good piano player and drummer, it should be an added pleasure, but not a crutch. Don't lean on anyone, it is your responsibility to play harmonically and rhythmically simultaneously"

[@bassomatic6055]

I think this is a great approach as an exercise. The one issue I see is that there is no coordination or checking with the melody line which i think is important. And often we don't walk on the head because of this.

[@ComposerAndiKrueger]

Hi Jared, it was very interesting to watch and by no means boring, quite the opposite. Great lesson!

[@kenneysalters7869]

What Great lesson so down to earth It was very understandable , you cleared so much up for me Jazz is so beautiful.

[@bassomatic6055]

A couple points worth considering. 1. Generally speaking chord tones on the strong beats (1 and 3) is a nice approach. 2. A smooth line is generally desirable. Kind of a stretched sine wave interspersed with some drops and intervalillic leaps to add interest. 3. Triplets and drops add rhythmic spice.

[@funkerdelic911]

Great lesson, can you do a lesson incorporating rhythmic walking line including drops and triplets

[@desi_anarch]

Nice

[@moorewalterjwm]

I have learned a lot from your teaching

[@moorewalterjwm]

Thanks a lot , i have learn a lot from your teaching even to read music

[@Kirklandjones69]

ALWAYS the best

[@Sonnylovesphotography]

Very interesting and helpful

[@stevelloyd5890]

Awesome! Great stuff Jared.

[@duncanhutchings9176]

Excellent video. So helpful.

[@andreiter]

Great lesson, thanks!

[@letsplayharmonica]

Hi, Jared! I have a doubt! Why did you wrote a F# leading for G if the chord is Dm7 and its third is F natural? Is that possible, 'cause the chord change is gonna sound like as if was D major.

[@JaredPlane]

I substituted a secondary dominant, D7 for Dm7 there. I didn't mention it in the video, but it's very common to substitute secondary dominants in 251s