Getting started with

Jazz Improvisation
Lesson Workbook

T y
Welcome to…

Getting started with Jazz Improvising

This workbook has everything you’ll need to get the most out of the lesson, including;
multiple approaches to improvising, fingerboard diagrams and notation. There are also
a bunch of additional approaches that weren’t covered in the video lesson for you to
work on, plus some strategies to help you develop your improvising further.

How to use this pack

We’ve carefully designed this resource pack to fit perfectly with your online lesson.
It’s best to follow it through from the beginning, as it runs in tandem with the video.

Before you start, here’s a quick breakdown of what you’ll see throughout the workbook.

y Press this to watch the video

p Written task

! Watch out for this!

i Helpful hints

Now turn over and let’s get going… Happy practicing!

Have a questio
n about this less
on, or anything
else? Get in to
uch!
 Improvising
As bass players, the majority of our time is spent playing functional,
foundational bass lines.

When it comes to playing improvised solos, it can be difficult

getting away from our traditional musical role to play tunefully &
lyrically.

We’re going to outline some very easy to understand and easy to

play approaches throughout this workbook, that will help you play
melodic solos.

Everything will fit perfectly and help you sound good straight away,
but as always, this is just a starting point, so use the information to
help you develop your own ideas and approaches.
 Jazz Improvisers
Experienced improvisers and certainly the masters of Jazz
improvisation, fully understand music theory, are conversant with
the melodic devices & rhythms used in the Jazz idiom and also
have a very strong command of their instruments.

For those of us who don’t share that experience, or expertise, it

doesn’t mean that we can’t enjoy playing improvised solos.

In order to make this process easier to understand and use, all of

the music examples are going to be based on a II - V - I Chord
Progression.

II - V - I
The II-V-I is a pivotal chord progression that is used in all styles of
music, but features heavily in Jazz.

Because of this, it’s the perfect chord progression to learn how to

play over.

You can also apply everything in this lesson workbook to your

bass playing. It’s not exclusive for improvising.
 The Theory
Working in the key of C Major, it’s important that we first
understand the C Major scale.

I II III IV V VI VII
C D E F G A B

The Chords

Dm7 is built on the 2nd degree of the scale, hence it’s known as the
II chord.

R b3 5 b7
D F A C

G7 is built on the 5th degree of the scale, therefore, it’s known as

the V chord.

R 3 5 b7
G B D F

Cmaj7 is built on the 1st degree of the scale and is known as the I
chord. It can also be referred to as the Root, or Tonic chord.

R 3 5 7
C E G B
 Dm7 Chord Arpeggio
Here’s the Dm7 chord arpeggio, chord notes and their
respective interval.
 G7 Chord Arpeggio
Here’s the G7 chord arpeggio, chord notes and their respective
interval.
 Cmaj7 Chord Arpeggio
Here’s the Cmaj7 chord arpeggio, chord notes and their
respective interval.
 The Chord Progression
Every example in this workbook will be played over this II-V-I chord
progression.

Dm7 is played for 1 bar

G7 is played for 1 bar
Cmaj7 is played for 2 bars.
Bass Guitar
II-V-I Improv Lesson

D‹7 G7 CŒ„Š7
? 44 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

D‹7 G7 CŒ„Š7
w w w w
?
Root 5th Root

D‹7 G7 CŒ„Š7
? w w w w

b7 3rd maj7

D‹7 G7 CŒ„Š7
w w w w
?
b3 b7 3rd
 Common Tones / Notes
The first improvisational technique we’re using is common tones /
notes. It’s a simple approach to help you start improvising and all
we’re doing is looking for 1 note that belongs to more than one
chord.

In the first example we’re starting with D the Root note of Dm7.
If we stay on this note when the chord changes to G7, this D
becomes the 5th of II-V-I
G7, which fits perfectly.
Improv Lesson D isn’t in the Cmaj7
chord, so we need to find the closest possible note to D that
Bass Guitar
belongs to Cmaj7. The most obvious choice is C (Root note of
Bass Guitar
II-V-I Improv Lesson
Bass Guitar
D‹7 Cmaj7),G7which is only 1CŒ„Š7
tone (2 frets) away.
Bass
?Guitar
4
4 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
These D‹7
lines can be played anywhere
G7 on the bass, but it makes sense to play them in a higher
CŒ„Š7
register,0so that
? 4 0 they
0 sound
0 clearer. This can
0 also
0 help0you to
0 better
0 hear
0 how0 different notes 0sound
against the chords.
0 0 0 0
¤ ? ? ? ?
4 ? ? ? ? ? ? ? ? ? ? ? ?

D‹70 0 0 0 G70 0 0 0 CŒ„Š7

0 0 0 0
¤? w w w w0 0 0 0

D‹7 G7 CŒ„Š7
w
Root w
5th Root
w w
? 7 7 5 5
¤
Root 5th Root
7 7 5 5
D‹7 G7 CŒ„Š7
As an alternative, the note played over Cmaj7 can be altered to an E (3rd).
¤ w
? w w w
D‹7 G7 CŒ„Š7
w
b7 w
3rd w
maj7 w
? 5 4 4 4
¤
Root 5th 3rd
7
D‹7 7
G7 9
CŒ„Š7 9
¤? w w w w

D‹7 G7 CŒ„Š7
b3 b7 3rdw
? 10w w
10 9 9
w
¤
 D‹7 G7 CŒ„Š7
? 4 D‹7 G7 CŒ„Š7
?444 ?? ?? ?? ?? ? ? ? ?
? ? ? ?
? ? ? ?
? ? ? ?
? ? ? ?
? ? ? ?
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
¤ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
¤
D‹7 G7 CŒ„Š7
w
D‹7 w
G7 w
CŒ„Š7 w
? w w w w
?
Root 5th Root
7
Root 7
5th 5
Root 5
¤ 7 7 5 5

G7Common Tones / Notes #2

¤
D‹7 CŒ„Š7
wThis time we’re starting
D‹7
wG7 from F, the
CŒ„Š7 b3rd of Dm7. As with the
w w
?previous examplewif we stay on thiswnote when the w
chord moves
? w
to G7, F is the b7
Root 5th of G7. This note
3rd moves to E over the Cmaj7
chord. E is the 3rd
4 of Cmaj7.
7b7 7
3rd 9maj7 9
¤ 5 4 4
¤
D‹7
D‹7 G7
G7 CŒ„Š7
CŒ„Š7
w w w ww
? w w w
?
b7 3rd maj7
5b3 4b7 3rd4 4
10 10 9 9
¤
¤
D‹7 G7 CŒ„Š7
w w w w
D‹7
? w G7 CŒ„Š7
? w w w
b3 b7 3rd
10
5th 10
Root 9
5th 9
Instead
¤ 2 of playing E over Cmaj7, we can play G (5th), as an alternative.
5 5 5
¤
D‹7 G7 CŒ„Š7
5th
w Root
w 5th
w w
?
? ∑ ∑ ∑ ∑
b3 b7 5th
10 10 12 12
¤
¤
 D‹7
0
Bass Guitar 0 0 0
G7
0
II-V-I
0 0
Improv
0
Lesson
CŒ„Š7
0 0 0 0 0 0 0 0
¤
? 4
Bass Guitar
4 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
D‹7 G7 CŒ„Š7
wD‹7 wG7 CŒ„Š7
w w0 0 0 0
? 0 0 0 0 0 0 0 0 0 0 0 0
¤ 44 ? ? ? ?
?
? ? ? ? ? ? ? ? ? ? ? ?
Root 5th Root
D‹7
7 G7
7 CŒ„Š7
5 5
w0 0 0 0
w0 0 0 0 w0 0 0 0 w0 0 0 0
¤¤
Common Tones / Notes #3
?
Now we are starting from C, the CŒ„Š7
b7th of Dm7. We’re moving to
D‹7 G7 CŒ„Š7
Root
D‹7
w 5th
G7
w Root
w w
B the 3rd of G7 and over Cmaj7,wwe stay on B the
w maj7th of
w 7 w 7 5 5
?
?
¤
Root 5th
Cmaj7.
3rd
D‹7
Root
7
G7
5th
7
CŒ„Š7
Root
9 9
w
7 w7 w5 w
5
¤¤
?
D‹7
Root G7
5th CŒ„Š7
CŒ„Š7
3rd
? w
7
w w
7 w
9 9w
w
?
¤
b7 3rd maj7
Root
5
D‹7 5th
4
G7 3rd
4
CŒ„Š7 4
7 7 9 w9
¤¤ w
? w w

b7
D‹7
D‹7
3rd
G7
G7
maj7
CŒ„Š7
CŒ„Š7
? ww
5 w4 w
4 w4
¤ Alternative: C (b7) over Dm7, B (3rd) over G7 and C (Root) over Cmaj7. w
1st
? w w
b7 3rd maj7 Root
5b7
D‹7 3rd
G7
4 maj7
CŒ„Š7
4 5
5 w4 w4 w4
¤¤ w
?
D‹7
b7 G7
3rd CŒ„Š7
maj7 Root
w
D‹7
5 w
G7
4 w
CŒ„Š7
5 w
5
?
? w w w w
¤
b7 5th Root Root
D‹7
5b7 G7
3rd
7 CŒ„Š7
maj7
5 5
5
w w4 w4 w5
¤¤
2nd Alternative: C (b7) over Dm7, D (5th) over G7 and C (Root) over Cmaj7.
?
b7
D‹7 5th
G7 Root
CŒ„Š7
5 7
w 5 5
w w w
¤
?
b7 5th Root
5 7 5 5
¤
 Common Tones / Notes #3
Again, we are starting from C, the b7th of Dm7. C is the 11th of
G7 and obviously the root of Cmaj7.
2 Bass Guitar, Bass Guitar
4
?
2 Bass Guitar, Bass Guitar
4
4
?
¤
3rd Alternative: C (b7) over Dm7, D (5th) over G7 and B (maj7) over Cmaj7.
4
D‹7 G7 CŒ„Š7
w
¤ w
? w w

b7
D‹7
5th
G7
Maj7
CŒ„Š7
5 w7 4
? w w w4
¤
b7
D‹7 5th
G7 Maj7
CŒ„Š7
w
5 w
7 4
w 4
w
4th Alternative: C (b7) over Dm7, D (5th) over G7 and E (3rd) over Cmaj7.
¤
?
D‹7
b3 G7b7 CŒ„Š7
3rd
w 10 10
w w9 w9
?
¤
D‹7
b7 G7
5th CŒ„Š7
3rd
w
5 w
7 w
9 w
9
¤
?
D‹7
b3 G7b7 CŒ„Š7
5th
w
10 w
10 w
12 w
12
?
¤
b3 b7 3rd
10
D‹7 10
G7 9
CŒ„Š7 9
¤ w
? w w w
D‹7
5th G7
Root CŒ„Š7
5th
w2 w w w
5 5 5
?
¤
5th Root 5th
b3 b7 5th
 b7 5th 3rd
5 7 9 9
¤
D‹7 G7 CŒ„Š7
w w w w
?
b3 b7 3rd
10 10 9 9
¤
Common Tones / Notes #4
This
w time we’re starting from A, thew 5th of Dm7. We
w move down
D‹7 G7 CŒ„Š7
w
?1 tone (2 frets) to G when the chord moves to G7. G is the root
of G7. We stay on G over the Cmaj7 chord. G is the 5th of
Cmaj7.
b3 b7 5th
10 10 12 12
¤
D‹7 G7 CŒ„Š7
w w w w
?
5th Root 5th
14 12 12 12
¤
Bass Guitar, Bass Guitar 3
4
?
4
1st Alternative: A (5th) over Dm7, B (3rd) over G7 and B (maj7) over Cmaj7.
¤
D‹7 G7 CŒ„Š7
w w w w
?
5th 3rd maj7
14 16 16 16
¤

? ∑ ∑ ∑ ∑

¤
 Bass Guitar, Bass Guitar 3
4
?
4
¤
D‹7 G7 CŒ„Š7
w wCommon Tonesw/ Notes #4 w
?
5th 3rd maj7
14 16 16 16
2nd Alternative: A (5th) over Dm7, B (3rd)
¤ Bass over
Guitar,G7 and
Bass G (5th) over Cmaj7.
Guitar 3
D‹7 G7
w 4CŒ„Š7
? w w w
4
? Bass Guitar, Bass Guitar
4
45th
¤?5th
14
3rd
16 12 12
¤ D‹7 G7 CŒ„Š7
w w 4w w
Same
?¤ line in reverse: A (5th) over Dm7, G (Root) over G7 and B (maj7) over Cmaj7.
? ∑ ∑ ∑ ∑
D‹7
5th G7
3rd CŒ„Š7
maj7
14w 16w w
16 w
16
¤?
¤ D‹7 G7 CŒ„Š7
w
5th
w
Root w
maj7 w
? 14 12 16 16
¤
5th 3rd 5th
14 16 12 12
Final D‹7
variation: A (5th) over Dm7,
G7 B (3rd) over G7 and C
CŒ„Š7
˙ (Root) over Cmaj7. ˙
¤ ˙ ˙ ˙ ˙ ˙ ˙
?D‹7 G7 CŒ„Š7
w w w w
? 5 7 9 9
7 9 9 10
¤
5th 3rd Root
14 16 17 17
¤ D‹7 ˙ G7 ˙ CŒ„Š7 ˙ ˙ ˙
? ˙ ˙ ˙

5 7 9 9
7 9 9 10
 Using 2 Notes over each chord
This is a variation on the previous examples, but we’re using 2
notes over each chord. We’re also playing them across 2
(adjacent) strings.

There are far too many options for this approach to cover in
one lesson and in this workbook, but hopefully these
examples will give you a starting point and help you look for
and find others.
2 Bass Guitar, Bass Guitar

?Over
∑ Dm7 we’re playing C (b7th) and A (5th), moving up 1 tone
(2 frets) we’ve got D (5th) and B (3rd) over G7 and moving up a
2 ∑ Bass Guitar, Bass ∑
Guitar ∑
? ∑ tone again, we ∑ have E (3rd) and
∑ B (maj7th) of∑Cmaj7.
¤
The last bar shows a variation on using B the maj7 of C and moves to C the root.
¤ D‹7 G7 CŒ„Š7
˙ ˙
˙
? ˙ ˙ ˙ ˙ ˙
D‹7 G7 CŒ„Š7
˙ ˙
˙
? ˙ ˙ ˙ ˙ ˙
5 7 9 9
7 9 9 10
¤
5 7 9 9
7 9 9 10
¤ D‹7 G7 CŒ„Š7
Same˙line played in reverse. ˙ ˙ ˙
? ˙ ˙ ˙ ˙
D‹7 G7 ˙ CŒ„Š7 ˙ ˙
˙ ˙ ˙ ˙ ˙
? 2 4 5 5
¤ 3 5 7 7

5 7 9 9
7 9
¤ ˙ D‹7 G7
˙ ˙9
CŒ„Š7 10
˙
˙ ˙ ˙ ˙
?
D‹7 G7 CŒ„Š7
? 10˙ ˙ ˙ ˙
˙ 12 ˙ 16
˙ 16
˙
14 10
 w w w w
D‹7 G7 CŒ„Š7
?w w w w
? 5th Root maj7
14 12 16 16
¤ 5th Root maj7
14 12 16 16
¤
D‹7 G7 CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
Using 2 Notes over eachCŒ„Š7
˙chord -˙Development
? D‹7 G7
˙ ˙ ˙ ˙
? Here’s are some more variations for this 2 note approach.
˙ ˙
5 7 9 9
7 9 9 10

All5 of the 7example7are suggestions 9 and can of course, be altered

¤
9
9 9 10
¤ to suit your preferred note choice, or mixed with any of the other
examples
D‹7
˙ ˙ G7
˙ ˙ in this˙ workbook.
CŒ„Š7 ˙ ˙ ˙
?
D‹7 G7 ˙ CŒ„Š7 ˙ ˙
? ˙ ˙ ˙ ˙ ˙
5 7 9 9
7 9 9 10
Over Dm7 we’re playing A (5th) to F (b3). Over G7 it’s B (3rd) to F (b7) and over C we have
¤
two choices;
7 B (maj7)
5
to G (5th)
9 and as an alternative9B (maj7) to C (Root). 10
7 9 9
¤
D‹7 G7 CŒ„Š7
˙ ˙ ˙ ˙
? ˙ ˙ ˙ ˙
D‹7 G7 CŒ„Š7
? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
2 4 4 4 5
3 3 5
¤
2 4 4 4 5
3 3 5
Over
¤ Dm7 we’re playing D (Root) to A (5th). Over G7 it’s D (5th) to B (3rd) and over C we have
two choices
˙ E (3rd)
D‹7 to B (maj7)
G7 and as an alternative
˙ ˙E (3rd) to C˙(Root). ˙
CŒ„Š7
˙
? D‹7 ˙ ˙
G7 CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
?
¤
¤
Over Dm7 we’re playing D (Root) to C (b7). Over G7 it’s D (5th) to B (3rd) and over C we have
two choices E (3rd) to B (maj7) and as an alternative E (3rd) to G (5th).
Bass Guitar, Bass Guitar 5
D‹7
˙ G7
˙ CŒ„Š7
˙ ˙ ˙
? ˙ ˙ ˙

7 7 9 9 12
10 9 9
¤
D‹7 G7 CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
?
 Using 2 Notes over each
Bass Guitar, Basschord
Guitar - Development 5
D‹7
˙ G7
˙ CŒ„Š7
˙ ˙ ˙
˙ ˙ ˙
?

7 7 9 9 12
Over Dm7 we’re10 playing F (b3) to D (Root).
9 Over G7 it’s F (b7) to9 D (5th) and over C we have
¤
two choices G (5th) to E (3rd)G7
and as an alternativeCŒ„Š7
Bass Guitar,
G (5th) to C (Root).
Bass Guitar 5
˙D‹7
˙ ˙ ˙ ˙ ˙
? D‹7 ˙ ˙
G7 CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
?
7 7 9 9 12
10 9 9
¤
10 10 12 12
12 12 14 10
¤ D‹7 G7 CŒ„Š7
˙ ˙ ˙ ˙ ˙ ˙ ˙
? D‹7 ˙
G7
˙ CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙
? ˙
This is exactly the
12same as the previous 12
example, but with one variation. Over G7 w’ere10
10 10 12 12
14
playing
10 G (Root) to B (3rd). 12
¤
12 9 12
12 9 10
¤ D‹7 G7 CŒ„Š7
˙ ˙ ˙ ˙ ˙ ˙ ˙
? ˙
D‹7 G7 CŒ„Š7
˙ ˙ ˙
? ˙ ˙ ˙ ˙ ˙
10 12 12 9 12
12 9 10
¤
2 4 5 5
¤ 3 5 7 7
D‹7 G7 CŒ„Š7
˙
? D‹7 ˙ ˙ ˙
˙ G7
˙ ˙ CŒ„Š7 ˙ ˙
˙ ˙ ˙
? ˙ ˙ w
2 4 5 5
¤ 3 5 7 7
7 10 9
9
¤ 8 10 10
D‹7 G7 CŒ„Š7
 Using 2 Notes over each chord, with string crossing - Further
development
Here’s another bunch of different variations for this 2 note
approach, that you can 4 enjoy playing.
Bass Guitar, Bass Guitar 5

?
All of the example are suggestions and can of course, be altered to suit your preferred
Bass Guitar, Bass Guitar 5
note choice, or mixed with any of the other examples in this workbook.
4
? Bass Guitar, Bass Guitar 5
¤ Dm7 we’re playing D (Root) to C (b7). Over G7
Over
4 it’s D (5th) to B (3rd) and over C we have
? 4
two choices G (5th) to B (maj7) and as an alternative E (3rd) to G (5th).
¤ D‹7˙ ˙ G7
˙ CŒ„Š7
4˙ ˙ ˙
? ˙ ˙
¤ D‹7 G7 CŒ„Š7 ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙
? 7 10
7
9
9
9
9 12
D‹7
¤ ˙ G7
˙ CŒ„Š7
˙ ˙ ˙
? ˙ ˙ ˙
7 7 9 9 12
Over
¤ Dm7
D‹7
˙ we’re playing
10
F (b3)
G7 to D (Root).
˙ 9
Over G7 it’s
CŒ„Š7
˙ F (b7) to
9
D (5th) and˙ over C we have
two choices G (5th) to E (3rd) and as an alternative G (5th) to C (Root).
˙ ˙ ˙ ˙
?7 10
7
9
9
9
9 12
¤ D‹7
˙ G7
˙ CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙
?D‹710
12
10
G7 12
12
CŒ„Š7 14
12
10
¤ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
?
10 10 12 12
D‹7 12 G7
˙ 12 CŒ„Š7
˙ 14
˙ 10
¤ ˙ ˙ ˙ ˙ ˙
? 10 10 12 12
Over Dm7 we’re playing F (b3) to D (Root). Over G7 it’s G (Root) to B (3rd) and over C we
12 12 14 10
¤ D‹7 G7 CŒ„Š7
have two
˙ choices˙G (5th) to E˙(3rd) and as˙ an alternative
˙ G (5th)˙to C (Root). ˙
?D‹710 12 12 9 12
˙
12 G7
˙ 9 CŒ„Š7
˙ ˙ 10
¤ ˙ ˙ ˙ ˙ ˙
?
10 12 12 9 12
12 9 10
¤ ˙ D‹7 G7 CŒ„Š7
? 10 ˙ ˙ ˙
˙
12
12 ˙
9
12 ˙9 12 ˙
10
¤ D‹7 G7 CŒ„Š7
˙4 ˙ ˙
? ˙2 ˙3 ˙ 5 ˙ 5 ˙
¤ D‹7 G7 5 CŒ„Š7 7 7
˙ ˙ ˙
? ˙ ˙ ˙ ˙ ˙
2 4 5 5
D‹7 G7 CŒ„Š7
 ¤

D‹7 G7 CŒ„Š7
˙ ˙
˙
? ˙ ˙ ˙ ˙ ˙

5 7 9 9
7 9 9 10
¤

D‹7 G7 ˙ CŒ„Š7 ˙ ˙
? ˙ ˙ ˙ ˙ ˙

2 5Notes over each7 chord with string

9 crossing 9
¤ We’re sticking with the same principle here, but playing the 2
7 9 9 10

notes across 3 strings and even introducing a little bit of octave

D‹7 G7
˙ displacement.
CŒ„Š7
˙ ˙
? ˙ ˙ ˙ ˙ ˙

Over Dm7 we’re playing D (Root) to F (b3). Over G7 it’s F (b7) to B (3rd) and over C we play E
2 4 5 5

(3rd) to G (5th).
¤ 3 5 7 7

D‹7 G7
˙ CŒ„Š7
˙ ˙ ˙
? ˙ ˙ w

7 10 9
6 Bass 9Guitar, Bass Guitar
¤ 8 10 10

? ∑ ∑ ∑ ∑
D‹7 G7 CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙
? ˙ ˙
¤
Same line played in reverse.
10 12 16 16
14 10
¤ D‹7 12 14
˙ G7 ˙ CŒ„Š7 ˙ w
? ˙ ˙ ˙

7 10 9 9
3 9
¤ 10

D‹7 G7 CŒ„Š7
˙ ˙
˙ ˙ ˙
˙ ˙ ˙
?

10 12 16 16
14 10
¤ 12 14
 2 Notes over each chord with string crossing - Further
development
Even more variations for this 2 note concept for you to play.

6 Bass Guitar, Bass Guitar

4
?
4
Over Dm7 we’re playing F (b3) to A (5th). Over G7 it’s G (Root) to B (3rd) and over C we’ve
got a couple of choices G (5th) to E (3rd) and as an alternative G (5th) to C (Root).
¤
D‹7 G7 CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙
? ˙ ˙

10 12 16 16
14 10
¤ 12 14

AsD‹7
with every other example
G7
˙ in this workbook,
CŒ„Š7
˙ this line can
˙ obviously be
played
˙ in reverse too. ˙
? ˙ ˙
˙
2 4 5 5
5
¤ 3 5 7

D‹7 G7 CŒ„Š7
˙ ˙ ˙ ˙
? ˙ ˙ ˙ ˙

5 4 5 5
¤ 5 5 7 7

D‹7 G7 CŒ„Š7
w w
 ˙ ˙ ˙ ˙ ˙ ˙ ˙
?

7 7 9 9 12
10 9 9
¤
D‹7 G7 CŒ„Š7
˙ ˙
˙ ˙ ˙ ˙ ˙ ˙
?

10 10 12 12
12 12 14 10
¤
D‹72 Notes over G7
each chord with string crossing - Further
CŒ„Š7
development
˙ ˙ ˙ ˙ ˙ ˙ ˙
? ˙

10 12 12 9 12
12 9 10
Over Dm7 we’re playing A (5th) to C (b7). Over G7 it’s B (3rd) to D (5th) and over C we have
¤
two choices G (5th) to E (3rd) and as an alternative C (Root) to G (5th).
D‹7 G7 CŒ„Š7
˙
6 ? D‹7
˙ Bass Guitar, Bass
˙Guitar ˙
˙ G7
˙ ˙ CŒ„Š7
˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
? ˙
6 D‹7 G7 Bass Guitar, Bass Guitar
CŒ„Š7
˙2 4
˙ 5˙ ˙
5
7˙ 7˙
¤
? ˙3 5
˙
10 12 16 16
14 10
¤ D‹7 12 14
Over Dm7 we’re playing A (5th) ˙to C (b7). Over
G7 G7 it’sCŒ„Š7
B˙(3rd) to D (5th) and over C we have
two
? choices C (Root) to E (3rd) and as an alternative C (Root) to14G (5th).
˙
10 12 ˙ 16 ˙ 16 w 10
12
˙ 14
¤ D‹7 G7 CŒ„Š7
˙ ˙ ˙ ˙ ˙
? ˙ ˙ ˙
7 10 9
D‹7 G7 9 CŒ„Š7
¤ ˙ 8 ˙ ˙ 10 ˙ 10
? 2 4 ˙ 5 ˙ 5
˙ V.S.
˙ 5
¤ 3 5 7

2 4 5 5
5
OverD‹7
¤ ˙ Dm7 we’re3playing C (b7)G7 to D (Root).
5
Over G7 it’s B (3rd) 7to D (5th) and over C we have
CŒ„Š7
two choices C (Root) to E (3rd) and as an alternative E (3rd) to C (Root), in reverse.
? ˙ ˙ ˙
˙ ˙ ˙ ˙
D‹7 G7 CŒ„Š7
? ˙5 ˙ ˙ ˙
˙ 4 ˙ 5 ˙ ˙ 5
¤ 5 5 7 7

5 4 5 5
¤ D‹7 5 G7 5 CŒ„Š7 7 7
w w w w
?
D‹7 G7 CŒ„Š7
w w
w
? w
 yWatch now!

Development Study Guide

1. Chord Arpeggios - Knowing the chord arpeggios and being able to

play them with different fingerings and in different positions across the
fingerboard will be hugely beneficial.

2. Chord Notes - Being able to play the chord arpeggios mechanically, is

certainly a skill worth having, but knowing the notes in each chord and
their interval within the chord structure is important for all bass players.
Not only will this help your improvising, it’s a vital skills that will have a
huge impact on your overall bass playing too.

Tip. You should also know the structure of each chord.

3. Common Tones - Work on this slowly in just one position at first. Pick
out 1 common tone/note (played on just one string) and play it until
you feel comfortable. Slowly start playing the same note/s in different
positions across the fingerboard.

When you feel you’ve got this nailed, move on to a different

common tone and repeat the process.

4. Two Notes - When you can play 1 common tone on one string, try
playing two notes, either on the same string, or across 2 (& 3) strings.

5. Playing around the Bass - Playing one, or all of the approaches in this
workbook across the bass in different positions, different octaves and
on single strings, will help you internalise all of the information.
 Development Study Guide

6. Listen - Listening to the notes you’re playing and hearing how they
sound against the chords is the most important musical tool you have.
Whilst all of the notes we’ve used are chord notes and therefore, fit the
music perfectly, you will still have your own personal preferences for
your choices of note/s to play.

Similarly, the combinations of notes you play will need evaluating in

the same way.

Tip. With practise, you will find notes and combinations of notes that you
prefer. When you find them, work on them and then try to play them either
in different keys, or even within a bass line you know too.

7. Mix & Match - Combining the different approaches in this lesson will
give you endless hours of fun.

Tip. As with everything, start slowly and simply.

8. Your Bass Playing - Don’t forget you can use all of these approaches
in your regular bass playing too. Take one and try adding it to a bass
line you already know, or use it to try and come up with a bass line of
your own.

Tip. You can try this over a single chord of your choice, or take one of the
chords in the II-V-I progression and try composing a bass line to fit that
chord.

If you want to push yourself even further, try it in a different key/s.

 Development Study Guide

Becoming fluent takes time, but don’t short change yourself and try
not to kid yourself that you know notes, chord arpeggios & scales if
you don’t.

YOU WON’T DEVELOP THE FLUENCY, IF THERE ARE GAPS IN YOUR

UNDERSTANDING.
WORK SLOWLY AND YOUR ABILITY WILL IMPROVE AS YOU PRACTISE
& PLAY MORE.
Summary…
Playing an improvised solo isn’t that much different from playing a bass line. We
still need to negotiate chords, play arpeggios, play scales, play rhythmically and
play melodically too. That said, playing solos can be difficult as it’s so far
removed from our role of playing bass. Start simply & try to play melodic, tunes.
The rest will follow in time.

✔ Learn the chord progression, the structure and the notes in each
chord (not forgetting their interval too!)

✔ Play everything in just one position, so that you can play it well. Then
start moving to other positions. Try to make sure you focus on the
notes, etc as you move around the instrument. It’s this that will really
help develop your understanding of both the bass and the theory.

✔ Don't forget to try everything out in your normal bass playing. The
techniques used in this lesson aren’t reserved only for improvising.

Congratulations on completing the lesson.

Look forward to seeing you again.

Happy Practicing!
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Keep an eye o
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Improvising -
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The bass line
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Learn to play expect to play
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 y

T y
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killer bass lines and much more, coming soon…