Mel Bay Presents
by John E. Lawrence
R*t - 5th over Minor 7th Chords [:35]
g--l n""t - 5th over Dominant ?th Chord [:35]
Root - 5th - Lrading Tone over Major 7th Chords [:43]
n""t - 5th - Leading Tone over Minor 7th Chords [:361
Major Walk No. 3 [:42]
Root - 5th and Octave over Major 7th Chords [:44]
Root - 5th and Octave over Minor 7th Chords [:42]
Root - 5th and Octave over Dominant Chords [:42]
noot - 5th - trading Tone over Dominant 7th Chords [:35]
noot - 5th - kading Tone over a ii-V-I Progression
No. I [:4O]
Scalesfor a [-V-I Progression
S c a l e s f o r a l l - V - I P r o g r e s s i o n N o .[ 2z l 4 ]
1 2 - B a r B l u e s B a s s L i n e N o . 3[ l : 4 7 ]
uajor walk No. I [:43]
New Bossa [2:24]
Slow Blues Bass Line [:49]
12 - Bar Blues Bass Line No. I [1:0O]
12 - Bar Blues Bass Line No. 2 [ :00]
John E. Lawrence plays Heritage Electric Guitars,
Thkamine Acoustic Guitars, and GHS Guitar Strings.
iNC., PACIFIC,MO 63069.
@ 2OO.I MEL BAY PUBLICATIONS,
A L L R I G H T SR E S E R V E DI.N T E R N A T I O N A LO P Y R I G H T E C U R E DB . M . I .M A D EA N D P R I N T E D N U . S . A .
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W h a t i s a l l - V - I C h o r d P r o g r e s s i.o n ?
Root - 5th and Octave
. . 19
l Z - B a r l u e s P r o g r e s s i o n N.o . .
I 2 - B a r l u e s P r o g r e s s i o n N o .- . . .
l2-Bar Blues Progression
No. 3 . . . .
. . . . . 27
This book is designed
Teachyou how to play chordsand basslines simultaneously
Give insight into how basslines are constructed
Develop the techniquefor playing chordsand basslines
Teachspecificbasssolosin the form of walking blues,jazz swing , and bossanova
JohnE. Lawrence,a life long residentof Ypsilanti is one
of Michigan's most talentedandrespected
now gaining national recognition with the recent contract
with Mel Bay Publications, Inc., one of the country's largest
publishersof instructionalmaterials.Mel Bay hasproduced
for John a video tape entitled "Jazz Improvisation, Walking
BassLines, and Chord Melodies," which is available in
in Mel Bay's most recent "Hot List," which selectsthe
company's top picks within its catalogue.Slated to be releasedin the summer of 2000 are three companion instruc(CD's).ThebooksandCD's
can be used alone or in conjunction with the videotape.
John's most recent accomplishments
endorseHeritage Guitars, TakamineGuitars and GHS Guitar Strings and a solo in Mel Bay's "Collectors Edition
Anthologyof JazzGuitar Solos" which is now publishedand
in music stores
the world's finest jazz guitaist. John has also written two
articles in Mel Bay's new Internet magazine,one entitled
" Practice is
the key to musical success"and anotherentitled
"Blues Improvisation" for March and April 2000 issues.
They canbe found at www.melbay.comunderguitarlessons.
Mr. Lawrence credits his musical talents first and foremost to God, then to the late Dr. Morris Lawrence (no
relation).Dr. Lawrencewas an instructor and chair of the Music Departmentat WashtenawCommunity College
(WCC). Under the tutelageof Dr. Lawrence,John was challengedand inspiredto continuouslyimprove his skills
as a guitarist.Following in the footstepsof his mentor,John becamean instructorat WCC where he hastaughtfor
over 20 years.
In the realm of performance, Mr. Lawrence served as musical director and lead guitarist for vocalist Carl
Carlton,who was the openingact for suchfamed artistsas SmokeyRobinson,ChakaKhan, Lionel Richie and the
Commodores,Rick James,Teena Marie and Frankie Beverly and Maze.
Among Mr. Lawrence's many accomplishments a performanceat CarnegieHall. In addition to touring
throughoutthe United States
andperformingatlazzFestivals suchas:BostonGlobe,New Orleans,andMontreaux
Detroit, he has performed in Haiti, Surinam, Germany, and the Montreaux Jazz Festival in Switzerland.
John has made television appearances three nationally syndicatedprograms: Kelly & Company, PM
Magazine and Good Morning America. He has also performed with Atlantic Records recording artists, Straight
One of Mr. Lawrence'smost memorableoccasions
was with legendaryjazzguitarist,Mr. Kenny Burrell. Mr.
Burrell asked John to sit in with him at the famed Baker's Keyboard Lounge in Detroit, Michigan. After the
John on his playing ability.
His soundrecordingsinclude, "Merry Christmas from John E. Lawrence," "The SupremeDream" and a third
recordingentitled"Old Smooth".A (CD) that is compiledof hits from the 60s70sand 80s.His latestprojectentitled
"Summer Nights" compiled of original material that fits the adult
contemporary smooth jazzformat, was released
in the summerof 2000.Theseaccomplishments
have laid the foundationfor an explosivecareerin today's music
industry.JohnE. Lawrenceis sureto becomea householdname.For more information,pleasecontacthis web-site
at http://wwwjohnelawrence.com e-mail him at jel @johnelawrence.com
Learning the Technique PlayingBASSLINES and CHORDS Simultaneously
1) The bassline is played primarily on the 5th and 6th strings.
You will usethe 3rd and 4th stringsoccasionally, to emulatethe bassguitar the bassline shouldsoundas
low as possible.
/) The bassnotes are played on the downbeat and the chords on the up beat.
3) The chord is played after every other bassnote. This gives the chords a separaterhythm from the bass
line. It also gives the illusion of a bassand rhythm guitar playing simultaneously.
4) It is not alwaysnecessary play a full chord employing all six strings;sometimesa two or three-stringchord
5) The bassline is played with the thumb insteadof with a guitar pick. Using the thumb makesthe tone darker
and smoother.The strumming of the chords is done with the fingers.
Root to the 5th BassLine
Therootand5threferstothe firstandfifth noteof themajorscale
if you play a D major 7th chord, you can constructa bassline using the first and the fifth note of a D major scale.
Major scale with the root of the chord on the 6th string
Major scale with the root of the chord on the 5th string
root-bO | | | |
| | |
In order to simulate a bassguitar sound, play the bassline on the 6th and 5th strings. Given the above scale
pattern,we must take the fifth scaletone (as shown in the 4th string) down an octave and play it on the sixth string:
Root on the 5th string
5th down an octave
Root - 5th over Major 7th
Root - 5th over Minor 7th Chords
Root - 5th over a DominantTthChord
Root - 5th - LeadingTone
A leadingtone is the note aboveor below the chord you are going to play. For example leading
would be D-flat or E-flat. Note: Plav the leadine tone on beat4 of the measure.Try these
Root - 5th - LeadingToneover Major 7th Chords
3fr.roa t l
I t t
Root - 5th - Leading Tone over Minor 7th Chords
Root - 5th - LeadingToneover DominantTth Chords
| | | l a t
Whatis a II-V-I ChordProgression?
The II-V-I chord progressionis widely usedin jazz. If you masterthe constructionof basslines over a II-VIprogression
you will be ableto spontaneously
linesover jazzstandards examiningthechordchanges.
So, what is a II-V-I progression?
Let's look at a C major scale.The C major scaleis made up of eight notes that are spacedeither a whole-step
G is a whole step, from G to A is a whole step, from A to B is a whole step and from B to C is a half.
Example C Major Scale:
The distancefrom one note to another is called an interval. The distancefrom the first note of the major scale
to the secondnote is an interval of a major second,from the 1st to the 3rd is a major 3rd interval, from the 1st to the
4th is a perfect 4th, from the lst to the 5th is a perfect 5th, from the lst to the 6th is a major 6th, from the lst to the
7th is a major 7th, and from the lst to the 8th is the interval of a perfect octave.
Example The Scale Intervals:
When the lst noteof the C major scaleis playedalongwith the 3rd, 5th, and7th, it forms aCmajTchord.Since
this chord usesthe lst note of the C major scale as its root, it is referred to as the I chord. Therefore the I chord in
the key of C is C major 7.
Maior 7th --
Maior 3rd -+
Basedon the whole-step/tralf-step
within the C major or "model" scales, can now proceedto
the seconddegreeof the scale(D) stacking its respective3rd, 5th, and 7th intervals to build the next chord - D minor
7. As this chord is constructedwith the secondnote of the C major scale serving as its root, it is referred to as the
If we continue to stack th intervals in the sameway on each note of the C major scale,we will get a different
chord for eachscaledegree.With eachchord having a correspondingnumber for every chord name.This holds true
in all keys. The I chord is major, the II is minor, the III chord is minor, the IV chord is major, the V chord is dominant,
the VI is minor, and the VII chord is a 7b5 or a half diminished. This can also be written as VII..
Example: The 7th chords basedon each degreeof the C major scale.
A II-V-I chord progression the key of C consistsof: DminT-G7-Cmaj7
Here is a list of II-V-I chord progressions all twelve major keys:
Note: The seventhof the chords in the II-V-I progressions understood mean IJ7-V7-I.
ln this book, I have written all of the II-V-I exercisesin the key of G, but it would be very beneficial to learn the IIV-I exercises all twelve kevs.
Scales a II-V-I Progression
There aretwo ways to resolvedominant7th chords.The dominant7th that resolvesto the I chord, suchas the
kind you will find in a II-V7-I progression.
The other is the dominant7th that doesnot resolveto the I chord directly,
as in a blues progression.
When playing over a dominant 7th chord in a ii-V-I progression, the minor scale.
For the Am7, play notes from the A minor scale.For the D7, play notes from the D minor scale.And for the
Gmaj7, play notesfrom the MAJOR WALK.
The Major Walk
The MAJOR WALK consists the lst noteof a major scaleto the 3rd thenmoveschromatically the 5th note.
The EXTENDED MAJOR WALK continuesto the 6th note of the major scaleand moveschromatically to the
3fr. r a a
Major walk extended
Playinga scalefor eachchordin the II-V-I Progression
A minor scale
Over the Am7 chordplay an A minor scale.
D minor scale
Over the D7 chordplay a D minor scale.
G Major walk
Over the GmajTchordplay a G major walk.
Note: Playthefrst threenotesof the scaleoverthe first threebeats themeasure, thefourth beatplay theleadingtone.
BassLines over a II-V-I Progression
Root - 5th - LeadingToneover a II-V-I Progression
Scalesfor the II-V-I Progression
f r t
Scalesfor the II-V-I Progression
I t a o t l
The Major Walk I,2,3
Major Walk No.l
Major Walk No.2
Major Walk No.3
Theroot,5th andoctavevariationis a veryusefultechnique creatinga bass because workswith major,minor,
chords.It is appropriate all stylesof musicfromJazzto Country,to Rock,Latin, to Classical,
Root-5th and Octaveover Major 7th Chords
Root-5thand Octaveover Minor 7th Chords
- . r ll
Root-5thand Octaveover DominantTth Chords
ln a Blues Progression,
play the MAJOR WALK over the Dominant 7th chords.
Slow Blues BassLine
Putting It All Together
Joe Palmer and
Writtenby JohnE. Lawrence
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utilizesthe Root, 5th, Octave,and
Note: If a chord has a raisedor lowered 5th,you must raiseor lower the 5th in your bassline as well.
Joe Palmer and
Written by John E. Lawrence
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