Left hand study: bass lines as wide as Atlantic

Okay, I promised a new bass pattern — here it is! Today is going to be less talking, more playing things. I’ve noticed that I’ve started to get in a habit of going on at length about theory stuff, so it sometimes takes multiple paragraphs until we get to the actual technique — so let’s cut keep the intro short today! 🤓

Today’s pattern is called “8-to-the-bar bass”. I’ve found it (just like a lot of other wonderful stuff) in Riccardo Scivales’ book Jazz Piano: The Left Hand that I highly recommend to everyone as an endless source of revelations. The pattern originates from the stride piano era and is meant to be used as a part of blazing-fast virtuoso passages to make them sound jumpy and dancy. Its name “8-to-the-bar” is due to the fact that it starts a 1/8 note before the bar.

As I often do, I took the original line and adapted it to the slow jazz context (mainly because this is the style I mostly work in, but also simply because I just can’t play fast passages 🙈). So, here’s an original line from the Scivales’ book, played as a medium swing with some triad arpeggios on top to keep right hand busy:

 

Let’s take a look at the sheet music (here’s the right hand only).

Screenshot 2019-08-06 at 9.38.03 PM.png

It sounds pretty busy, right? But in fact, the components of the line are super simple. What makes it sound so rich is the fact that it actually spans across three octaves. Check out: we have doubled roots, octave above and octave below, chord tones played harmonically two octaves above and one more chord tone played in the same high register. Although it’s a lot of notes and a lot of movement, you’re still playing pretty much the same notes!

Here’s the full score in case you wondered what the right hand was doing:

Screenshot 2019-08-06 at 10.39.07 PM.png

It’s already plenty of material for practice (talk about all possible II — V — I’s, modal progressions and cycling chords), but since we’ve started exploring bass patterns, let’s dig a little bit deeper.

I have a nice progression for you, it goes like this: Gm7 — F — Cm7 — D+. Now, I’d like to play it using different left hand devices that we’ve been already discussing earlier and that you are probably more familiar with (like broken 10ths, for example), and I want to incorporate my newly learned 8-to-the-bar thingy.

Starting out simple:

Screenshot 2019-08-06 at 9.54.05 PM.png

 

I just want to familiarise myself with the progression, playing simple triads with the left hand and chord shells with the right. Next, I create the left hand line using two patterns: descending broken 10th and 8-to-the-bar bass:

Screenshot 2019-08-06 at 10.48.37 PM.png

 

Cool! Playing things one octave lower always works 🤓 I’m using the same 3-octave technique as in the beginning: doubled roots for mids and lows, chord tones on top. Gm and Cm in my progression get 8-to-the-bar bass, F and D+ are being interpreted with broken 10ths. Add the right hand:

Screenshot 2019-08-25 at 10.20.09 PM.png

 

I chose to use arpeggiated shell chord voicings as a right hand line, alternating between 7-3-5 and 3-7-9 variations. In my opinion, these two patterns (8-to-the-bar and broken 10ths) fit very well together, as they fill a really huge frequency range, thus creating a very spacious and wide sounding bass line.

Okay, that’s all I have to share for this time — feel free to take this progression to other keys or adapting it to different rhythmic contexts, or just try this approach on anything else — like, a piece from the Real Book maybe? Talk to you soon and— harmonise ’till it hurts! 🤙🏻

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