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BERKLEE COLLEGE OF MUSIC
Valencia Campus
THE ART OF BASS PLAYING
JOSE DANIEL TOLEDO CAJIAO
VICTOR MENDOZA, SUPERVISOR
Culminating experience requirement for the degree of Masters in Music
Contemporary Performance
Valencia, July 2014
Table of Contents
Introduction…………………………………………………………………………..3
Contemporary double bass…………………………………………………………5
Chapter 1 (Paul Chambers)………………………………………………………..7
Alerting (Original composition)……………………………………………………16
Chapter 2 (Israel Crosby)…………………………………………………………20
Mikkakan (Original Composition)…………………………………………………25
Chapter 3 (Conclusion)……………………………………………………………28
Bibliography……………………………………………………………….………..30
Appendix…………………………………………………………………………….31
2
Introduction
I started playing music ten years ago on the electric bass, later I
switched to upright bass where I felt confortable and I doing a journey to find
my own voice. I’ve been studying electric bass and upright bass with different
teachers but I got a lot of my playing from doing gigs and performing regularly.
I’ve been influenced by jazz especially from the 50’s and 60’s, R&B and hip
hop, mainly from popular music and traditional rhythms from Ecuador.
Here in at Berklee Valencia I found a wider perspective of music and
rhythms, being to be able to share with great musicians from all over the world
in a deep way really opened up my mind to keep exploring different ways of
making music that weren’t with me before. Having great faculty, visiting artists
and especially great classmates really made me visualize myself more as an
artist rather than a sidemen so it encouraged me to put more effort in my
compositions and to record my original music with musicians from Berklee
and also generate educational material focused on the bass.
Having the chance to share with musicians with different backgrounds
and cultures makes me want to explore and dig deep into different musical
concepts in order to achieve a characteristic sound on my music.
Through many years I’ve been working as a sideman making different
shows with different bands but here at Berklee Valencia I saw the possibility
3
to work on my artistic side as a bandleader and composer. The atmosphere
and the facilities of the campus along with the musicians provide me with the
tools to experiment with different instrumentation and to conceptualize
musical ideas that I get along this journey.
To show myself as an artist (performer) and also built a path in
education is something that I want to create. For that I’ve been working in
generating educational material related to “the art of bass playing”. I did two
transcriptions of the song “But Not For Me” by two influential bass players
(Israel Crosby and Paul Chambers) analyze their approach to the song in
terms of their bass lines.
This is important because understanding the tradition is important in
order to generate something related to my subject of interest. I was able to
collaborate with musicians with different musical and cultural backgrounds,
which I consider brought a new sound for my musical career.
4
Contemporary Double Bass
It was not until the second half of the twentieth century to see the real
boom of contemporary double bass in hand of instrumentalists, educators and
especially jazz. This provided an opportunity for the performers of this
instrument to shine alone and allowed the adoption of new performance
techniques. This instrument has been considered from the outset as a
supportive instrument of the rhythm section, which will eventually leads to the
development of the execution to become a solo instrument that fits in the very
nature of jazz. The role of the instrument took a turn around the year 1939,
when a bass player named Jimmy Blanton revolutionized the way in which
this instrument would be played. Its development was innovative for the time,
for the first time the possibility of a bassist taking a solo became true. Prior
Blanton, bass was seen as an accompanying instrument, which had the
specific function of maintaining the pulse and shape of the harmonic
movement (Chevan, 1989).
With the contributions of the different generations of musicians before
the forties, bass developed its essential role: to accompany the melodic
soloist with rhythmic precision and definition of harmonic changes. In the
fifties piano trios were well received, as the most prominent of the time,
pianists found it as a means to demonstrate their skills as soloists. This led to
the bassists also expand their skills and develop their skills as soloists and
instrumentalists not strictly accompaniment (Judy, 2007).
5
The main role of the instrument is not lost, only the resources that have
been developed to provide a broader scope of it. This paper proposes an
analysis of the role of the bass in the piano trio format, containing the
following instruments: piano, bass and drums. For this study, I will do an
analysis of the transcriptions of bass lines on the song But Not For Me, in two
recordings of piano trio. These recordings are contemporary with each other,
since one was recorded in the year 1957 and the other in 1958. They can
clearly show the role of this instrument in a reduced format, where certainly
the instrument has greater role than in a bigger group such like a big band.
The work of Paul Chambers with the Red Garland Red Garland's Piano
album will be detailed in the first instance. Paul Chambers is one of the most
recognized bassists for his work in the jazz world and is one of the
fundamental pillars for the development of the instrument in this genre
(Palmer, 2012).
But Not For Me: the work of Ahmad Jamal with Israel Crosby in the
album Live at the Pershing will be analyzed. His performance with the trio of
Ahmad Jamal is praised by many bassists today, his name is not as
acclaimed as Paul Chambers, but is recognized as a major influence on the
bass (Campbell, 2006).
Finally, the context of the bass lines to the songs will be analyzed, as
well as harmonic and rhythmic elements used by the two bass players, which
leads them to fulfill their role in a piano trio. The important thing is to capture
6
the characteristics of them in this format, because each has its own voice.
The reason is to capture the details that lead to a bass line to be efficient.
Bassists should be aware of the elements needed for a bass line work in a
given context and the qualities that it requires. Therefore, it is important to
analyze those who have marked the history in the world of jazz.
7
Chapter 1: But Not For Me (1957) by Red Garland bass line by
Paul Chambers.
Red Garland and Paul Chambers were part of the most admired
rhythm section in the fifties, playing with Miles Davis. The Red Garland's
Piano album is the third album as a solo pianist. This album is the distinctive
voice of Garland. It is delineated by its distinctive chord voicings, melodic
ideas, and solid sense of swing. It includes eight standards. Accompanying
Paul Chambers on bass and drummer Art Taylor. Chambers recorded about
three hundred LPs for record labels such as Columbia, Riverside, Bule Note,
Savoy, VeeJAay, United Artists, Prestige and Impulse (Palmer, 2012). The
year 1957 was considered the most important in the career of Paul
Chambers, since only in studio work made more than three hundred eighty
recordings, which they labeled him as the most demanded bass player of the
time (Palmer 2012).
The composition But Not For Me by George Gershwin, has a four-bar
introduction, a verse of 23 bars and a chorus of 32 the form is ABAB '. It was
composed in the year 1930 and the original key is Eb Major (Withburn, 1991).
8
Figure 1. Excerpt from the original composition.
The sample represents 32 bars of But Not For Me, this is what it’s
played as a standard. In the version of Red Garland the key is Eb Major, as in
the original by George Gershwin. The melody is played in two feel, can be
clearly seen that the bass has a rhythmic character that drives the band. The
drummer keeps a set pattern of swing with brushes that allows a wide
dynamic range. The bass and piano stand out, as mentioned Max Roach
9
"would use brushes on the snare when accompanying a pianist" (Berliner,
2010).
Figure 2. Line by Paul Chambers on the melody.
As shown in Figure Two Chambers uses different resources when
accompany the melody. It is evident in this excerpt that uses quarter notes
and half notes as rhythmic figures to create the sense of two feel, but the line
10
includes anticipations of eighth notes on the upbeats in certain measures, with
dotted quarter notes, eight notes and triplets. A recurring pattern is that every
four bars he uses more notes, for example, in measure four, eight and twelve
the prevailing rhythmic cell is quarter note. Another feature is that the half
notes are present at all times on beat one, except for the measures
mentioned previously. This type of two feel gives momentum to the band. The
rhythmic movement is essential when playing in a piano trio format, since only
three instruments are present and it’s a way to bring attention to the audience.
This aspect is like a question and answer with the drummer and the bassist
with different rhythmic figurations.
In relation to the harmonic part, we see that the roots of the chords are
usually found on beat one. This is a characteristic of walking bass lines, the
chords are delineated by the root in the bass (Berliner, 2010). In the first
seven bars (excluding the first), it is evident that the predominant interval is a
perfect fifth. This interval in bass lines is part of a pattern to delineate the
harmonic changes, and Chambers is a point of reference on this aspect. It is
important that the root and fifth are present when you play piano trio, so the
pianist is free to put the tensions and give the color of the chord while the
bass keeps the fundation.
11
Figure 3. Paul Chamber’s Bass Line in piano solo.
In figure three, from bar 33 bass goes from two feel to quarter notes
swing. It’s evident in this section, that the bass went from making a line with
intervallic jumps bigger than a major second, to an scalar type of line that
includes major and minor seconds as the main resource, Chambers is
compared to Percy Heat because both use chromatics in their patterns when
making a walking bass line (Berliner, 2010). The bass line in this section,
where the piano solo begins rhythmically plays a steady role. During the solo,
there’s no rhythmic variation except some eighths notes appearing to give
momentum. Charlie Persip states that each beat should be played in unison
with the drummer for a groove, that's why the bass line of Chambers remains
constant (Berliner, 2010). The melodic contour in this section is much more
linear, with a wide use of the register.
12
When the melody is played and when a solo is played, there is a clear
difference in the way in which Chambers plays. In the melody the bass plays
rhythmic role and keeps the pulse going on, this is because the drummer
maintains a constant pattern and the bass is responding to the melody. In that
instance, the bass makes a response to the melody rhythmically, bringing the
rhythmic impulse and outlining chords. In the solo it’s evident that the roles
change: bass keeps a steady rhythmic pattern of quarter notes and
harmoniously remains linear with almost no breaks large intervals while the
drummer responds to the soloist.
In this recording the bass has a solo, characteristic of the piano trios of
the time. Generally, in larger ensembles the bass is only an instrument of
support. In a reduced format, as the piano trio is where the instrument can
stand out with it’s features of being a low-pitched instrument and having little
resonance. Paul Chambers is acclaimed for his ability to perform solos on the
instrument. His solos are based on the bebop language and his phrasing
simulates wind instruments.
Rhythmically, his solo is focused on eight notes. This quality is
characteristic of the style, the swing eight notes are the foundation of jazz.
Chambers rarely begins his melodic phrases on beat one or a down-beat. His
phrases, in most cases start in the up-beat of one or four.
13
Figure 4. Paul Chambers solo excerpt.
One of the characteristics of Paul Chambers soloing is to stay in the
middle and low register of the instrument. It works in the piano trio format; the
bass in relation to the orchestration can be highlighted on this register
because the piano can accompany in the high register without execution or
intonation problems (Berliner, 2010). The bass is an instrument whose range
can be extended up to a little over three octaves, but the difficulty of execution
on the higher octave is really demanding, so some bassists avoid it. It can be
seen that over the solo the highest note that Chambers is playing is an F two
additional lines in bass clef (transposed down an octave in concert pitch). The
high pitches in the bass sound more clearly when they are played with a bow.
In jazz the bow is not used frequently (Chevran, 1989).
14
In this particular case, the ability of the bass player and the tempo of
the song are important factors for the performance of the double bass as a
solo instrument. The fact that the bass has a slow response in relation to
pizzicato attack is decisive for the type of solo that can be done, considering
the skill of the performer. Nowadays the bass, with increasing amplification
equipment bassists came to have a more prominent role.
In the head out of the tune, Chambers returns to the pattern that he
played in the head in, but this time he introduces new resources. The range is
extended and this is where the line reaches its most acute part; reaches a D
flat in fourth line in treble clef (transposed down an octave concert). This
section uses a rhythmic pattern, which appears in the melody of the
beginning, dotted quarter note and eight note; this time it’s used more
frequently and drives the band keeping the feeling of two feel.
Figure 5. Excerpt bass line head out.
15
Influence on original composition: Alerting
The two feel type of playing of Paul Chambers influenced my type of
composition in terms of bass line. My music isn’t in the traditional path but I’m
using effective resources from that come from the tradition. The use of roots
and fifths are essential for holding up a bass-line as it has been previously
showed here but also the rhythmic movement it’s an important factor to hold
the band together.
My bass line follows the rhythmic direction that Paul Chambers has, it
was a source of inspiration and also understanding of why this line is effective
and has so much power in a reduced format. To be able to create an effective
bass line and also to improvise one over chord changes it was important for
me to analyze and listen to Chambers.
Understanding how the bass line works and shapes the melody it’s
important. As it was previously analyzed, the type of bass line that Chambers
plays during the melody it’s complementary and it’s main objective it’s to give
rhythmic movement to the rhythm section. It’s important to search for this
pulse while playing a two feel because the bass player is the one in charge to
provide the ground for the chords so if the bass line it’s anticipated the chord
will be.
16
I’m also using different rhythms on my bass line but the predominant
it’s a half note but not played on the beat but usually in the upbeats, this gives
a different feel of the harmonic placement within the pulse.
My mission as a bass player in this composition it’s to keep the
harmony as clear as possible that’s the reason of why I decide to use roots
and fifths through out the majority of the song so the piano player will be in
charge of the quality of the chord and tensions.
17
Alerting
SCORE
Intro F #maj7
? 4 .. ‰
4
D -7
& .. œ œ œ
5
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C sus
’
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9
D -7
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13
F7
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b
3
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3
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A 7/C
b
#
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J
∑
..
‰ # œ . œ œ ..
B maj7
A -7(Ñ5)
œ œ ˙.
‰ b œ b œ œJ ˙
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J
A -7
..
B maj7
Œ bœ œ b˙
E -11
j
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’
A -7(Ñ5)
j
‰ œ œ bœ ˙
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J
b
E /A
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j
œ w
j
& Œ œ bœ œ ‰ œ ˙.
? œ.
b
A maj6
G -7
4
& 4 .. ’
Daniel Toledo
œ
‰ œj œ ‰ œJ œ
j
œ. œ. ‰ œ
bœ. œ.
œ œ
©
18
2
Alerting
C sus
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& ˙.
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17
D -7
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21
C sus
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A -7
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˙.
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E -11
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25
œ œ
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A -7(Ñ5)
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3
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3
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19
Chapter 2: Version But Not For Me (1958) by Ahmad Jamal bassline by
Israel Crosby.
"Crosby is perhaps best known for his work with the famous Ahmad
Jamal’s trio in the late fifties and early sixties. Throughout his work with the
trio, Crosby's playing was certainly stellar. His imaginative and melodic sense
of linear structure, paired with his ability to play bass lines of support and
these serve as examples of what to do as a jazz bassist. "(Campbell, 2006).
Ahmad Jamal trio was not well known to the general public, only in the
year 1958 came to light when they recorded Live at the Pershing: But Not For
Me. On that album Israel Crosby is on bass and Vernel Fournier on drums
(Lyons, 1987). This trio has characteristic, carefully planned trio arrangements
that demonstrate the power that can be achieved with few well-executed
notes.
An interesting aspect of this version is that being played in C major, the
piano solo modulates to F major. This bass has a supporting role on the entire
song, doesn’t has a solo but has a unique melodic presence. The version of
But Not For Me This trio has served as inspiration for great contemporary and
post-Crosby (Campbell, 2006) bassists.
In the version of But Not For Me Ahmad Jamal Trio, the first thing that
caught the attention of the listener is the melodic response that the bass
makes to the melody played by the piano. This melodic response is a
recurring element throughout the recording. Obviously is not an improvised
20
line, but a line constructed line with the purpose of making a response to
exposure of the melody. It is a two-measure melodic cell, one of the main
features of this line is that the notes are not part of the chord are in the down
beats. The melody moves in a scalar way, in the analysis it’s shown that the
line goes down from the sixth degree, up to the root (measure four and five).
This melodic pattern has a coherent fingering for the instrument, as described
in the upper line in the figure six. (Campbell, 2006).
Figure 6. Melodic line Extract Israel Crosby.
The way to accompany by Crosby is rhythmically consistent in
relationship to the piano. In this particular recording you it’s evident that when
the piano is conducting complex rhythmic figures, the bass is playing half
notes. When there is space left for the piano, Crosby is responsible for filling
and used as rhythmic eighth notes or triplets. Figure seven shows how the
bass player responds rhythmically. In this case, there is an arrangement so
indicates that it was played solely as a jam session, although it was recorded
in a hotel bar (Lyons, 1987).
21
Figure 7. Extract But Not for Me with piano and bass.
His melodic construction is also applied in his walking bass lines.
Crosby melodic sense gives a linear motion and direction of the line, the
chords are clearly defined (Campbell 2006). In figure eight it’s evident how
Crosby uses suspension that goes from the ninth to the root on the first
measure, in beat three and four of D-7. In the next measure using a jump of a
fourth to prepare another suspension following ninth, and delayed the arrival
of the root until beat three. It continues in linear motion and the flat seventh of
the G13 chord resolves to the third of the C6 chord.
Figure 8. Excerpt bass line of Israel Crosby.
22
Rhythmically when the melody is played, Crosby uses established
patterns, usually in cells of two bars. In the first two groups of four measures
he’s using the same pattern, half notes for the first two and the melody pattern
for the following. A characteristic of this line is that it appears three times
along the tune, in the melody that is in C major. The answers have the
distinction of being made in eight notes and triplets throughout the song.
During the piano solo, Crosby uses melodic resources, but remains mostly
accompanying the soloist with quarter notes. Crosby was an innovator, he
helped transition the lines of the two-beat walking bass in 4/4 (Campbell,
2006). One of the features mentioned by Campbell (2006), is that Crosby had
the ability to produce a quarter notes with a full value and his eighth notes
contained a robust tone and great articulation. This is clearly evident when
listening to the recording.
The intervals of Crosby’s bass line are wide in many cases; the use of
chromatic notes is not very common. His has a wide intervallic range along
the theme; he keeps his bass line in a comfortable register for the instrument.
Figure 9. Excerpt from the bass line of Israel Crosby.
23
Figure nine shows how Crosby makes his walking bass line. In the first
bar he begins on the ninth of the chord, all the following notes belong to the
chord as characteristic chord tones, which is why this line is clearly
delineated. In the following three measures, Crosby uses chord tones with the
exception of the first note of the third measure, a ninth of the chord, a
recurring element in this excerpt. In the last two bars the line moves in a
scalar way with a chromatic line at the end, one of the few times that happens
in this recording.
24
Influence on original composition: Mikkakan
My other composition follows the direction of this trio in particular. The
use of space for me it’s something really important to achieve and see the
approach of Crosby in this aspect it’s essential. From the analysis I can
understand how the bass can have melodic representation by doing a bass
line and being a supportive instrument.
My bass line it’s constructed based on the chord tones and this is a
characteristic that Crosby uses. His basis of construction of bass lines is the
arpeggios. The bass line should clearly define the chords in order that the
melody works only with the bass. It’s important that in my compositions I have
a clear harmonic understanding just from the bass and the melody.
Bass in this composition has a more dynamic role because it’s acting
similar to Crosby on this recording, giving melodic ideas in the spaces. The B
section of this tune it’s just harmony so here the bass is more free and
interacts with the piano player giving a melodic response on the space every
two bars.
25
Score
MIkkakan
ÿ
C maj7
G -7
G -7
& 44 Ó ‰ œ b œ œ .. œ œ b œ œ œ œ ˙ ‰ œ b œ œ œ œ b œ œ œ œ ˙ ‰ œ b œ œ
Piano
?4
4
∑
G -7
6
Daniel Toledo
D -7
C maj7
.. b œ . œ œ w
œ.
D -7
œ œ bœ œ œ
&
œ ˙
?
œ.
G -7
2.
& w
10
?
w
C maj7
bœ.
Ÿ
‰ œ œ œ ˙.
œ œ ˙
C maj7 D -7
œ ˙.
J
‰ #œ
G -7
œ œ ‰ œJ œ œ œ ˙
D -7
œœ
D -7
G -7
& Û Û ‰ Û Û Û Û |
J
15
?œ œ ‰ œ œ œ
œ ˙
J
G -7
œœ
Œ
1.
œœ ˙
‰ j
œ w
C maj7 D -7
ÛÛ‰Û Û ÛÛ |
J
œœ w
œ. bœ.
‰ œ b œ œ ..
G -7
ÛÛ‰Û Û ÛÛ |
J
Œ œœ‰œ œ œ
œ ˙
J
G -7
˙.
˙.
..
œ œ ˙
‰ j
œ w
œœ
Œ
‰ œ bœ œ
2013©
26
2– ÿ
&
19
?
œ œ bœ œ œ
œ ˙
œ.
G -7
& œ
23
?
C maj7
G -7
œ.
bœ.
œ bœ œ
bœ.
œ œ w
C maj7
œ œ ˙
œ œ ˙
Mikkakan
D -7
G -7
‰ œ bœ œ œ œ bœ œ œ œ ˙
œ.
bœ.
D -7
‰ œ œ œ ˙.
‰ #œ
œ ˙.
J
‰ œ bœ œ
œ œ w
œ œ
G -7
w
‰ œj w
27
Chapter 3: Conclusions of the two versions analyzed
The fact that the two versions of But Not For Me are contemporary,
leave space to draw some conclusions about the two bassists and their role in
the piano trio format. On one side, the version of Red Garland is not clear
whether there was a pre-arrangement, since there is no clear evidence of it
when listening to the recording besides the ending. On the other hand, Ahmad
Jamal recording is clear that there was an established arrangement, because
the bass has its melodic phrase three times in a specific place of the theme.
The biggest difference is in the way to accompany of the two bassists,
the use of intervals in their lines. On one side we have Paul Chambers, he
has its chromatic bass line and usually the notes of his walking bass line are
nearby. His movement voice leading is very clear and he uses chromatic
notes of the chord to create linear melodic motion. Unlike Chambers, Crosby
jumps tend to use a wider range when building his bass line, his bass line
movement is more focused on outlining the chord arpeggios. His melodic
feature is when resolving his bass lines, despite making large jumps in the
melodies that make is very clear when he resolves his bass lines.
In the rhythmic aspect is where we found greater similarity between the
two bassists; this is because the bass practically has an established role,
which is to conduct a walking bass. In the trio format of piano, bass evidence
have more freedom; quarter notes are not the only option, bassists have more
28
freedom rhythmically and use other resources, as demonstrated in these two
versions.
It can be concluded that the double bass in his role in the piano trio
format retains its essence as an instrument of support and accompaniment.
This reduced format allows it to stand out and share the limelight with the
piano and drums.
It’s essential to understand the tradition and the role of the instrument
in order to create lines that work within a context. Tradition gives us strong
foundation in order to understand the core and then move into exploring new
areas. A strong core of knowledge in why bass lines are effective and
powerful gives a solid panorama on where to explore and where to resolve.
29
Bibliography
Berliner, P. (2010). Thinking in Jazz: The Infinite Art of Improvisation.
Chicago: University of Chicago Press
Campbell, J. (2006, june 1). Israel Crosby: ahead of his time. Bass World
Vol.30. pp. 35-38.
Chevan, D, (1989). The double bass as a Solo Instrument in Early Jazz. The
Black Perspective in Music, (Vol. 17, No. 1/2, 73-92). Published by:
Foundation for Research in the Afro-American Creative Arts. From
http://www.jstor.org/stable/1214744.
Garland, R. (1957). But Not for Me. Red Garland’s Piano. [Recorded Audio:
CD] Verve.
Gershwin, G. (1930). But Not for Me. Just Gershwin Real Book. Published by:
Alfred Publishing; Spi Edition.
Jamal, A. (1958). But Not for Me. At the Pershing: But Not for Me. [Recorded
Audio: CD] Prestige.
Judy, N. (2007). Origins and early development of the Jazz Piano Trio. From
http://www.nedjudy.com/jpt/
Lyons, L. (1987). Ahmad Jamal. En The Great Jazz Pianist: Speaking of
Their Lives and Music. New York: Quill.
Palmer, R. (2012). Mr. PC: The Life and Music of Paul Chambers. Sheffield:
Equinox Publishing Limited.
Ramsey, D. (1989). Jazz Matters: Reflections on the Music and Some of Its
Makers. Arkansas: The University of Arkansas Press.
Whitburn, J. (1991). Pop Memories 1890-1954: The History of American
Popular Music. Wisconsin: Record Research Inc.
30
Appendix
31
2
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41
Valencia Campus
THE ART OF BASS PLAYING
JOSE DANIEL TOLEDO CAJIAO
VICTOR MENDOZA, SUPERVISOR
Culminating experience requirement for the degree of Masters in Music
Contemporary Performance
Valencia, July 2014
Table of Contents
Introduction…………………………………………………………………………..3
Contemporary double bass…………………………………………………………5
Chapter 1 (Paul Chambers)………………………………………………………..7
Alerting (Original composition)……………………………………………………16
Chapter 2 (Israel Crosby)…………………………………………………………20
Mikkakan (Original Composition)…………………………………………………25
Chapter 3 (Conclusion)……………………………………………………………28
Bibliography……………………………………………………………….………..30
Appendix…………………………………………………………………………….31
2
Introduction
I started playing music ten years ago on the electric bass, later I
switched to upright bass where I felt confortable and I doing a journey to find
my own voice. I’ve been studying electric bass and upright bass with different
teachers but I got a lot of my playing from doing gigs and performing regularly.
I’ve been influenced by jazz especially from the 50’s and 60’s, R&B and hip
hop, mainly from popular music and traditional rhythms from Ecuador.
Here in at Berklee Valencia I found a wider perspective of music and
rhythms, being to be able to share with great musicians from all over the world
in a deep way really opened up my mind to keep exploring different ways of
making music that weren’t with me before. Having great faculty, visiting artists
and especially great classmates really made me visualize myself more as an
artist rather than a sidemen so it encouraged me to put more effort in my
compositions and to record my original music with musicians from Berklee
and also generate educational material focused on the bass.
Having the chance to share with musicians with different backgrounds
and cultures makes me want to explore and dig deep into different musical
concepts in order to achieve a characteristic sound on my music.
Through many years I’ve been working as a sideman making different
shows with different bands but here at Berklee Valencia I saw the possibility
3
to work on my artistic side as a bandleader and composer. The atmosphere
and the facilities of the campus along with the musicians provide me with the
tools to experiment with different instrumentation and to conceptualize
musical ideas that I get along this journey.
To show myself as an artist (performer) and also built a path in
education is something that I want to create. For that I’ve been working in
generating educational material related to “the art of bass playing”. I did two
transcriptions of the song “But Not For Me” by two influential bass players
(Israel Crosby and Paul Chambers) analyze their approach to the song in
terms of their bass lines.
This is important because understanding the tradition is important in
order to generate something related to my subject of interest. I was able to
collaborate with musicians with different musical and cultural backgrounds,
which I consider brought a new sound for my musical career.
4
Contemporary Double Bass
It was not until the second half of the twentieth century to see the real
boom of contemporary double bass in hand of instrumentalists, educators and
especially jazz. This provided an opportunity for the performers of this
instrument to shine alone and allowed the adoption of new performance
techniques. This instrument has been considered from the outset as a
supportive instrument of the rhythm section, which will eventually leads to the
development of the execution to become a solo instrument that fits in the very
nature of jazz. The role of the instrument took a turn around the year 1939,
when a bass player named Jimmy Blanton revolutionized the way in which
this instrument would be played. Its development was innovative for the time,
for the first time the possibility of a bassist taking a solo became true. Prior
Blanton, bass was seen as an accompanying instrument, which had the
specific function of maintaining the pulse and shape of the harmonic
movement (Chevan, 1989).
With the contributions of the different generations of musicians before
the forties, bass developed its essential role: to accompany the melodic
soloist with rhythmic precision and definition of harmonic changes. In the
fifties piano trios were well received, as the most prominent of the time,
pianists found it as a means to demonstrate their skills as soloists. This led to
the bassists also expand their skills and develop their skills as soloists and
instrumentalists not strictly accompaniment (Judy, 2007).
5
The main role of the instrument is not lost, only the resources that have
been developed to provide a broader scope of it. This paper proposes an
analysis of the role of the bass in the piano trio format, containing the
following instruments: piano, bass and drums. For this study, I will do an
analysis of the transcriptions of bass lines on the song But Not For Me, in two
recordings of piano trio. These recordings are contemporary with each other,
since one was recorded in the year 1957 and the other in 1958. They can
clearly show the role of this instrument in a reduced format, where certainly
the instrument has greater role than in a bigger group such like a big band.
The work of Paul Chambers with the Red Garland Red Garland's Piano
album will be detailed in the first instance. Paul Chambers is one of the most
recognized bassists for his work in the jazz world and is one of the
fundamental pillars for the development of the instrument in this genre
(Palmer, 2012).
But Not For Me: the work of Ahmad Jamal with Israel Crosby in the
album Live at the Pershing will be analyzed. His performance with the trio of
Ahmad Jamal is praised by many bassists today, his name is not as
acclaimed as Paul Chambers, but is recognized as a major influence on the
bass (Campbell, 2006).
Finally, the context of the bass lines to the songs will be analyzed, as
well as harmonic and rhythmic elements used by the two bass players, which
leads them to fulfill their role in a piano trio. The important thing is to capture
6
the characteristics of them in this format, because each has its own voice.
The reason is to capture the details that lead to a bass line to be efficient.
Bassists should be aware of the elements needed for a bass line work in a
given context and the qualities that it requires. Therefore, it is important to
analyze those who have marked the history in the world of jazz.
7
Chapter 1: But Not For Me (1957) by Red Garland bass line by
Paul Chambers.
Red Garland and Paul Chambers were part of the most admired
rhythm section in the fifties, playing with Miles Davis. The Red Garland's
Piano album is the third album as a solo pianist. This album is the distinctive
voice of Garland. It is delineated by its distinctive chord voicings, melodic
ideas, and solid sense of swing. It includes eight standards. Accompanying
Paul Chambers on bass and drummer Art Taylor. Chambers recorded about
three hundred LPs for record labels such as Columbia, Riverside, Bule Note,
Savoy, VeeJAay, United Artists, Prestige and Impulse (Palmer, 2012). The
year 1957 was considered the most important in the career of Paul
Chambers, since only in studio work made more than three hundred eighty
recordings, which they labeled him as the most demanded bass player of the
time (Palmer 2012).
The composition But Not For Me by George Gershwin, has a four-bar
introduction, a verse of 23 bars and a chorus of 32 the form is ABAB '. It was
composed in the year 1930 and the original key is Eb Major (Withburn, 1991).
8
Figure 1. Excerpt from the original composition.
The sample represents 32 bars of But Not For Me, this is what it’s
played as a standard. In the version of Red Garland the key is Eb Major, as in
the original by George Gershwin. The melody is played in two feel, can be
clearly seen that the bass has a rhythmic character that drives the band. The
drummer keeps a set pattern of swing with brushes that allows a wide
dynamic range. The bass and piano stand out, as mentioned Max Roach
9
"would use brushes on the snare when accompanying a pianist" (Berliner,
2010).
Figure 2. Line by Paul Chambers on the melody.
As shown in Figure Two Chambers uses different resources when
accompany the melody. It is evident in this excerpt that uses quarter notes
and half notes as rhythmic figures to create the sense of two feel, but the line
10
includes anticipations of eighth notes on the upbeats in certain measures, with
dotted quarter notes, eight notes and triplets. A recurring pattern is that every
four bars he uses more notes, for example, in measure four, eight and twelve
the prevailing rhythmic cell is quarter note. Another feature is that the half
notes are present at all times on beat one, except for the measures
mentioned previously. This type of two feel gives momentum to the band. The
rhythmic movement is essential when playing in a piano trio format, since only
three instruments are present and it’s a way to bring attention to the audience.
This aspect is like a question and answer with the drummer and the bassist
with different rhythmic figurations.
In relation to the harmonic part, we see that the roots of the chords are
usually found on beat one. This is a characteristic of walking bass lines, the
chords are delineated by the root in the bass (Berliner, 2010). In the first
seven bars (excluding the first), it is evident that the predominant interval is a
perfect fifth. This interval in bass lines is part of a pattern to delineate the
harmonic changes, and Chambers is a point of reference on this aspect. It is
important that the root and fifth are present when you play piano trio, so the
pianist is free to put the tensions and give the color of the chord while the
bass keeps the fundation.
11
Figure 3. Paul Chamber’s Bass Line in piano solo.
In figure three, from bar 33 bass goes from two feel to quarter notes
swing. It’s evident in this section, that the bass went from making a line with
intervallic jumps bigger than a major second, to an scalar type of line that
includes major and minor seconds as the main resource, Chambers is
compared to Percy Heat because both use chromatics in their patterns when
making a walking bass line (Berliner, 2010). The bass line in this section,
where the piano solo begins rhythmically plays a steady role. During the solo,
there’s no rhythmic variation except some eighths notes appearing to give
momentum. Charlie Persip states that each beat should be played in unison
with the drummer for a groove, that's why the bass line of Chambers remains
constant (Berliner, 2010). The melodic contour in this section is much more
linear, with a wide use of the register.
12
When the melody is played and when a solo is played, there is a clear
difference in the way in which Chambers plays. In the melody the bass plays
rhythmic role and keeps the pulse going on, this is because the drummer
maintains a constant pattern and the bass is responding to the melody. In that
instance, the bass makes a response to the melody rhythmically, bringing the
rhythmic impulse and outlining chords. In the solo it’s evident that the roles
change: bass keeps a steady rhythmic pattern of quarter notes and
harmoniously remains linear with almost no breaks large intervals while the
drummer responds to the soloist.
In this recording the bass has a solo, characteristic of the piano trios of
the time. Generally, in larger ensembles the bass is only an instrument of
support. In a reduced format, as the piano trio is where the instrument can
stand out with it’s features of being a low-pitched instrument and having little
resonance. Paul Chambers is acclaimed for his ability to perform solos on the
instrument. His solos are based on the bebop language and his phrasing
simulates wind instruments.
Rhythmically, his solo is focused on eight notes. This quality is
characteristic of the style, the swing eight notes are the foundation of jazz.
Chambers rarely begins his melodic phrases on beat one or a down-beat. His
phrases, in most cases start in the up-beat of one or four.
13
Figure 4. Paul Chambers solo excerpt.
One of the characteristics of Paul Chambers soloing is to stay in the
middle and low register of the instrument. It works in the piano trio format; the
bass in relation to the orchestration can be highlighted on this register
because the piano can accompany in the high register without execution or
intonation problems (Berliner, 2010). The bass is an instrument whose range
can be extended up to a little over three octaves, but the difficulty of execution
on the higher octave is really demanding, so some bassists avoid it. It can be
seen that over the solo the highest note that Chambers is playing is an F two
additional lines in bass clef (transposed down an octave in concert pitch). The
high pitches in the bass sound more clearly when they are played with a bow.
In jazz the bow is not used frequently (Chevran, 1989).
14
In this particular case, the ability of the bass player and the tempo of
the song are important factors for the performance of the double bass as a
solo instrument. The fact that the bass has a slow response in relation to
pizzicato attack is decisive for the type of solo that can be done, considering
the skill of the performer. Nowadays the bass, with increasing amplification
equipment bassists came to have a more prominent role.
In the head out of the tune, Chambers returns to the pattern that he
played in the head in, but this time he introduces new resources. The range is
extended and this is where the line reaches its most acute part; reaches a D
flat in fourth line in treble clef (transposed down an octave concert). This
section uses a rhythmic pattern, which appears in the melody of the
beginning, dotted quarter note and eight note; this time it’s used more
frequently and drives the band keeping the feeling of two feel.
Figure 5. Excerpt bass line head out.
15
Influence on original composition: Alerting
The two feel type of playing of Paul Chambers influenced my type of
composition in terms of bass line. My music isn’t in the traditional path but I’m
using effective resources from that come from the tradition. The use of roots
and fifths are essential for holding up a bass-line as it has been previously
showed here but also the rhythmic movement it’s an important factor to hold
the band together.
My bass line follows the rhythmic direction that Paul Chambers has, it
was a source of inspiration and also understanding of why this line is effective
and has so much power in a reduced format. To be able to create an effective
bass line and also to improvise one over chord changes it was important for
me to analyze and listen to Chambers.
Understanding how the bass line works and shapes the melody it’s
important. As it was previously analyzed, the type of bass line that Chambers
plays during the melody it’s complementary and it’s main objective it’s to give
rhythmic movement to the rhythm section. It’s important to search for this
pulse while playing a two feel because the bass player is the one in charge to
provide the ground for the chords so if the bass line it’s anticipated the chord
will be.
16
I’m also using different rhythms on my bass line but the predominant
it’s a half note but not played on the beat but usually in the upbeats, this gives
a different feel of the harmonic placement within the pulse.
My mission as a bass player in this composition it’s to keep the
harmony as clear as possible that’s the reason of why I decide to use roots
and fifths through out the majority of the song so the piano player will be in
charge of the quality of the chord and tensions.
17
Alerting
SCORE
Intro F #maj7
? 4 .. ‰
4
D -7
& .. œ œ œ
5
? .. œ .
C sus
’
’ ’
#œ œ œ œ.
œ Œ
œ œ.
J
’’’’ ’
F7
9
D -7
& ˙.
j
œ œ.
œ œ ˙.
?‰ œœ ‰ j
œ œ
J
13
F7
’ ’ ’ ’ ..
’ ’
b
3
œ ˙
J
Œ œ bœ
3
œ œ
j
œ œ.
˙.
Œ
j
œ œ . œj ˙
j
‰ œJ œ ‰ œ œ
A 7/C
b
#
œ œ . œj
J
∑
..
‰ # œ . œ œ ..
B maj7
A -7(Ñ5)
œ œ ˙.
‰ b œ b œ œJ ˙
œ. bœ œ.
J
A -7
..
B maj7
Œ bœ œ b˙
E -11
j
œ œ.
’
A -7(Ñ5)
j
‰ œ œ bœ ˙
œ œ.
J
b
E /A
‰ b œ œ œ œ . n œj w
j
œ w
j
& Œ œ bœ œ ‰ œ ˙.
? œ.
b
A maj6
G -7
4
& 4 .. ’
Daniel Toledo
œ
‰ œj œ ‰ œJ œ
j
œ. œ. ‰ œ
bœ. œ.
œ œ
©
18
2
Alerting
C sus
œ œ
& ˙.
? œ.
17
D -7
œ.
&œ œ œ
? œ.
21
C sus
œ Œ
œ œ.
J
A -7
œ œ ˙.
˙.
œ.
œ.
‰ œj œ b œ ˙
œ œ.
J
œ ˙
J
E -11
œ bœ œ
‰ œj ˙ .
? œ.
j
œ œ.
j
œ œ.
Œ
œ œ œ.
F7
&Œ
25
œ œ
E -11
A -7(Ñ5)
Œ
bœ œ
3
b
b˙
#
’ ’ ’ ’
’ ’ ’ ’
B maj7
œ. bœ
Œ œ bœ
J
‰
bœ
œ.
bœ œ ˙
J
œ œ.
J
3
œ œ
j
œ œ.
j
œ ˙
A 7/C
A -7
˙.
j
œ œ.
Œ
j
œ ˙
A 7/C
#
j
œ
∑
‰#œ. œ œ
19
Chapter 2: Version But Not For Me (1958) by Ahmad Jamal bassline by
Israel Crosby.
"Crosby is perhaps best known for his work with the famous Ahmad
Jamal’s trio in the late fifties and early sixties. Throughout his work with the
trio, Crosby's playing was certainly stellar. His imaginative and melodic sense
of linear structure, paired with his ability to play bass lines of support and
these serve as examples of what to do as a jazz bassist. "(Campbell, 2006).
Ahmad Jamal trio was not well known to the general public, only in the
year 1958 came to light when they recorded Live at the Pershing: But Not For
Me. On that album Israel Crosby is on bass and Vernel Fournier on drums
(Lyons, 1987). This trio has characteristic, carefully planned trio arrangements
that demonstrate the power that can be achieved with few well-executed
notes.
An interesting aspect of this version is that being played in C major, the
piano solo modulates to F major. This bass has a supporting role on the entire
song, doesn’t has a solo but has a unique melodic presence. The version of
But Not For Me This trio has served as inspiration for great contemporary and
post-Crosby (Campbell, 2006) bassists.
In the version of But Not For Me Ahmad Jamal Trio, the first thing that
caught the attention of the listener is the melodic response that the bass
makes to the melody played by the piano. This melodic response is a
recurring element throughout the recording. Obviously is not an improvised
20
line, but a line constructed line with the purpose of making a response to
exposure of the melody. It is a two-measure melodic cell, one of the main
features of this line is that the notes are not part of the chord are in the down
beats. The melody moves in a scalar way, in the analysis it’s shown that the
line goes down from the sixth degree, up to the root (measure four and five).
This melodic pattern has a coherent fingering for the instrument, as described
in the upper line in the figure six. (Campbell, 2006).
Figure 6. Melodic line Extract Israel Crosby.
The way to accompany by Crosby is rhythmically consistent in
relationship to the piano. In this particular recording you it’s evident that when
the piano is conducting complex rhythmic figures, the bass is playing half
notes. When there is space left for the piano, Crosby is responsible for filling
and used as rhythmic eighth notes or triplets. Figure seven shows how the
bass player responds rhythmically. In this case, there is an arrangement so
indicates that it was played solely as a jam session, although it was recorded
in a hotel bar (Lyons, 1987).
21
Figure 7. Extract But Not for Me with piano and bass.
His melodic construction is also applied in his walking bass lines.
Crosby melodic sense gives a linear motion and direction of the line, the
chords are clearly defined (Campbell 2006). In figure eight it’s evident how
Crosby uses suspension that goes from the ninth to the root on the first
measure, in beat three and four of D-7. In the next measure using a jump of a
fourth to prepare another suspension following ninth, and delayed the arrival
of the root until beat three. It continues in linear motion and the flat seventh of
the G13 chord resolves to the third of the C6 chord.
Figure 8. Excerpt bass line of Israel Crosby.
22
Rhythmically when the melody is played, Crosby uses established
patterns, usually in cells of two bars. In the first two groups of four measures
he’s using the same pattern, half notes for the first two and the melody pattern
for the following. A characteristic of this line is that it appears three times
along the tune, in the melody that is in C major. The answers have the
distinction of being made in eight notes and triplets throughout the song.
During the piano solo, Crosby uses melodic resources, but remains mostly
accompanying the soloist with quarter notes. Crosby was an innovator, he
helped transition the lines of the two-beat walking bass in 4/4 (Campbell,
2006). One of the features mentioned by Campbell (2006), is that Crosby had
the ability to produce a quarter notes with a full value and his eighth notes
contained a robust tone and great articulation. This is clearly evident when
listening to the recording.
The intervals of Crosby’s bass line are wide in many cases; the use of
chromatic notes is not very common. His has a wide intervallic range along
the theme; he keeps his bass line in a comfortable register for the instrument.
Figure 9. Excerpt from the bass line of Israel Crosby.
23
Figure nine shows how Crosby makes his walking bass line. In the first
bar he begins on the ninth of the chord, all the following notes belong to the
chord as characteristic chord tones, which is why this line is clearly
delineated. In the following three measures, Crosby uses chord tones with the
exception of the first note of the third measure, a ninth of the chord, a
recurring element in this excerpt. In the last two bars the line moves in a
scalar way with a chromatic line at the end, one of the few times that happens
in this recording.
24
Influence on original composition: Mikkakan
My other composition follows the direction of this trio in particular. The
use of space for me it’s something really important to achieve and see the
approach of Crosby in this aspect it’s essential. From the analysis I can
understand how the bass can have melodic representation by doing a bass
line and being a supportive instrument.
My bass line it’s constructed based on the chord tones and this is a
characteristic that Crosby uses. His basis of construction of bass lines is the
arpeggios. The bass line should clearly define the chords in order that the
melody works only with the bass. It’s important that in my compositions I have
a clear harmonic understanding just from the bass and the melody.
Bass in this composition has a more dynamic role because it’s acting
similar to Crosby on this recording, giving melodic ideas in the spaces. The B
section of this tune it’s just harmony so here the bass is more free and
interacts with the piano player giving a melodic response on the space every
two bars.
25
Score
MIkkakan
ÿ
C maj7
G -7
G -7
& 44 Ó ‰ œ b œ œ .. œ œ b œ œ œ œ ˙ ‰ œ b œ œ œ œ b œ œ œ œ ˙ ‰ œ b œ œ
Piano
?4
4
∑
G -7
6
Daniel Toledo
D -7
C maj7
.. b œ . œ œ w
œ.
D -7
œ œ bœ œ œ
&
œ ˙
?
œ.
G -7
2.
& w
10
?
w
C maj7
bœ.
Ÿ
‰ œ œ œ ˙.
œ œ ˙
C maj7 D -7
œ ˙.
J
‰ #œ
G -7
œ œ ‰ œJ œ œ œ ˙
D -7
œœ
D -7
G -7
& Û Û ‰ Û Û Û Û |
J
15
?œ œ ‰ œ œ œ
œ ˙
J
G -7
œœ
Œ
1.
œœ ˙
‰ j
œ w
C maj7 D -7
ÛÛ‰Û Û ÛÛ |
J
œœ w
œ. bœ.
‰ œ b œ œ ..
G -7
ÛÛ‰Û Û ÛÛ |
J
Œ œœ‰œ œ œ
œ ˙
J
G -7
˙.
˙.
..
œ œ ˙
‰ j
œ w
œœ
Œ
‰ œ bœ œ
2013©
26
2– ÿ
&
19
?
œ œ bœ œ œ
œ ˙
œ.
G -7
& œ
23
?
C maj7
G -7
œ.
bœ.
œ bœ œ
bœ.
œ œ w
C maj7
œ œ ˙
œ œ ˙
Mikkakan
D -7
G -7
‰ œ bœ œ œ œ bœ œ œ œ ˙
œ.
bœ.
D -7
‰ œ œ œ ˙.
‰ #œ
œ ˙.
J
‰ œ bœ œ
œ œ w
œ œ
G -7
w
‰ œj w
27
Chapter 3: Conclusions of the two versions analyzed
The fact that the two versions of But Not For Me are contemporary,
leave space to draw some conclusions about the two bassists and their role in
the piano trio format. On one side, the version of Red Garland is not clear
whether there was a pre-arrangement, since there is no clear evidence of it
when listening to the recording besides the ending. On the other hand, Ahmad
Jamal recording is clear that there was an established arrangement, because
the bass has its melodic phrase three times in a specific place of the theme.
The biggest difference is in the way to accompany of the two bassists,
the use of intervals in their lines. On one side we have Paul Chambers, he
has its chromatic bass line and usually the notes of his walking bass line are
nearby. His movement voice leading is very clear and he uses chromatic
notes of the chord to create linear melodic motion. Unlike Chambers, Crosby
jumps tend to use a wider range when building his bass line, his bass line
movement is more focused on outlining the chord arpeggios. His melodic
feature is when resolving his bass lines, despite making large jumps in the
melodies that make is very clear when he resolves his bass lines.
In the rhythmic aspect is where we found greater similarity between the
two bassists; this is because the bass practically has an established role,
which is to conduct a walking bass. In the trio format of piano, bass evidence
have more freedom; quarter notes are not the only option, bassists have more
28
freedom rhythmically and use other resources, as demonstrated in these two
versions.
It can be concluded that the double bass in his role in the piano trio
format retains its essence as an instrument of support and accompaniment.
This reduced format allows it to stand out and share the limelight with the
piano and drums.
It’s essential to understand the tradition and the role of the instrument
in order to create lines that work within a context. Tradition gives us strong
foundation in order to understand the core and then move into exploring new
areas. A strong core of knowledge in why bass lines are effective and
powerful gives a solid panorama on where to explore and where to resolve.
29
Bibliography
Berliner, P. (2010). Thinking in Jazz: The Infinite Art of Improvisation.
Chicago: University of Chicago Press
Campbell, J. (2006, june 1). Israel Crosby: ahead of his time. Bass World
Vol.30. pp. 35-38.
Chevan, D, (1989). The double bass as a Solo Instrument in Early Jazz. The
Black Perspective in Music, (Vol. 17, No. 1/2, 73-92). Published by:
Foundation for Research in the Afro-American Creative Arts. From
http://www.jstor.org/stable/1214744.
Garland, R. (1957). But Not for Me. Red Garland’s Piano. [Recorded Audio:
CD] Verve.
Gershwin, G. (1930). But Not for Me. Just Gershwin Real Book. Published by:
Alfred Publishing; Spi Edition.
Jamal, A. (1958). But Not for Me. At the Pershing: But Not for Me. [Recorded
Audio: CD] Prestige.
Judy, N. (2007). Origins and early development of the Jazz Piano Trio. From
http://www.nedjudy.com/jpt/
Lyons, L. (1987). Ahmad Jamal. En The Great Jazz Pianist: Speaking of
Their Lives and Music. New York: Quill.
Palmer, R. (2012). Mr. PC: The Life and Music of Paul Chambers. Sheffield:
Equinox Publishing Limited.
Ramsey, D. (1989). Jazz Matters: Reflections on the Music and Some of Its
Makers. Arkansas: The University of Arkansas Press.
Whitburn, J. (1991). Pop Memories 1890-1954: The History of American
Popular Music. Wisconsin: Record Research Inc.
30
Appendix
31
2
But Not For Me
E maj7 F maj7
? ˙
26
œ.
œ
J
œ œ
? œ œœ
D -9
30
C C maj7
? œ œ œ œ
D
9
? #œ œ œ œ
38
?
7
F maj
œ
42
œ œ œ
D -7
G7
B/C
C/B
A -7
œ
˙
˙
œ.
œ œœ œ œ
C6
G7
C maj7
‰ œ.
œ
G 13
œ
œœœœ œ
œ
œ
œ œ œ œ
œ œ #œ œ
œ œ
œ œ
G 13
œ œ œ œ
C maj7
A -7
œ œ
œ
œ
œ
œ œ
b
7
C 13
C maj
œ œ #œ
œœ
7
? œ œ
œ œ
D -7 # œ
œ
œ œ Gœ7
C maj7
œ œ3 œ œ œ œ œ
G7
D -7
46
D C maj7 A 13 (#11)
A -7
Piano Solo
A maj
œ œ œ œ œ3 A
bœ
bœ œ œ œ œ œ
œ œ œ œ
?
œ
D -7
E -7
7
D -7
B7
œ œ œ œ
œ œ œ œ
7
G
j
œ œ œ
D -7
3
œ œ œ
A7
œ bœ
œœœœœœœ
œ œ b œ œ # œJ
‰
C maj7
A7
32
3
But Not For Me
?
D# œ13
54
?
58
œ œ œ
A
D -7
D -9
? œ œ œ œ
œ œ
62
D -7
74
G -7
? Ó
78
bœ œ œ
˙
œ œ œ œ
œ œ
C maj7
7
F maj
œ
#13
G -7
œ œ œ œ
bœ nœ œ
œ bœ œ œ bœ
œ
œ
F6
œ œ œ œ
œ œ œ œ
b
bœ bœ
D maj7
œ
œ
œ
D -7
œ œ œ
œ
œ œ œ œ
œ bœ
œ œ
b
œ œ
A -7
C -7
B /C
œ bœ
œ œ
œ œ
E -7
œ œ œ
œ
#œ œ #œ
#œ
F
œ
? œ
œ œ
70
? bœ
C maj7
œ
bœ œ œ
G 13
F 6/A
G7
C7
G -7
? œ œ œ œ
b
C7
œ œ œ
œ
œ
œ œ œ
B maj7
œ œ œ bœ
G7
bœ bœ œ œ
F maj7
7
E F maj
b9
b
E -7
D7
œ bœ œ
bœ bœ œ
œ œ œ œ
C7
33
4
F
?
But Not For Me
7
F maj
œ
œ œ œ
G7
?
86
œ
œ œ œ
b
bœ œ œ œ
90
G 13 œ
A -7
œ œ œ œ
œ bœ œ
G 13
? ‰ j Œ Œ ‰ œj Œ œ # œ
œ œ
œœ
98
D maj9
94
G 13
F maj9
? Uœ
102
Œ
C9
Œ
C7
œ
œ
œ
C -7
F7
œ œœ
3
‰ œJ Œ œ Œ
b
D -7
œ
D -7
œœœ œ
œ
œ œ
‰JŒ
Œ
? œ
œ bœ œ œ
œ œ œ œ
A -7
œ œ œ
œ
A -7(Ñ5)
G7
œ
œ
œ #œ œ #œ
C7
B maj7
? bœ
œ
C7
G -7
b
œ œ œ
œœœœ
œœ
C 13 (#11)
D maj9 E maj9
j
‰ œ Œ œ Œ
E maj9
E maj9
U̇
‰ b œ ‰ n œ ‰ b œJ ‰ n œJ Ó
J
J
f
œ
˙
34
But Not For Me
Swing q = 166
? b
bb
Bass
5
F7
? bb
b ˙
A maj7˙>
? bb
b
b
9
C -7
? bb
13
b
>˙
? bb
>
œ œ
F -7
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29
? bb
F7
33
b
œ
B
b7
˙˙
œ . >œ ˙
J ˙
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F
œœœ >
˙
b
E maj7
b
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E maj7
˙
7
>˙
b
œ. œ œ œ
œ œ nœ
J
œ.
>œ .
œ nœ
E maj7
F -7(Ñ5)
b7
œ
œ ~~~œ n œ b œ
J
E
B
œ bœ
b7
œ œ nœ
J
Ó
˙
.̇
3
>
b
b 7
B7
E maj
œ œJ œ œJ œ œ >˙
œ . n œj œ œ œ n œ
nœ
>
b
b
b7
B7
E maj7
>
œ
œ ~ E~ œ œ œ b œ œ œ
˙˙
œ ‰ œJ ˙˙
‰ J
D
b7
>
œ œ nœ œ.
œ.
b7
>œ ˙ D b7 œ
#œ
b˙
J
œ.
F7
b ˙
b>
A maj7
>
? bb ˙
b
B
>
œ œ
œ ~ ~n œ
21
25
>
Ó. ˙
F7
? b b >˙˙
b
17
4
4
F7
George Gershwin
Red Garland, PChambers's Bass Line 1957
b7
œ >˙
J
œ œ œ bœ
B
b
Bœ7
nœ œ
b
E maj7
>
œ bœ nœ ˙
˙
J
b
E -7
œ nœ
œ œ. Œ Ó
#œ œ
œ
b
œ.
>
C7
Ó
œ œ nœ
J
‰ œJ
nœ
œ bœ
œ œ œ nœ œ œ nœ
E maj7
© 1930 George Gershwin
35
7
2
F
37
A maj7
? bb œ
b
b
œ
œ
bœ
? bb œ œ œ œ œ
b
41
œ
F maj7
? b œ
b b nœ œ nœ
45
B
œ
D
61
? b
bb
65
œ nœ bœ œ
œ #œ
? bb œ œ
b
69
œ œ œ nœ
E maj7
œ
œ œ
œ nœ œ œ
57
F -7
œ
œ œ œ
œ nœ œ œ
œ
œ
œ œ
b
b
œ
œ œ nœ
œ œ œ œ bœ
œ œ œ œ
b7
œ œ œ nœ
œ œ
œ œ
b7
œ
? bb œ œ œ # œ œ
b
b
E
E maj7
E maj7
œ œ
œ nœ
53
? b œ œ œ nœ
bb
bœ nœ
œ œ œ œ nœ
E maj7
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