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This section systematically deals with steps to learning, both practically and aurally, the leading notes in the context of the standard IIm7 V7 I jazz cadence. The principle (in 4/4 time) is to play notes 1 2 3 (ascending) or 8 7 6 (descending) of each chord scale on the first three beats of every bar, then one of the leading notes on the fourth beat of every bar. Using this system, one hundred different lines are created for the IIm7 V7 I progression. The hundred lines are split up into ten series. When you play through each series you will hear how each leading note quality gives the line a distinct sound. Knowing this sound is what gives you the ability to choose a sound to suit the music of the moment. One hundred IIm7 V7 I lines in twelve keys gives twelve hundred lines to practise. And this does not include the enormous amount of variation through octave changes (those with note repeats are noted in the examples as options), different registers, positions, etc. As a practice method for the hundred lines, I recommend using a metronome and increasing the tempo for each series of ten lines. This will also build your stamina, both physically and mentally. Here are the hundred lines in the key of F major: Examples P1-10
Examples P11-20
Examples P21-30
Examples P31-40
Examples P41-50
Examples P51-60
Examples P61-70
Examples P71-80
Examples P81-90
Examples P91-100
The method of 1 2 3 lead or 8 7 6 lead can be applied to any chord sequence. Here are examples using the chords Gmaj7 to C7 to F: Ascending/Ascending: G A B G C D E C F Descending/Ascending: G F# E G C D E C F Remember to use the chord scale! As the system is numerical (i.e. 1 2 3 or 8 7 6) you must insert the correct 3rds and 7ths based on the chord scale: Major 3rds on major chords If the chord indicates b9 or b13 (see compound intervals.) insert the notes (b2 or b6) accordingly. (This system does not employ the 4th/11th or the 5th/12th.) Walking bass is a very involved area in music theory. See also:
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