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Exploring Left-Hand Techniques in "Take the A Train"

Before we leave this swing feel tune, Take the A Train, let's talk a little about another important left-hand style.

Reviewing Previous Techniques

We've already covered:

• The two feel
• Chords

However, we haven't yet explored a walking bass line for this tune. This is something you might like to dive into! Here are a couple of tips to guide your practice:

Basic Walking Bass Line Techniques

1. Full Bar Chords
   If you have one bar on a chord, you can play an ordinary triad pattern in its simplest form.

   • This could be:
     • Down low
     • Up high

   Additionally, you can put the fifth on the bottom. This works for both major and minor chords.

2. Descending Triads
   As we've seen before, descending triads can be effective in your playing.

Half Bar Approach

What happens if you only have half a bar on a chord?
I recommend a straightforward approach for this, especially in turnarounds.

• Example Turnaround: C, A, D, G
  • Two beats each
  • Play root and third

This would sound like this:

• C, A, D minor, G

To practice, try it an octave lower.

Complete Bass Line Example

Here's a complete bass line for the first eight bars of Take the A Train. I've incorporated each of the devices mentioned.
(Note: It sounds even better down low.)

• Tip: Try some improvisation!

Mastering the Left-Hand Technique

If you can take the time to master this slightly more complex left hand, practice at slow to medium tempos.
It's a wonderful skill to be able to improvise or play the melody while keeping the walking bass going.

Introducing the "Run Up"

Before we wrap up, let's discuss a very common figure known as a "run up."

• Definition: This is when you go up a fourth.
  • Instead of sticking to the notes of the chord, play a scale pattern from D minor to G, for example.
  • You'll hear bass players do this all the time.

Application of the Run Up

Essentially, we're ascending the scale of the chord, but adding an extra note.
As we reach G, we want it on beat one, not beat four.

• If you're going from G to C, you can apply the same principle.

Practicing with Variations

Let's do our bass line again and include those two run-ups. This time, I'll incorporate the chords that lead us to the bridge.

• Bridge Arrival: Now I'm on F.

Key Transitions:

• Two run-ups: D minor → G7, then
• A descending triad,
• Root and third on G,
• Root and third on C.

This transition takes me neatly to F.

Conclusion

Have fun with that!