Set 1 below features several bass runs and fills. The capital letter defines the chord which should be played on the second and forth beat of the bar (when you can). The lower case letters are the bass notes to play. Where there is a slash (/) no bass note is played (but a chord should sound).
Bar 2 demonstrates a fill as you move from the tonic chord (G major) to the subdominant (C major).
Bar 4 shows a run down the bass scale as you move from the dominant 7 chord back towards the tonic chord (G major).
Bar 8 shows a fill, all within the tonic chord (G major), moving back to the start of the line.
Don't use all of these structures all the time to avoid too much scribble in the music.
Set 2 contains some more structures.
In bars 1 and 2 the bass follows the pattern tonic (G), major 7th (F#), 6th (E), dominant (D).
This is followed by an exciting structure going G, G# A using the diminished chord to change the fundamental of the G major chord to G# but not change the other notes in that chord. I explain how I do this on the "How I use the diminished chord row" page.
Bar 5 uses A minor which could also be C6.
Bars 6 to 8 use the combination G major, E minor, A minor, D7, G major - the well known "Reach up the bass buttons and work your way back down."
Bar 8 uses the same fill as in Set 1.
Set 3 shows some structures in a minor key.
Bars 1 and 2 echo a well-known pattern of sound. Sometimes this can be varied by replacing the E flat with an E.
Bars 5 and 6 replace an (almost expected) C minor with an E flat. This could be enhanced as an E flat 6 chord.
In each case, your ears must be the judge as to whether the pattern fits the music you are playing.
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