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Parallel Thinking

by Michael Dimin

Parallel thinking is a departure from the way we usually approach creating bass lines. It is more fluid, lyrical, and musical. Parallel thinking is more efficient and will give you a better sense of the fret board. Often times, when choosing appropriate scales or modes for a bass line, we look at each chord, its scale or mode and play that scale or mode from root to root. Parallel thinking gets us out of that "rut" and into some more musical endeavors.

Please note that I have used a 4 string bass for example only. These concepts are easily transferable to the 5 or 6 string bass (or more). For this article we will use the following chord progression, Bb7 to Eb7 from the "A" section of Joe Zawinul's "Mercy, Mercy, Mercy." In the past we would think Bb Mixolydian to Eb Mixolydian. With this type of playing our bass line becomes compartmentalized. We see each chord as an entity unto itself and not part of the musical whole. Parallel thinking allows us to be much more creative.

Parallel thinking involves 2 distinct skills. The first is, knowing all the notes in any particular scale or mode in any given position. This is called "Scale Forms" and is not as difficult as it sounds. It just involves extending the scale or modes that you currently know to all the strings on your bass. The second skill is to use the scale form from each chord in a single position on the bass. Let's look at it more closely.

As we look at a Bb7 chord we might think the Bb Mixolydian mode (Bb, C, D, Eb, F, G, Ab, Bb).

As we look at the Eb7 we would think Eb Mixolydian mode (Eb, F, G, Ab, Bb, C, Db, Eb)

Now, let's think of every note in Bb Mixolydian in a single position; in this case, 3rd position.

Let's do the same for the Eb Mixolydian.

Notice that the two scale forms have only one note different. The Bb Mixolydian has a D natural while the Eb Mixolydian has a Db. Each of these notes is a chord tone to their respective chord. As you create a bass line, use this difference. Try this while developing solos. I believe you will find that your lines flow more, are more lyrical and musical.

Try the same exercise in 1st position, 5th position and more. Good Luck! Below find a bass line that I wrote. I used the Parallel Thinking techniques. The bass line was written in 1st position using the appropriate Scale Forms. For the sake of example I limited my self to chord tones (except for 1 passing tone).