Practice Application Projects: Create Bass Parts from Chord Charts

These mini-projects are about turning a chord chart into a playable bass part using tools you already have: chord symbols, Roman numerals, chord tones, and steady rhythm. You will (1) read the chart, (2) list chord tones, (3) choose target notes (root + a defining tone), (4) write a two-bar line, (5) create one variation with passing tones, and (6) self-check for harmony + time. Keep everything simple and repeatable: if it feels “too easy,” that’s usually correct for a first draft.

How to use each project

• Tempo & feel: pick a comfortable tempo where you can play evenly (e.g., 70–100 bpm). Use a metronome or drum loop.
• Register choice: stay in one position if possible. Fewer shifts = cleaner time.
• Target notes: for each chord, aim to land on root plus one defining tone (3rd for major/minor quality, or 7th if it’s a 7th chord). You don’t need to hit every chord tone—just make the change obvious.
• Two-bar line: write something that loops. If the progression is 4 bars, write 2 bars that can repeat or write bars 1–2 and bars 3–4 as a second two-bar phrase.
• Passing tones: in the variation, add one note between targets to connect smoothly. Keep the rhythm the same at first so you can hear the pitch change clearly.

Project 1 (Rock): I–IV–V in A (powerful, steady)

1) Chord chart

Symbols (4 bars): | A | D | E | E |

Roman numerals: | I | IV | V | V |

2) List chord tones

• A (A major): A–C#–E
• D (D major): D–F#–A
• E (E major): E–G#–B

3) Pick target notes (root + defining tone)

• A: A (root) + C# (3rd)
• D: D (root) + F# (3rd)
• E: E (root) + G# (3rd)

4) Write a two-bar bass line (8th-notes, rock drive)

Use a simple root–5th idea and make sure beat 1 clearly states the chord root.

Time: 4/4, feel: straight 8ths (rock)  | A      | D      | (repeat to cover E bars similarly)  Bar 1 (A):  1 & 2 & 3 & 4 &           A   E   A   E   A   E   C#  E  Bar 2 (D):  1 & 2 & 3 & 4 &           D   A   D   A   D   A   F#  A

How to apply to the full 4-bar chart: play Bar 1 for A, Bar 2 for D, then reuse the same shape for E by substituting E–B–G# (root–5th–3rd) for two bars.

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5) One variation using passing tones

Keep the rhythm identical; change only one connecting note to lead into the next root.

Variation idea (approach into D):  Bar 1 (A, last two notes): ... C#  C (passing)  then Bar 2 starts on D

This creates a clear “pull” into D without changing the groove.

6) Self-check

• Do your beat-1 notes match the chord roots (A, then D, then E)?
• Can you hear the major quality (C#, F#, G#) at least once per bar?
• Does your right hand stay consistent (even 8ths) without rushing fills?

Project 2 (Pop): I–V–vi–IV in G (smooth, singable)

1) Chord chart

Symbols (4 bars): | G | D | Em | C |

Roman numerals: | I | V | vi | IV |

2) List chord tones

• G (G major): G–B–D
• D (D major): D–F#–A
• Em (E minor): E–G–B
• C (C major): C–E–G

3) Pick target notes (root + defining tone)

• G: G + B (major 3rd)
• D: D + F# (major 3rd)
• Em: E + G (minor 3rd)
• C: C + E (major 3rd)

4) Write a two-bar bass line (pop: supportive, less busy)

Use mostly quarter-notes with occasional 8ths to set up the next chord. This keeps the vocal space open.

Time: 4/4, feel: pop (quarters with a pickup)  Bar 1 (G to D):   Beat:  1   2   3   4              G   D   B   D  Bar 2 (Em to C):  Beat:  1   2   3   4              E   B   G   (G->C setup as 8ths: G  A)  If adding the setup: on beat 4 play two 8ths: G (4) A (&), then land C on next bar.

Note choice logic: each bar includes the chord’s root and 3rd so the quality is obvious (major vs minor), but the rhythm stays simple.

5) One variation using passing tones

Add one passing tone between two targets to smooth a jump. Example: connect D to E (from D major to E minor).

Variation (end of D bar into Em):  ... D (beat 4)  D# (passing on &)  then E (next bar beat 1)

Keep it subtle: one passing tone is enough.

6) Self-check

• Can you sing the chord roots while you play them (G–D–E–C)? If not, simplify.
• Do you clearly hear the switch to minor on Em (the G natural as the 3rd)?
• Is your volume even from note to note (no accidental accents on passing tones)?

Project 3 (Jazz / swing feel): ii–V–I in C (clear guide tones)

1) Chord chart

Symbols (4 bars): | Dm7 | G7 | Cmaj7 | Cmaj7 |

Roman numerals: | ii7 | V7 | Imaj7 | Imaj7 |

2) List chord tones

• Dm7: D–F–A–C
• G7: G–B–D–F
• Cmaj7: C–E–G–B

3) Pick target notes (root + defining tone)

Here, use root + 3rd to show quality, and optionally the 7th to make the cadence obvious.

• Dm7: D + F (minor 3rd) (optional: C as 7th)
• G7: G + B (major 3rd) (optional: F as 7th)
• Cmaj7: C + E (major 3rd) (optional: B as 7th)

4) Write a two-bar bass line (walking-style quarter-notes)

Write two bars that cover Dm7 → G7. Then repeat the same rhythmic idea for Cmaj7.

Time: 4/4, feel: swing (quarters)  Bar 1 (Dm7):  D   F   A   C  Bar 2 (G7):   G   B   D   F  Apply to resolution (Cmaj7):  Bar 3 (Cmaj7): C   E   G   B  Bar 4 (Cmaj7): C   G   E   C  (simple, stable)

Why this works: each bar spells the chord clearly using chord tones only, and the voice-leading from bar to bar is smooth (C → G is a clear root change; B and F define G7 strongly).

5) One variation using passing tones

Add one passing tone to lead into the next root while keeping quarter-notes.

Variation (approach into G):  Bar 1 (Dm7): D   F   A   Ab (passing)  Bar 2 starts: G ...

Or approach into C:

Variation (approach into C):  Bar 2 (G7): G   B   D   Db (passing)  Bar 3 starts: C ...

6) Self-check

• Do bars 1–2 clearly sound like “tension moving to resolution” (G7 pulling to Cmaj7)?
• Are you landing on the correct root on beat 1 of each bar (D, G, C)?
• Is your time steady enough that you could loop the 4 bars for a full minute?

Record-and-listen checklist (use for all projects)

• Record 20–40 seconds of you looping the progression (phone audio is fine).
• Listen back and answer:
  • Can you identify each chord change without any other instrument?
  • Do transitions feel smooth (no awkward gaps or rushed pickups)?
  • Is the groove consistent (same note length and volume across bars)?
• If something sounds unclear: remove notes first (simplify to roots), then re-add the defining tones.