Got A Match? (Changes) Bass Tabs - Chick Corea @ BigBassTabs.com

"Got a Match" — Chick Corea

So instead of doing an actual tab of the bassline,
I'm going to use the changes for this song to illustrate how to build walking basslines.

The Song is in 4/4 time.
here are the changes:

|D min7      |A7          |D min7      |D7(#9)      |

|G min7      |D7          |G min7      |G min7      |

|E min7 A7   |F min7 Bb7  |Eb maj7     |E min7 A7   |

|D min7      |E m7(b5)  A7|D min7      |A7          | 

here are alternate changes that also work:


|D min7      |A7/C#       |D min7/C    |G7/B        |

|G min7      |D7/F#       |G min7/F    |C7/E        |

|E min7 A7   |F min7 Bb7  |Eb maj7     |E min7 A7   |

|D min7      |E m7(b5)  A7|D min7      |A7          |


What we're going to do is look at each chord,
and see what scales/arpeggios work over the chords.

Let's look at Arpeggios first.
Arpeggios are great for building walking bass lines because they outline the chords.

here are the qualities of the chords that are used with examples:

Minor 7    (1,b3,5,b7)   ex) D min7   (D,F,A,C)
Dominant 7 (1,3,5,b7)    ex) A7       (A,C#,E,G)
Major 7    (1,3,5,7)     ex) Eb maj7  (Eb,G,Bb,D)
Minor 7/b5 (1,b3,b5,b7)  ex) E m7(b5) (E,G,Bb,D)
Dom 7/#9   (1,3,#5,b7)   ex) D7(#9)   (D,F#,A#,C)


Here's an example using arpeggios to build a bass line.

Tab Layout:

—chord name
—interval of the chord
—note name
—tab
—timing


 |D min7          |A7              |D min7          |D7(#9)          |
 |1  b3   5  b3   |1  b7   5   3   |1  b3   5  b7   |1  b7  #5   3   |
 |D   F   A   F   |A   G   E   C#  |D   F   A   C   |D   C   Bb  F#  | 
G|————————————————|————————————————|————————————5———|7———5———3———————|
D|————————7———————|7———5———————————|————————7———————|————————————4———|
A|5———8———————8———|————————7———4———|5———8———————————|————————————————|
E|————————————————|————————————————|————————————————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |G min7          |D7              |G min7          |G min7          |
 |1   5   1  b3   |1   3   5   3   |1  b7   5  b3   |1   5   1  b7   |
 |G   D   G   Bb  |D   F#  A   F#  |G   F   D   Bb  |G   D   G   F   |
G|————————————————|7——/11——14——11——|12——10——————————|————————————————|
D|5———————5———8———|————————————————|————————12——8———|————————————————|
A|————5———————————|————————————————|————————————————|10——————10——————|
E|————————————————|————————————————|————————————————|————10——————13——|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |E min7  A7      |F min7  Bb7     |Eb maj7         |E min7  A7      |
 |1  b3   1   5   |1  b3   1   3   |1   3   5   7   |1  b3   1   3   |
 |E   G   A   E   |F   Ab  Bb  D   |Eb  G   Bb  D   |E   G   A   C#  |
G|————————————————|————————————————|————————————————|————————————————|
D|————————————————|————————————12——|13——————————12——|14——————————————|
A|————10——12——————|————11——13——————|————10——13——————|————10——12——————|
E|12——————————12——|13——————————————|————————————————|————————————9———|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |D min7          |E m7b5  A7      |D min7          |A7              |
 |1  b3   5  b3   |1  b5   1   3   |1  b7   1  b3   |1   1   1   3   |
 |D   F   A   F   |E   Bb  A   C#  |D   C   D   F   |A   A   A   C#  |
G|————————————————|————————————————|————————————10——|14——————————————|
D|————————————————|————————————11——|12——10——12——————|————————————————|
A|————————12——————|————13——12——————|————————————————|————12——0———4———|
E|10——13——————13——|12——————————————|————————————————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

Notice how every note in the bass line outlines every chord.
there are soooooo many ways to vary this.
Explore the possibilities!

Another way to approach walking lines is to use scales.
Scales are great for creating more linear sounding ideas.

here are scales that work over different types of chords

Minor 7    (Dorian      — 1,2,b3,4,5,6,b7)      ex) D dorian (D,E,F,G,A,B,C)
Dominant 7 (Mixolydian  — 1,2,3,4,5,6,b7)       ex) Bb Mix (Bb,C,D,Eb,F,G,Ab)
Dom 7 (#5) (Phrgian Dom — 1,b2,3,4,5,b6,b7)     ex) Bb P.D. (Bb,Cb,D,Eb,F,Gb,Ab)
Major 7    (Ionian      — 1,2,3,4,5,6,7)        ex) Eb maj (Eb,F,G,Ab,Bb,C,D)
Major 7    (Lydian      — 1,2,3,#4,5,6,7)       ex) Eb lydian (Eb,F,G,A,Bb,C,D)
Minor 7 b5 (Locrian     — 1,b2,b3,4,b5,6,b7)    ex) E locrian (E,F,G,A,Bb,C,D)
Dom(#9)    (Altered     — 1,b2,#2,3,b5,b6,b7)   ex) D alt (D,Eb,F,F#,Ab,Bb,C)

Phrygian Domimant — (Cb = B)
Altered — (#2 = b3)

There are many other scales that work over each of these chords.
these are just some of the more practicle scales you can use.
as long as the scale has the intervals that make up the chord you're golden!

Here's an example using Scales to build a bass line.

Tab Layout:

—chord name
—scale name
—interval in the scale
—note name
—tab
—timing

 |D min7          |A7              |D min7          |D7(#9)          |
 |D Dorian        |A Altered       |D Dorian        |D Altered       |
 |1   2  b3   4   |1   1  #2   3   |1  b7   6  b7   |1  b2  b3   3   |
 |D   E   F   G   |A   A   C   C#  |D   C   B   C   |D   Eb  F   F#  | 
G|————————————————|————————————————|————————————————|————————————————|
D|————————————5———|7———————————————|————————————————|————————3———4———|
A|5———7———8———————|————0———3———4———|5———3———2———3———|5———6———————————|
E|————————————————|————————————————|————————————————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |G min7          |D7              |G min7          |G min7          |
 |G Dorian        |D phrygian Dom. |G Dorian        |(G dorian)      |
 |1   2  b3   4   |1  b7  b6   5   |1   2  b3   4   |5   6  b7   1   |
 |G   A   Bb  C   |D   C   Bb  A   |G   A   Bb  C   |D   E   F   G   | 
G|————————————————|————————————————|————————————————|————————————————|
D|5———————————————|————————————————|————————————————|————————————————|
A|————0———1———3———|5———3———————————|————————————3———|5———7———8———10——|
E|————————————————|————————6———5———|3———5———6———————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |E min7  A7      |F min7  Bb7     |Eb maj7         |E min7  A7      |
 |E dor.  A mix.  |F dor.  Bb mix. |Eb major        |E dor.  a mix.  |  
 |1   1   1  b7   |1   2  b7   1   |5   6   7   1   |1   2  b7   1   |
 |E   E   A   G   |F   G   Ab  Bb  |Bb  C   D   Eb  |E   F#  G   A   | 
G|————————————————|————————————————|————————————————|————————————————|
D|————————————————|————————————————|————————————————|————————————————|
A|————————————————|————————————————|————————5———6———|7———9———10——12——|
E|0———0———5———3———|1———3———4———6———|6———8———————————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |D min7          |E m7b5  A7      |D min7          |A7              |
 |D Dorian        |E loc.  A P.D.  |D Dorian        |A Altered       |
 |1  b7  b7   1   |1  b3   1  b7   |b3  2   1  b7   |3   1  b2   3   |
 |D   C   C   D   |E   G   A   G   |F   E   D   C   |C#  A   Bb  C#  | 
G|————————————————|————12——14——12——|————————————————|————————————————|
D|12——10——10——12——|14——————————————|15——14——12——10——|11——————————————|
A|————————————————|————————————————|————————————————|————0———1———4———|
E|————————————————|————————————————|————————————————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

Notice how every note in the bass line is a part of some scale that works for that chord.
Also notice how in several areas i did not start the measure with the root note.
one thing that's great about being the bass player is that you have the power to do that.
It's a great way to make each of your choruses sound different from each other.
It also takes the same chords and gives them a new sound.
Explore!

(Again, there are other scales that work over these chords...explore!)

Another great thing to do is to use chromatic approach notes.

Here's an example:

 |D min7          |A7              |D min7          |D7(#9)          |
 |D   F   G   G#  |A   G   E   Eb  |D   F   A   C   |D   C   Bb  Ab  | 
G|————————————————|————————————————|————————————5———|7———5———3———————|
D|————————5——(6)——|7———5———————————|————————7———————|———————————(6)——|
A|5———8———————————|————————7——(6)——|5———8———————————|————————————————|
E|————————————————|————————————————|————————————————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |G min7          |D7              |G min7          |G min7          |
 |G   Bb  C   C#  |D   F#  A   Ab  |G   F   D   Bb  |G   D   G   F   |
G|————————5——(6)——|7——/11——14—(13)—|12——10——————————|————————————————|
D|5———8———————————|————————————————|————————12——8———|————————————————|
A|————————————————|————————————————|————————————————|10——————10—(8)——|
E|————————————————|————————————————|————————————————|————10——————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |E min7  A7      |F min7  Bb7     |Eb maj7         |E min7  A7      |
 |E   Bb  A   E   |F   B   Bb  E   |Eb  G   Bb  Eb  |E   G   A   Eb  |
G|————————————————|————————————————|————————————————|————————————————|
D|————————————————|———————————(14)—|13—————————(13)—|14——————————————|
A|———(13)—12——————|———(14)—13——————|————10——13——————|————10——12——————|
E|12—————————(12)—|13——————————————|————————————————|———————————(11)—|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

 |D min7          |E m7b5  A7      |D min7          |A7              |
 |D   F   A   F   |E   Bb  A   Eb  |D   F   G   G#  |A   A   A   Eb  |
G|————————————————|————————————————|————————————————|————————————————|
D|————————————————|———————————(13)—|12——————————————|————————————————|
A|————————12——————|———(13)—12——————|————8———10——11——|12——12——0——(6)——|
E|10——13—————(13)—|12——————————————|————————————————|————————————————|
 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 + |

Notice how each note in (#) is either a half—step up or down from the note after it.
This creates a great amount of tension which makes the resolution to the next chord very effective.

If you take these three concerpts and blend them together,
You will generate some great walking lines very quickly!
explore the possibilities!

I hope this has been helpful.
Please give me constructive criticism.

—Connor Larkin

How to Read Bass Tabs

Bass tablature (tabs) is an easy way to learn songs without needing to read traditional sheet music. Here’s a quick guide to understanding the symbols and techniques commonly found in tabs:

1. The Basics

Strings and Frets:
Each line in a tab represents a string on your bass:
- The top line is the highest-pitched string (G on a 4-string bass).
- The bottom line is the lowest-pitched string (E on a 4-string bass).
Numbers on the lines indicate which fret to press. For example:
```
G|-------------------|
D|-------------------|
A|---3---------------|
E|-------------------|
            
```
This means you play the 3rd fret on the A string.

2. Common Techniques

Hammer-On (h):
Play the first note by picking it, then press down on a higher fret with another finger without picking again.
```
G|-------------------|
D|-------5h7---------|
            
```
Pull-Off (p):
Pluck a note and then "pull off" your finger to let a lower fret ring.
```
G|-------------------|
D|-------7p5---------|
            
```
Slide (/ or \):
Move your finger up (/) or down (\) the fretboard while maintaining pressure.
```
G|-------------------|
D|-------5/7---------|
            
```

3. Advanced Techniques

Bend (b): Push the string up or down to raise the pitch. Example: G|-------7b9---------|
Vibrato (~): Shake the string slightly after playing a note to create a vibrating sound. Example: G|-------7~----------|
Muted Notes (x): Rest your finger lightly on the string without pressing a fret and pluck for a percussive "click" sound.

4. Rhythm and Timing

Tabs don’t always indicate timing, so listen to the song while reading the tab. Wider spaces between numbers mean longer pauses, while closer numbers indicate quicker notes.

5. Slap and Pop

Slap (s): Strike the string with the side of your thumb for a percussive sound.
Pop (p): Pull the string away from the fretboard and let it snap back.

Practice Makes Perfect

Tabs are a great tool to learn songs, but mastering the techniques takes practice. Listen carefully to the original track and play along to lock in the rhythm. Don’t rush — smooth, accurate playing is more important than speed. Happy jamming! 🎸

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Chick corea — Got a match? (changes) bass tabs