Although two-beat and walking bass lines are preeminent in jazz and blues, there are some other, somewhat miscellaneous, techniques that can be inventive, refreshing, and downright fun. Not surprisingly, Jaco Pastorius was known for employing all of these in creative ways.

The first item to check out is the use of pedal tones. A pedal tone, or “pedal” for short, couldn't be easier to play since it's just one note! The whole idea of a pedal is to plant one good, solid bass note underneath shifting chords on top. A pedal's power comes from the fact that it is stationary. The pedal immediately grabs the listener's attention by building harmonic tension and emotional intensity. Also, a pedal often differs from the root of the chord. This further dramatizes the pedal's tension and release. Figure 8-10 illustrates the use of pedal tones on another, more advanced, blues form.

Sometimes it can be positively hypnotic to hear compelling melodic idea repeated over and over again. The musical term for this is ostinato. When an ostinato is played as a bass line, it can have this same, almost intoxicating, effect. A great example of this is the bass part on the Miles Davis classic “All Blues” as played by the great Paul Chambers. Figure 8-11 is an ostinato that simulates Chambers's bass part. Again, you will see another slight modification to the blues form. Also, you're playing in ¾ time on this example.

One of Jaco Pastorius's most innovative techniques was his use of harmonic overtones. His technique was so advanced that it goes well beyond the scope of this book. However, you should get a chance to try harmonics.

To achieve this special sound, you need to rest your middle finger on any string over frets twelve, seven, or five. There are more locations where harmonics can be achieved, and you should have fun trying to discover them, but it's easiest to achieve harmonics on one of the above mentioned frets.

Figure 8-10. Pedal tones .

In measures eleven and twelve, the chords change but you pedal on an E.

To play a harmonic, gently rest your fingertip exactly over the metal fret.

This is the sweet spot for playing a harmonic. Be sure not to press all the way down to the neck. Once your left hand is in position, pluck with your right hand. A fraction of a second later, nearly simultaneously with your plucking, remove your left-hand finger from the string. Listen for a ringing, almost bell-like, tone. You may not hear it at first, but once you practice this it should become easier to achieve. Through experimentation you can mix different harmonics to create melodic patterns and even chords that have their own distinctive sound. If you choose, you can also tune your bass by using harmonics. Figure 8-12 gives you a chance to use harmonics.

Figure 8-11.

Ostinato bass line

Figure 8-12. Using harmonics

Play all notes as harmonics and let each note ring out.

means to play an octave higher than written.