For a complete guide to Walking Bass Lines be sure to check out the full course here. You can also download the pdf of this line here. As I mentioned this is a very simple line using only a couple of basic repeating melodic patterns.
Once you have those patterns under your fingers you can start to experiment and add more and more figures on the fly as your vocabulary develops.
Autumn Leaves is pretty straightforward in that we have two main tonal centers, one in Bb major and then another in the relative minor key of G minor. At the end of the 8 bars we have G7 chord acting as a secondary dominant chord to bring us back round to Cm7 again:.
These two patterns work for any chord movement by 4 th. When measuring chord movement we look at the root movement in ascent. So Cm7 to F7 is movement by 4th because we have the root notes moving from C to F. This is the pattern of scale degrees 1 2 3 5 applied to the C Dorian scale. We match this to the second mode of the keywhich is Dorian. For the descending line I come down through the appropriate scale. If we look at the Bbmaj7 I descend through the notes of the Bb major scale.
This leads us smoothly into the next chord of Ebmaj7. The two scale patterns work through most of the chords in Autumn Leaves because there is so much movement by 4th. However there are a few basic exceptions. In bar 16 we also have Gm7 moving to Am7b5. This is movement of a 2nd so we need another line. I opted to use a basic chromatic approach :.
In this instance, we can simply repeat each root note, giving us a smooth descending line:.
Finally in bar 30 we have another 2 chords in the bar. This time we have wider movement by 4th so we can use root — 3rd patterns to bridge the larger gaps:. Learn to play the walking bass line provided and always focus on how each line works over each chord.Guitar Walking Bass Lines w/chords - Jazz Lesson With Tabs
You are making a journey from one chord to the next and using the chord tones and scales, implied by the harmony, as your resources in building a road through the terrain.
So as a quick example of how you might use this bass line as a springboard. This is a really popular chromatic line that works equally well over minor 7, dominant 7 and major 7 chords. So this line gives us a formula of root note — 2nd — minor 3rd — major 3rd. As with our previous scale patterns we can simply add this into our line wherever we have movement by 4th. Thanks for all of the free lessons. They really offer a clear explanation of how to approach the walking bass method.
It really helps to go through some of the lessons Mark has referred to in order to understand the language. Ciao Mark thanks a lot for the lesson wich isas alwaysvery clear and helpful! Have you planned to release a new course specifically on walking bass soon?In part three of our walking bass series, we are looking at the final changes for the 12 bar blues.
In Lesson 2we continued to build patterns for the common chord progressions we see in blues. So far we have patterns for each chord change in the Bar Blues except for one, moving from V to IV i.
Jazz Walking Bass Books
G7 to F7. Examples 1 and 2 demonstrate patterns for moving from V to IV, which can also be thought of as descending a whole step. It is an integral part of playing the blues, where the V chord descends to the IV chord in bars nine and ten. Example 2 is the first half of the boogie pat-tern that we developed in Lesson 2, this time over a G7 chord. That pattern took us up to the b7th and back down to the root, however in this case, the b7th F is as far as we need to go.
For example, we looked at C7 to G7 for the I to V movement, but these patterns are also applied to the F7 to C7 movement from bar 2 to bar 3, bar 6 to bar 7 and bar 10 to bar From this example, you can see that we can easily create a smooth, functional walking bassline just by linking together a handful of patterns over four different chord changes: I to IV, Static, I to V and V to IV.
Substitute some of the other patterns that we have learned into this progression, and see how they sound. Some patterns will sound better to you than others, so focus on the pat-terns you like the most.
The second part of my walking bass series goes back to one of my favorite upright bassists of the s era - Jimmy Garrison. He is often described as being a solid center of a band laying down a rock solid foundation. Nonetheless, he could also be a driving force having a huge woody sound. He had an amazing feeling of space and time - he knew and used pauses and breaks in his lines without interrupting the flow of music itself.
He was the safe yet fertile grounds for the band - he allowed them to go wherever they wanted to go, following them, yet he was there to get them back together. He always chose to be supportive, his great musicianship lies in his musical humbleness - he had masterful technique and great musical wisdom as his objective was to make the band the other members sound good.
In the John Coltrane Quartet he was often given a solo space between songs and had extended improvisations. He is definitely a musical giant and should receive more recognition. Bessie's Blues is a very simple blues and i really find it amazing how many little nuances there are in such a "simple" piece.
The bass line is solid yet some rhythmical choices and note approaches make it very interesting on many levels. Again, i strongly recommend to listen to the piece while you are learning this - this will make you hear a lot of interplay in these 36 bars only! First of all, if you are new to walking bass, look at my previous lesson. Then open the PDF for this lesson, and look at all that information :.
At the top of the page, you can see 3 chord diagrams - these are the chords which constitute the song. I also spell out the chords with the root, the third, the fifth and the seventh. In grey, you can see the scale notes diatonic means notes are within scale. From the root to its octave we number the notes in the scale - we already have the first the rootthe third, the fifth and the seventh - i hope the other numbers are obvious : These numbers become important when we analyze the walking bass line later!
The green notes form a chord voicing. In the video, there is only a general analysis, so if you want to look deeper and discover some patterns here are some things to look at in addition to what i mention to in the video.
And that works especially well, since in that bar Ab7 that Bb note is now a second. The same way, in bar 4 that last note, that third G leads to the root again smoothly. Similar thing happens in bar 10 - but now as the chords change rapidly notice how Jimmy employs almost the same notes in bar 9 and 10 - yet they have different harmonic roles in the bars!
The harmonies are spelt out clean as this section in the song is where the band plays the melody. The video does not intend to violate any laws or copyrights, it is to be used for educational purposes fair use. The original song can be purchased at Amazon and iTunes! Support the legacy of Jimmy Garrison by buying his records and be sure to check out his son, Matthew Garrison as well - he is a monster too! R-root, 3-third, 5-fifth, 7-seventh, D-diatonic and there is C which means chromatic passing note.
So if you all know that, we can begin to talk about the bass line :. Also if you listen to the piano solo, the previous bar is also bringing up tension and i feel Jimmy is just following him by going to the same territory while maintaining the pulse this time.
When you learned the line, it is also important that you get a sense of shapes on the bass too - this fingering is trying to view the bassline from an upright viewpoint - sit down with your bass and try to come up with different fingerings in different positions - bring the root to another string and find the same notes in that fingering.
Look at the upper and lower octaves of the thirds,fifths and sevenths - it is important to know the "shapes" in both "directions". Well, that's it for today - hopefully i haven't made your brains explode with all that walking bass stuff and could show you a few tips and angles on it : Happy practising - enjoy this bass line and try to see the poetry of it : As a homework, try to transcribe the rest of it and idenity the roles of the notes within a bar!
Posted by rajoebass 0 Comments bluesgarrisonjimmywalking bass.In this lesson, you will learn how to combine chords with a walking bass line, a concept that is becoming more and more in demand these days. As club and restaurant owners are cutting budgets, one way to keep our gig as a guitar player is to slim down the ensemble to a duo or solo.
A walking bass line walks through the chord progression, one note per beat. Its function is to outline the chords of the progression and provide a smooth transition from one chord to another. While walking bass in a band is generally played by the bass guitar or double bass player, being able to play walking bass lines is an essential skill for jazz guitarists when playing without a bass player.
The difficulty in walking bass on the guitar lies in the combination of playing chords and bass at the same time. Walking bass on guitar is usually played fingerstyle. Use your thumb for the bass notes and your other fingers to comp the chords. Being able to walk a bass line and comp the chords at the same time is an invaluable skill to have and one that will allow you to work in situations where other guitarists cannot.
Download now and learn chord shapes! The very start in learning how to walk a bass line is being able to play the root note of each chord on the lowest two strings A and E strings of the guitar. In the next step of constructing walking bass lines, we will play what bass players refer to as half time, where the half note is the rhythmic focus of the line. Notice that we now have a rhythmic change in the last two bars.
Because the chord movement is twice as fast in these two bars we have to use quarter notes when adding our approach tones.
This leads us nicely into step 3 which will deal with what bass players refer to as walking time, where the quarter note is now the focus of the line. Shell chords are a type of voicing that is often used in walking bass lines, but drop 2 and drop 3 chords are used as well. Here are some easy-to-grab chord voicings that we will be using:.
Now that we have the bass line and the chords under our fingers it is time to bring them both together. This is a common rhythmic choice for guitarists who walk and comp at the same time, but again once you have this idea down feel free to put the chord in any part of the bar. Adding a sus chord before a dominant chord is an effective way to create more movement in your chord voicings. Gb7 is the tritone substitute of C7 and is another way to create movement in the chord progression.
The chromatic descending line of 13th chords that starts in bar 23 is also the result of a series of tritone substitutions on the normal turnaround. Here is a series of walking bass line patterns ordered by chord type major, minor, dominant, and half-diminished.In previous lessons, we have looked at creating a solid walking bass line to fulfill our supporting role in a jazz ensemble.
The bass also has a rich history as a solo instrument in Jazz. From the blues inflected double bass solos of Ray Brown to the electric bass bebop of Jeff Berlin.
Soloing can be a daunting prospect so it helps to break a piece down in to manageable chunks. We hear a lot about the 2 5 1 chord sequence in jazz. Below, you can find a PDF explaining exactly what this means.
3 Fundamental Bass Grooves Explained
This sequence appears in the majority of jazz standards so it is worth spending time on. I have included 2 lines that work over this sequence and you should play them in all 12 keys and with your own rhythmic variations.
This will help you hear the sound of the 2 5 1, learn the chord sequence in all of the keys and improve your knowledge of the neck. The lines are built around arpeggios and notes from the relevant scale.
Easy Walking Bass Lines pdf
For example, if the 2 5 1 is in the key of C, all of the notes are from the C major scale. Being a Working Musician Soloing on Bass Guitar No Comments Mar 27, No Comments Oct 1, One Comment.Check out my double bass transcriptions. From jazz to pop and classical to some of my own compositions. Hope you'll enjoy it. More double bass inspiration can be found on my YouTube Channel.
Songs with Boxshape Bass Patterns. Paul's Pal - Paul Chambers. Blues Inn - Paul Chambers. Love - Ray Brown. Billy Boy - Ray Brown. Blues for Smedley - Ray Brown. I let a song go out of my heart - Oscar Pettiford. Don't Squawk - Oscar Pettiford. Honeysuckle Rose - Oscar Pettiford. Night Train - Christian McBride. Twisted - Joni Mitchell Max Bennett, bass. Relaxin' at Camarillo - Sani van Mullem. Fever - Peggy Lee. Walkin'Shoes - Gerry Mulligan.
Out of Nowhere - Slam Stewart arco. Sweet Georgia Brown - Slam Stewart arco. Joshua fit the battle of Jericho - Major Holley arco. Bebop Scales for Double Bass. All of me. Ornithology - Charlie Parker.
Bourree - Bach 2 basses. Spanish Dance nr 2 - Moszkowski. Sad Old Red - Simply Red. Diamonds on my Windshield - Tom Waits. Moon Over Bourbon Street - Sting. Sail Away Sweet Sister - Queen. Europa - Santana. Summer Nights - Grease. Sunny - Bobby Hebb.Download the tab, sheet music and tracks from below the video. In this lesson we will be creating a simple walking bass line over a basic jazz blues progression.
The chord progression we are going to use today is a basic quick change twelve-bar blues in the key of C. There are three backing tracks of different tempos at the bottom of the page so you can hear how the feel needs to change according to the speed. Before you move on, make sure you have memorised the progression and the bass line. Instead of working through the line note by note and memorising each part, it is much easier to cut it into smaller fragments and see each chord as a waypoint.
That way, you can concentrate on what note is coming up next and see the notes between as a path. We know that we need to get to F and we are starting on C. Therefore, the first note is already taken care of and the fourth note is going to be a lead in to F. This leaves us with just two notes to fill and it can be as easy as using the arpeggio.
So, for bar 1 we will have the notes CEG and Gb.
It is much easier to remember the notes as a path between the notes as opposed to remembering 48 random notes.
Move through the whole sequence like this and make note of how the notes lead in to the next chord. This will give you a few different ways to approach a target note and will help you come up with your own walking bass line. Join over 60, members and R. E your Bass Game Today! Mark, a very good starting lesson and breakdown on walking bass lines. However, just wanted you to know the tracts to download were not attached to the lesson, only the PDF. I did purchase the Blues Practice Tracks so no problem.
Just wanted you to know. Thanks for another great lesson. Hi Kit. As you can see. Hey Brother Encouragement for your valuable work! Brilliant lesson, makes a complicated idea come across really simply, makes me feel like I can actually get to grips with walking bass.
I especially like the idea of building a musical vocabulary. Like all Talkingbass material this is priceless.