First Walking Bass Line

[jperalta]

I've decided I need to stop being so lazy so I decided to write out my first walking bass line. This is one chorus over 'There Will Never Be Another You'. Any comments would be most appreciated.

[MalcolmAmos]

Don't have time right now to do an analyzation, will try and get to it tonight. Two observations.....

1. I was taught to end up with my standard notation having a wave action. Great wave action.
   
2. How long did it take you to learn LilyPond? Makes a great looking piece of sheet music, but the learning curve was way over my head.

[jperalta]

Yeah, LilyPond does have quite the learning curve, especially if you want to do anything particularly fancy. After using LaTeX for numerous years to do mathematical documents, however, LilyPond feels like child's play. There's not really that much involved with making basic music notation and simple chord charts.

[thecool]

their are definitely some wrong notes in there...

for example bar 26 is a Db chord that starts on a D natural...

i don't know if you just messed up the notation or what?

[jperalta]

Originally Posted by thecool

their are definitely some wrong notes in there...

for example bar 26 is a Db chord that starts on a D natural...

i don't know if you just messed up the notation or what?

Yes, that one was a typo... are there others that are wrong?

[Febs]

Originally Posted by jperalta

Yes, that one was a typo... are there others that are wrong?

Measure 4: you have a Bb written on beat 3. While there is a Bb (or rather, its enharmonic equivalent, an A#) in the G7#9 chord in that measure, playing a Bb on a strong beat in that measure will make the chord sound like a minor chord, rather than a dominant chord. I'm not saying it is wrong, but a B natural would probably be my first choice there, or I would use the Bb as a passing tone and play a B natural on beat 4.

Measure 9:

First, the chord spelling Db7sus#4/add3 doesn't make much sense. A suspension usually means that there is no third, so to say "sus" and then "add3" makes the spelling unnecessarily complicated. It's like ordering "a hamburger, hold the pickles, add pickles." The better spelling would be Db7#11.

Second, you have a C natural in the line, but the Db7 chord has a Cb, not a C natural.

Measure 28:

The Abm should be an Am.

You have an Ab written on beat 4, but an A natural may be a better choice since the chord is a D7 and it is not resolving to a G Major chord like you would expect it to.

[jperalta]

Originally Posted by Febs

Measure 4: you have a Bb written on beat 3. While there is a Bb (or rather, its enharmonic equivalent, an A#) in the G7#9 chord in that measure, playing a Bb on a strong beat in that measure will make the chord sound like a minor chord, rather than a dominant chord. I'm not saying it is wrong, but a B natural would probably be my first choice there, or I would use the Bb as a passing tone and play a B natural on beat 4.

Thanks, I'll try playing it both ways... see what sounds good.

Measure 9:

First, the chord spelling Db7sus#4/add3 doesn't make much sense. A suspension usually means that there is no third, so to say "sus" and then "add3" makes the spelling unnecessarily complicated. It's like ordering "a hamburger, hold the pickles, add pickles." The better spelling would be Db7#11.

Second, you have a C natural in the line, but the Db7 chord has a Cb, not a C natural.

Yes, LilyPond and I have a disagreement on how to name Db7#4. I've yet to figure out how to make it comply with my demands on this one.

I agree, that C should definately be a Cb, thanks for pointing that out.

Measure 28:

The Abm should be an Am.

You have an Ab written on beat 4, but an A natural may be a better choice since the chord is a D7 and it is not resolving to a G Major chord like you would expect it to.

Thanks, yeah, the Abm is a typo. My handwritten sheet says Am... must have gotten carried away with the flats

I guess that especially since the chord is only being played for two beats it's probably better to more fully describe the chord being played rather than add passing tones. At least I think that's what you're saying, and it makes sense.

[Febs]

Originally Posted by jperalta

I guess that especially since the chord is only being played for two beats it's probably better to more fully describe the chord being played rather than add passing tones. At least I think that's what you're saying, and it makes sense.

My issue with that particular Ab is that it really is not being used as a passing tone, since your next note is an Eb. I would not hesitate to use an Ab over a D7 chord played for two beats if the progression were Am7 D7 | GMaj7 | because the Ab is a nice chromatic approach to the root of the GMaj7 chord. In your particular example, however, that is not the case. But try it and see what sounds best to you.

[jperalta]

Originally Posted by Febs

My issue with that particular Ab is that it really is not being used as a passing tone, since your next note is an Eb. I would not hesitate to use an Ab over a D7 chord played for two beats if the progression were Am7 D7 | GMaj7 | because the Ab is a nice chromatic approach to the root of the GMaj7 chord. In your particular example, however, that is not the case. But try it and see what sounds best to you.

That makes complete sense. Thanks for all your input. I've got the revised version up now.

[jperalta]

Apparently if I tell LilyPond I want a Db9/#11, it will use correct notation.