| Yeah, hitting the F on beat four of the previous measure doesn't really set up the Faug chord you're after. Here's the goal in walking (not always done, but it's the basis of the form)- hit strong chord tones on beats 1 and 3, use beat 4 to set up the next chord, and beat 2 is whatever works to make the others flow naturally.
So, Doc's suggestion of C D Eb E puts the root on 1 and the minor 3rd on beat 3. The E on beat 4 creates some tension which is resolved when you hit F on the downbeat of the next measure. So, D by default on beat 2.
Then you've put F on beat 1 of the Faug chord, and as Doc says, we need to clarify the chord. If it's a straight Faug, it's indeed F, A, and C# (augmented chords are two major thirds stacked up, or 1, 3, #5.
I don't know what F aug7 would be- "augmented" is moving a perfect interval up a half step and the terminology seems to be say "F with an augmented 7". That's not correct as a 7th is either minor or major, not augmented. And an "augmented 7" would be the root again. F7#5 would be F A C# Eb so maybe F aug7 is F A C# E, a major 7 with an augmented 5th.
But the bottom line is you'll need to know exactly what the chord that the guitarist is playing so you can figure out your options. And, a critical part is where does it go AFTER the Faug? The whole idea of walking bass is to propel the song forward. That means leading the ear to the next chord (as the E on beat four of the 1st measure does).
jte
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JTE Spelling, grammar, and punctuation do matter, despite the threats of death by grease fire!
"Without space, music is just noise piling up on itself." TRK
Lakland Owners' Club # 248
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