Walking bass lines resources?

[lowphatbass]

What really helped me:
Try to think in terms of the chord at first, not the key, and even leave other scale notes for weaker beats of the measure or passing tones(those terms are covered in the material referenced above)..think about out-lining the chord using accepted rules(#1 root on beat 1) There is an excercise in which you write out the arpeggio for each chord on each beat and "connect the dots". This is an oversimplified explanation but hopefully someone with chime in with a source for this excercise..this is a good one!
Also, your "pulse" or rhythm is JUST as important as your note selection, you are the wheels that the car is driving on..METRONOME

[Ari]

It has been said before but a really good exercise when using the metronome is to set it up not on each beat but on beats 2 and 4 - this is really important and will greatly improve your swing.

If you have trouble to start when the 'nome is on beats 2 and 4, think of it as the hi-hat of the jazz drums - I know it helps in my case.

[lowphatbass]

Yea that can help, but stay careful not to put more emphasis or "push" 1 and 3 or 2 and 4, that's NOT swinging, that's something else, and it aint good..

[Dynna]

Originally Posted by Bruce Lindfield

But you're not answering the question asked!!

So he asked how you worked out that it was all in the key of Ab from just seeing those chords - and I have already given the answer above, a while ago - in that you analyse the function of the chords.

Dominant 7ths are always V chords in a major scale - so you know the Eb is the V and then you can infer all the others from that!

Think of my answer as aiding and abetting yours. Both of our explanations fail if one starts playing the 2 and 6 chords as dom7ths. You can also look at the circle of 'fourths' that's going on and see the interval between the Abmaj7 and Dbmaj7 and realize that that only occurs in Ab. Which you know.

Sometimes the hard part for beginners is to recognize the intervals, and then be able to separate the sections. I was used to playing long turnarounds when I was taught to separate tunes like "All the Things" into key centers so it immediately made sense. But I don't know how I would have done if I didn't already have a sense of 3 6 2 5 1 in my head.

(for the record...In DIATONIC harmony:
1. The 5 chord is the only dom7 chord.
2. Maj7 only happens on 1 & 4. Watch for that interval.
3.A Maj7 with a Min7 a whole step up can only happen with 1 & 2.
4.A Maj7 with a min7 a half step lower can only happen with 4 & 3
5. A min7 with a Min7 a whole step up can only happen with 2 & 3.)

[Zerozeddy]

Hmm, scary thoughts for those of us used to battering out interminable quavers of E.

Are your tone centre posts indicative of the level of theory you're expected to have to cope with the books mentioned, or do they go back a stage?

[Ari]

There are plenty of books that start from scratch and build up from there - the Gary Willis book is one of them.

Don't be put off by all this nomenclature (min 7 Maj7 etc.) It's really not that complicated in fact.

[Dynna]

Originally Posted by Zerozeddy

Hmm, scary thoughts for those of us used to battering out interminable quavers of E.

Are your tone centre posts indicative of the level of theory you're expected to have to cope with the books mentioned, or do they go back a stage?

They start with playing a Dmin7 in ONE position, and then a G7 in the same position. Using shapes. After that, it gets into variations and exercises, and THEN touches on theory. All the stuff I wrote about analysis is 2/3 into the book. It will take you there.

And don't sell yourself short on those interminable quavers of E. That's that hardest thing about being a bass player. KNOWING when to stop moving and pump out a straight E note, and then being able to do it PROPERLY.