Walking Bassline/Chord Help Needed, i.e. I'm Not A Jazzer!

[PolkaHero]

Hi guys, my first post in this section of Talkbass! I play in a 16-piece big band in which most of the bass parts are written out. However we have introduced some new tunes where only certain parts are written out. Not having much of a jazz background, I'm struggling to come up with walking basslines over certain chord progressions. I don't have any problems with typical I-IV-I-ii7-V7 progresssions but I've attached part of a new tune that has me a bit confused.

The first 12 measures are all Am7sus (key signature of tune is D minor). Do I just play a scalar pattern based around an Am7 arpeggio? What is suspended, the fourth scale degree (D)?

Between rehearsal letters B and C, a GMaj7/D chord is introduced. Am I supposed to focus on a D pedal point, or do I base my line on the GMaj7 chord?

I would really appreciate it if someone wrote out some example notes to play under these changes. Our group is performing this selection at a high profile gig next month, and I don't want to be embarrassed in front of other local "jazz cats" by playing a lame walking line that just focuses on the roots of the chords. Thanks in advance!

[onlyclave]

That Am7sus chord is spelled A D E G. The implied harmony is stacked 4ths instead of stacked 3rds. Listen to Herbie Hancock's "Maiden Voyage" for a great example of what that sounds like. You can walk an A minor scale and treat the 3rd as a passing note instead of an important target note.

And between 'B' and 'C', yes, hammer on that D pedal point. The surrounding harmony indicates that as well. The chords on top with that half-step movement F-F#-G-F#-F will have that James-Bond-y kind of sound to it.

There's no shame in focusing on the roots of the chords. I'd rather hear that (which makes it easier for the soloist to blow) than some dude trying to reinvent the wheel and reharmonize the tune in real time and screw it up. This is a big band, you're the bass player, keep it simple.

[Jim Campbell]

Originally Posted by PolkaHero

Hi guys, my first post in this section of Talkbass! I play in a 16-piece big band in which most of the bass parts are written out. However we have introduced some new tunes where only certain parts are written out. Not having much of a jazz background, I'm struggling to come up with walking basslines over certain chord progressions. I don't have any problems with typical I-IV-I-ii7-V7 progresssions but I've attached part of a new tune that has me a bit confused.

The first 12 measures are all Am7sus (key signature of tune is D minor). Do I just play a scalar pattern based around an Am7 arpeggio? What is suspended, the fourth scale degree (D)?

Between rehearsal letters B and C, a GMaj7/D chord is introduced. Am I supposed to focus on a D pedal point, or do I base my line on the GMaj7 chord?

I would really appreciate it if someone wrote out some example notes to play under these changes. Our group is performing this selection at a high profile gig next month, and I don't want to be embarrassed in front of other local "jazz cats" by playing a lame walking line that just focuses on the roots of the chords. Thanks in advance!

check out youtube....you might get a feel for it

[PolkaHero]

Originally Posted by onlyclave

That Am7sus chord is spelled A D E G. The implied harmony is stacked 4ths instead of stacked 3rds. Listen to Herbie Hancock's "Maiden Voyage" for a great example of what that sounds like. You can walk an A minor scale and treat the 3rd as a passing note instead of an important target note.

And between 'B' and 'C', yes, hammer on that D pedal point. The surrounding harmony indicates that as well. The chords on top with that half-step movement F-F#-G-F#-F will have that James-Bond-y kind of sound to it.

There's no shame in focusing on the roots of the chords. I'd rather hear that (which makes it easier for the soloist to blow) than some dude trying to reinvent the wheel and reharmonize the tune in real time and screw it up. This is a big band, you're the bass player, keep it simple.

Wow, that is incredibly helpful! Thanks a bunch!

[Febs]

Originally Posted by PolkaHero

The first 12 measures are all Am7sus (key signature of tune is D minor). Do I just play a scalar pattern based around an Am7 arpeggio? What is suspended, the fourth scale degree (D)?

The third is suspended and usually replaced by either a second (B) or a fourth (D).

If you look at the score for this arrangement, the guitar and bass pedal an A. At various points, the trumpets, trombones and saxes all hold a D and an A over that chord.

Listening to the recording, it seems like he's pretty much just walking over an Amin. As OnlyClave suggested, don't emphasize the C natural but instead use it as a passing tone.

Between rehearsal letters B and C, a GMaj7/D chord is introduced. Am I supposed to focus on a D pedal point, or do I base my line on the GMaj7 chord?

The progression there is Dmin | GMaj7/D | Dmin7sus | GMaj7/D.

I would probably start by hitting the D on the downbeat of each measure. So, for example, you could play something like this:

D A G F | D G F# E | D G F E | D E F# G |

There are a million other things you could try.

I would really appreciate it if someone wrote out some example notes to play under these changes.

Have you tried transposing the line played on the Ferguson recording? It would be a worthwhile exercise, I think.