How to walk over one chord for a long time period? (DB forum thread)

[NDBass]

I don't mean a vamp necessarily, but let's say, in "Impressions", how do you stay over the dminor or e flat 7 for a while without sounding like you're only playing arpeggios?

[Melik]

Chromaticity

[robbotbass]

I agree with Melik use those Chromatic scale notes and play around with it! plus improv is a great thing where if you play a wrong note.....It's just Jazz.

[Buxtehude]

Try this downward walk on Dmin:

D C# C B Bb A G F

This would mean you would end up back on D in the next measure. You can do something similar going up. It's just one of many chromatic walks. You should stockpile them. Hope this helps.

[colcifer]

Another thumbs up for chromatic patterns. You can also come up with some lines that sound good repeated. Or a five note call with a three note response (or one of a million variations on the idea)-that's a hip two measures. Just remember, it's a marathon, not a sprint.

[Violen]

stop walking, get rhythmic. You aren't needed for the harmonic funtion, and if you can't fufill that role, fufill the role of the Rhythm section.

[hdiddy]

You can also imply chords over it. Play the ii chord of Eb7 (Bbm7) or minor ii-Vs over Dm (Em7b5 B7) can really break it up. Esp if you break up the durations of the implied chords. Chromatics fall into place easily as it's just a tritone sub over the same idea.

[Marc Piane]

Yes. Play all 12 notes in various orders and various rhythmic variations. Don't worry about f***ing up, it's just jazz


Sorry to be cynical but these are not very helpful.


You don't have to reinvent the wheel here. There have been several *pretty good* bassists that have played Impressions before. First order of business is to get thee to the recordings. Jimmy Garrison (on the record and some live cuts) or Reggie Workman (live cuts) were the bassists on the Coltrane records. Transcribe. Transcribe. Transcribe.

After you have done that you can look at some of the ways that they imply changes, add rhythmic variation, etc.

There is really only so much help we can give you here. Checking out the guys actually doing it is the best way to learn.

Sorry if I sound crabby. I need coffee.

[GigJones]

Originally Posted by NDBass

I don't mean a vamp necessarily, but let's say, in "Impressions", how do you stay over the dminor or e flat 7 for a while without sounding like you're only playing arpeggios?

For what it's worth...

Walking in a 4/4 meter; a formula that works for me is:

- Chord tone on 1
- Scale tones on 2 and 3
- Passing tone on 4

[Les Fret]

In the beginning I thought this 'modal one chord walking' was difficult because you had not much to rely on. But it is actually easier since you have all the freedom and you don't need to play chord tones on every first beat either. As long as you come back to root once and a while people will have the 'Impression (!)' that you know what you are doing.

[Marc Piane]

Originally Posted by Les Fret

In the beginning I thought this 'modal one chord walking' was difficult because you had not much to rely on. But it is actually easier since you have all the freedom and you don't need to play chord tones on every first beat either. As long as you come back to root once and a while people will have the 'Impression (!)' that you know what you are doing.

My dad (a retired music teacher) used to tell his students "you guys are playing all in the same room at the same time but not necessarily together".

It is all about listening.

[Treyzer]

Question: How to walk over one chord? Answer: Very Carefully! But be careful not to do the"Dance of Timidity".

[FunkyMan]

Walk over relative chords of the actual chord, example: If D-7, You can walk over G7, FMaj7, B-7b5, Db7alt! it gives you a different color... OR simply transcribe what the bassist does!

[Ed Fuqua]

At this point it might behoove you to chase down some soundfiles or recordings of those giving you advice here. That way you can hear them and decide for yourself whose advice may have the most meaning for you.

Or not.

[Greg Clinkingbeard]

Look at what the greats did.
You can download PC's walking line on So What which is on the same changes.
Paul Chambers Kind Of Blue Free Jazz Bass Transcription

Ultimately, don't think about it too much and open your ears and just play.

[Marc Piane]

Dude! Why? Givin it to him on a silver platter.

This ties into the the 'youngin' thread. Ears are getting lost because of google. In the words of Gary Bartz "jazz education is backwards".

Gary Bartz - Does Jazz Education Have It Backwards? - YouTube

I'm just bustin clink's chops here. There is something to be learned from actually transcribing it yourself though.

[Ed Fuqua]

[Marc Piane]

more like the blind leading the blind... or deaf as it were.

[Matt Ides]

Originally Posted by fingers

My dad (a retired music teacher) used to tell his students "you guys are playing all in the same room at the same time but not necessarily together".

It is all about listening.

Is your Dad's name Tom? That is what my first year Jazz instructor use to say all the time to the jazz combos.

[Greg Clinkingbeard]

Originally Posted by fingers

Dude! Why? Givin it to him on a silver platter.

This ties into the the 'youngin' thread. Ears are getting lost because of google. In the words of Gary Bartz "jazz education is backwards".

Gary Bartz - Does Jazz Education Have It Backwards? - YouTube

I'm just bustin clink's chops here. There is something to be learned from actually transcribing it yourself though.

I tried to put it into simple terms that could be understood. Maybe I make this too easy.
Looking at this thread is just sad. I went to music school a few decades ago and didn't learn all the new ways of thinking F Lydian, G Mix or whatever on this tune. It's D- and Eb-. Call it whatever you want. Open your ears and just play the tune.

PC wasn't thinking any of that s**t. Just make it sound good and forget about it.