What NOT To Do On Walking Bass

[hintz]

One thing to keep in mind about alot of walking and even soloing: it's *okay* to repeat yourself and if you transcribe alot of walking lines (or transcriptions of solos) you will find alot of the greats did variations on the the same ideas. Having the idea in my head that I had to be constantly playing each section totally different slowed me down from just learning the changes.

The chromatic notes in jazz are all about tension and release (or resolution more or less), this is what makes for interesting music. Parker would do a flat 7 or raised over a major chord, he'd also "resolve" a half step above the root of a chord (implying a flat9) and it sounded awesome. With dominant chords you have alot of leeway, with the other chords it's about beat placement and *preferably* avoiding too early of a resolution.

A passing tone that is non diatonic is perfectly fine and this is how alot of chord subsitutions are made. On the flipside, if you transcribe the bebop lines of Curly Russell you will find that he rarely played chromatic passing tones, opting for outlining chords and "doubling up".

To quote one of my teachers "it matters less *how* you get there than that you get there". Pops Foster also said "I play any go to hell note, just so long as it swings!"(he was oversimplifying, but it's the same idea).

 

[sean_on_bass]

I find alot of the "rules" attributed to walking keep folks in a box. Chase the sounds you want in your walking, dont primarily try to satisfy a formula although they can get you started. Transcribe lines you like and note how it interacts with the harmony. Depending on the context, you could be playing either inside or outside the box. Most of the "donts" have exceptions, so its hard to really call them a dont.

 

[sean_on_bass]

Now, we all know Chris Fitzgerald.
View attachment 2828250

From his excellent articles/tutorials.
http://www.chrisfitzgeraldmusic.com...-Bass-Line-Examples-and-Analysis-PDF-File.pdf

View attachment 2828253

Now.
Who is going to confront our forum Administrator?

I'm with ya. No clue how people are questioning what is probably the most common line used everywhere to get from a chord on bar 1 to a second chord a 4th above on bar 2.

 

[DavesnothereCA]

I've been trying to study walking bass the past few weeks and have been having some pretty decent luck with it so far, it's also great being able to play the same song five times in a row differently each time!
But, to the point, while researching methods for making walking lines I've come across a nearly infinite number of possibilities, which comes off as rather daunting. There's almost so many "Do's" for walking bass that it seems nobody really speaks about the "Don'ts" when it comes to creating walking lines.
I almost feel that thinking in this way could make it easier on the mind when trying to create new lines and improvise, due to there being less potentials one needs to fathom.
So what does everyone think? What are the "Don'ts" to making a walking bass line?

Also, sorry if this is the wrong section, I see a lot of walking bass and jazz talk in the DB section, but at the moment I only play electric.

~
I have not read ahead yet, to see what others have posted, but whatever the rules are, they are the same no matter which you play, electric bass or bass viol.

The main thing as I see it (and I only play electric fretted basses) is that you gotta know what the next chord coming up is, in order to decide what notes are acceptable to play, as the bass plays passing notes to introduce that next chord, and especially so when it is a walking bass pattern.

That also applies to non-walking bass, but moreso when you walk, because the bassist when walking effectively issues 'clues' to the other players as to where the progression is headed.

If the bassist plays the wrong thing when walking, it may mislead other players as to what is coming next, causing unwanted dissonance and clashing between the various players.

Whether you play a scale run or an arpeggio to get there is often just a matter of taste, but still you have to know what is coming next in order to choose proper notes for either of those.

The one player generally unaffected by all of this is of course the drummer (or other percussionist), except of course if they have a singing part too.
~

 

[general rocker]

What not to do when it comes to 'walking the bass' line? How about playing the progression poorly and without emotion? LOL

My studies of walking bass structure can be encapsulated to one song: Moondance by Van Morrison. It is the PERFECT walking progression! Want to learn walking bass? Learn to play that version perfectly. Then, you are ready to comprehend the theory behind Moondance, which is: how important it is for the moving bass progression to accentuate the underlying melody and texture using well thought out supporting, sympathetic progressive themes.

Thank you, John Klingberg and Berry Oakley!

 

[Ian Lewis]

I've been trying to study walking bass the past few weeks and have been having some pretty decent luck with it so far, it's also great being able to play the same song five times in a row differently each time!
But, to the point, while researching methods for making walking lines I've come across a nearly infinite number of possibilities, which comes off as rather daunting. There's almost so many "Do's" for walking bass that it seems nobody really speaks about the "Don'ts" when it comes to creating walking lines.
I almost feel that thinking in this way could make it easier on the mind when trying to create new lines and improvise, due to there being less potentials one needs to fathom.
So what does everyone think? What are the "Don'ts" to making a walking bass line?

Also, sorry if this is the wrong section, I see a lot of walking bass and jazz talk in the DB section, but at the moment I only play electric.

Google walking bass lessons. There's plenty, free, on the web. Your role is to maintain the pulse whilst moving seamlessly up and down the neck outlining the chord changes. Playing the root on the 1 is never wrong, but can get a bit predictable/boring (for you). On the 2nd and 3rd beats it's good to use chord tones which give the chord it's uniqueness (e.g. the natural or flat 3, natural or flat 7). The 4th beat is an opportunity to create tension (a semitone above or below the next bar's root). Don't worry if it's not always in the current bar's chord. The chord's 5th is almost always a safe choice. Likewise the 6th. Aim for variety, otherwise it sounds a bit too rock'n'roll. Hope that helps

 

[Quinn Roberts]

I'd like to thank everyone for all the replies! Each one has really been helpful, and they keep coming! I've got a question that I figure I would post here in hopes someone sees it. I figure it's a bit of a silly one, but here goes.
What is the opinion of plating the fifth of a chord on beat one? I figure most will say it's good, but to me it seems like it would clash with the previous chord in most jazz ii-V situations (various jazz standards are what I've been practicing with mostly). Also, same goes for the seventh on beat one, should this avoided in say a I-ii or a I-IV style chord motion?

 

[DavesnothereCA]

....What is the opinion of plating the fifth of a chord on beat one? ....

~
I would say definitely maybe.

It would depend upon what notes I planned to use to follow it.

One example which comes to mind, while not a proper walking pattern like in Moondance or Crazy Arms, is from Elton John's 'Someone Saved My Life Last Night', where (IIRC) one of my favourite melodic bassists (the late) Dee Murray opens some sections with a relative fifth on the bass to the first chord of a section, and holds that note for either half or the whole bar.

That whole song is a masterpiece of alternate bass notes played in counterpoint to the chord progression.

Of course, Elton matched the bass parts with his left hand on the piano in those early ballads, and that helped it all work, as they had to pre-plan such melodic passages, and as a result, they also knew what the next notes would be.
~

 

[DavesnothereCA]

....My studies of walking bass structure can be encapsulated to one song: Moondance by Van Morrison. It is the PERFECT walking progression! Want to learn walking bass? Learn to play that version perfectly....

~
Excellent choice !
~

 

[Whousedtoplay]

My studies of walking bass structure can be encapsulated to one song: Moondance by Van Morrison.

I wish I had your advice many decades ago. It would have stopped me from wasting my precious time while listening, transcribing, learning tons of various bass-lines.

 

[thebassplayer70]

I've been trying to study walking bass the past few weeks and have been having some pretty decent luck with it so far, it's also great being able to play the same song five times in a row differently each time!
But, to the point, while researching methods for making walking lines I've come across a nearly infinite number of possibilities, which comes off as rather daunting. There's almost so many "Do's" for walking bass that it seems nobody really speaks about the "Don'ts" when it comes to creating walking lines.
I almost feel that thinking in this way could make it easier on the mind when trying to create new lines and improvise, due to there being less potentials one needs to fathom.
So what does everyone think? What are the "Don'ts" to making a walking bass line?

Also, sorry if this is the wrong section, I see a lot of walking bass and jazz talk in the DB section, but at the moment I only play electric.

walking bass is basically connecting the dots ( chord changes ) as long as you land on the changes anything goes in between of course you want it to sound musically esthetic. there are instances where the bass dont land on the same note/ chord this usually happens when the bass is ascending or descending. just have fun and connect the dots.

 

[jonpowl]

In the SF Bay area: WALK THIS WAY! BASS LINE FUNDAMENTALS FOR NON AND BEGINNING BASSISTS with Jodi Durst
Workshop at the California Jazz Conservatory in Berkeley, CA $20 December 17, 2017 @ 11:30 AM
The Jazzschool https://cjc.edu/workshops/?eid=2408...-85122205&mc_cid=e0902b1333&mc_eid=9b163dc91c
2087 Addison St, Berkeley, CA 94704

 

[mrcbass]

I'd like to thank everyone for all the replies! Each one has really been helpful, and they keep coming! I've got a question that I figure I would post here in hopes someone sees it. I figure it's a bit of a silly one, but here goes.
What is the opinion of plating the fifth of a chord on beat one? I figure most will say it's good, but to me it seems like it would clash with the previous chord in most jazz ii-V situations (various jazz standards are what I've been practicing with mostly). Also, same goes for the seventh on beat one, should this avoided in say a I-ii or a I-IV style chord motion?

Just like everything else - it depends. I'd do it very sparingly most of the time, but the rules are very bendable - especially in jazz. If it feels good , try it - your ear (and sometimes your band mates) will tell you if it works or not. That's the bottom line.

 

[Quinn Roberts]

Hey everyone, just wanted to share a video I found from Rick Beato explaining walking lines. One of the best videos I've come across yet!

 

[Whousedtoplay]

What is the opinion of plating the fifth of a chord on beat one?

Hey everyone, just wanted to share a video I found from Rick Beato explaining walking lines. One of the best videos I've come across yet!

Now at least you got some answers to your questions about playing b3rd on Beat 3 and playing V on Beat 1.

Anyway, here is an interesting blog to promote a book,
"Killer Walking Bass: Melodic Lines for the Advanced Jazz Bassist" by by Teymur Phell (Author),‎ Jim Kalbach (Author).
(The book is for advanced bass players.)



"As a jazz bassist, finding that perfect walking line is a lifetime endeavor―a quest for an ideal sequence of notes that supports the band, inspires soloists, and makes a personal statement.

Melody is what will make your walking style killer.

Sure, you must have impeccable rhythm. And of course, you drive the harmony of the tune. But integrating a melodic approach will help you go beyond just getting from chord to chord."

Melody is a sequence of notes that forms a musically coherent line. To help you understand melody in the context of walking jazz bass, we’ve identified
five key elements to focus on: shape, idea, phrase, motion, and harmonic implication."

Invalid Link Removed


Now, let's take a look at some note choices from the book.

Here is a link to a sample.
https://killerwalkingbass.files.wor...lking-bass-sample-all-the-things-you-are1.pdf

 

[Whousedtoplay]

Let's continue to share some info from the previously mentioned blog.

Invalid Link Removed

"So, what makes a walking bass line melodic? We believe there are four key characteristics. Melodic walking lines are:

• Interesting — A melodic line is compelling and pleasing to listen to.
• Memorable — You can sing the line and remember it.
• Unified — The line forms a complete musical statement, often with call-and -answer phrasing and symmetry.
• Balanced — “Killer” doesn’t just mean playing “out” or moving quickly up and down the neck. A melodic bass line makes musical sense, balancing high and low, in and out, and tension and release.

Together, these aspects let you create a counterpoint to what others in the band are playing."

 

[Whousedtoplay]

Invalid Link Removed

"Repeat ideas for familiarity, but add variation for interest.

Repeating musical ideas is a key part of melodicism. When you state a motif and reiterate it, the second instance will sound familiar in retrospect.

 

[Quinn Roberts]

Invalid Link Removed

"Repeat ideas for familiarity, but add variation for interest.

Repeating musical ideas is a key part of melodicism. When you state a motif and reiterate it, the second instance will sound familiar in retrospect.

View attachment 2837932

These posts are a treasure trove, thanks for the share! A little late to get too in depth for me now, but I can't wait to dig into that blog post on my own some tomorrow!

 

[dreamadream99]

What is the opinion of playing the fifth of a chord on beat one?

Simple answer: it depends on what chord came before or after.

Complex answer: I wouldn’t do it for no good reason. My thinking is usually that playing anything other than the root implies a harmony that isn’t there, and we shouldn’t be misleading. But there are two situations where I would:

Pedal: playing the fifth of a scale through one or more measures leading up to the dominant V chord. Like foreshadowing.

Suspension: holding a pitch from the previous chord through one or more subsequent chords before resolving it.

 

[sean_on_bass]

I encourage practicing starting not just on the fifth, but even the third and any other note in the chord as well. Some folks don't like to often break the root on the one method, even i rarely break it, but it really opens up your lines to get used to starting on other notes as well. In a modern jazz context i would say it's almost essential to have this skill to add more depth to your lines. It is a spice, but you gotta be careful not to add to much. A healthy mix is what you really want to achieve. Depends on what/who you are playing with too. Some peoples ears may not be hip to this, and some styles should really generally stick to root on the one.

Do some purposed practice on this. For instance, alternate chords starting on the root and third, and see if you can make a cohesive line. Then keep mixing up the formula until you are pretty comfortable and it becomes internalized.