To my way of thinking and hearing, a chord "name" suggests a chord voicing AND that voicing can often imply much more - even the missing "odd" notes can be inferred if the hearer has a deeper knowledge of the Harmony. So, in my world, the chord name "Fmin7" suggests AT LEAST the following notes as (what I call) "Chord Tones" - notes that don't "disagree" with the Harmony at that moment: F,G,Ab,Bb,C,D,Eb,F. I don't hear or include "Db" in those "walkdown" notes, as I've previously explained. See next sentence - FYI - I DO walk down on the Fmin7 chord - F, Eb,D,C....when approaching the Bbmin7 chord from above - (UNLESS the pianist has drastically added/subtracted notes that now make "Fmin7" an invalid Name or Sound.) I like to incorporate even the (phantom?) "odd" notes, as "connective tissue" between the primary "1,3,5,7" notes, so that the bassline reflects and supports the literal OR implied tonality suggested (and played) by the chord voicing. The pianists I enjoy playing with NEVER just play "F,Ab,C,Eb" when the chord name is Fmin7. They are always embellishing and expanding (extending!) the chord by incorporating much more than than the literal chord name. Finally, my Big Gripe with most /all of the books written regarding "....How to Play Walking Basslines", (and there are many), is that they DO NOT address the actual chord "VOICING" that may (or should) be occurring as the bassist is creating the bassline. I'll Tacit for now...but I'm not done! Thanks for your interest and civility, Steve.