Building Walking Basslines Lesson 1

[Pbassred]

I'm confused about Exercise 7. in the last bar, shouldn't the C be a #C? Its supposed to be the 5th of the F#

What does " Notice how the the fifth of one chord resolves into the root of the next chord" mean?

 

[edfriedland]

Exactly !
It makes you feel the music over 2 bars instead of one too.

I personally think that is a bit obscure. The thing is, 3/4 is a totally different feel and the phrasing is different. I prefer tapping my foot on beat 2 of each bar, it has a more natural swing - but.... whatever floats your boat. I suppose doing it your way would pose an interesting challenge, but it seems to go against the natural flow of the time signature.

 

[bassfuser]

I'm confused about Exercise 7. in the last bar, shouldn't the C be a #C? Its supposed to be the 5th of the F#

What does " Notice how the the fifth of one chord resolves into the root of the next chord" mean?

Hey Pbassred. Welcome to the one that got all of this started.

This exercise is adding the 5th of the chord that you're currently playing, not using the 5th to lead to the next chord. The C in the last bar is correct because it's the 5th of the Fma7 chord.

Using the dominant approach doesn't start until exercise 17. When using this approach you play the 5th of the chord you are approaching to to lead to the same chord. So if you are going from an F chord to a C chord, you would use a G note to lead to the C chord. The G is the 5th of C.

I hope that explanation doesn't confuse you.

 

[Pbassred]

Hey Pbassred. Welcome to the one that got all of this started

I almost wish I hadn't. It seems that there are as many post about the thread as about the subject itself. I wanted a separate thread for each lesson and put it all into a sub forum. I asked the moderators but they didn't reply. I has a string of minor distractions so thats why I'm only at Ex7

anyway ......
EX7
My problem was self generated. I was expecting a F#maj7 but bar 8 is actually a natural chord. The preceding F note was sharpened so I was expecting them all to be.
The rule is:- A sharpened note only stays sharp for that bar (unless its naturalised), and does not continue into the next.

 

[Lambic]

... I has a string of minor distractions so thats why I'm only at Ex7...

So what? I'm now trying out different solutions for #12, so that's no giant step forwards either since we began OK, I went through the ten standards applying the roots-octaves-fifths material, and loved it. Now I'm curious how many time it will take to apply the chromatic approach on them. Still, I already notice a big progress in the approach of walking bass lines, and I can't stress enough the value of this book AND this thread!!!

 

[bassfuser]

I almost wish I hadn't. It seems that there are as many post about the thread as about the subject itself. I wanted a separate thread for each lesson and put it all into a sub forum. I asked the moderators but they didn't reply. I has a string of minor distractions so thats why I'm only at Ex7.

I know there was some stupid stuff for about the 1st 7 pages and I apologize for my part in all of that. But it's been pretty good since Ed started posting. I think it's OK to ask questions or comment regardless of where you are in the book. I find myself going back and reviewing a lot anyway.

It was a good idea getting this thing started and I'm sure it has motivated quite a few people. It has me anyway.

 

[monroe55]

Jeez. I just heard that Allman Brothers Live at Fillmore version of "Hot 'Lanta". What a great bass performance. Berry! I want to be able to walk like that.
I hope this book/thread leads me to create a bass movement like that one day, one of my own of course.

 

[retardedpossum]

I'm a bit fuzz on something on #17. in the first measure we have F followed by G. G is listed as upper/Dom. That wouldn't be to the G but to the next note that is C, is that correct?

 

[Lambic]

I'm a bit fuzz on something on #17. in the first measure we have F followed by G. G is listed as upper/Dom. That wouldn't be to the G but to the next note that is C, is that correct?

C being the fifth of F, and being the target in that bar, and G being the dominant of C, the bar is correct. It could be a bit misleading that usually one speaks of the dominant to a chord, while here it's rather the dominant to a note, since the C in that bar is not the C chord, but the dominant of the F chord.

 

[retardedpossum]

Thanks Lambic. That's what I thought but wanted to make sure. I'd like to say that this has been one of my fav study books ever. And thanks to Ed and everyone for the help.

 

[slybass3000]

I personally think that is a bit obscure. The thing is, 3/4 is a totally different feel and the phrasing is different. I prefer tapping my foot on beat 2 of each bar, it has a more natural swing - but.... whatever floats your boat. I suppose doing it your way would pose an interesting challenge, but it seems to go against the natural flow of the time signature.

That is something I got used to. It gives me a steady polyrythm and I find it very useful when the drummer go crazy

 

[JoeNage]

+1

Tapping your foot on 2&4 is the best way the feel the groove.

Wow. I've just been playing with this tapping on 2&4. A bit tricky...but it seems works like magic. My head is bobbing and I AM feeling the groove.

I'm working on the bass line to "Lady Madonna" and it's sounding more groovier than the day before, just by tapping my foot on 2&4.

I'm still trying to coordinate it...but it's cool and weird the way it works. Thanks,

 

[slybass3000]

Wow. I've just been playing with this tapping on 2&4. A bit tricky...but it seems works like magic. My head is bobbing and I AM feeling the groove.

I'm working on the bass line to "Lady Madonna" and it's sounding more groovier than the day before, just by tapping my foot on 2&4.

I'm still trying to coordinate it...but it's cool and weird the way it works. Thanks,

Great, I'm glad you see or feel a difference because it really does!

 

[Billnc]

Great, I'm glad you see or feel a difference because it really does!

Here's another trick (again you've got to be able to play the piece) say a piece has 16th notes with ties over beats etc. Play the notes twice as slow so 16ths are 8ths, 8ths are quarters. Tap your foot to this (8 beats a measure) and play. When you've got that tap your foot in real time (four beats per measure). This will help coordinate your foot to 16th notes in difficult places. Then finally tap on 2 and 4.

 

[Mike Saville]

Guys, I've just got this book so will be following along. Not sure I'll be able to offer any advice though as I'm a total noob. (see this thread to see just how new I am!!).

Anyhow, hoping to pic up a few tips on the way

 

[slybass3000]

Here's another trick (again you've got to be able to play the piece) say a piece has 16th notes with ties over beats etc. Play the notes twice as slow so 16ths are 8ths, 8ths are quarters. Tap your foot to this (8 beats a measure) and play. When you've got that tap your foot in real time (four beats per measure). This will help coordinate your foot to 16th notes in difficult places. Then finally tap on 2 and 4.

Yeap, that is the Carol Kaye's approach

 

[Lambic]

So, I just got through the "Chromatic Approach" section, and will try that stuff out on the ten standards after posting this messsage. Curious to see what my progress will actually be!

 

[Lambic]

Applying the chromatic approach to the first of the ten standards isn't so easy... because of the minor chords. Going to G from Dm7 through an F sharp (while the F natural is quite important in Dm7 ), then going to A7 from Em7 through a G sharp... OK, you can get to the target from the upper chromatic note as well, but I'd like to ask: is the way I described, and which works fine in major chords (and gives a smooth transition when going upwards), acceptable when dealing with minor chords, or does one have to respect the minor third that's in the chord?

 

[slybass3000]

Applying the chromatic approach to the first of the ten standards isn't so easy... because of the minor chords. Going to G from Dm7 through an F sharp (while the F natural is quite important in Dm7 ), then going to A7 from Em7 through a G sharp... OK, you can get to the target from the upper chromatic note as well, but I'd like to ask: is the way I described, and which works fine in major chords (and gives a smooth transition when going upwards), acceptable when dealing with minor chords, or does one have to respect the minor third that's in the chord?

This is one of reason i suggest writing a first chorus with the approach you are working on and analyse what fits and what doesn't. Then write a second chorus with everything you worked on so far. This way you'll know where to apply the right approaches.

 

[tortburst]

I got up to chromatic and dominant approach and got lost. It's so easy when the examples are written out, "I'M WALKING! I'M WALKING!". But when you take those notes away it all falls apart and I realize where I'm lacking.

Going back and re-reading through the root, 5th, 8th sections and applying it to the songs in the back is helping big time.

I think it doesn't hurt to go ahead in the lesson material a little bit and then come back. Re-learn the basics again with the future material in mind. It'll give you new things to think about when working on the basics, so you can see how the material builds on the foundations.