"When you come right down to it and start analyzing great jazz basslines, as long as they're tied to normal tonal harmony, they're like Bach.... Except for a few situations, a good bass player will play roots rathwer than fifths of chords....some other rules: A scalewise passage can change direction at any time. After a leap, that is, an interval of more than a second one returns by a step in the opposite direction, except when that leap is followed by another leap, in which case you have an arpeggiated figure, and you're free to continue or change direction. But as soon as you go from a leap back to a step-wise, conjunct motion, you invariably do that in the opposite direction from the last leap you took. Unless, as in Bach, you continue in the same directionm only to come back immediately and then turn back in the opposite direction so that the continuation in the same direction becomes and embellishment. If you look at satisfying jazz bassline, almost all of them follow these rules." Can anyone shed light on the connection between Bach and walking? Is he referring to Bach's basslines in counterpoint or does it apply to solo compostions as well - like the cello suites for example. I remember an accomplished player mentioning that he followed a few 'rules' for walking. Does anyone else use anything like this?