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Ed Friedland books

Walking bass lines aren't "built." While the expression denotes construction, the term isn't correct. Rather, a walking bass line is based in harmony, motion and resolution. That's the whole story of walking bass lines right there.

If you don't know how to come up with a proper walking line, then my suggestion is that you don't try. You will be involved in a guessing game of how to write or play one. Rather, your teacher should write some out for yo and have you play them. This is a way more trustworthy way to develop an understanding of how walking likes function. It is hard not to figure this out after practicing a few perfectly written lines on a few jazz standards. Aga, don't try to come up with your own. I've heard many bass players try this and they all showed that they didn't understand the harmony and resolution aspect of what constitutes a great walking line. Rather, get your teacher to write them out for your to practice. That's their job!
 
Telling me I can't just makes me want to try harder ;) while I agree that your suggestion might work for some, I'm in education and I dont accept that It is appropriate for all. Some folks need to understand the big picture of how it all fits together and the theory behind that before they're confident enough to try things out for themselves, others very much learn through experience, others work on feel. I'm currently on my second teacher who is only really jamming with me and giving me pointers to help me improve as we go. It took a leap of faith to follow this as I wasn't confident at all but my feel got me through it nicely. My first teacher taught me basics, scales and modes. We are now working towards walking bass lines but that's a way off yet.
 
Ok, I didn't check the user name I was responding to until after I posted the above. I still hold with the idea that one approach won't fit all learning styles but please excuse me while I go eat some humble pie.

(Where's that "not worthy" emoji when you need it?!)
 

Mr. Friedland, your BWBL book is helping me.
Mr. Berlin, so are your YouTube lessons. :thumbsup::bassist:
...any thoughts on how to possibly use David Baker's "Jazz Improvisation" for those of us who are attempting to "reverse engineer" a knowledge of how music works off the bass...after 20+years of being...:cool:er...
self-taught?? :thumbsdown:
 
Good points about over complicating things.
I bought this book a few weeks ago and got stuck on the chromatic approach, so I put it down for awhile and focused on practicing walking bass rock songs like Does Anybody Really Know What Time It Is, Fooled Around and Fell in Love, and the waltz by Robert John: Sad Eyes.
Come back to it now it makes more sense. If the target note is G, I use G# for upper or Gb for lower. I know mixing sharps and flats is frowned upon in the music world, but it sure makes this easier.
 
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On exercise 14 (pg 20) am I supposed to stay in the same octave? Start on F1 or F2?

Here's what I've got so far:

Start on F2
F2 A2 Bb2 D2 Eb2 B2 C2 E2 F2 A2 Bb2 Gb2 B1 C1