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Discussion in 'General Instruction [BG]' started by TJBass, Jun 14, 2001.
anyone have or can recommend a tab to get me on the path?
You should better run for cover - fast!
moved to general instruction
Hee hee.....kinda, yeah!!!
TJ, check this thread out. Some good advice here, and excellent reasons why:
1) There are no "good tab" examples of walking lines.
2) You should learn to read standard notation, PARTICULARLY for learning walking lines.
Also, you should learn some good solid chord theory, if you don't already know it. What a walking line basically is is an outline of the chord progression, with the bass playing lines based on the arpeggios of the chords.
I once ran like a scared chicken (don't ask) when asked to play walking bass, so I posted a question here on talkbass, and the helpful people here got me off on the right foot.
Now it's very easy for me.
When I learned to do walking bass, I knew music, that's the first step. try http://libster.com
What I did, was learn basic chords, major and minor, 5, 7, and 9 chords.
You play the notes in the chord in a way that sounds right, and goes well with the other instruments in the band.
You may consider playing up and down the scales when appropriate.
It'll all come in time.
A very easy one with little variation is "Old Friend" by Rancid
Thanks for the link Gard, I can just copy and paste my response from that thread over here for ease and added benefit.
A walking jazz bass line just simply cannot be learned from tab. Try all you want. I have to echo Gard and Bruce, this is a gradual process. You will not become a good jazz or blues bassist overnight. You just simply must put in the time to learn standard notation and theory. You must put in the time playing arpeggios like crazy. You must put in the time reading through countless charts.
If you want a book, put your money into a real book. Play your walking lines through those charts and try to develop your techniques that way. Also, a teacher can be a huge help here.
Exactly how does walking bass work?
I think I've got an idea , but im not sure...
Basically the songs I've seen with walking bass are mostly all quarternotes and if the current chord is say "CMaj7" would the bass play the apreggiated version of this chord?
My teacher told me longago that the walking bass does two things:
"keep the song moving"
"connect the chords smoothly"
There are all kinds of things you can do. Basically, yes, you're outlining the chord progression using the arpeggios -BUT- that's not all you can do (nor is it all you SHOULD do). There are also passing tones, which can be either chromatic or scalar. And chord substitutions....
....I could write a book....
....wait, someone already did : http://www.bassplace.com/ST009.html (That's a link to one place where you can buy Ed Friedland's "Building Walking Basslines" HIGHLY recommended )
well, i would say that to get better at them, then u should play some ska bass lines, coz they r all running, or running of some descriptions.....u will then get faster and then will be abl;e to play jazz lines, LIKE ME!!!!!!!!
Ska, though is a "diatonic" music and while it does have walking basslines, it doesn't have the chromaticism of Jazz lines, usually - Jazz has more chords, substitutions etc.
yes, however, ska will help u to play the diatonic scales faster, which then allows u to be able to play chromatiscism fast as well.......also, many traditional jazz lines jump all over the place, they r not chromatisced n e where near as much as modern jazz lines which r very easy.
also, big band running lines r easy to play after ska coz the majority of them can be played from the open string to the fourth fret, which means hardly any hand position changes, like ska, and unlike trad.jazz
You seem to have drifted from the subject. Walking basslines are essentially a characteristic of jazz, and sound better improvised than written - however this is even harder (LOL).
A good way to come up with a good walking bassline or get to know them is by getting a guitarist to play a constant E7 chord (maybe with a jazzy rhythm to it) and play E mixolydian over it, hitting random notes, but keeping to the constant crotchet beat feel. Play it slow to begin with and as you get more confident play faster, speeding up your guitarist. This will also help you get tighter rhythmically.
Basically, as walking bassline has a walking feel to it, hence the name. They occasionally jump all over the place and can be a bit intimidating but, get into them, and you'll fall in love. They sound great.
warning - greenday
This is, in my admittedly limited experience, the simplest explanation of walking basslines. It is also the simples approach in my opinion. To answer your question about the Cmaj7 chord, you could arpeggiate the chord, just keep in mind the next chord in the progression. As your teacher pointed out, it keeps the song moving by smoothly leading from one chord to the next. So you'd perhaps want to walk up (or down) to the next chord in the tune, rather than just random notes within the Cmaj7 chord.
Can I just point out that none of this makes any sense whatsoever!
"modern jazz lines which r very easy" !!?? I think you need to listen to a bit more modern Jazz!
Traditional Jazz lines jump all over the place - err... I don't think I can be bothered to explain further, as there is obviously total communication breakdown ocurring here!
Same here, I really didn't understand what "no name" was trying to say.
trad jazz is the very fast stuff......u no, the amazingly fast and complex sax sounds, and modern jazz is the kinda jazz that uses xylophones a lot.......ok? don't have a go at me, i no what i am talking about, believe me!!!!!!
The first thing you mentioned would be bebop. And modern jazz that uses xylophones???? Although I have seen xylophones in jazz bands I don't really think they characterize "modern jazz" hehe.
u lot r so dense.......get a jazz player to play u some modern jazz, and u will here the glockenspiel type instrument playing. this is best shown in george shearing's "lullaby of birdland". trad jazz is the kinda jazz where the sax player is playing absolutely mental solos, and the bassist is jumping all over the place, and the drummer is playing so syncopated it almost sounds on the beat. this is best described by cannonball adderley's "bohemia after dark". listen to them and u will see what i mean.
and no, what i have been describig is not be-bop, that is something totally different........foolio