rhythmic accents for walking bass

[Groove Master]

not to brag but i can manage what Sam Jones does in Somethin' Else after studying it all these years, i'm trying to break out of it and learn some of the walking styles of Scott LaFaro, Eddie Gomez and Marc Johnson. particularly what they do on more up-tempo tunes of Bill Evans.

Here is Marc with the great Toots Theilemans

Up-Tempo can be played with a lot of pull-offs and hammer-ons with the open strings.I think that's what you are looking for.

 

[csc2048b]

Up-Tempo can be played with a lot of pull-offs and hammer-ons with the open strings.I think that's what you are looking for.

Exactly!!! but that's the cherry of top of the milkshake inside the holy grail i seek.

i want to understand how they are able to be rhythmically diverse with their walking lines.when i do it, it sounds either so predictable & bland or contrived & beyond me. i wanted a shorter/faster way but bottomline is that i should transcribe those lines the same way i did Sam Jones and my earlier heroes.

 

[Groove Master]

Exactly!!! but that's the cherry of top of the milkshake inside the holy grail i seek.

i want to understand how they are able to be rhythmically diverse with their walking lines.when i do it, it sounds either so predictable & bland or contrived & beyond me. i wanted a shorter/faster way but bottomline is that i should transcribe those lines the same way i did Sam Jones and my earlier heroes.

Ok then, here is how I use and how I teach that: Use the xtra rhythms (pull-offs and HO) mainly for shifting purposes. The problem with most players is that you hear the shifts of position and the sound and feel suffer from it. By disguising those shifts with the Pu and Ho you sound more natural. Aim for rhythms that finish on the 2 or 4 in general.

 

[Bass Momma]

Ok then, here is how I use and how I teach that: Use the xtra rhythms (pull-offs and HO) mainly for shifting purposes. The problem with most players is that you hear the shifts of position and the sound and feel suffer from it. By disguising those shifts with the Pu and Ho you sound more natural. Aim for rhythms that finish on the 2 or 4 in general.

I'm working on that (PO and HO with the open string) right now and not doing very well. Mainly using Blues for Alice as an exercise. Can you please point me to some useful instruction (video or other), or examples, that would help? Thanks

 

[Groove Master]

I'm working on that (PO and HO with the open string) right now and not doing very well. Mainly using Blues for Alice as an exercise. Can you please point me to some useful instruction (video or other), or examples, that would help? Thanks

I have found this. It could help you out

 

[Bass Momma]

I have found this. It could help you out

Thank you! I’m on electric, but this has the concept. Onward and … upward? ; )

 

[AGCurry]

I've seen this "accent 2 and 4 in walking swing" concept discussed several times on TalkBass. It is wrong.

 

[Groove Master]

Thank you! I’m on electric, but this has the concept. Onward and … upward? ; )

The main thing is to get the vibe.
What I was explaining is to be aware of the shifts and fingerings on electric because the bass is amplified, direct sounding and not forgiving in a jazz setting. So I think to hear how a double bass player is doing it as far as phrasing is really good for electric bass purposes.

You make me think that I should put a video out on that subject and I'm also about to release my new book on that subject. (no publicity intended here, just a fact)

 

[Bass Momma]

The main thing is to get the vibe.
What I was explaining is to be aware of the shifts and fingerings on electric because the bass is amplified, direct sounding and not forgiving in a jazz setting. So I think to hear how a double bass player is doing it as far as phrasing is really good for electric bass purposes.

You make me think that I should put a video out on that subject and I'm also about to release my new book on that subject. (no publicity intended here, just a fact)

When I'm playing, the "voices" I have in my head are upright players. Definitely the feeling I'm after.
And yes, anything addressing the question of "tasteful" articulations to take a good quarter note walking bassline to the next level of interest would be excellent.

 

[BassChuck]

Listen to the greats. And then sing their lines and make sure your singing swings. Then pick up the bass.

 

[vilshofen]

Can you please point me to some useful instruction (video or other), or examples, that would help?

Bass Momma, Dave Holland is one with an ornamented, percussive style full of "noise," well worth emulating; a simple scalar line - G, F, D, Bb - in his hands becomes . . . carpentry!