Double Bass Walking bass line

[TroyK]

...

Why do you cringe when someone wants to sing "My funny Valentine"? Just curious ahah

Q: How many jazz vocalist does it take to sing "My Funny Valentine"?
A: Apparently all of them.

It's just over done. The performance you posted was nice, though.

 

[Don Kasper]

Thanks for a great bass line.
Just a question.
Could you, please, explain the bass note choices originally recorded in Measure 2 from your provided video?

View attachment 2968208

Hello WUTP,
(I see you transcribed the bassist's line in m. 1-2, from the recording!)
I can't comment on the bass note choices in m. 1-2 of the recording - other than they're not what I would play...
Thanks for your interest and earz!

 

[Don Kasper]

Thank you.
Another question.
What is your reasoning to break your bass line’s contour in Measure 5?

Just to show another approach (besides "connect the dots"), and, I really like that shape on a ii7-V7, and it does NOT have the Root of the Cmin on beat 1.
I have written "Etudes" of walking basslines where I try to utilize a single approach throughout the form of the tune. It is a nice way of finding new routes and paths through the harmony.
I also encourage my students to do the same, either written, OR, in real-time.
Thanks!

 

[Don Kasper]

Don, could I apply your bass line "structure" for the next measure resolving into Ab?
Or it's not recommended?
View attachment 2968787

I think that would work just fine, even if it goes somewhere other than "Ab" - but that "G" is a nice 1/2 step approach/connection to the "Ab" (on the G string.)
IMFO.
Thanks for your continued interest in this esoteric endeavor!

 

[Don Kasper]

P.S. I like your unorthodox F on Beat 1 with Am7(b5).

It is not unorthodox at all - it is a note that I hear as shared by both Eb7 and Amin7b5 chords (the nat 9 of Eb7, and the 13 of Amin7b5). I am a strong believer in knowing/hearing/using ALL (or as many notes as possible) in a chord sonority, not just the 1,3,5,7, (9).
Most chords suggest at least 7 (or more) notes that I hear as consonant with, and supportive of, the NAMED and sounding chord voicing.
For example:I practice the arpeggio for Amin7b5 like this - A,C,Eb,G,Bb (and/or B!),D,F, A.
But that's me...
Thanks.

 

[Don Kasper]

my Ab mistake note as a pickup/fill note before moving to A

Sorry - This type of chromatic/non-diatonic movement is not "...one of My Favorite Things...". (Ab is not consonant with, or supportive of, either Eb7 or Amin7b5. IMFO.)
But that's me...
Thanks.

 

[Don Kasper]

What if after G, we play (with Am7b5) Db F A C# and D for D7b9?

Nope - Db and C# are not in Amin7b5 - you have squandered 50% of your notes on non-supportive, non-consonant notes. There are better choices.

Or E(open) G A Db and D with D7b9?

Nope - E,G, and Db, are not in D7b9 - you have now squandered 75% of your notes on non-supportive, non-consonant notes. There are better choices.

I'm comfortable playing it and totally understand your walking bass line idiosyncrasy.

To each, his own.

Thanks.
But that's me...

 

[Don Kasper]

Something terrible wrong with my brain today.
I meant Eb not Db.
It' looks like you are very unhappy with chromatic note choices on Beat 4 - C# leading to Root D.

OK. Understood, Brains (mine included!) are funny things!
YES - I am NOT a fan of such "chromatic note choices on Beat 4..." esp. using a C# to arrive at the D7b9. Why?, you may ask? Because the C# is supportive of NEITHER the Amin7b5 OR the D7b9. There are better choices. IMFO.
This type of note choice is largely "ergonomic", (IMO, just plain "lazy") 1/2 step approaches that I try to avoid at all costs in my playing and teaching. (I have referred to them as "Banana Peel Basslines" in prior threads.)
But that's me.
Thanks.

 

[Don Kasper]

What would be your choice with Amin7b5?

A (D string), F (A string), Eb (A string) and A(E string) going to D with D7b9.
Or
A (D string), F (A string), A (E string) and Ebthumbsup: A string) to D.
Or
A (D string), Ebthumbsup: A string), C(E string), A (E string) to D.

Sorry - I can't understand what you're trying to ask here.
Can you use conventional (Bass Clef) notation and write out your choices?
Thanks!

 

[Don Kasper]

Yes, of course. Thanks for being so patient with me.
Just the Cmin7/F7 Bbmin7/E7 Amin7b5 D7b9 part.
I'm interested only in the Amin7b5 measure bass-line. The next measure is a copy from your bass-line.

I'm trying to be only "diatonic" and follow your interesting bass line contour.
(Sorry for some strange Guitar Pro chord notation like D7addb9).
View attachment 2969234 View attachment 2969235 View attachment 2969236
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View attachment 2969247
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(I like string-crossing exercises.)
View attachment 2969249

I can continue but I think I have understood your bass-line concept and your "unhappiness" with some lazy chronic passing notes.
Thank you for being polite.

I'm not fond (at all) of your use of the E naturals and Db's on the Amin7b5/A half dim.
(There are better, stronger choices.)
IMO.
Thanks for your interest and civility, WUTP. I appreciate both.

 

[Whousedtoplay]

E naturals and Db's on the Amin7b5/A half dim.

I've checked with my doctor about those two mental blocks.
My doctor said two things.
1. Don't go anywhere near that Double Bass forum where only true Pro Musicians "live".
2. Have a good night's sleep.drool

I did have a nice rest - "I did stay at a Holiday Inn Express hotel last night."
One block - E with Amin7b5 - was gone immediately, and I "smelled" that beauty of F to go along with Eb in Amin7b5.

P.S. My doctor has allowed me one exception. To send a message to Monk Montgomery about his use of Db/C# with Amin7b5.

Here is that spot but a very slow tempo.

https://www.talkbass.com/attachment...3/?temp_hash=0ae6a5daa5f6dd2ff4f79ca61f1a848d

 

[lurk]

I've checked with my doctor about those two mental blocks.
My doctor said two things.
1. Don't go anywhere near that Double Bass forum where only true Pro Musicians "live".
2. Have a good night's sleep.drool

I did have a nice rest - "I did stay at a Holiday Inn Express hotel last night."
One block - E with Amin7b5 - was gone immediately, and I "smelled" that beauty of F to go along with Eb in Amin7b5.

P.S. My doctor has allowed me one exception. To send a message to Monk Montgomery about his use of Db/C# with Amin7b5.
View attachment 2970344
Here is that spot but a very slow tempo.

https://www.talkbass.com/attachment...3/?temp_hash=0ae6a5daa5f6dd2ff4f79ca61f1a848d

He's not using a C# with the A-7b5. He's using a C# as a leading tone to the D. Once you establish that A-7b5 at the start of the measure you're done with it and for the rest of the measure you're involved with going to D. That's the point - you always want to be aiming at something.

 

[Whousedtoplay]

He's not using a C# with the A-7b5. He's using a C# as a leading tone to the D. Once you establish that A-7b5 at the start of the measure you're done with it and for the rest of the measure you're involved with going to D. That's the point - you always want to be aiming at something.

But of course that C# on Beat 4 is a leading tone to D, but...
After my discussion with Don, I start having a “second” look at those chromatic passing/leading - lazy 1/2 step approaches - tones.
Don’s stronger diatonic bass note vision especially in “easy” and melodious songs caught my attention.
No need to frivolously destroy beautiful chord progression by throwing anything that “could stick” on the bass.
It’s more work but it’s very rewarding.

P.S. Any bass line is a product of the bass player’s idiosyncratic ideas. No need to argue about it.

 

[Don Kasper]

 

[Whousedtoplay]

View attachment 2971381

Don,

Thank you for that F with Amin7b5.
Now, I hear Amin7b5 as part of a beautiful and diatonic chord structure of Ebmaj9/Amin7b5.
Those F Bb and D (as Bb 6/4 figured bass) notes provide enough diatonic tensions for me.

 

[jloehrke]

But of course that C# on Beat 4 is a leading tone to D, but...
After my discussion with Don, I start having a “second” look at those chromatic passing/leading - lazy 1/2 step approaches - tones.
Don’s stronger diatonic bass note vision especially in “easy” and melodious songs caught my attention.
No need to frivolously destroy beautiful chord progression by throwing anything that “could stick” on the bass.
It’s more work but it’s very rewarding.

P.S. Any bass line is a product of the bass player’s idiosyncratic ideas. No need to argue about it.

Sorry if I'm being a jerk, but I think you're missing the point. When we transcribe we don't seek perfect ideal solutions to musical problems, but rather to find out what happened in real life successful examples of the idiom. Wes's version of Summertime is a happening piece of music. The bass player is a big part of that, and discovering what he did is informative. It may not be the perfect line we can come up with, but there's a flow there. Nitpicking over a note or two that might not be ideal is not the point. In fact, I think the most valuable thing we get from transcribing is not the notes at all, but rather listening intently to sound, articulation, beat placement, and general flow. Most novice jazz musicians get too hung up on notes cause it feels so awful to play a clam; the stuff I mentioned in the previous sentence is really where it's at.