I dont know if this of topic, but I have been lifting some walking lately, mostly PC and Percy Heath and it is really cool to see how different their approaches were. Everybody uses certain lines, but there is more than one way to walk for sure.
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Double Bass Walking Bassline Theory Question
- Thread starter Rob Hunter
- Start date
Definitely. PC had an amzing way of developing chromatic tension and release motifs that eventually resolved.Scott McC said:
Heath was also incredibly melodic.
This is afantastic discussion by the way.
Now Allan Holdsworth (the fusion guitarist) said of the whole chord scalar thing that an arpeggio is simply a scale with some of the notes left out. Which I think is a valid observation.
The two are inseparable and also able to analysed separately .
Thus a paradox that alerts us to the nature of music and walking bass lines themselves.
Now there are certain little tricks such as adjacent tones that fit within what camp. Is playing Bb-B-Bb-Bb over a Bb7 chord a scalar or chordal thing (or just bad bass playing) or a tension and release thing. A servicable bass line over a blues progression will function using this half step above or below approach ( at least for a while).
It gives a sense of jazz tonality, is ambiguous but it sounds OK and works. PC used these ideas all the time then incorporated a more chordal line to bring it back in.
How does Bb-B-C-B/Bb-A-Ab-B/ fit in with a chord scale dichotomy. I have heard this line used by many classic bassists and use it at fast tempos to give a static yet moving motion to the line.
Theoretically at first it appears nonsensical but it could be analysed as such. But it simply works.
I have to say, I learned everything I know in the first transcription I ever worked out - Relaxing with the MDQ. The bass on that album is in all ways perfact and easy to hear.
About the b problem:
1. I don't mind approaching any root by a half step above or bellow and that applies to all chords. I love approaching dom chords from a half step bellow. I just think it sounds cool.
2. Its probably a good idea to avoid Bb any way. The forths are always a bad idea. Of course there are exeptions. I distintly remember hearing one in Kind of Blue somewhere. You know, something like 431. And of course there's always 34#45. I can't think of an other reason to play a Bb on an F chord. I knew a bass player in school who though he was modern and played a lot of 4ths. Everybody hated playing with him because they never knew what chord they were on.
-Peace
About the b problem:
1. I don't mind approaching any root by a half step above or bellow and that applies to all chords. I love approaching dom chords from a half step bellow. I just think it sounds cool.
2. Its probably a good idea to avoid Bb any way. The forths are always a bad idea. Of course there are exeptions. I distintly remember hearing one in Kind of Blue somewhere. You know, something like 431. And of course there's always 34#45. I can't think of an other reason to play a Bb on an F chord. I knew a bass player in school who though he was modern and played a lot of 4ths. Everybody hated playing with him because they never knew what chord they were on.
-Peace
I feel that walking, or soloing etc, is basically outling the tension and release of whatever the tonality of the moment is. Its all about the cadence. It doesnt really matter how you resolve, as long as you mean it, and at some point resolve. What I have also found is that thinking this way doesnt make for any less practice! I love this music and how simple yet difficult it can be
What type of music is this about again? Hoping that 5 years ago is not forgotten!!
...if it's blues, then I have a reply...If it is anything else, please revert to previously posted replies (I think that there has been plenty covered there!!)
>>>Paul Haley
...if it's blues, then I have a reply...If it is anything else, please revert to previously posted replies (I think that there has been plenty covered there!!)
>>>Paul Haley
That was in 2001 - he used to post around here then.
It was a smaller community and I learned a lot about Jazz bass playing from people on this site!
Nowadays the site has got so much larger and has so many more rules and things - people have come and gone and come back!!
Back then it was more like a hobby site with a lot of Jazz DB players as a proportion - now this is just a tiny part of a bigger site!!
That was in 2001 - he used to post around here then.
It was a smaller community and I learned a lot about Jazz bass playing from people on this site!
Nowadays the site has got so much larger and has so many more rules and things - people have come and gone and come back!!
Back then it was more like a hobby site with a lot of Jazz DB players as a proportion - now this is just a tiny part of a bigger site!!
Ahhhhh, who really knows what good or evil lurks in the shadows of the TB forums?
i understand how to tie all of these elements together, but because i taught myself, the terminology is a little confusing. i believe the best way is to have someone show you on the instrument in front of you and then break down what can be done in a given situation. i have always believed that there are certain notes that generally bring melody and harmony and there are certain notes that can bring resolve, and others that can create tension and discord. a good understanding of what notes will do what in a given situation is paramount.
for example: if one was to play a simple progression starting in Cmaj7 (c,e,g,b), as a bass player i would ask myself immediately if it was a song with a happy melody, if it had a bluesy element to it, etc. a very popular bass line i like to use which would fit very nicely within that chord would be to emphasize the pentatonic scale of Cmajor and add the 7th (b) occasionally just to remind listeners that we expanded the chord a little more melodically and not just stayed with the basic chord.
other notes could work well too ; an occasional added 4th (F) with a resolve to the third is usually a safe play melodically too.
if the song was to have a bluesy feel to it, and the main chord was C7 (c,e,g,Bflat), then a wider possibility of notes become available; almost any note could be used over a dominant chord at a given time, assuming it is done with purpose and taste.The key of Fmajor over the C7 is where i would start, although when i am playing, i don't view it that way; i see it as the key of C with accidentals.
i would probably steer clear of a natural 7th in this case(b) because it lends to much melody and happiness; diminished 7ths come into play big time with dominant chords, which essentially mixes elements of minor and major notes and tritones all together, but requires tasteful execution at all times.
for example: if one was to play a simple progression starting in Cmaj7 (c,e,g,b), as a bass player i would ask myself immediately if it was a song with a happy melody, if it had a bluesy element to it, etc. a very popular bass line i like to use which would fit very nicely within that chord would be to emphasize the pentatonic scale of Cmajor and add the 7th (b) occasionally just to remind listeners that we expanded the chord a little more melodically and not just stayed with the basic chord.
other notes could work well too ; an occasional added 4th (F) with a resolve to the third is usually a safe play melodically too.
if the song was to have a bluesy feel to it, and the main chord was C7 (c,e,g,Bflat), then a wider possibility of notes become available; almost any note could be used over a dominant chord at a given time, assuming it is done with purpose and taste.The key of Fmajor over the C7 is where i would start, although when i am playing, i don't view it that way; i see it as the key of C with accidentals.
i would probably steer clear of a natural 7th in this case(b) because it lends to much melody and happiness; diminished 7ths come into play big time with dominant chords, which essentially mixes elements of minor and major notes and tritones all together, but requires tasteful execution at all times.
