walking lines over 2 5 1 progressions

[drewphishesp]

looking for a good lesson on this,
was putzing around trying to build some myself last night but I am sure there are some go to lines to use when following this jazz progression
thanks in advance

 

[Spin Doctor]

looking for a good lesson on this,
was putzing around trying to build some myself last night but I am sure there are some go to lines to use when following this jazz progression
thanks in advance

You might be able to get some use out of this. I wrote this exercise chart for my own use. These are not "lines" per se, but chord tones and their inversions in every key. Up arrows means ascent the arpeggio. Down Arrow means descend.

 

[Groove Master]

looking for a good lesson on this,
was putzing around trying to build some myself last night but I am sure there are some go to lines to use when following this jazz progression
thanks in advance

Do you read music?

 

[drewphishesp]

more or less

 

[Groove Master]

more or less

So if I post a pdf of examples can you read?

 

[drewphishesp]

ill either read, or print out and write the notes above it slowly lol

 

[Groove Master]

Here is an exercise I wrote a long time ago for my students in college. It is a 2 bars progression in F with I-II-V.

It will give you an idea on how to apply in real situation and you can adapt it and expand it too.

Hope it will help, have fun

 

[JRA]

drewphishes , all of the patterns you learn are a starting point for "stretching" with the soloists. they are examples...a basis. ultimately: it's jazz --- and you get to use your ears. and to 'pocket' your walk is everything. it's more than just note choice! good luck walking.

 

[BassChuck]

You'll find all you need (and so much more) at this site.

Jamey Aebersold Jazz: jazzbooks.com

Specifically:

jazzbooks.com: Product Details

 

[GastonD]

I once put a few lessons on walking patterns over extended major and minor chords, as well as over II V I's, but it was on the now defunct activebass website. I will at some point do it in notation and post here...

 

[citizenchris099]

looking for a good lesson on this,
was putzing around trying to build some myself last night but I am sure there are some go to lines to use when following this jazz progression
thanks in advance

Todd Johnson Music

I'm on volume 2 currently and it's amazing. The best method I've encountered for learning walking bass.
He does assume you know some basic theiry

 

[Whousedtoplay]

View attachment 3161418 Here is an exercise I wrote a long time ago for my students in college. It is a 2 bars progression in F with I-II-V.

It will give you an idea on how to apply in real situation and you can adapt it and expand it too.

Hope it will help, have fun

As a Sunday morning exercise, I've added my TAB to your lesson.
I'm not afraid of "jumping" on the fretboard, but this TAB is more about "economy of motion"; therefore, I play it closer to the neck.
Also, there is an alternative fingering/TAB for Measure 11.

A different TAB for Measure 11.

 

[GastonD]

OK, I learned this walking approach as "invisible man", implying that if you just play these lines you won't be stepping on anybody's toes, while providing a solid foundation. The idea is to start one bar on the root and next on the 5th of the chord, and then keep alternating. I have written three options here:
1. walking over static minor chords (So What anybody?);
2. static major chords;
3. II-V cycle.

On static dominant chords you would use major approach in the lover tetrachord and minor in the upper one. When it comes to going from V to I, you use either the shown descending version (basically, scalar descent r-b7-6-5 of the dominant chord, or 5-4-3-2 in the tonic chord), or one of the common ascending versions, i.e. 1-2-3-5 or 1-3-5-b5.

Hope this is somewhat helpful.

 

[Groove Master]

As a Sunday morning exercise, I've added my TAB to your lesson.
I'm not afraid of "jumping" on the fretboard, but this TAB is more about "economy of motion"; therefore, I play it closer to the neck.
Also, there is an alternative fingering/TAB for Measure 11.

View attachment 3165997 View attachment 3165998

A different TAB for Measure 11.
View attachment 3165999

Yeah that's cool but in a walking bass I 'd use more open strings especially the open D and sometimes open G just like an upright would do for the phrasing and pull-offs.

 

[tinyd]

This site is good-it's a searchable database of jazz licks, and it includes walking bass lines

Jazz Licks: Thousands of treble clef licks, bass clef licks, guitar tablatures and walking bass lines

 

[Whousedtoplay]

Yeah that's cool but in a walking bass I 'd use more open strings especially the open D and sometimes open G just like an upright would do for the phrasing and pull-offs.

I use open strings on the EB in the following order
1. An Open string note followed by other notes on the same string which helps with muting and also provides some aural tonal nuances. Like playing G on the D string followed by open A, and Bb, C ...
2. Open string as an Organ point/pedal that allows me to play notes in the higher register.
3. Open strings as the best solution to properly articulate a complex bass run, tutti, etc..
Just to use open strings on the EB is more like an exercise.

Could you explain your choice of notes in Measure 32 : C - C# with Gmin7?

 

[dreamadream99]

So much confusion about walking bass. To me it's always been pretty straightforward.

1. Linear lines are easier for the listener than a lot of huge jumps or bouncing around.
2. There's four ways to walk: like a chord, a scale, chromatically, or a hybrid.
3. You can walk up or down. So four ways, times 2 directions? That's already 8 possibilities.
4. The rest is just math. Hit your bass note on one, then walk linearly for 3 beats (if you're in 4/4) to the next bass note.

Two things will elevate your walking to the next level:

1. Music theory. Knowing your key, chords, and tonalities suggest note choice, better than trial-and-error or hope.
2. Read a full measure ahead of the changes. In order for your math and direction to work, you've got to know where you are heading before you make those calculations.

 

[dreamadream99]

go to lines to use when following [2-5-1] progressions

Now to address your specific question. Presume we are in C major, 4/4 time, with a measure of Dm, one of G7, and one of C.
Dm to G7: go up (D E F F# | G), or go down (D C B A | G)
G7 to C: go up (G G# A B | C), or go down (G F E D | C)

 

[Groove Master]

Could you explain your choice of notes in Measure 32 : C - C# with Gmin7?

Of course. It is a classic Ron Carter's approach: Cut the crap with those ii-v and make it as a big V7 or a I Major bebop scale, especially at the end of the form ;-)

 

[Groove Master]

I use open strings on the EB in the following order

Just to use open strings on the EB is more like an exercise.

To me open strings on the EB, fretless or upright is the same: Help stay in first position as possible for sound, phrasing, economy of motion that helps the swing and intonation support.