Walking Bass Crash

Course

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Copyright © 2013 Scott's Bass Lessons

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C‹7 F7 B¨Œ„Š7 E¨Œ„Š7

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c Minor

Arpeggios (Chord Tones) for todays lesson

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f Dominant 7

Walking Bass Lesson - (Crash Course) Part 1 (L#22)

Scott Devine

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intervals:

R 3rd 5th 7th R

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R 3rd 5th 7th R

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B Flat Major

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E Flat Major

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R 3rd 5th 7th R

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R 3rd 5th 7th R

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A minor 7th (flat 5)

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D dominant 7th

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G minor 7th

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R 3rd 5th 7th R

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R 3rd 5th 7th R

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R 3rd 5th 7th R

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The first 4 bars of 'Autumn Leaves'.

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1 3

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5 8

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C‹7 F7 B¨Œ„Š7 E¨Œ„Š7

Ex.1

C‹7 F7 B¨Œ„Š7 E¨Œ„Š7

Ex.2

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C‹7 F7 B¨Œ„Š7 E¨Œ„Š7

Ex.3

A‹7(b5) D7 G‹7 G7

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05:38

Simple line using root, third and fifth.

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07:22

Simple line using root, third and fifth & chromatic note.

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09:34

Add chromatic notes and continue with the progression

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3 6

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C‹7 F7 B¨Œ„Š7 E¨Œ„Š7

Ex.1

Copyright © 2013 Scott's Bass Lessons

C‹7 F7 B¨Œ„Š7 E¨Œ„Š7

Ex.2

A‹7(b5) D7 G‹7 G7

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02:58

Simple line using root, then Leading chromatically to the next chord.

Scott Devine

Walking Bass Lesson - (Crash Course) Part 2 (L#23)

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Mixing up the 2 approaches

"I've got a target note and I'm putting 3 passing notes below it""I've got a target note and I'm putting 3 passing notes below it"

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Etc

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4 5

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2 5 4

Copyright © 2013 Scott’s Bass Lessons

Targeting Chord Tones Chromatically (L#22.23)

Your Action Plan

1. In the tutorial I mention that you should check outthe great version of 'Autumn Leaves' that Miles Davisand Cannon Ball Adderley recorded from the album‘Somethin' Else’ by Cannonball Adderley. Now I wantyou to take that one step further. You should startlistening to bebop on a regular basis, as this is reallygoing to help you get your walking bass lineshappening and give you an insight into what the feelof a great walking bass line should be.

Start listening to guys like Ray Brown, Oscar Pettiford, Charles Mingus and Paul Chambers on a regular basis.

I recommend listening to these albums:

• ‘Live at the Loa’ - The Ray Brown Trio• ‘Another One’ - Oscar Pettiford• ‘Ah Um’ – Charles Mingus• ‘A Kind of Blue’ – Miles Davis (Paul Chambers on

bass)

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2. Once you can play a walking bass line over the jazzstandard 'Autumn Leaves' it's time to start looking atother jazz standards that you can use the sametechniques upon. Here are three great standards toget you started…

‘All the Things You Are’ by Jerome Kern. ‘The Days of Wine and Roses’ by Henry Mancini. ‘Just Friends’ by John Klenner.

Whenever possible use backing tracks as they will give the walking bass lines context so you'll be able to hear how they sound within the actual song.

You should spend an extended period of time working on each song. I recommend spending at least a week (if not longer) on each.

3. Experiment with speed. Not only playing at fastertempos but also at slower tempos, as each arechallenging in different ways.

When playing at slower tempos be sure to be solid and lay down a good, strong, rhythmical foundation for the rest of the band. And, make sure you're not speeding up, as this is a common problem.

Playing walking bass lines at faster tempos can be tough simply from a stamina point of view. The bass player stills needs to create a solid foundation for the rest of the band, but at the same time the chords are passing by so fast it's easy to get confused and lost within the song. This is why we must also practice at fast tempos. The aim is to be comfortable and at ease when playing walking bass lines at any tempo.

Scott Devine