The Major's Bass Boot Camp - Session 16

[Major-Minor]

The Major's Bass Boot Camp - Session 16
"Creating a Walking Bass Line"

The "Walking Bass Line", a defining characteristic of the jazz (or jazzy) sound, is, in it's basic form, a series of equally spaced bass notes (usually written as crotchets), creating a constant and well defined pulse. An essential part of Bebop, Swing, Trad Jazz, Hot Club, Big Band, and even Quicksteps and Foxtrots in the Ballroom Dancing world, this is a style of playing that all aspiring professional bass players need to be comfortable with, as it crops up not only in the jazz world but in theatre and concert work, cruises, TV and Radio sessions etc etc.

I've kept all the following examples in the first 3 positions (on both BG and DB) so that those new(ish) to playing bass shouldn't find these pieces too hard and I've kept the tempos on the mp3s at a steady speed for clarity. Although I've used DB on the mp3's, everything in these pieces is relevant to BG players as well.

On most gigs, you are unlikely to find detailed written walking lines with all the skips, rakes, pushes etc. What you will get is either a chord sequence with "WALK" or "4's" or "SWING 4's" written over it OR maybe a simple crotchet (1/4) line OR a combination of both.
A Big Band arranger may well put in the occasional rake skip or push if it ties in with ensemble movement.

So I will show you in these pieces how you can build a basic walking line and then vary and ornament it to make it more interesting, more swingy, more jazzy.
I've used the "dotted quaver / semiquaver" method of writing swing parts for most of these pieces.
For each of these examples, I've taken the chord sequence from a well known standard as the starting point.

MBBC16a
[attachment=43495:MBBC16a.pdf]
[attachment=43501:MBBC16a.mp3]

This is a 16 bar chord sequence in C major (starting in it's related minor key - A minor) played 3 times.

In the first 16 bars, I've simply written notes taken directly from the chords marked underneath. So in bar 1, which is A minor 7, I've just used the root ( A ) 3rd ( C ) and 5th ( G ) of the chord. Placing the root again at the end of the bar means there is a nice "root position" movement to the next chord i.e. the A root moves to the D root of the next bar. But be clear - this is just one option - there are others we will come on to later.
In bar 2, D minor 7, you will see that this time I've placed the 5th ( A ) before the 3rd ( F ).

Sometimes it's good to clarify the underlying harmonic movement for the rest of the band (especially the soloists) and the 2 essential notes to do this are the root and the 3rd as they define the basic character of the chord.

From bar 17, I've introduced some "passing notes" i.e. notes which aren't in the chord but move nicely from one chordal note to another. I've marked each one with an arrow. The first 2 (bars 17 and 18) are the second degree of each related scale e.g. bar 17 is A minor 7 - it's related scale is A Natural Minor - the second note of this scale is B. This second degree of the scale, called the "super-tonic", leads nicely to the 3rd of the scale, thus we get the 2 essential notes (root and 3rd) with a passing note between and the basic harmony becomes clear.

In bar 20 I've included the flat 3rd (from the root C) - Eb although for clarity of reading, I've written it in it's enharmonic - D#). This note (the minor 3rd) needs to be treated with care as it insinuates a minor harmony, when the chord at this point (C maj7) is major. But by then moving to the major 3rd ( E ) we get a resolution which makes the fundamental harmony clear. The same happens in bar 26 - a Bb followed by a B. (This flattened 3rd played against a Major Triad is also called the "Blue Note" and is a charactreistic part of the jazz/blues styling).

Bar 29 introduces some extraneous passing notes. The chord is D minor 7 (DFAC) yet I've shoehorned in a C# and an F# . The C# works fine as it is passing between 2 chordal notes. You can approach any root note from a semitone above or below and it will sound OK, so the F# moves nicely up to the G root of the next bar.

The third 16 bar sequence (from bar 33) introduces "skips" - little notes added before each main crotchet beat. Pluck these with the 2nd finger of your right hand. They can also be "dead" notes - i.e. notes of indeterminate pitch.

Bar 39 has some more extraneous notes - the D# and the Bb. Both notes work fine as they are just a semitone step away from the following chordal note. This is a common inclusion in the walking bass line - the semitone resolve to a root note.

Left hand pizz:
Look at bar 41 - the last note - Ab played with the first finger on the G string. This finger can then pull the string sideways to articulate the next note - the open string G. This is a great way to vary the sound quality and add in little extra notes without too much effort. This can also be done on the other strings but really it works best on the G.

In bar 47, the G on the 3rd beat is more easily articulated by "hammering on" (H). Throughout these examples, wherever you see 2 notes joined by a slur, the second note is hammered or is a pull off. (Sometimes a pull-off can be written with a + on it ).


MBBC16b
[attachment=43496:MBBC16b.pdf]
[attachment=43503:MBBC16b.mp3]

This has the same chord sequence as MBBCa. Here I have introduced "rakes", "pushes" and triplet crotchets.

In bar 3 you will see the first rake - a triplet of quavers from high to low across the top 3 strings landing on G on the bottom string. There are many variations to this little trick. Here are just a few. Use just the index finger to articulate this particular one.

There is what we call a "push" at the end of bar 1, meaning a note which slightly anticipates the main beat. The D is written on the last semiquaver of the bar (actually of course its played on the last triplet quaver). In bar 7 there is a series of 3 pushes.

In bar 25, you will see I've written triplet crotchets over the last 2 beats. An excellent way to vary the line and add tension.

In bar 30 I've written in the left hand fingering that I tend to use for this dominant 7 rake. In the right hand, pluck the Bb with the middle finger, hammer on the B, play the next 2 notes also with middle finger and then move to the index finger to articulate the C.

A word about tastefulness:
I've crammed in lots of ornamentation into this and subsequent exercises. This is only for practice purposes ! I wouldn't advocate this level of messing about with the line on most gigs. The constant crotchet movement is the king here - only add the other stuff occasionally to pepper it up as and when you feel it is stylistically appropriate.


MBBC16c
[attachment=43497:MBBC16c.pdf]
[attachment=43504:MBBC16c.mp3]

In F minor - 4 flats - Bb Eb Ab Db.

As this sequence is a little more tricky, I've kept this exercise to just the chordal notes and I've put a repeat mark at the end so you can build up stamina by playing round and round.


MBBC16d
[attachment=43498:MBBC16d.pdf]
[attachment=43505:MBBC16d.mp3]

The same as MBBC16c but now with all the passing notes, skips, rakes, pushes and triplet crotchets, and again there is a repeat sign at the end.


MBBC16e
[attachment=43499:MBBC16e.pdf]
[attachment=43506:MBBC16e.mp3]

So, another straight 4's example with no frills. But in this one, we go into "2 in a bar" for the mid section (from bar 17 ). Here I've written quavers rather than semiquavers but its still in a swing feel. Actually these notes are really triplet quavers but often written as straight quavers to make hand copying easier (not that many people hand copy music anymore !).

The chords often change every half bar, so you only have 2 crotchet beats to make the harmony clear.
One option is to just play the root note twice as in bar 1. Or, as in bar 2, you can play root and 3rd. Root and 5th works of course, but this way you don't define the chord in terms of major or minor.


MBBC16f
[attachment=43500:MBBC16f.pdf]
[attachment=43508:MBBC16f.mp3]

As MBBC16e, but now with all the bells and whistles.


The Major

[billphreets]

once again major, i say a big thankyou.. invaluable as always.. i sincerely hope these lessons continue for a long time!!

[EssentialTension]

I've at last begun to get into your boot camp Major. Very good it is too. Thank you so much.

[xilddx]

[quote name='EssentialTension' post='757333' date='Feb 25 2010, 05:32 PM']I've at last begun to get into your boot camp Major. Very good it is too. Thank you so much.[/quote]
Yes, I think it is time for me to start too, while I have a little free time over the next few weeks.

MM is a hero, I hope he gets out of it as much as he puts in. Salute!

[Soloshchenko]

Wow, this looks and sounds amazing mate. I've just started learning walking bass techniques and I've found just a little bit of knowledge has gone a long way and has helped me loads in my rock playing.

When I get some time I'm all over this.

[Marvin]

I was going to purchase another tuition book, but I think Major's material would be more beneficial. Also there's no tab I noticed in this one so I can't be lazy and not start using the stave

Great resource, very generous to make it available to us.

Must remember though to start at the beginning ( being a beginner) and work through.

[Major-Minor]

[quote name='Marvin' post='760387' date='Mar 1 2010, 06:04 AM']I was going to purchase another tuition book, but I think Major's material would be more beneficial. Also there's no tab I noticed in this one so I can't be lazy and not start using the stave

Great resource, very generous to make it available to us.

Must remember though to start at the beginning ( being a beginner) and work through.[/quote]
Hi Marvin - I did mention this in the first Session: I haven't approached these sessions in a graded manner ie sometimes I've put in stuff for the more advanced readers mixed in with easy reading. This is mainly due to laziness on my part. I just wanted to do stuff as it came into my brain rather than setting a "syllabus". So you might have to dig about for material that you are comfortable with.

My purpose in doing these sessions is to try to get more bass players reading properly, and at the same time, helping everyone with theoretical understanding.

Do please let me know what you have problems with and I'll prepare sessions accordingly.

The Major

[Marvin]

[quote name='Major-Minor' post='761083' date='Mar 1 2010, 07:33 PM']Hi Marvin - I did mention this in the first Session: I haven't approached these sessions in a graded manner ie sometimes I've put in stuff for the more advanced readers mixed in with easy reading. This is mainly due to laziness on my part. I just wanted to do stuff as it came into my brain rather than setting a "syllabus". So you might have to dig about for material that you are comfortable with.

My purpose in doing these sessions is to try to get more bass players reading properly, and at the same time, helping everyone with theoretical understanding.

Do please let me know what you have problems with and I'll prepare sessions accordingly.

The Major[/quote]

I don't think I would describe someone who compiles 16 sessions accompanied with PDF and Mp3 files as lazy, and to make them freely available to such a motley bunch as basschaters.

I've started reading through the first lesson and noted your explanation that the sessions are in not particular order. There certainly seems to be plenty there for all to get something out of the sessions, so it may mean coming back to a session. For me it will definitely be useful to use lessons that don't use tab as well, I find this makes me lazy and inhibits my learning, I may be wrong but I think using a stave will help me learn the notes on the fretboard.

If it's helpful to you I'll certainly let you know if I encounter any problems.

Many thanks.

[Major-Minor]

[quote name='Marvin' post='761208' date='Mar 1 2010, 09:14 PM']I don't think I would describe someone who compiles 16 sessions accompanied with PDF and Mp3 files as lazy, and to make them freely available to such a motley bunch as basschaters.

I've started reading through the first lesson and noted your explanation that the sessions are in not particular order. There certainly seems to be plenty there for all to get something out of the sessions, so it may mean coming back to a session. For me it will definitely be useful to use lessons that don't use tab as well, I find this makes me lazy and inhibits my learning, I may be wrong but I think using a stave will help me learn the notes on the fretboard.

If it's helpful to you I'll certainly let you know if I encounter any problems.

Many thanks.[/quote]
Of course, everybody has differing ambitions in the music world, but just keep reminding yourself that TAB is rarely (if ever) seen on a music stand at a tv or film session / theatre pit / concert platform / etc etc

Getting decent gigs / sessions is hard for everyone these days, but if you can read the dots on the stave proficiently, and at sight, you may well open up a whole new world of possibilities.

The Major

[Snarf]

Wow, this is fantastic! Thank you Major-Minor, this great stuff!

[Marvin]

I may be a little too mature to think about being a 'serious' player, ehum at 37. but I understand fully what you're driving at. I think, but again I may be wrong, that learning to read music would not only be a benefit in itself, but also help with other parts of playing and learning to play. For example, you don't get the pulse or rhythm of a piece from tab, it's a combination of just telling you what notes/ numbers to play and then cobbling something together yourself. Well that's how I feel anyway.

Thanks.

[Major-Minor]

[quote name='Marvin' post='761298' date='Mar 1 2010, 10:30 PM'].... you don't get the pulse or rhythm of a piece from tab, it's a combination of just telling you what notes/ numbers to play and then cobbling something together yourself.

Thanks.[/quote]
Exactly ! Tab tells you so little its really not worth bothering with. And its so much easier to teach someone about theory and harmony if they can follow the written note. As with most techniques, reading music is about practice - just doing it regularly. That's what I'm aiming to provide with these sessions - material that isn't too difficult (well maybe sometimes !) but is also the kind of stuff you might get on a typical reading gig.

All these things - reading, theory, technique, harmony - they are all intricately related, and as a bass player, you can't fully understand any one of these without reference to the others.

The Major

[51m0n]

Loving this stuff MM!

Can you put a few in that focus a bit more on the theory side, please?

I know you've made a deliberate change to focus on the reading thing, but there are areas of jazz based theory that make my head spin (not being a jazz player at all).

Substitutions particularly leave me mystified (why they work, where you can/should/would use them etc), and since you've just started to dip into walking bass as a string to the bassists bow, I'd really appreciate a bit more detail around this area if you feel like it, with some of your fantastic examples - I'd especially like to have an example with a substitution compared to the same chord seqence but without, if you see what I mean.

Anyway, thanks for all the effort you've put in!

[Major-Minor]

[quote name='51m0n' post='766683' date='Mar 7 2010, 09:06 AM']Loving this stuff MM!

Can you put a few in that focus a bit more on the theory side, please?

I know you've made a deliberate change to focus on the reading thing, but there are areas of jazz based theory that make my head spin (not being a jazz player at all).

Substitutions particularly leave me mystified (why they work, where you can/should/would use them etc), and since you've just started to dip into walking bass as a string to the bassists bow, I'd really appreciate a bit more detail around this area if you feel like it, with some of your fantastic examples - I'd especially like to have an example with a substitution compared to the same chord seqence but without, if you see what I mean.

Anyway, thanks for all the effort you've put in![/quote]
Funnily enough, this is exactly what I'm working on for the next session ! I've taken the old standard "Georgia On My mind" and after doing a basic version, I've then done a series of alternative styles with substitutions. I've yet to do the theoretical writing but it's going to be ready very soon.

The Major