Today I want to show you an easy way to create what is one of the most recognisable sounds in Jazz, a walking bass line.
Walking bass lines are usually associated with the bass, but they can also be played on guitar. Not only will I demonstrate how to play a walking bass line in this article, but I will also teach you how to add chords to it, allowing you to play both the bass and chords simultaneously on one guitar!
Walking bass lines are not only pleasing to the ear, but they can also enhance your understanding of chord notes and progressions. This knowledge can enhance the quality of your solos by helping you make more melodic choices when selecting notes to play.
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The purpose of a walking bass line is to create a feeling of forward motion in a song, hence the name walking bass.To create this forward moving motion, walking bass lines are typically played using quarter notes that fall on the beat (1, 2, 3, 4 etc).
Exploring all three approaches is a vast topic that cannot be covered in a single article. However, I will guide you through the process of creating walking bass lines on your guitar, including playing the progression's chords, using the chromatic approach.
This is known as a II V I (2, 5, 1) chord progression and is the most common chord progression in the world of jazz.
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Before I show you how to walk a bass line on your guitar through this progression, let’s look at the specific chord voicing’s you will use to play it, and include with your walking bass.
This is a very efficient way to play an Am7 as there are no duplicate notes in this particular voicing of the chord. It is used a lot in jazz and works well when playing a walking bass line around it, as you will see shortly.
This is a common way to play a Dominant 9th chord in jazz and is very efficient as there are no duplicate notes.
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This is a common way to play a Major 7th chord in jazz and is very efficient as there are no duplicate notes.
If you're not familiar with the chord shapes shown above, don't worry. They are root 5 and 6 chord forms and should be easy to locate on the fretboard. As long as you can find bar chords on your guitar, you should have no trouble finding these chords
As I said earlier, we will focus on the chromatic half step approach for constructing the walking bass line in today’s lesson.It’s very simple.
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The next chord is D9, so I will play one half step (one fret) above the root note of this chord on the 5th string/6th fret:
It is crucial to know the upcoming chord, as the note played on the fourth beat of the previous bar or any other beat before a chord change corresponds to the succeeding chord, not the current one. Similar to walking, with a walking bass line you need to be looking ahead to see where you are going.
To help fill this out, I elected to target the 5th of this chord, which is the D note on the 5th string/5th fret. This helps extend the line out without continually returning to the root note.
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This has the chord sounding in-between the notes of our walking bass line, just like a guitarist would typically do when comping chords along with the bass in jazz.
For a step by step walkthrough (pardon the pun) tutorial on building and playing walking bass lines on guitar, as outlined int his article, check out the video below:Bassline (also known as a bass line or bass part) is the term used in many styles of music, such as blues, jazz, funk, dub and electronic, traditional, or classical music for the low-pitched instrumtal part or line played (in jazz and some forms of popular music) by a rhythm section instrumt such as the electric bass, double bass, cello, tuba or keyboard (piano, Hammond organ, electric organ, or synthesizer).
In unaccompanied solo performance, basslines may simply be played in the lower register of any instrumt while melody and/or further accompanimt is provided in the middle or upper register. In solo music for piano and pipe organ, these instrumts have an excellt lower register that can be used to play a deep bassline. On organs, the bass line is typically played using the pedal keyboard and massive 16' and 32' bass pipes.
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Basslines in popular music oft use riffs or grooves, which are usually simple, appealing musical motifs or phrases that are repeated, with variation, throughout the song. The bass differs from other voices because of the particular role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord evts to the larger harmonic organization of a [sic] tire work.
Bassline riffs usually (but not always) emphasize the chord tones of each chord (usually the root note, the third note, or the fifth note), which helps to define a song's key. Basslines align or syncopate with the drums. Other rhythm instrumts join in to create a more interesting rhythmic variations. The type of rhythmic pulse used in basslines varies widely in differt types of music. In swing jazz and jump blues, basslines are oft created from a continuous sequce of quarter notes in a mostly scalar, stepwise or arpeggio-based part called a walking bass line. In Latin, salsa music, jazz fusion, reggae, electronica, and some types of rock and metal, basslines may be very rhythmically complex and syncopated. In bluegrass and traditional country music, basslines oft emphasize the root and fifth of each chord.
Though basslines may be played by many differt types of instrumts and in a broad musical range, they are gerally played on bass instrumts and in the range roughly at least an octave and a half below middle C (roughly the range of the bass clef). In classical music such as string quartets and symphonies, basslines play the same harmonic and rhythmic role; however, they are usually referred to as the bass voice or the bass part.
Jazz Guitar Bass Lines 3: Walking Bass Line
Most popular musical sembles include an instrumt capable of playing bass notes. In the 1890s, a tuba was oft used. From the 1920s to the 1940s, most popular music groups used the double bass as the bass instrumt. Starting in the 1950s, the bass guitar began to replace the double bass in most types of popular music, such as rock and roll, blues, and folk. The bass guitar was easier to transport and, giv that it uses magnetic pickups, easier to amplify to loud stage volumes without the risk of audio feedback, a common problem with the amplified double bass. By the 1970s and 1980s, the electric bass was used in most rock bands and jazz fusion groups. The double bass was still used in some types of popular music that recreated styles from the 1940s and 1950s such as jazz (especially swing and bebop), traditional 1950s blues, jump blues, country, and rockabilly.
In some popular music bands, keyboard instrumts are used to play the bass line. In organ trios, for example, a Hammond organ player performs the basslines using the organ's pedal keyboard. In some types of popular music, such as hip-hop or house music, the bass lines are played using bass synthesizers, sequcers, or electro-acoustically modeled samples of basslines.
Basslines are important in many forms of dance and electronic music, such as electro, drum and bass, dubstep, and most forms of house and trance. In these gres, basslines are almost always performed on synthesizers, either physical, such as the Minimoog and the Roland TB-303, or virtual, such as Sytrus and ZynAddSubFX. In hip hop, producer Rick Rubin popularized the technique of creating basslines by lgthing the bass drum decay of the TR-808 drum machine and tuning it to differt pitches.
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Chinese orchestras use the zhōng ruǎn (中阮) and dà ruǎn (大阮) for creating basslines. Other, less common bass instrumts are the lā ruǎn (拉阮), dī yīn gé hú (低音革胡), and da dī hú (大低胡) developed during the 1930s.
The oping of Beethov's Symphony No. 5, third movemt is oft used as an orchestral excerpt during bass auditions. Play (help ·info )
In classical music, the bassline is always writt out for the performers in musical notation. In orchestral repertoire, the basslines are played by the double basses and cellos in the string section, by bassoons, contrabassoons, and bass clarinets in the woodwinds and by bass trombones, tubas and a variety of other low brass instrumts. In symphonies from the Classical period, a single bassline was oft writt for the cellos and basses; however, since the bass is a transposing instrumt, and it is notated an octave higher than it sounds, wh cellos and basses play the same bassline, the line is performed in octaves, with the basses an octave below the cellos. By the d of the Classical period, with Beethov's symphonies, cellos and double basses were oft giv separate parts. In geral, the more complex passages and rapid note sequces are
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