several questions about walking bass in jazz

[Aor]

Hi All!

I have two questions about walking bass in jazz:

1. in jazz standards, when I create a walking over m7 and maj7 chords, should I apply modes over them for the walking purpose? or is it enough to relate a major scale(Ionian) for maj7 chord and minor scale(Aeolian) for m7 chord?
for example, when I create a walking over gm7 chord in Cm scale, should I apply a phrygian mode over it? or just a minor scale(Aeolian) over it?

2.regarding dom7 chords in minor scale, Could I use a (normal) mixolydian mode for any dom7 chord even in minor scale for the walking purpose? Or should I apply a mixolydian b9 b13 mode or another variation of it for dom7 chords in minor scale?

Thanks!!

[BazzBass]

lol, welcome to Oz Bass

I just play what sounds good. Chord tones and chromatic tones to walk to the next note you wanna play. It ain't THAT complicated, unless you make it so

PS how many times do you have to ask this same question on TB? I stopped counting at six lol

[jimmyjam]

G'day feel free to send me a PM if you'd like some help with writing walking lines.

[vin-tone]

There's not really a mathematical method to note choice. Modes and arpeggios are just 2 tools in the toolbox and relying on just one or the other too heavily will give you a mechanical sounding line.

I'd pick ONE jazz standard, get to know the changes really well and listen to the different ways bass players have approached it - some good, some not. You be the judge.

Here Geoff Chalmers does it with Fly Me to the Moon. Skip to 2:30 and get started.


He has some great stuff for beginners.

[blizzard]

I used to play a fair bit of jazz (I am by no ways an expert), I would basically do what BazzBass describted - try to hit chord tones and walk between them either chromatically or up/down the scale. I wouldn't try to overthink it.

[billybass]

I personally think of the chord tones and target how to get to the next chord, you don't have to always start on the Root, mix them up and experiment. b7 5 b3 R, Vary the way you get to the next chord, from above, from below, double chromatic e.g.. in the Key of A, F# G G# then to the A, be creative, stop thinking scales, your job is to outline the chord changes, just my 2 cents worth, hope it helps.
Cheers BillyBass

[pjm]

start with 1, 3 ,5, 7 - chord tones and you'll soon be bored with that, plus there's a lot of movement, then add some leading tones to the chord tones, less moving hand positions. Transcribe, buy some jazz bass books. Don't forget to practice you maj scale in every key over the whole board.

[pjm]

[PilbaraBass]

If constructing a walking bass line one should keep it walking, regardless of the tonality.
If one attempts to make the bass line run, as opposed to walking, then tempo is an issue. But we can deal with that in a later discussion.

Back to walking. If we are walking over a dominant 7, be careful. Because the 7 is dominant and can become overly aggressive towards non-dominant 7's. And since we are looking for a harmonious relationship between tones, we can't have that.

If it is a minor 7, we really should get the 7's parental permission before doing any walking with it. Otherwise you may find yourself in hot water with the authorities.

If it is a major 7, we need to respect rank. If you are a Lieutenant Colonel or higher rank, than you can walk over a major 7 without issue. But be careful, because if you are Captain or lower rank, then walking over a major 7 can potentially result in a court martial.

I hope this clears things up... Happy Walking...

[Macbass]

Also, crawling basslines should be mastered before trying to walk.

[PilbaraBass]

Also, crawling basslines should be mastered before trying to walk.

Indeed

[cl8n]

Great video ... thanks for sharing, pjm!

[Gobi]

Hi All!

I have two questions about walking bass in jazz:

1. in jazz standards, when I create a walking over m7 and maj7 chords, should I apply modes over them for the walking purpose? or is it enough to relate a major scale(Ionian) for maj7 chord and minor scale(Aeolian) for m7 chord?
for example, when I create a walking over gm7 chord in Cm scale, should I apply a phrygian mode over it? or just a minor scale(Aeolian) over it?

2.regarding dom7 chords in minor scale, Could I use a (normal) mixolydian mode for any dom7 chord even in minor scale for the walking purpose? Or should I apply a mixolydian b9 b13 mode or another variation of it for dom7 chords in minor scale?

Thanks!!

Just saw this...Sorry for lateness
1. Minor 7 ..well in Jazz you say -7 as in C-7 not Cm7
And you definitely always use a Dorian Scale for Jazz if it says a Minor Chord
Even a G-7 chord if the Tune is in the key of C- .... its a G Dorian Scale/mode
Jazz players hardly ever use Aeolian by the way

You use a Phrygian scale on a Half Diminished Chord, so on a D-7b5.... D Minor 7 Flat Five... aka(half Diminished)
Use a D Phrygian which is an Eb Major Scale that starts on a D
And As others have said here, Chord tones are best.... as in 1,3,5,7 of the chord

2. Yes Use a Mixolydian scale on any chord that is Dominant ie B7, B9, B13 all use a Mixolydian scale even if its a Minor Key song. And Jazz peeps love mixing up keys and throwing together different sounds, so it may sound unusual at first, but play proud. And really for walking bass as others have said, it's largely about rhythm, as in KEEP GOING...don't stop, ever.
Rhythm is far more important than getting the notes right. Getting that swinging feeling aint a straight up thing. You gotta listen to Jazz a lot to really get it.
Then theres sound...... a whole other world, Specially on electrical bass in Jazz.

[Aor]

thanks!