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BASS Player Lesson Ten


Building simple walking lines using chord tones:
Walking bass lines are some of the neatest and most melodic sounding parts we get to play as bassists. Those of you
who are fans of swing jazz, blues, or boogie are probably already familiar with the walking bass sound. Most of us
associate the walking bass sound with a steady quarter note pulse that outlines the harmony of the tune, usually
played in 4/4 time. There are many different ways we can approach walking bass lines. The style of music bears a
heavy influence on the way a walking line might be played. If you listen to a lot of jazz, you have probably noticed
that walking lines in that genre are very improvisational in nature. Rarely, if ever, will you here any repetitious
phrasing when a jazz bassist is walking through the changes in the form of a tune if that player is experienced. It is
almost as if they are playing a solo using quarter notes only. If you listen to a blues bassist walking, a level of
improvisation still exists, but usually his or her phrasing will be more harmonically conservative, and lines will be played
utilizing more consistent shapes or sequences of chromaticisms and chord tones. Many boogie style walking bass
lines are based on a repetitious order of chord tones or scale tones, and the shape of the line stays the same over
each chord change. Examples 1-3 show a few 8 bar examples of what you might hear from each of the genres
Example 1: A jazz style walking bass line

Example 2: A blues style walking bass line


Example 3: A boogie style walking bass line




BASS Player Lesson Ten

With any walking bass line, it is important to remember that your responsibility as a bass player is twofold; you are the primary
keeper of the pulse of the time, as well as the foundation of what is happening harmonically. This is especially true in jazz.
In this lesson, we will get into the basics of playing jazz walking bass lines. To start off with, we will use chord tones only to
construct our bass lines. The reason for this is that chord tones (which can be played using arpeggio forms) are what the actual
chord changes are made from. Needless to say then, the most conservative approach to outlining chord changes would be one in
which you were only choosing from notes that were included in each chord.
Jazz tunes mostly consist of seventh chords. Seventh chords are 4 note chords consisting of a root, 3rd, 5th, and 7th taken from a
scale. Here is a list of some common seventh chord types, along with their chord tones written using scale degrees:
To clarify even further, here is a list of the same chord types sharing C as the root, along with their chord tones:
Chord Type

Included Chord Tones

Major 7 chord

root, 3, 5, 7

Minor 7 chord

root, b3, 5, b7

7 (Dominant 7)

root, 3, 5, b7

Minor 7 b5

root, b3, b5, b7

Diminished 7

root, b3, b5, bb7


Included Chord Tones

C Major 7

C, E, G, B

C Minor 7

C, Eb, G, Bb


C, E, G, Bb

C Minor 7 b5

C, Eb, Gb, Bb

C Diminished 7

C, Eb, Gb, Bbb


Chord tones are best played using arpeggio forms. Arpeggios are basically just broken chords. Figs.1-5 show some one
octave seventh chord arpeggio patterns you can use that correspond to each mentioned chord type:
Figure 1: Major 7 arpeggio, single octave

Figure 2: Minor 7 arpeggio, single octave




BASS Player Lesson Ten

Figure 3: 7 arpeggio, single octave


Figure 4: Minor 7b5 arpeggio, single octave

Figure 5: Diminished 7 arpeggio, single octave

Using chord tones, simple walking bass lines can be constructed simply by choosing the appropriate arpeggio pattern
for each chord change. Examples 4-8 are walking bass lines constructed from chord tones only.
Example 4:

Example 5:

Example 6:




BASS Player Lesson Ten

After playing through each example on your own, you will probably notice that the use of chord tones in your bass
lines outlines the movement of each chord change without the need for any further accompaniment. This simple, yet
effective approach makes for a great introduction to walking bass lines if you have never played them before. If you
are already able to play walking lines, limiting yourself to chord tones only is a great way to improve your phrasing if
you are having trouble connecting chords effectively. A chord tone only approach to soloing is also a great training
method for effective phrasing and playing through changes.
After playing through each example, start writing out your own changes to play through. If you have a fake book or
similar, try this same approach working through tunes in the book. I think you will find that this exercise helps to
improve your harmonic awareness.
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