Walking Bass and Chords is one of the greatest ways to comp if you are the only one playing behind a soloist like a horn or a singer. In this lesson, I am going to go over a Walking bass comp on a 12 bar Bb Jazz Blues and how you play it on guitar. The video is based on a recording I made and transcribed.
Some of the things I discuss are on making walking bass lines on guitar, how to play them, and how to add chords to your bassline. I also discuss shell voicings and drop3 voicings as being very useful for this type of guitar comping
Watch the video here: CLICK
The Blues and the Bassline
The Blues is probably the most important progression in Jazz, as well as in a lot of other genres.
In the example that I play in the video, I am using a few more advanced embellishments with adding extra notes in the bass line and harmonizing extra notes.
Here is an example:
The analysis of the Bass line and chord voicings
The first bar is a prime example of a simple very usable bassline on the Bb7. On the one of the bar, the Root is in the bass and a Bb7(13) voicing is added. The bass line melody for the rest of the bar is a Bb triad. On beat 4 I have an E as a leading note for Eb.
To break up the quarter note bassline I add a D under the Eb that I then use a hammer on to lead into the bar. This adds a bit of variation and makes the line a bit more exciting both melodically and rhythmically.
On the Eb7 the chord is on the 1 and. The function of having a short stab on a chord like that is more to add to the groove than to make the harmony clear. You can hear this if you compare to bar 1. The bass line is again all chord tones with an A leading note on beat 4 to take us back to Bb7.
The A is harmonized with an A7 that acts as a leading chord to the Bb7 on one of the following bar. The A7 is a shell voicing.
Reusing the bassline and adding a tritone sub.
On the Bb7 the chord is the same shell-voicing as the A7. The bass line is identical to bar 1 using the triad and the E leading note. Here the E can be used to lead into an Fm7.
The final bar of the first line is an Fm7 E7. Here the bass line is very simple. For both chords, it is 1 then 5. The chords are here played as sustained chords. This helps to make the sound of the extra chords clear.
The Eb7, Diminished chord, and the minor II V
Bar 5 is the beginning of a new 4 bar period. The chord is placed on the one to make the change to the subdominant clear. The bass line is the same as in bar 2, except on beat 4 where I have an Eb to lead into the Edim that follows.
On the next bar, the Edim is E, Eb Db A. Here E and Db are chord tones. The Eb serves as a diatonic leading note and the A is a chromatic approach note to Bb.
Bb7 and the II V to C minor
Bar 6 takes the progression back to Bb. The bassline is again a Bb major triad and the final leading note Eb is there to take us to the II V to Cm in the next bar.
The Dø G7 has a Drop2 voicing for the Dø and a Drop3 G7(b13) for the G7. The bass line is using the b5 of D to lead down to the root of G. On the G7 there is a Db to lead down to the C in bar 9.
F7 altered and some more leading chords
The II V back to Bb is moving between two positions. The line starts on the low C where the Cm9 voicing is. It then walks up the scale with a leading note to the F7. On the F7 the bass line is 1 b7 5 b5. I add a chord on the 1 and. It is an F7(#9). The b5(B) is harmonized with a B7 shell voicing to resolve back to Bb7.
The final turnaround is Bb7 G7alt Cm7 F7 alt. The Bb7 is harmonized with a Bb7 shell voicing and the bass line continues up to an F to lead up to G. The G7 has aG7(#9) voicing and the next bass note is a Db to lead down to C in Cm7.
On the Cm7 the same idea is used. The bassline is 1 b5 and there is a chord on the 1 and. On the F7 the bass line is 1 then 5. The chord that is added is an F7(#9).
Practice the chord voicings
To practice the voicings you can use this exercise shown in example 2. As you can see most of the chords are really quite common drop3 and shell or shell based voicing that we play all the time.
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