Walking Bass Lines For Jazz Guitarists (Video) - Jazz Guitar Lessons

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G9. C‹7. F9. Chord Shapes. - JazzGuitarLessons.net -. Improve Your Jazz Guitar. Playing with a Real Teacher. Walking Bass Lines. For Jazz Guitarists (Video).
Walking Bass Lines For Jazz Guitarists (Video)

Marc-Andre Seguin

- JazzGuitarLessons.net Improve Your Jazz Guitar Playing with a Real Teacher

Chord Shapes

Chord Progression

B¨6

   

6 7 5

10 10 9 10

      

  

   

G9

C‹7

    F7

B¨6

8 8 8

8 8 7 8

6 7 5

6 7 5

6

6

6

G9

C‹7

   

8

10 10 9 10

F9

   

10 10 9 10

8 8 8

8 8 8

8

8

8 8 7 8

8 8 7 8

You can use different chord extensions / alterations. Keeping it simple... because we're focusing on bass lines, right?! (-:

Ex1 - Just Bass Notes

  



G

C

F



G

C

         

10 10 6

6

8 8

8

F

6

G

C

F

           

10 10

8



8

6

8

8

8

10 10 6

8

6

8

etc.



8

8

Ex2 - Bass and Chord Simultaneous

    

B¨6



              

6 7 5 6

6

G9

C‹7

F9

B¨6

10 10 9 10

8 8 8

8 8 7 8

6 7 5

10 8

8

8 6

6

           G9

C‹7

F9

10 10 9 10

8 8 8

8 8 7 8

10 8

8

JazzGuitarLessons.net - Improve Your Jazz Guitar Playing with a Real Teacher

8

etc.



 

Ex3 - Bass and Chords Separated (w/ "swing" feel)

2

B¨6

G9

C‹7

F9

B¨6

G9

C‹7

F9

3 3  3 3  3  etc.  3                                       3

3

3







3

6 7 5

10 10 9 10

6

3



3

8 8 8



3

8 8 7

10 8

3

6 7 5

8

6





3

10 10 9

8 6



3

8 8 8

10

8

 8

8



8 8 7

10

6



8

8

Ex4 - Approaches from below "Walking Bass"

B¨6

G9

C‹7

F9

B¨6

G9

C‹7

F9

3 3  3 3  3 3                                                 3

3

3





3

6 7 5



3

10 10 9 9

5



3

8 8 8

10 7

3

8 8 7 7

6





3

6 7 5

8 5



3

10 10 9 9

8



3

8 8 8

10 7

8

8





8 8 7 7

6



etc.

5

Ex5 - Approaches from above "Walking Bass"

 

B¨6

C‹7

F9

B¨6

G9

C‹7

F9

3 3  3      3   etc.                                    3



3

6 7 5 7

6



3

10 10 9 11

3

3

3

3



G9



3

8 8 8

10 8

3

8 8 7 9

9





3

6 7 5

8 6

3

10 10 9 11

7





3

8 8 8

10 8



8 8 7 9

9



8 7

Ex6 - Approaches from below-above-below-above etc.

 

B¨6

C‹7

F9

B¨6

G9

C‹7

F9

3 3 etc. 3  3      3                                                 3

3

3

3



G9



3

6 7 5

3

10 10 9 11

5





3

8 8 8 9 7

3

8 8 7

10

6





3

6 7 5

8 5

3

10 10 9 11

8





3

8 8 8 9 7

etc.

8 8 7

10

6



8

8

3





5

Ex7 - Approaches from above-below-above-below etc.

B¨6

G9

C‹7

F9

B¨6

G9

C‹7

F9

3 3  3 3  3  etc. 3                                        3

3

3





3

6 7 5

3

10 10 9 9

7





3

8 8 8

10 9

3

8 8 7 7

6





3

6 7 5

8 7



3

10 10 9 9

8



3

8 8 8

10 9



8 8 7 7

6



8

8



7

Please note: Other "approach notes" are possible. Diatonic note from above is very frequent. Also, if the chords last more than 2 beats each, it's possible to have "scale movement" in between each chord... See the blues (below) for examples of this.

Ex8 - Mixed Approaches

B¨6

G9

C‹7

F9

B¨6

G9

C‹7

F9

3 etc. 3 3  3 3     3 3                                            3

3





3

6 7 5 6

3

10 10 9 9

7





3

8 8 8

10 8

3

8 8 7 7

9





3

6 7 5

8 6

3

10 10 9 11

5





3

8 8 8

10

8 8 7 9

7

8



8



etc.



4

Bb Blues Comping - w/ walking bass

3  3                       

B¨13

E¨9

B¨13

F‹9

B¨7(b9)

B¨13

E¨9

B¨13

F‹9

B¨7(b9)

3

3



 

8 7 6



3

6 6 5 5

8

7



4

5

6

7

8

B¨/D

  3                        

8 6

B¨13



3

6 6 5

6 5 4

6

B¨/D



3

8 7 6 4

3

5

        3

7

G7(#9)



3

11 10 8 8

3

6

G7(#9)

3

3



6 4 6 7

B¨13

3



6

E¨7

3

3

8 8 6 5

3

3



3

8 7 6

6

6

E¨7





3

3         3

11 10 9 11

6



10

10

10

7

9

 3 3   3  3 3                                            3 3 C‹7

F9

B¨7

G7(#9)

C‹7

F9

B¨13

C‹7

F9

B¨7

G7(#9)

C‹7

F9

B¨13

3





3

8 8 8 10

11

8



3

10 9 10

8 8 7 7

8



3

7 9

10



11 10 9

8 11

10

3



3

11 11 12 9



3

8 8 7

10 9

 

8 7 6

8 5

6

8 7 6