Walking Bass Lines
Walking Jazz Bass Lines are designed to outline the harmony of a tune’s chord changes and provide a mostly ¼ note rhythmic pulse. Both of these goals serve as the foundation for jazz tunes in the swing style. The bass line serves as the BASSment of an ensemble. One can argue that the bass player is the most significant member of an ensemble in that harmony is most prominently implied by the piano, guitar, vibe and bassist, and rhythm is most prominently implied by the bassist and drummer. Notice bassists have dual roles with both the harmony and rhythm and therefore the bassist is the only player who provides the two most important components contributing to how a group will sound.
Over many decades, bass lines (piano players and B3 players sometimes play walking bass lines) have evolved from simple ¼ note rhythms that were short in duration to more flowing lines that have wonderful melodic content while still implying harmony and pulse. Playing bass lines can be wonderfully rewarding and challenging in that you are striving to create a bass line that has melodic interest and propels the group while still honoring the role of creating a musical foundation. Don’t overlook the energy and rhythmic impact of bass lines. It’s not only what you play, but how you play that will determine the success of your bass lines.
Over many decades, bass lines (piano players and B3 players sometimes play walking bass lines) have evolved from simple ¼ note rhythms that were short in duration to more flowing lines that have wonderful melodic content while still implying harmony and pulse. Playing bass lines can be wonderfully rewarding and challenging in that you are striving to create a bass line that has melodic interest and propels the group while still honoring the role of creating a musical foundation. Don’t overlook the energy and rhythmic impact of bass lines. It’s not only what you play, but how you play that will determine the success of your bass lines.
Tips to make your bass line groove:
- Play every ¼ note with inspiration and joy: Act as if it’s the most loved and important note you have ever played because it is until you play the next note.
- Pay attention to the beginning of your notes: For the greatest rhythmic definition, bring your finger (or pick) through the string as quickly as possible. Playing with a quick attack is different than playing with a harsh attack, is just means moving your finger through the string to get it vibrating as fast as you can to get the best definition from the start of your note. If you are playing a ballad, you can play with a slower attack and this will allow for less definition and contribute to more of a floating feeling. One is not better than the other, they are just different and both approaches are valid.
- Pay attention to the middle of your notes: ¼ notes might not last very long, but strive for a full and rich sound. If the tempo is slow, vibrato can be used if you choose. Whichever hand you play with to determine pitches (your left hand for most) has a significant role in your sound. Experiment with different degrees of how much pressure you exert with that hand and see how it impacts your overall sound. The finger you use to strike the string also plays a role in your sound. Experiment with picking close to the neck, close to the bridge and in between to discover which hand location generates the bass tones you like.
- I want to hear a ping and a ring from my bass player – Stan Getz
- Pay attention to the ends of your notes: The ends of your notes are very important. Ending a note allows the next note to have a definite starting point and this is essential to groove. Playing very short notes is an older style of playing. Longer notes help your line flow. One is not better than the other, they are just different and both approaches are valid. To help your line flow, think of how you speak. In a sentence you speak individual words to comprise a sentence. The words are distinct, but you express them as components of a full sentence.
- To develop steady time: Playing steady time is important and that comes from playing with people, recordings and/or metronomes, drum machines and other time keeping devices. Ultimately, it is about you internalizing and ingraining steady time so you have an internal pulse you that keeps you steady.
- To develop a deep groove: Think 1/8th note triplets but play 1/4 notes. How you play is a function of what you are hearing and your internal perception of the music. 1/4 notes played on the downbeats are resolved and if your perception of pulse is at the 1/4 note rhythmic level, it’s easy for the notes to lack a sense of purpose and forward motion. If you perceive the pulse at the 1/8th note triplet level that offers you 12 pulses in a 4/4 measure and 8 of those notes that are not on the downbeat have musical tension. Musical tension seeks resolution, and this propels the music forward. One can hear the difference between someone’s playing when they are hearing subdivisions or not hearing subdivisions. There is a bounce and lilt one can sense from those who are hearing these subdivisions. Again, this totally has to do with your internal perception.
Below is a way to help you transition to a default setting of hearing music with 1/8th note triplet subdivisions by playing those subdivisions.
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