Professional Documents
Culture Documents
By Jim Stinnett
The Quarter Note Melody is the final lesson in this series on walking bass. Everyone wants to play better-sounding bass lines. Sometimes it is difficult to define "better-sounding." For now, we will assume that your time/groove is excellent, and we will focus on the pitches. There are many different levels of good, functioning walking lines, and you can play well without worrying about being more melodic. However, this lesson will focus on sounding more melodic. As with each previous lesson, I recommend that you learn these examples in all keys.
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1
Dm7
G7
CMaj7
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5 9
Dm7
G7
CMaj7
? #
Dm7
G7
CMaj7
?
13
Dm7
G7
CMaj7
?
17
Dm7
G7
A7
CMaj7
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1
Dm7
G7
CMaj7
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5
Dm7
b b
G7
CMaj7
A7
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9
Dm7
G7
CMaj7
A7
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13
Dm7
G7
CMaj7
A7
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1
Dm7
G7
CMaj7
A7
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5
Dm7
G7
CMaj7
A7
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9
Dm7
G7
CMaj7
A7
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1
CMaj7
b #
Fm7
b n b b
Bm7
B b7
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5
CMaj7
E7
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9 13
AbMaj7
Bbm7
b b b #
G7
b b #
E b7
Am7
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17 21
Dm7
CMaj7 E bMaj7
CMaj7
Fm7
CMaj7 ? #
b n b b
Bm7
b b
D7
AbMaj7 D b bMaj7
B b7
E7
Bbm7
b b
E b7
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25 29
AbMaj7
b b b
G7
Am7
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33 37
Dm7
# b
CMaj7
CMaj7 E bMaj7
b b
D7
AbMaj7 DbMaj7
# b
Fm7
b b
E7
B b7
CMaj7 ? #
Bm7
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41
AbMaj7 Dm7
Bbm7
b b
E b7
b b #
G7
Am7
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45
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CMaj7 E bMaj7
# b
D7
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CMaj7
Fm7
b n b
E7
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# b
B b7
CMaj7 ? #
Bm7
? b b
57
AbMaj7 Dm7
b b b n #
G7
Am7
Bbm7
b b
E b7
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61
CMaj7 E bMaj7
# b
D7
AbMaj7 DbMaj7
# b
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1
CMaj7 CMaj7
Fm7
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5 9
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13
AbMaj7 Dm7
b b
E7
B b7
E b7
Bm7
b n
G7
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Am7
Bbm7 D7
CMaj7 E bMaj7
AbMaj7 DbMaj7 B b7
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17
CMaj7
Fm7
E7
b b b
E b7
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CMaj7
Bm7
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29
AbMaj7 Dm7
Bbm7 D7
b n b
G7
Am7
CMaj7 E bMaj7
AbMaj7 DbMaj7
b
B b7
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33
CMaj7
Fm7
CMaj7 ?
37
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41
AbMaj7 Dm7
b n
Bm7 Am7
E7
Bbm7
b n
G7
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b CMaj7 b Maj7 E
D7
# b
E b7
A bMaj7 DbMaj7 B b7
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53 57
CMaj7
Fm7
b
E7
CMaj7
Bm7
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61
AbMaj7 Dm7
b n b
G7
Am7
Bbm7
CMaj7 E bMaj7
E b7
D7
AbMaj7 DbMaj7
b b
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1
CMaj7 CMaj7 #
Fm7
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5 9
Bbm7
b b
B b7
E b7
A Maj7 ? b b
b b n #
b b
G7
Am7
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13 17
Dm7
CMaj7 E bMaj7
b
3
AbMaj7 DbMaj7
b b b
B b7
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CMaj7
Fm7
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21
CMaj7
Bbm7 Am7
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25
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b b
G7
b b b
3
b b
b E b 7
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29
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33
CMaj7
CMaj7 E bMaj7
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B b7
b b b
AbMaj7 DbMaj7
Fm7
b b
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37
CMaj7
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41 45
AbMaj7
b
G7
b b
Bbm7
b b
E b7
b b
Dm7
Am7
b b
CMaj7 E bMaj7
b b
AbMaj7 DbMaj7
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1 3
Jim Stinnett
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5
CMaj7
Sam Jones
CMaj7
Doug Watkins
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Bb B b7 Bb
Gm7
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9
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13
B b7 b n ? bb
Gm7
E b7
Cm7
F7
Dm7
b
F7
G7
C7
F7
D7
Cm7
Dm7
G7
G7
C7 C7
F7
F7
E b7
Cm7
F7
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17
D7
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21
C7
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25
Bb
b
Gm7
# n
G7
Bb
F7
F7
n
G7
n
F7
Cm7
Dm7
C7
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29
B b7
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33
Bb
E b7
n
F7
Cm7
F7
Bb C7
F7
Gm7
Cm7
Dm7
G7
Conclusion
Some folks just seem to have the ability to play melodic-sounding lines. While innate talent may be a factor, practice makes most of us sound more creative. To quote one of the greatest golfers of all-time, Jack Nicklaus, "People have always commented on my "natural" swing. Isn't it amazing how the more I hit balls in practice, the more natural my swing gets." For more detailed instruction on this topic, check out Jim's book titled The Quarter Note Melody available at: JimStinnett.com.