Walking Bass Lines

By
Per Danielsson

When accompanying by using walking bass lines, you can turn the piano into an entire rhythm
section. Except for the guitar, piano is the only instrument that has this unique capability. The right
hand will supply the harmony and the left is doing the job of the bass player. If both hands are played
rhythmically perfect we can also assume the role of a drummer.

In order to create a strong harmonic sense the bass lines have to be harmonically solid. This is
where the solo pianist has an advantage, since the right hand always knows what the left hand is
doing. It is easy to use the exact same changes, creating the effect of a well rehearsed rhythm sec-
tion. This is especially fun when you improvise chord substitutions.

This article will introduce you to some basic concepts for playing bass lines. I recommend
taking the time to transcribe some lines by skilled bass players. It will help you improve your under-
standing of walking bass lines and how they are played.

Bass lines over a ii-V-I progression.

& 44 ww
Dmin7 G13 CMaj7 Dmin7 G13 CMaj7

& 44 ww www
ww wwww www
w ww w wwww
? 44 w ? 44 œ œ œ
œ œ œ #œ œ œ #œ œ œ œ œ œ œ w
Dominant chord bass line.
C7
4
C7
4 & 4 www w w
& 4 www w w
bw b www b www bw b www b www
?4 ?4 œ
4 œ œ #œ œ w 4 bœ œ bœ œœ œœ w
œ œ œ #œ
Major chord bass line.

CMaj7 CMaj7
4
& 4 www www w & 44 www www w
w w www w w www
?4 ? 44 œ œ
4 œ œ #œ œ w œ bœ œ œ œ œ
œ œ œ #œ w
1. Octave leap.
The octave leap is used to keep the bass line in a good sounding register.
Dmin7 G13 Cmin7 F13 b
B Maj7

& 44 www www w b wwww wwww

w w b b www
? 44 œ œ œ # œ œ œ œ œ œ # œ œ œ œ
œ œ œ bw
Octave leap using the 5th in the middle.

2. Chromatic approach tones.

You can create a flowing bass line by using chromatic approach tones. This works because of
a constant feel of tension and release. Notice the tri-tone intervals.
6
C9 A7 Dmin9 G13 #
E7( 9) A13 Dmin9 G13 C9
6

4
&4 ˙ ˙ ˙˙ ˙˙ ˙˙ # ˙ ˙˙ ˙˙
˙˙ # ˙˙ ˙ ˙ # ˙ # n ˙˙ ˙ ˙ www
?4
4 bœ œ œ bœ œ
œ bœ œ bœ œ œ bœ œ bœ œ bœ w

TT TT TT TT TT
Tri-tone

Blues in F.
b
4
F13 B 13 F13 F13

& b 4 b www ww b www b www

w bw w w
? 4
b 4 œ œ œ bœ œ bœ œ bœ œ
œ œ nœ œ œ œ bœ
b
B 13 b
B 13 F9 E9 E 9 b D9

& b ww ww b ˙˙ # ˙˙ b ˙˙ ˙˙
b ww b ww ˙ #˙ ˙ #˙
? œ œ bœ œ
b œ œ bœ œ œ
œ œ #œ œ b
œ bœ œ
Gm7 C7 A7 13 D7(# 9) G13 C7(# 9) F13

&b w
www ww # ˙˙˙ n ˙˙ n ˙˙˙ b b ˙˙ ww
w
w #˙ ˙ bw
? œ bœ œ œ œ
b œ œ œ nœ
bœ œ bœ œ bœ
œ
bœ w
Analyze this excercise: Where are the octave leaps?
Locate the tri-tone intervals.
Locate the chromatic approach tones.
Practice Hints: Play the bass line legato.
Practice with a metronome.
Play the bass line together with a repeated comping pattern in the right
hand.
Comping Pattern 1. Comping Pattern 2.
4 4
&4 Û ‰ Û Ó Û ‰ Û Ó &4 ‰ Û Œ Û Œ ‰Û Œ Û Œ
J J J J

b b b
? b b 44
B Maj7 E 7 A 7 G7

œ œ #œ œ bœ œ #œ œ œ nœ œ #œ
œ œ œ nœ
? bb œ
C7 C7 Cmin7 F7

œ #œ œ œ œ nœ œ œ
nœ œ #œ œ œ œ œ
b b b
? bb
B Maj7 E 7 A 7 G7

œ #œ œ bœ œ #œ œ œ nœ œ #œ
œ œ œ nœ œ
b b
? bb œ
C min7 F7 B Maj7 B Maj7

œ œ œ œ œ œ nœ œ #œ œ #œ
œ œ œ œ
b b b b
? bb
Am7( 5) D7( 9) Gmin7 Am7( 5) D7( 9) Gmin7
œ œ œ œ
œ #œ œ œ œ œ œ œ #œ œ œ œ
b b
? bb
Am7( 5) D7( 9) Gmin7 C7 F7
œ œ #œ œ nœ œ
œ œ œ nœ œ #œ œ œ #œ œ
b b b
? bb œ
B Maj7 E 7 A 7 G7
œ œ œ #œ œ œ #œ
œ œ nœ œ œ bœ œ nœ
b
? bb œ
C min7 F7 B Maj7

œ œ #œ œ œ œœœœ˙
œ #œ œ œ œ nœ