Because that's not a walking bassline. Nor would it be suited to the piece in question. Guitars play harmonies, Keyboard plays harmonies, brass sections play harmonies. Chord movement well established. A walking bassline will almost always put the root on the first measure of the chord. Chord tone established it now can go on to other things. It's jazz, not rock, not country. not bluegrass, not metal.jsaras wrote:In my opinion, the bass player carries much of the responsibility for outlining the harmony...and I appreciate it when it's clear and easy to follow. With that in mind, what's wrong with 1-5-8? That would work especially well going from E major to C: E-B-E-B(which leads by 1/2 step to "C").
Walking bass -- movements of 2nd and 3rd
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- KVRAF
- 7837 posts since 20 Jan, 2008
Dell Vostro i9 64GB Ram Windows 11 Pro, Cubase, Bitwig, Mixcraft Guitar Pod Go, Linntrument Nektar P1, Novation Launchpad
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- KVRAF
- 2217 posts since 15 Jul, 2003
It may be early in my bass lessons, but I have 2 books now on walking bass lines and 1-5-8-5 qualifies in those books as a bass line.
an interesting idea that tha bass is the instrument in the ensemble that has the greatest permission to wander once the root harmonic content is established. Is that IF the lead and keyboard are sticking to the harmonic content or WHEN the lead and keyboard are content with holding strictly to the harmonic content.
even on simple comping the keyboardist tends to extend the harmonies into upper structures, if the bass gets a little too creative things get lost rather than enhanced. I think basslines walk a fine line of working within an ensemble of establishing one chord and then transitioning/pushing to the next. As a someone once said, "Don't be afraid to play simple."
an interesting idea that tha bass is the instrument in the ensemble that has the greatest permission to wander once the root harmonic content is established. Is that IF the lead and keyboard are sticking to the harmonic content or WHEN the lead and keyboard are content with holding strictly to the harmonic content.
even on simple comping the keyboardist tends to extend the harmonies into upper structures, if the bass gets a little too creative things get lost rather than enhanced. I think basslines walk a fine line of working within an ensemble of establishing one chord and then transitioning/pushing to the next. As a someone once said, "Don't be afraid to play simple."