EXAMPLE 3 WALKING BASS PART 2: RHYTHMIC VARIATION AND SIDESTEPPING
There’s a little more motion in this second walking bass example, plus we’ve turned up the heat with regard to tempo. This idea is based around a similar turnaround in B , so notice the sidestepping throughout (moving into a chord from a semitone away) and the use of tritone ( 5) substitution in bar 4. This is where we replace the root of a functioning dominant 7th, such as F7-B , with a bass note a 5 (tritone) away, giving us B7 and providing a descending semitone bass move towards B . This works as the notes are shared between both chords, in particular those crucial 3rds and 7ths – F7: 3rd-A, 7th-e . B7: 7thA, 3rd-D# (e and D# are enharmonic equivalents). Keep the bass notes long and the chords short to create the impression of two contrasting feels at once.