EX­AM­PLE 3 WALK­ING BASS PART 2: RHYTH­MIC VARI­A­TION AND SIDESTEP­PING

Guitar Techniques - - LEARNING ZONE -

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.

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