Contrabass / Upright Bass - Walking Bass Lines for Swing Jazz

Role in Swing Era

The double bass became a staple of the jazz rhythm section in the 1920s-30s, providing:

Harmonic foundation - outlining chord roots and changes
Rhythmic pulse - steady quarter notes driving the band
Melodic interest - connecting chord tones smoothly

Key Historical Figures

Wellman Braud (Duke Ellington) - early visibility, slapping technique
Jimmy Blanton (Duke Ellington, 1939-41) - revolutionized bass as melodic voice
Walter Page (Count Basie) - master of walking lines
Milt Hinton - "Dean of Jazz Bass"

Walking Bass Line Fundamentals

What is a "Walking" Bass Line?

A continuous stream of quarter notes that:

Outlines the chord progression
Creates forward momentum ("swing")
Provides harmonic and rhythmic foundation
Sounds like "walking" - steady, connected movement

The Primary Rule

GROOVE FIRST, NOTES SECOND

Focus on time and feel before harmonic choices
Big, fully connected quarter notes
Minimal space between notes

Basic Walking Bass Patterns

Beat Placement Principles

Beats 1 & 3: Chord tones (root, 3rd, 5th) - "strong beats"
Beats 2 & 4: Passing tones, approach notes - "weak beats"

Root-Based Approach (Beginner)

For any chord, start with:

Beat 1: Root
Beat 2: Passing tone
Beat 3: 5th (or root)
Beat 4: Approach note to next chord

Approach Notes (Chromatic & Diatonic)

Leading into the next chord root:

Chromatic below: Half step below target
Chromatic above: Half step above target
Diatonic: Scale tone approach
Double chromatic: Two half steps

Essential Patterns for ii-V-I

Pattern 1: Root-3rd-5th-Approach

Dm7:     D - F - A - Ab (chromatic approach to G)
G7:      G - B - D - C# (chromatic approach to C)
Cmaj7:   C - E - G - (next chord approach)

Pattern 2: Root-5th-3rd-Approach

Dm7:     D - A - F - F# (chromatic approach)
G7:      G - D - B - B (leading tone to C)
Cmaj7:   C - G - E - (continue)

Pattern 3: Descending

Dm7:     D - C - B - A
G7:      G - F - E - D#
Cmaj7:   C - B - A - G

Chord Movement Patterns

Movement by 4th (Most Common)

When chord moves up a 4th (e.g., Cm7 to F7):

Ascending: C - D - Eb - E (to F)
or:        C - D - E - E (to F)

Movement by 5th

When chord moves down a 5th:

Descending: G - F - E - Eb (to D)

Static Chord (One chord for 2+ bars)

Create melodic interest:

Bar 1: Root - 3rd - 5th - 6th
Bar 2: Root - 2nd - 3rd - approach

Swing Feel Tips

Articulation

Legato: Notes connected, no gaps
Slight accent on 2 & 4: Supports backbeat
Consistent volume: Steady pulse

Time Feel

Slightly behind the beat = "laid back" (swing feel)
Right on the beat = solid foundation
Avoid rushing (common amateur mistake)

Physical Technique (Acoustic Bass)

Strong pizzicato with 1-2 fingers
Pull string sideways, not up
Let notes ring fully
Optional: slapping technique for emphasis

12-Bar Blues Walking Line (Key of C)

|C7        |C7        |C7        |C7        |
 C E G Bb   C D E F#   G F E Eb   D C B Bb

|F7        |F7        |C7        |C7        |
 F A C Eb   F Eb D C   C E G A    Bb A G F#

|G7        |F7        |C7        |G7        |
 G B D F    F A C Eb   C E G A    G F E D

Practice Exercises

Exercise 1: Root Movement

Play only roots in quarter notes through a tune's changes.

Exercise 2: Root-5th Pattern

Alternate root and 5th for each chord.

Exercise 3: Scale-Based Walking

Use chord scales to create stepwise motion.

Exercise 4: Approach Notes

Focus on smooth voice leading into chord changes.

Common Mistakes to Avoid

Playing too loud - bass should support, not dominate
Inconsistent time - use metronome practice
Ignoring the drummer - lock with hi-hat on 2 & 4
Too many notes - keep it simple and groovy
Random note choices - outline the harmony clearly

Song-Specific Application

For any song:

Identify the chord progression
Map out root movement
Add 5ths and 3rds on strong beats
Connect with chromatic/diatonic approach notes
Practice at slow tempo (60-80 BPM)
Gradually increase to performance tempo