Module 13: Chord melody: solo jazz guitarLesson 2advanced⏱ 90 min + 20 min daily for two weeks

Walking bass lines with chords

Build a quarter-note walking bass line from roots, chord tones and approach notes, then play chord stabs on beats 2 and 4 above it as a second voice, over a ii–V–I and a jazz blues in F.

Why a guitarist walks

A solo guitarist has to make a listener forget there is no bass player. The most convincing way to do that is to be the bass player for a chorus: a quarter-note line on the low strings with the chords stabbed above it on beats 2 and 4 is the sound of Joe Pass on Virtuoso, of Tuck Andress, of Martin Taylor, and of every pianist's left hand in a trio without a bass. It swings by itself, it defines the harmony without a single full chord, and it is the strongest contrast you have to a ballad-style chord-melody chorus.

The skill has two halves that you practise separately and then combine. The first is the line itself, which obeys the same rules as a bass player's line: root on beat 1, chord tones on the strong beats, approach notes into the next root. The second is the independence of thumb and fingers, so that the line keeps walking while the fingers stab. This lesson builds both halves over a ii–V–I in C and the F jazz blues from lesson 6.1.

Anatomy of a walking line

A good walking line is a melody in quarter notes that lands on the root (or occasionally the 3rd or 5th) of each new chord on its first beat. Between those targets it uses, in order of preference:

1. Chord tones (root, 3rd, 5th, 7th), which define the harmony.
2. Scale tones that connect chord tones by step.
3. Approach notes on the beat before a new chord: a half step below or above the target, or the 5th above it (the "dominant approach"). The chromatic approaches are the same ones you used melodically in lesson 7.4, and the engine checks them the same way: everything in these examples is a chord tone except the approach notes listed in allow=.

Bassists think in two-beat and four-beat shapes. The simplest four-beat shape is root–3rd–5th–approach; the next is root–5th–3rd–approach, then a scale walk root–2–3–approach. The last beat is almost always the approach note, because it is the beat that creates the pull into the next chord.

On the guitar, keep the line on strings 6 and 5 as much as possible, between the open strings and the 8th fret. That leaves strings 4-3-2 free for the chord stabs, keeps the bass in a bass register, and keeps the shapes under the hand. Fret the bass notes with the 1st and 2nd fingers where you can, leaving the 3rd and 4th free for the chord.

Building a line in three stages

Start with roots and 5ths in half notes, then quarter-note chord tones, then approach notes. Play all three over Dm7–G7–Cmaj7–Cmaj7; each stage is four bars.

\tempo 110
.
\ts 4 4
:2 5.5{ch "Dm7" txt "stage 1: roots and 5ths"} 5.6 | 3.6{ch "G7"} 5.5 | 3.5{ch "Cmaj7"} 3.6 | 3.5 3.6 | :4 5.5{ch "Dm7" txt "stage 2: chord tones"} 8.5 5.6 3.5 | 3.6{ch "G7"} 7.6 5.5 8.5 | 3.5{ch "Cmaj7"} 7.5 3.6 7.6 | 8.6 7.6 3.5 3.6 | 5.5{ch "Dm7" txt "stage 3: approach notes"} 8.5 5.6 4.6 | 3.6{ch "G7"} 7.6 5.5 4.5 | 3.5{ch "Cmaj7"} 7.5 3.6 7.6 | 3.5 2.5 3.6 4.5 |

Listen to the difference the approach notes make in bars 9–12. In stage 2 the line is correct but static; in stage 3 every bar leans into the next. The note on string 6, fret 4 at the end of bar 9 is a half step above the root of G7; the note on string 5, fret 4 at the end of bars 10 and 12 is a half step above the root of Cmaj7 and a half step below the root of Dm7 respectively. Neither is a chord tone, and both are the most important notes in their bars.

The ii–V–I line

Here is an eight-bar line over ii–V–I with a iii–VI7 turnaround, using everything above: chord-tone shapes, two chromatic approaches, a diatonic passing tone, and a scale walk down from the I chord. The line stays between the open 6th string and the 8th fret.

\tempo 120
.
\ts 4 4
:4 5.5{ch "Dm7"} 8.5 5.6 4.6 | 3.6{ch "G7"} 7.6 5.5 4.5 | 3.5{ch "Cmaj7"} 7.5 3.6 7.6 | 7.5{ch "Em7"} 5.5 4.5{ch "A7"} 5.6 | 5.5{ch "Dm7"} 3.5 5.6 1.6 | 3.6{ch "G7"} 5.6 7.6 5.5 | 3.5{ch "Cmaj7"} 2.5 5.6 3.6 | 0.6{ch "Em7"} 3.6 5.6{ch "A7"} 4.5 |

Bar by bar: bar 1 is root–b3–5 then the approach from above. Bar 2 is root–3–5 and the approach from above. Bar 3 is a plain arpeggio, root–3–5–7, and the 7th walks up a 4th to the root of the iii chord. Bar 4 has two chords, so each gets root and one more chord tone; the 3rd of A7 on beat 3 is the leading tone to the Dm7 that follows. Bar 5 descends root–b7–5–b3 so that the b3 steps up to the root of G7. Bar 6 is a scale walk root–9–3–5, the 9th being the one non-chord tone, and the 5th steps down into the root of Cmaj7. Bar 7 walks down the scale root–7–6–5, and bar 8 uses the open 6th string for the iii chord and ends on the 3rd of A7, which is a half step below the root of Dm7 on the repeat.

Chords on 2 and 4

Now the second voice. The stabs are three-note chords on strings 4-3-2, built from the 3rd and 7th plus one colour note, so that they are small enough to grab with the 2nd, 3rd and 4th fingers while the 1st finger (or a free finger) holds the bass note. Every stab below is verified against its symbol:

Rhythmically the stab is an eighth note on the beat followed by an eighth rest: strike it with the fingers (i, m, a together) and immediately release the pressure of the fretting fingers to stop it. That short, dry chord is what makes the line swing; a stab that rings into beat 3 muddies the bass. The notation uses two voices: the upper voice is the chords, the lower voice is the bass line from above.

\tempo 120
.
\ts 4 4
\voice :4 r.4 (3.4 5.3 5.2).8{ch "Dm9"} r.8 r.4 (3.4 5.3 5.2).8 r.8 | r.4 (3.4 4.3 5.2).8{ch "G13"} r.8 r.4 (3.4 4.3 5.2).8 r.8 | r.4 (2.4 4.3 3.2).8{ch "Cmaj9"} r.8 r.4 (2.4 4.3 3.2).8 r.8 | r.4 (5.4 4.3 3.2).8{ch "Em7"} r.8 r.4 (5.4 6.3 5.2).8{ch "A7"} r.8 | r.4 (3.4 5.3 5.2).8{ch "Dm9"} r.8 r.4 (3.4 5.3 5.2).8 r.8 | r.4 (3.4 4.3 5.2).8{ch "G13"} r.8 r.4 (3.4 4.3 5.2).8 r.8 | r.4 (2.4 4.3 3.2).8{ch "Cmaj9"} r.8 r.4 (2.4 4.3 3.2).8 r.8 | r.4 (5.4 4.3 3.2).8{ch "Em7"} r.8 r.4 (5.4 6.3 5.2).8{ch "A7"} r.8 |
\voice :4 5.5 8.5 5.6 4.6 | 3.6 7.6 5.5 4.5 | 3.5 7.5 3.6 7.6 | 7.5 5.5 4.5 5.6 | 5.5 3.5 5.6 1.6 | 3.6 5.6 7.6 5.5 | 3.5 2.5 5.6 3.6 | 0.6 3.6 5.6 4.5 |

Three things to practise here, in order. First, the bass line alone with the thumb, counting aloud. Second, the stabs alone, with the thumb resting on the 6th string, on beats 2 and 4 against a metronome, until the release is automatic. Third, both together at 80 bpm, and do not speed up until the bass line does not stumble when the fingers strike. On beats 2 and 4 the thumb and the fingers strike at the same instant, which is the same motion as the bass-plus-chord beat in lesson 5.4, just with a shorter chord.

The F jazz blues

The blues is where you will use this most. Here are the chords of the F jazz blues from lesson 6.1 as a reference for the tones the line is built from:

The line uses two approach notes only, both chromatic from above or below, and otherwise stays on chord tones; the chromatic descent in bar 7 is a classic bass figure that passes through the major 7th of F7 on its way down.

\tempo 130
.
\ts 4 4
:4 1.6{ch "F7"} 5.6 3.5 2.5 | 6.6{ch "Bb7"} 5.5 8.5 7.5 | 8.5{ch "F7"} 6.5 3.5 2.5 | 3.5{ch "Cm7"} 3.6 1.6{ch "F7"} 5.6 | 6.6{ch "Bb7"} 5.5 8.5 6.6 | 7.6{ch "Bdim7"} 5.5 8.5 7.5 | 8.5{ch "F7"} 7.5 6.5 3.5 | 5.6{ch "Am7"} 7.5 5.5{ch "D7"} 2.6 | 3.6{ch "Gm7"} 6.6 5.5 8.5 | 7.5{ch "C7"} 3.6 1.5 3.5 | 1.6{ch "F7"} 5.6 5.5{ch "D7"} 2.6 | 3.6{ch "Gm7"} 1.5 3.5{ch "C7"} 7.5 |

Notice bar 3: the line is in the upper octave of F7 (root on string 5, fret 8) so that it can descend to the Cm7 root in bar 4 by step. Bar 6, the diminished chord, is nothing more than the Bb7 shape of bar 5 with the root raised a half step; the line treats it as a chord like any other. Bar 8 and bar 11 each have two chords and use the 3rd of D7 (string 6, fret 2) as the leading tone into the Gm7 that follows. Bar 10 starts on the 3rd of C7 rather than the root, because the Gm7 line in bar 9 ended on its b7 and the 3rd of C7 is the nearest chord tone a half step away: a bassist would call this "starting on the 3rd", and it is allowed when the voice leading asks for it.

Now the stabs. Each is three notes on strings 4-3-2 within the first five frets, so the fretting hand hardly moves while the bass walks beneath it:

\tempo 130
.
\ts 4 4
\voice :4 r.4 (1.4 2.3 3.2).8{ch "F13"} r.8 r.4 (1.4 2.3 3.2).8 r.8 | r.4 (3.4 1.3 3.2).8{ch "Bb7"} r.8 r.4 (3.4 1.3 3.2).8 r.8 | r.4 (1.4 2.3 3.2).8{ch "F13"} r.8 r.4 (1.4 2.3 3.2).8 r.8 | r.4 (1.4 3.3 3.2).8{ch "Cm9"} r.8 r.4 (1.4 2.3 3.2).8{ch "F13"} r.8 | r.4 (3.4 1.3 3.2).8{ch "Bb7"} r.8 r.4 (3.4 1.3 3.2).8 r.8 | r.4 (3.4 4.3 3.2).8{ch "Bdim7"} r.8 r.4 (3.4 4.3 3.2).8 r.8 | r.4 (1.4 2.3 3.2).8{ch "F13"} r.8 r.4 (1.4 2.3 3.2).8 r.8 | r.4 (5.4 5.3 5.2).8{ch "Am7"} r.8 r.4 (4.4 5.3 4.2).8{ch "D7b9"} r.8 | r.4 (3.4 3.3 3.2).8{ch "Gm7"} r.8 r.4 (3.4 3.3 3.2).8 r.8 | r.4 (2.4 3.3 3.2).8{ch "C9"} r.8 r.4 (2.4 3.3 3.2).8 r.8 | r.4 (1.4 2.3 3.2).8{ch "F13"} r.8 r.4 (4.4 5.3 4.2).8{ch "D7b9"} r.8 | r.4 (3.4 3.3 3.2).8{ch "Gm7"} r.8 r.4 (2.4 3.3 3.2).8{ch "C9"} r.8 |
\voice :4 1.6 5.6 3.5 2.5 | 6.6 5.5 8.5 7.5 | 8.5 6.5 3.5 2.5 | 3.5 3.6 1.6 5.6 | 6.6 5.5 8.5 6.6 | 7.6 5.5 8.5 7.5 | 8.5 7.5 6.5 3.5 | 5.6 7.5 5.5 2.6 | 3.6 6.6 5.5 8.5 | 7.5 3.6 1.5 3.5 | 1.6 5.6 5.5 2.6 | 3.6 1.5 3.5 7.5 |

Fingering matters more here than anywhere else in the module. Keep the 1st finger on the bass notes wherever possible (the 1st and 2nd frets of strings 6 and 5 are the 1st finger; the 3rd fret is the 2nd finger; the 5th fret is the 4th finger stretching, or a quick shift), and keep the 2nd, 3rd and 4th fingers hovering over the stab shape between stabs. When the bass line goes up to the 7th and 8th frets (bars 2, 3, 5, 6, 7, 9) the stab is still at the 1st–4th frets; the hand opens to span it. That stretch is why these lines are written in the first position rather than higher up.

Making it swing

• Accent beats 2 and 4 very slightly in the bass, as in the Freddie Green style from lesson 4.3, and keep the bass notes long: a walking bass is legato, each note held until the next.
• The stab is short. Eighth note, then silence. If your stabs ring, the whole thing turns into a strummed accompaniment.
• Practise with the metronome on 2 and 4 (lesson 5.1); the click lines up with the stabs and tells you immediately if they are late.
• Leave stabs out on some bars. A stab on beat 2 only, or on 4 only, or none for a bar while the bass walks alone, is how real players phrase. The written version is the full pattern so you can learn it; thin it out once it is secure.
• Tempo range: this works from 80 bpm (where it sounds like a slow blues) to about 160. Above that most players switch to two-feel (half notes) with chords on 2 and 4.

Exercises

1. Stage lines: over every ii–V–I in the keys C, F, Bb, Eb and G, play the three stages (roots and 5ths; chord tones; with approach notes), four bars each, 100 bpm. Write the approach notes on beat 4 first.
2. Blues lines in three keys: the F line as written, then transpose it to Bb (everything up five frets, or re-finger the low notes on the open strings) and to C.
3. Stabs alone: the eight F blues stabs in time, on 2 and 4, 120 bpm, thumb resting on string 6, until the release is clean every time.
4. Together, ii–V–I at 80 bpm, then the blues at 80, then faster in steps of 10 bpm.
5. Write your own line over the F blues using the roots-first method, check it with the engine's rules in your head (chord tone or approach?), and play it with the stabs.

Quiz