Walking chords

[Hernandinho]

Hi, I'm trying to get some information on this comping style that I never got the hang of. I remember some years ago I went to a blues club, and at some point the rhythm guitar player started playing this accompaniment that was like a walking bass line only done with chords.

Now, he wasn't playing walking bass line on the guitar, but instead he played one chord per measure, and changed the chord every measure, so it sounded like a 1-3-5-6 walking bass line, only done with chords. I think he played some diminished chord form and moved it up and down the neck to get the "walking" sound.

I tried to replicate it at home, but I have never gotten it to sound just right. It doesn't seem to be related to the "Walking chords" exercises in Ted Greene's website either. Never knew who that mystery player was...

Anybody knows this type of comping style? Any ideas on how to get it to sound right?

Thanks in advance!

[Dookychase]

I remember a guy, whose video I bought serveral years ago that I think played the way you're describing. His name is Steve Wolrab. You might find him on youtube perhaps.

[edspyhill01]

Joe Pass instruction DVDs.

[fep]

In general a walking bass line has a note on the down beats to give it that walking feel. (Although, a bass player will add some eighth notes and that "bucket of beer" rhythmic figure to add to it).

But most guitarists, I would say, stick to the walking on the down beats. So let that be your starting point, bass notes on the down beat and throw in some chords on the upbeats. And that Joe Pass style of walking bass notes includes a lot of 1/2 step approach tones.

So I just wrote some examples. Example one is a I VI II V I that you mentioned and is my standard way of playing a walking bass line. Notice the bass notes on the down beats, the half step approach tones and the chord accents on 1+ and the 3+. Feel free to change the chord qualities to fit what you want (i.e. you could change this to Cmaj7 Am7 Dm7 G7#5 Cmaj7 or whatever)

Example two is for a I II V I and is a few illustrations of what you could do when you have a static chord for a couple of measures. Note that in the first one we have Gmaj7 to Bm7 to Em7 in place of the two bars of Gmaj7, the Em7 is the relative minor of Gmaj7 and the Bm7 is the secondary relative minor of Gmaj7. Both these chords are common substitutions for Gmaj7.

From there, more chords are added... some of those chords sound nothing like a Gmaj7 but the sequence of chords has it's own logic and thus it works over Gmaj7... at least that's how I look at it.

[jtizzle]

I think you mean one chord per bar rather than one chord per measure.

It's building a chord off a cliche bass line. Say, you have a I vi ii V in C for 2 bars. The theory behind this is that you anticipate each chords bass with its leading tone (with a half step anticipation, descending or ascending), The leading tone resolution usually means that if you harmonize that note it would be a V7 chord, which is usually what chromatic anticipation chords are made to (with some exceptions).

In practice, and giving you the easy way out: Here's your progression.
Cmaj7-Bb7-A7-Eb7 l Dm7-Ab7-G7-Db7
and repeat. Start strumming it with a Freddie Green style, then work on the comping rhythm. You can always leave some chords out, or sub some chords.

[brad4d8]

Originally Posted by jtizzle

I think you mean one chord per bar rather than one chord per measure.

When I went to school "bar" was synonymous with "measure," did you mean beat?
Brad

[Jazzaluk]

Originally Posted by brad4d8

When I went to school "bar" was synonymous with "measure," did you mean beat?
Brad

Yeah, I'm a bit confused with the question. I'll assume that jtizzle means chord per beat.

The I vi ii V example works because it is bascally a turnaround. It gets a bit more interesting if the chords don't move much over a few bars. If that is the case, then you can use harmonized scales and a lead chord when the chord changes from tonoc to subdominant or dominant.

The Barry Harris method also provides some really nice movements using the diminished 6th scale to spice up chord scale movement (and turnarounds).

[Hernandinho]

Yes, I meant one chord per beat. Sorry about the thinko.

Thanks for the responses, I will try the examples tonight when I'm back at home.

[jtizzle]

Originally Posted by brad4d8

When I went to school "bar" was synonymous with "measure," did you mean beat?
Brad

Oops, yeah I meant beat
Sorry, I was a bit exhausted from a 14 hour drive. I actually just got done with the Florida-New York trek haha

[Hernandinho]

Originally Posted by fep

So I just wrote some examples. Example one is a I VI II V I that you mentioned and is my standard way of playing a walking bass line. Notice the bass notes on the down beats, the half step approach tones and the chord accents on 1+ and the 3+. Feel free to change the chord qualities to fit what you want (i.e. you could change this to Cmaj7 Am7 Dm7 G7#5 Cmaj7 or whatever)

Hi Fep, thanks for taking the time to write down these examples -- they are most useful. I'm always in awe of those "one-man orchestra" type accompaniments; these examples are great for getting that "full" sound... once I can get my fingers to play them right.

[Kman]

Also, you can use diminished chords, from 1/2 below or whole step above to approach a chord.

[garybaldy]

Originally Posted by Kman

Also, you can use diminished chords, from 1/2 below or whole step above to approach a chord.

Both would just be the same diminished chord.Eg using C as target ,1/2 below would be Bdim,whole above would be Ddim-ie exactly the same notes voiced differently.You could also call it a G7b9 with no root which makes more sense as the (altered) dominant 7th in C.

[Eddie Lang]

Originally Posted by Hernandinho

Anybody knows this type of comping style? Any ideas on how to get it to sound right?

Give Mimi Fox's Flying Solo and Jazz Anatomy a try.