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<h1>Walking Bass Lines in Chord Melody</h1>
<p>Walking bass adds motion and swing to a chord melody arrangement. Instead of a static bass note under each chord, the bass moves in quarter notes through the harmony — outlining chord tones, using approach notes, and connecting chord roots with scale and chromatic movement. The challenge in a guitar chord melody is playing the melody, inner voices, and a walking bass all at once, which is why the players who do it well (Joe Pass, Ted Greene) sound like a duo, not a solo instrument.</p>

<h2>What Makes a Bass Line Walk</h2>
<p>A walking bass line moves predominantly in quarter notes and targets chord tones (root, 3rd, 5th, 7th) on the strong beats (1 and 3), with connecting notes — scale tones, chromatic approaches, neighbour notes — on beats 2 and 4. The defining characteristic is forward motion: each note leads to the next.</p>

<h2>Approach Notes</h2>
<p>The note before a chord tone is often an approach note — it creates momentary tension that resolves to the target. The most common approaches:</p>
<pre>
Chromatic approach (from a half step below or above):
Target: D (root of Dm7)
Approach from below: C# → D
Approach from above: E♭ → D

Diatonic approach (scale tone a step away):
Target: G (root of G7)
Approach from above: A → G

Double chromatic approach (from both sides):
E♭ → E → D  (down a half step, up a half step, land on target)
</pre>

<h2>ii-V-I Walking Example</h2>
<pre>
Dm7 | G7 | Cmaj7

Over Dm7 (one bar, 4/4):
Beat 1: D (root)
Beat 2: F (minor 3rd)
Beat 3: A (5th)
Beat 4: C# (chromatic approach to D or G's 3rd — B)

Over G7:
Beat 1: G (root)
Beat 2: B (major 3rd)
Beat 3: F (minor 7th — characteristic of dominant)
Beat 4: E (chromatic approach to C below)

Over Cmaj7:
Beat 1: C (root)
...continue
</pre>
<p>The priority is: land on a strong chord tone on beat 1. The notes in between are flexible — taste and voice leading determine them.</p>

<h2>Integration with Melody and Harmony</h2>
<p>The practical challenge on guitar is dividing the strings: melody on the top strings (1–2), inner voices or chord hits in the middle (3–4), bass walking on the bottom (5–6). You can't always play all three layers simultaneously — the arrangement involves choosing which element to prioritise at each moment.</p>
<p>Common approaches:</p>
<ul>
    <li><strong>Alternate bass and chord</strong> — bass note on the beat, chord on the offbeat. Creates a stride piano feel. The melody rides on top when it's present; the chord fills in when the melody sustains or rests.</li>
    <li><strong>Bass note + chord hit simultaneously</strong> — on the strong beats. The bass is walking but only on beats 1 and 3; beats 2 and 4 might have just melody and inner voice.</li>
    <li><strong>Melody sustains while bass walks</strong> — the hardest and most impressive. Hold a melody note with one finger while the thumb picks out a bass line. This is what makes Joe Pass recordings sound impossible.</li>
</ul>

<h2>Listening</h2>
<p>Joe Pass's solo recordings are the essential model — "Virtuoso" (1973) and "Virtuoso No. 2" are the canonical examples of solo jazz guitar chord melody with walking bass. For a more orchestral approach, Ted Greene's playing on YouTube shows how inner voice movement can fill out the arrangement even when the bass isn't walking in strict quarter notes.</p>

