#reffimmffiææå#mm

The 50 walking basslines comprised in this coursebook are aimed at bassists, at double bassists
and first and foremost at the jazz enthusiasts among them. They will most certainly experience a
whole heap of pleasure with the playing materials provided here.

All 50 walking basslines are based on chord progressions that recall some of the greatest jazz
standards of all time:Autumn Leaves, Someday My Prince Will Come, Giant Steps, Blues for Alice,
Anthropology, Blue Bossa, Stella by Starlight, So What, Take Five, Black Orpheus, My Funny
Valentine, All the Things You Are, ln a Sentimental Mood, Satin Doll and Take the A Train, to name
but a few!

To teach you all the particularities of the walking basslines presented here and eventually enable you
to piece some together yourself, an entire chapter of this coursebook has been dedicated to the
fundamental principles, procedures and techniques behind this type of bassline. You therewith have
a realistic chance of becoming an expert on the subject.

By working through the following pages you will incidentally learn how to vary a walking bassline,
because each of the 25 chord progressions presented here is used twice, respectively for two
different walking basslines - an excellent tool for developing your creativity, too.

On the mp3 CD accompanying this coursebook you can find two distinct backing tracks for each and
every walking bassline contained in the book - one played at the intended tempo (at actual playing
speed) and the other played at rehearsal tempo (at a slower playing speed).

On the backing track at actual playing speed the bass is only present during the first round, then it
disappears, yielding the floor to you! ln this way you hear exactly how the walking bassline has to
sound and how it has to be played along to its corresponding backing track.

The backing tracks provided here are of a proper length (about 5 minutes each, which sums up to
almost 6 h of musical practice). This means that you have enough time at your disposal to practice
under best conditions.

For playing along to the backing tracks in question you should first use the walking basslines
proposed in this book, then you can proceed to imagine, develop (and after all, why not?) compose
your own ones - based on the knowledge and playing practice gained from this coursebook.

Last of all I would like to remind you that walking basslines count among those things that every
self-respecting bassist or double bassist should master! Therefore, do your best in studying and
practicing the materials offered in this coursebook which, admittedly, was made to serve learning
purposes, but never disregards the pleasure of playing!

2
 How to build a Walking Bassline
This preliminary chapter will let you in on all the techniques used for building the walking basslines
presented in this book; needless to say that these techniques are those used by your favorite
(double) bassists, too.

ln the first instance this will allow you to analyze and understand the numerous details and all the
subtleties that characterize each of them; subsequently you will be capable of composing them all
by yourself. After all, isn't this the name of the game?

The basic principle to be followed in playing walking basslines is to play them with quarter notes and
without ever stopping (there are of course notable exceptions, as we will see later on). This way of
playing conveys an impression of regular movement which is evocative of the steady movement
of
feet while walking - hence the name.

Let us now take a closer look at the harmonic and rhythmic techniques behind these walking
basslines. Any of these can be combined however you like.

1 - Diatonic Techniques

"Diatonic" indicates to you that the tones of a scale are called into action.

Starting from the root, we will ascend and descend the respective scale until we land on the root of
the following chord.

Let's take example 2:To segue from Cmaj7 to G7 you simply play C, D, E, F, G. ln example 4,where
you have to deal with 3 beats per measure, a descending scale of notes is waiting for you, namely
C, B, A, G.

rJJ:J)r
Dm7 CmajT G1

You may use the tones of the respective chord in sequence or at random.
 r,!-l.l,l
Dm7

CmajT CmajT

You can approach a chord by its fifth (or dominant) on the last beat of the previous measure (e.9. on
the fourth beat of a four-beat measure, on the third beat of a three-beat measure etc.).

Let us have a look at the first example, where you move from Dm7 to Em7: On the three first beats
you play the tones of the Dm7 chord and on the fourth beat you move to the dominant of the
succeeding chord, that is Em7. ln example 4 you play the note C on the third beat (of a three-beat
measure); this is the dominant of the FmajT chord.

r,rl:l )l
L)m]

CmajT

4
lf you place the fifth on the third beat (regardless of whether you're dealing with a three- or a
four-beat measure), you can use the dominant of that fifth on the second beat.

ln example 2 the fifth of the FmajT chord, C, is situated on the third beat. The dominant of that fifth,
G, appears on the second beat. The fourth beat, D, does not belong to the Fma17 chord; it is the
dominant of the G7 chord. ln example 4 the fifth of the G7 chord, D, is situated on the third beat and
the dominant of that fifth, A, appears on the second beat.

rJl:l );
Dm7 E.m7 F'maj7 G7

7
D
5 7 R 7

CmajT Am7 G'7 CmajT

6 7 E

c J

Not every chord changing starts from the root - the third or the fifth comes into question, too. you
can even use the seventh, but you have to handle it carefully because this note lies very close to the
root note' ln such a case, instead of choosing a major seventh (located only a half step below the
root), it is better to opt for a minor seventh (located a whole step below the root).

Example 2 begins with the fifth of Fmq7, meaning with C. The fifth, C, is situated on the third beat.
The dominant of that fifth, G, appears on the second beat. The G7 chord eventually starts on the
third, which is B. ln example 4 the G7 chord starts from the minor seventh, which is F. The fifth of
the G7 chord, D, is situated on the third beat and the dominant of that fifth, A, appears on the second
beat. The CmajT chord eventually starts on the fifth.

tIJ:J }I
Dm7

5
 CmajT
CmajT

lf you place a chord tone on the first and third beat, you have the possibility to insert a diatonic
passing tone between the two. The same procedure can be applied between the third and first
beat
of the next measure - in the case of a four-beat measure.

ln example 1 you insert a G on the second beat - between the minor third, F, and the fifth, A. ln
example 2 you add a B on the fourth beat - between the fifth, C, and the root, A (first beat of the
Am7 chord). ln example 3 you add an F on the second beat between the fifth, G, and the major
-
third, E. And finally in example 4 you insert a C on the second beat between the major third, B,
and the fifth, D.
-

ril:J.h;
Dm7 FmajT

3-5

CmajT

2 - Chromatic Techniques

"Chromatic" indicates to you to move forward in half steps.

Let us begin by placing a chromatic passing tone, a so-called chromaticism, on the fourth beat
(respectively on the third, in the case of a three-beat measure), right before the first beat of the next
measure. The chromatic passing tone in question lies either a half step above or a half step below
the target tone which is located on the first beat.

6
ln example 1 you place an Ab on the fourth beat;Ab lies one half step above G (minor third of Em7).
ln example 2 you place a Bb on the fourth beat; Bb lies one half step above A (root of Am7).
ln example 3 you place a C# on the third beat; C# lies one half step below D (root of Dm7).
ln example 4 you place a Db on the third beat; Db lies one half step above C (root of CmajT).

rIl:J )r
Dm7 FmajT

CmajT

A chromatic passing tone -be it ascending or descending - can also be placed on the second beat,
right before a chord tone located on the third beat.

ln example 1 , on the second beat you will find a G# which lies one half step below the fifth located
on the third beat.
ln example 2, on the second beat you will find a Bb which lies one half step above the major third
located on the third beat.
ln example 3, on the second beat you will find an F# which lies one half step below the fifth located
on the third beat.
ln example 4, on the second beat you willfind a Gb which lies one half step above the minor seventh
located on the third beat.

rIJ:l )r
Dm7 FrnajT CmajT

7
You can as well use two consecutive chromatic passing tones for approaching the chord tone on the
first beat. ln a four-beat measure the two will be placed on the third and fourth beat, whereas in a
three-beat measure they will appear on the second and third beat.

Example 1 exhibits two descending chromatic passing tones: G (third beat) > Gb (fourth beat) > F.
Example 2 exhibits two ascending chromatic passing tones: Bb (third beat) > B (fourth beat) > C.
Example 3 exhibits two ascending chromatic passing tones: Eb (second beat) > E (third beat) > F.
Example 4 exhibits two descending chromatic passing tones: Gb (second beat) > F (third beat) > E.

t,ri:l )l
Dm7 FmaiT FmajT CmaiT

lnstead of using a combination of two consecutive ascending or two consecutive descending

chromatic passing notes for targeting a chord note, you can very well play a combination of an
ascending and a descending chromatic passing note (and vice versa, of course). This new
combination is placed on the same beats as the previous one, namely on the third and fourth beat
in a four-beat measure and on the second and third beat in a three-beat measure.

ln example 1 the first chromatic passing note (Ab) lies above, the second (F#) below the target note (G).
In example 2 the first chromatic passing note (B) lies below, the second (Db) above the target note (C).
ln example 3 the first chromatic passing note (Bb) lies above, the second (G#) below the target note (A).
ln example 4 the first chromatic passing note (C#) lies below, the second (Eb) above the target note (D).
 r Il:l )r
Dm7

CmajT

Another possibility is offered by the use of chord extensions, such as the ninth (or second), the
eleventh (or fourth) and the thirteenth (or sixth) - on condition of respecting the following rules:
Extension for a major seventh (maj7) or a dominant seventh (7) chord: a 9th or a 13th.
Extension for a minor seventh (m7) chord: a gth or an 11th.
Extension for a minor seventh flat five chord (m7b5): an 11th or a flat 13th.

ln example 1 you employ an eleventh (G) on the third beat of the Dm7 chord.
ln example 2you employ a ninth and a thirteenth (G and D) on the third and fourth beat of the FmajT
chord.
ln example 3 you employ a ninth (D) on the first beat of the cm7 chord.
ln example 4 you employ a flat thirteenth (G) on the first beat of the Bm7b5 chord.

rr:ilr
DnrT FmajT CmajT

T .r-(-A
tJ J

I
3 - Rhythms

Walking basslines do not necessarily have to be reduced to quarter notes. They can also comprise
half notes (ex. 1 and 3), triplets (ex.2), eighth notes (ex. 1 and2), dotted quarter notes (ex. 1 and
4), ghost notes (ex. 2) and even open strings (ex. 2). With these elements you can render your
walking basslines more dynamic, on condition of not using too many at a time; by overdoing, you
fundamentally alter the nature of your walking bassline and render it unrecognizable as such.

r- ,'a.
(),)*)),1

Dm7 CrnajT Dm7 Cmajl

4-0

4 - The Bossa Nova/Latin Exception

Bossa/Latin walking basslines are somewhat different. For one thing the rhythm in these basslines
is binary and rests upon the rhythmic figure "dotted quarter note / eighth note", and for another the
intervals remain confined to the chord tones, meaning root, third, fifth and seventh. Chromatic
passing tones aren't forbidden, but they are to be used with due care, that is moderately and stylishly.

10
Wa lking Bass 1 rempo 120-eo
ln the style of Autumn Leaves

realtempo ftDl t
slow tempo GED St

) : no t,fJ:J )l
Am7

F'#m7 b5

F#m7 b5

11
Walking Bass 2 ,",0",r0-ro
ln the style of Autumn Leaves

J : r zo (l) J.l,l
Am7 CmajT Cmaj7

F#m7 b5

F#m7 b5

2 3

12
Walking Bass 3 rempo 1oo-80
ln the style of Someday My Prince Will Come

realtempo IDD g

slow tempo trED SZ

J:roo rIl:llt
BbmajT D7 #s EbmajT G7 #5

C#dim7

C#dim7

13
Walking Bass 4 ,","0",00
'o
ln the style of Someday My Prince Will Come

realtempo nDD +

slow tempo IED 52

,i : too r.fl-J.itl
BbmajT D7 #5 EbmaiT G] #5

C#dim7

C#dim7

14
Walking Bass 5 rempo 150-1oo
ln the style of Confirmation

realtempo GED s

slow tempo GEDSg

J : r so (.jJ:J )l
Em7 b5 A7

Em7 b5 A7

-)<

15
walkinu Bass 6 ,..nr,.,,l"#å"rlP-,'j
realtempo nDD 6

slow tempo GDD53

3

J:tso t.tl:J)t
F5 Em7 b5 Al

Em7 b5 A7

3_2

16
Walking Bass 7 rempo 180-120
ln the style of Giant Sfeps

realtempo IDD 7

slow tempo GDD s+

j : rso tI:J.ltl 3-

Bmaj7 D1 Gmaj7 Bb7 EbmalT Am7

CmajT Bb7 EbmajT F#7 BmajT Fm7

EbmajT Am7 GmajT C#m7

BmajT Fm7 Bb7 EbmajT C#m7

17
Walking Bass I ,",r",'o-,ro
ln the style of Giant Sfeps

realtempo n[l 8

slow tempo trEDS+

J : r8o (r!-J,i,l
BmajT D7 GmajT tsb7 EbmajT Am7 D't

Grnail Bb7 EbmajT t;#7 BmajT Fm7 ub7

EbmajT Am7 D7 CmajT C14m7 F#7

BmajT Fm7 EbmaiT C#m] F#7

18
Walkinq Bass I Tempo 100 - 80
ln the style of Blues For Alice

realtempo trDl g

't,
slow tempo IEISS
J : too t,fJ:lll
Em7 A1

t..- ,-.-
-)!

.r-V-.)- 7-6
-5-X

11 1
1

AbmT Db7

4-0

r-J-----r

5-0^2

19
Wa lkin g Bass 1 0 ,",r" ,oo -
'o
ln the style of Blues For Alice

realtempo IDD 10

slow tempo liit55

J : roo t,iJ:J .lt l

AbmT

20
Wa lking Bass 11 rempo 125- 1oo
ln the style of Waltz For Debby

realtempo [0111
slow tempo IED 50
3

) : ns t.tJ:l .itl
FmajTlA

A7/G DTIF#

FTIEb GmTb5lDb CIIBb

21
Walking Bass 12 ,",,",ru ,oo
ln the style of Waltz For Debby

realtempo GDD tz

slow tempo GED56

) : ns t.tl:J )r
FmaiTlA

FI IEb Bb6/n Gm7b5/Db CTIBb

22
Wa lking Bass 13 rempo 140- 1oo
ln the style of Anthropology

realtempo IDl13
slow tempo GED sz
'3
):uo rfJ:llr
Bb6 Cm7 F7

Fm7 Cml

Cm7 Gm7 Cm7

23
Walking Bass 14 rempo 140-1oo
ln the style of Anthropology

realtempo nED 14

slow tempo IED57

) : Mo t.i-J-J )l
Bb6 Cm7 Rb6 Gm7 C-m7 F7

5
8-5
6
- 5-6-3 6-5

Fm7 Bb7 Abl Dm7 G7 Cm'Z

Gm7

24
Walking Bass 15 Tempo 90 - 75
ln the style of lnterplay

realtempo nDl tS

slow tempo GDD SA

J: qo 1IJ:J.ltt
Fm7 BbmT

Gm7b5

Dm7b5 DbmajT GbmajT

25
Walking Bass 16 rempo eo-75
ln the style of lnterplay

realtempo trDD 16

slow tempo IDl58

j :qo rl-J:l.ltl
3

Fm7 BbmT

DbmajT GbmajT

26
Wa lking Bass 17 rempo 6s -55
ln the style of I Remember Clifford

realtempo GDD tz

slow tempo nED Sg

J :rs r,fl:Jll
EbmajT G7 AbmajT Adim7 Bb7 BdimT CmTlIlb

Am7b5 D7 Gml GmllF Em7b5 Fm7 Bb7

EbmajT G1 AbmajT AdimT BdimT Cm7 Cm7lBb

Am7b5 D1 Gm7 GmTlF Em7h5 Bb7

27
WolkirU B?ss 18 ,0.0" ,.,,r r, ,urrrrnro
Tempo 65 - 55

",*,
realtempo trDD 18

slow tempo IED59

.J
, l-1 tL
. :65 (.lJ-J J))
Ebmaj7 G7 AbmajT AdimT Cm7lBb

4-4-5-5-5

r3-

AbmajT AdimT BdimT CmTlBb

Am7b5 D7 CimT GmTlF' Em7b5 A7 Fm7 Bb7

r- ]---

- -i- L -l----.,

6-5 5
B-7-6

28
Walking Bass 19 rempo 150-1oo
ln the style of Blue Bossa

realtempo IDD tg
slow tempo [0060

Dm7b5 G7#5

Dm7b5 G1#s Dm7b5 G1#5

29
Walking Bass 20 '","0",u0
ln the style
-,oo
of Blue Bossa

real tempo IED 20

slow tempo GDD60

EbmT Ab7 DbmajT

Dm7b5 G7#s Dm7b5 G1#5

30
Walkinq Bass 21 Tempo 130 - 100
ln the style of Stella By Starlight

real tempo nDl Zt

slow tempo GDD 0t

J: ro t.fl:J,|ll
Em7h5

Em7b5 Dm7b5

Cm7b5

31
Walking Bass 22 ,..^r.,r,r,JåIi#3ffi
realtempo @022
slow tempo nDD 61

J : rlo t,tl:J.ftl

EbmajT

Dm7b5

Cm7b5 BbmaiT

32
Walking Bass 23 ,",0",r0-ro
ln the style of So What

real tempo IED 23

slow tempo nDl0Z

) : no rJl:J )l
Dm7

33
Walking Bass 24 ,".0",r0-no
ln the style of So What

realtempo @D24
slow tempo GED 62

) :no t,fl:lll
Dm7

3
3

34
Walking Bass 25 r"'"o",ou ,oo
ln the style of Take Five

realtempo [8D25
slow tempo GDD63

) :ustll:ilr
Ebm BbmT BbmT Ebm BbmT BbmT

Ebm BbmT Ebm BbmT Bbm7 BbmT

6-9 6- 9-6

CbmajT AbmT GbmajT

9-0
6-8 -9 9-B-6 9-6- 0

CbmajT BbmT AbmT Fm7

B-0
BB B-4-6

35
Walkinu Bass 26 Tempo 145 - 100
!n the style of Take Five

realtempo nDIZO
slow tempo nnr 63
3

s:145 t,tJ-Jll
Ebm BbmT Ebm BbmT BbmT Ebm

6-B -9 -B
9-7 -6 -9

BbmT Ebm BbmT BbmT BbmT

9-B -6
9-B-6
9-6 2-4-5-6-9

CbmajT BbmT AbmT CbmajT

CbmajT BbmT AbmT

36
Walking Bass 27 rempo 2oo-12o
ln the style of Chippie

realtempo @027
slow tempo [0t64
):ztorJ-J:jll
Fmaj7 Gm7 Am7 Gm7 Eb7 D7 Gm7b5 C]

5
1-2-3-4

3- 1-0

37
Walking Bass 28 ,",o"roo ,ro
ln the style of Chippie

real tempo IDD 28

slow tempo nDl64

):zto trll:ill
FmajT Gm7 Am7 Gml Eb7 D1 Gm7b5 C]

I-
Et U o U
5-4
U
5-3-2 \)

BdimT F7/C D7 Gm7 c.7

38
Walking Bass 29 rempo 140-1oo
ln the style of Black Orpheus

realtempo nEDZg
slow tempo IED Os

Dm7 G1 Cmaj7 C#diml

Bm7b5

39
Walking Bass 30 rempo 140-1oo
!n the style of Black Orpheus

realtempo nDlgO
slow tempo trDDOS

Bm7b5 F.7 Bm7b5 E7

7
7-7

Cmaj7 C#dim7
a

40
Walkinq Bass 31 Tempo 70 - 55
ln the style of My Funny Valentine

realtempo trDlgt

J
slow tempo IED66
r :70 l- lr.
i (JJ:Jl))
Crn Cmmaj7

L- t.-
-'t { J --J

AbmaiT

,- 3) '-i'

CmmajT
r- 3--r

L-,-- r--
J< J-<
5 5
5-5

AbmaiT Fm7 Bb7 Dm7b5 G]

L j-
t"-- -)
l?'J

41
Walkinu Bass 32 Tempo 70 - 55
ln the style of My Funny Valentine

realtempo tr8032
slow tempo GEIO0
,:l

):ru r,tJ:J.ltl
Cm

AbmajT Dm7b5

AbmajT Dm7b5 c7

42
Walking Bass 33 ,",0",u0 ,oo
ln the style of All The Things You Are

realtempo nDDgg
slow tempo GDD 67

J:rso r,fJ:J.ltl
Fm7 BbmT AbmajT

3 1-3

DbmajT

EbmajT

5
5 6-3

Gm7b5

43
Wolking Bass 34 ,",0",u0 ,oo
ln the style of AllThe Things You Are

slow tempo GEl67

J : rso tI:Jlt
Fm7 AbmajT

DbmajT G7 CmajT

Am7b5

t- L-
3.

44
Walking Bass 35 '",*ru 'o
ln the style of Body And Soul

realtempo IDD35
slow tempo IED68
-3,
j :e5 tl-J:l.lll
EbmT Bb7 IlbmT Ab7 DbmajT Cb7 Fm7 Edim7

6 6-5-4 6

Cm7b5 BbmT EbmT Ab7 F,m] A1

I
8-6 4-5-6

DmajT Em7 Gm7 C7 F#m7 Bm7 Em7 A7 Dma17

Dm7 Cmaj7 EbdimT Dm? C7 B7 Bb7

45
Walking Bass 36 ,",*ru
ln the style of Body And Soul
uo

realtempo nDlg0
slow tempo nDl68
J: qs t,fJ:J )l
EbmT Bbl EbmT Ab7 Dbmaj7 Gb7 Fm7 EdimT

EbmT Cm7b5 BbmT EbmT Ab7 Db6 F,m1 A7

r-3 --

5-2
6-4-6
5

DmajT Em7 DlF# Gml C7 F#m] Bm7 F,m1 A7 DmajT

5_7_ B

Dm7 G7 Cmai7 Ebdim7 Dm7 G7 C7 87 Bb7

46
Waltrng Bass 37 Tempo 100 - 80
ln the style of Easy Living

realtempo GED37

slow tempo IDD 69

j : roo r,fJ:J)l
J

FmajT F#dim7 GrnT G#dim7 FmajT/A Cm7 F7 BbmajT Eb7

Fmaj7 DrnT Gm7 C7 Gm7

r- -J____r

LJ-

3-2 2

3-4

Fmaj7 F#dim7 G#dim7 FmajTlA Cm7 F7 BbmajT

l.rrajT DrnT Gm7 Ab7 DbmajT

47
Walking Bass 38 rempo 1oo-80
ln the style of Easy Living

realtempo IDIgA
slow tempo trED Og

J:too t,fJ:J.|ll
FmaiT F#dim7 Gm7 G#dim7 FmaiTlA Cm7 F7 BbmajT Eb7

FmajT Dm7 Gm7

FmajT F#dim7 Gm7 G#dim7 FmajT/A Cm7 F'l BbmajT

7-1&-0-8-6

FmajT Dm7 Gm7 Abl DbmajT C7

'.?,
8-7 __6
2

48
Walking Bass 39 ,",'",uu-,oo
ln the style of My Favorite Things

realtempo GED39

slow tempo IDD70

3

J:rss t,!-J.ltl
Em7

CmaiT

CmajT CmajT

CmajT F#m7b5

49
Walking Bass 40 rempo 155-1oo
ln the style of My Favorite Things

realtempo GED+O

slow tempo IDD 70

-i-

J: rss t,f]:l)l

CmajT

GmajT CmajT F#m7b5

50
Walkin Bass 41 Tempo 75 - 60
ln the style of ln A Sentimental Mood

realtempo nDD+t
slow tempo GDD zt

. :75 r,l-J )l
Dm7 Gm Cm majT Gm7 Gm? A7
f-- )
J ---r

Gm7 Gb7 Fmaj7 EbmT Ab7

r_ J
_____

DbmajT BbmT EbmT DbmajT Eb7 Ab7

r- -l---

'J'

6-6

Dbmaj? BbmT EbmT

-J- J-

51
Walkin Bass 42 Tempo 75 - 60
ln the style of ln A Sentimental Mood

real tempo @l qZ

slow tempo nEDZt

):ts rIJ:lll
Dm Dm maj7 Dm7 Dm6 Gm Gm majT Gm7 Gm7 A1

Gm7 Fmaj7 EbmT Ab7

DbmajT BbmT EbmT Ab7 DbmajT BbmT Ab7

,3,
'-3' -r)
L/J

EbmT Ah7 Gm7

52
Walking Bass 43 rempo 110-80
ln the style of Satin Doll

realtempo GDD+s

slow tempo jDltZ

3

J : no (IJ-J,\r
Dm7 G7 Dm7 G'1 Em7 A7 Em7 A7

Amj D7 AbmT Db7 CmajT

Gm7 C7 FmajT

Am7 D7 Aml D7

53
Walking Bass 44 ,",r",10-80 å
t
6

ln the style of Satin Doll {

@
@
J : rro t.fJ:J.lll
Dml G7 Dm7 G7 Em7 Em7 A7

3-2-0-2-3

AbmT CmajT

3-2 6_4_6
-0

Am'l Am7

2-4-5-6 7-B-9-1 ?-1&-9-B 7_9

54
Walkinq Bass 45 Tempo 190 - 100
ln the style of Take The "A" Train

realtempo trDD+S

slow tempo GED73

j

J : rm rl-l:i)l

FmajT

55
Walkinq Bass 46 Tempo 190 - 100
ln the style of Take The nAn Train

realtempo nEl+O
slow tempo GDD zg
'3
J : tm t,tl:Jll
C6

3*1

2
5

56
Walking Bass 47 ,","*'o uo
ln the style of You Are Too Beautiful

realtempo @l+t
slow tempo @074

J :to tJ-i:lll
Dm7 G7 Em-l A7#5 Dm7 G1#5 Cma17 EmlBb7

L-1 J

't-
_å_B 5_l_j_j_
L-L) U ,
6 3-2- ZI

Fm7 Bb7 Am7 Dm7 G'7

FmajT F'#dim7 Cmaj7

Bm7b5 Arn rnajT Am7 Dm7 G1

r- -l --

5-5-0- 4-4

57
Walking Bass 48 rempo 80-60
ln the style of You Are Too Beautiful

realtempo IDD48
slow tempo @Dt+
J :so ril:l)l
Dm7 G7 A7#5 Dm7 G7#5 CmajT hm7Ebl

3-0-5-6-7-6

Dm7 Fm7 Bb7 Am7 D7 Dm7Gl

{, J *-l

7
5-4-3 5-4
6-5 7-5

FmajT F#dim7 Dm7 G1 CmajT

L3J

7-5
7 3_4

Bm7b5 Am majT Am7

58
Walkinu Bass 49 Tempo 22O - 120
ln the style of Countdown

realtempo [Dl+g
slow tempo IEDzS

) : zzo t,fJ -J .|ll

Em7 BbmajT Db7 GbmajT A7 DmajT

Dm7 Eb7 AbmaiT B7 EmajT G7 Cmajl

Cm7 Db7 Gbmaj7 A7 DmajT BbmajT

59
Walking Bass 50 rempo 220-120
In the style of Countdown

realtempo GDDSO

slow tempo IEDzS

) :zzo t,f :J.[l

Eml F7 BbmajT Db7 CbmajT A7 Dmajl

Dm7 Eb7 AbmajT

Cm7 Db7 Gbmaj7 A7 DmajT BbmajT

60
 Brad TUGKER

=3
:,.,.rj
't-i
illlilllltllffilulffill E