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Watch the Silk and Satin online guitar lesson by Andrew Ford from Essentials: Walking Bass Lines

We start this first chorus on the root, G, of our first chord, G7, we walk down our mixolydian scale to F, the b7, to E, the 6 also called the 13, and a chromatic note, Eb which leads us by a half step into D, the root of our 2-5 progression in bar 2, we play the root, then octave D, then over the 5 chord G7 we also play its root, G, but then walk down to the b7. That gets us to E, the root of our Em7 chord in bar 3, there we do our common 1-2-3-5 walk up which is E, F#, G, and B. Then we answer that with a walk down over our next chord A7 starting with the root A, the b7, G, skip down to E, the 5, and then the octave A. Bar 5 starts on D, the root of our D7 chord, walking down to the b7, C, down to the 5, A, and back to the root, D. Going to the 2-5 chord starting with Abm7 you will notice we don't use our common half step, whole step, or fifth interval transition. We simply jump down to the root, Ab, to the 5, Eb, walk down to Db, the root of our new chord then to G which is not part of the related scale or chord but it does transition well to the C of the next bar with that fifth or fourth relationship. Here again is one of those longer phrases where the chord lasts 2 bars. We begin the phrase with the old reliable 1-2-3-5 pattern, C, D, E, and G. The second bar continues to ascend going to the 6, A, major 7, B, the octave C twice using 8th notes, and finally a chromatic note C# on beat 4 that leads to our high D, the root of bar 9. These next two bars make up a 2-5 progression in C. From the high D we move down to an F, the minor third, up to A, the 5 which finishes out the triad, then on beat 4 we have a couple of 8th notes, the first is a chromatic note, Ab, the second is a ghost note that leads us to G, the root of the next bar, down to the major 3rd, B, up to the 5, D which completes another triad, we finish out this bar with a chromatic note, Eb that connects us to E the root of the chord in bar 11, Em7. After E we walk down to the minor 7, D, then to the 5, B, and end on another chromatic note, Bb that connects to A, the root of bar 12, we continue that bar with the 5, E on beat 2, the octave A, then our first triplet that starts on the b7, G, down to the 5, E, the Eb, a chromatic note connecting us to D, our next root, walking down again to the minor 7, we continue walking down in a scalar pattern to the 6, B, and to the 5, A. That gives us a half step connection to Ab, our next root, then to Eb, the 5, beat 3 changes to a new chord so we move a whole step down to Db, and then the b7, B. Our last 2 bars of this chorus allow us to play a longer phrase using the Cmaj7 tonality. We start with two 8th notes using the root C, this skipping rhythm moves down to the open E, the major 3rd, this is a common interval relationship, we continue walking up chromatically to F, the 4, and to a chromatic note, F#, moving up to the 5, G, the 6, A. Here we imply a 2-5 progression that would lead us to the C7 chord in bar 17. We do this by playing D on beat 3 and B which is the major 3rd of G on beat 4, it implies a Dm7-G movement.

The next 8 bars is typically known as the bridge, it starts on C7, playing this chord for 2 bars. We start on the root, C, to the major 3rd, E, up to the F, then F#, this is the same pattern we played over the Cmaj7 chord in bar 15, works for both chords. The next bar, 18, we do go to the 5, G, but then we play the b7, Bb, which is part of our C7 chord and scale, then A, the 6, and back to the root, C. Bar 18 can also be looked at as implying a 2-5 progression that leads to F, Gm-C. With this view you would look at the 1st two notes, G and Bb as outlining the minor chord, and A and C as outling a C chord of some type. After the implied progression we have the Fmaj7 chord for a bar plus a beat of the next bar, starts on the root, F, down to the major 3rd, A, up to the 6, D, and on beat 4 the 2, G, our last root on the 1st beat of bar 20 sets up the chromatic walk down that uses roots, C, B, and Bb. They provide a great set up for our next bar. The next bar, 21, starts with the root, A, goes to the 5, E, to G, the b7, and to the octave root, D. We then walk down using that common minor 7 note, C, down to A, the 5, and back down to the root, D. We then have 2 bars of our next chord, G major 7, giving us time to explore the upper range of the fretboard starting with the root G on the D-string, then to the 5, D, then we jump up to the 9 or 2, which is A, use a chromatic note Ab to walk down to the root and octave up, G in bar 24, we follow that with the 6, E. On the final two beats of this bar we imply another turnaround, Eb7 to A7 using the respective roots for those chords. This leads us to our last 8 bar phrase that starts with Dm7. We kick this off with a triplet figure that gives it some forward motion, the notes are D, root, C, the b7, and A, the 5, beat 2 has the root, D, going to the 4, G, and ending with the 5, A. Our next bar the G7 chord starts on the 3rd, B, moving to the b7, F, then the 5, D, skipping the root and ending this bar with a chromatic note, Eb connects by a half step to E, the root of bar 27. Beat 2 of this Em7 chord goes down to the minor 3rd, G, up to the 5, B, then down to G#, a chromatic note. This leads smoothly to the root of bar 28, A where we have another box shape pattern, A, two G's, E, and A. Our last four bar phrase starts on D7 and we will play the root, D, the b7, C, the 5, A, and back to the root, D. Next we move down to the Db7 chord where we start with the triad, Db, F, and Ab, then a ghost note on the second 8th note of bar 2 before going back to the root. Our last 2 bars are Cmaj7 where we start with a 1-2-3-5 movement, C, D, E, and G, we use the last bar to imply one last turn around that sets up the beginning of the song, you can think of it like a 1-6-2 then chromatic Ab7 chord that sets up the G7 of our beginning bar.