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Watch the Ray's Dance online guitar lesson by Andrew Ford from Essentials: Walking Bass Lines

The 1st four bars here are like an intro, very melodic where the bass is featured. The eighth notes in bars 1, 2 and 4 need to be swung as well as the triplet figure in bar 3. The box shape is used in this passage, it is that fingerboard shape that resembles a square or box with the notes. Notice how there is just enough variation in the notes and rhythms in that 1st four bars to keep it interesting. Looking at the next 4 bar phrase we make use of those dead, ghost notes in bars 7 and 8 that give your walking lines some character. Notice also we basically only use the triad in this phrase along with chromatic notes in bars 6 and 8. Bars 9 and 10 feature the bass motif typically associated with Killer Joe. It then moves to a scalar type bar using the D which is the 2, the triplet with the chromatic note also adds variety and tension. The last bar of this phrase, bar 12 is like the melodic line in the intro. In bar 13 of the next 4 bar phrase we incorporate the 4 and 6 of the mixolydian scale which are F and A. The F transitions nicely to the Bb of bar 14 where we have a descending triad. Bars 15 and 16 use descending scalar lines each starting on the 5 of its respective scale. Then in bar 17 we move in fourths for an interesting effect starting on the major 3rd, E, up a fourth to A, then from the 5, G, up a fourth to the root C. We continue with some triad movement in bar 18 continuing going up in a scalar pattern in the next bar playing C, D, E and using the E to outline a descending triad before landing on F on beat 4. This is our transition note to Bb, the root of the next bar. We end with a 1, 2, 3, 6 motif over the Bb7 chord. This is where we do a radical shift up the fretboard to high C at the 17th fret of the G string, walking down using the flat 7, Bb, 6, A, and the 5, G. Then there is a whole step connection to the 5 of the new chord Bb in bar 22, continuing to walk down the scale to Eb, D, and skipping the 2 and going to the root Bb. A triad pattern in bar 23 but using a ghost note with the open D. We end with a 1-3-6-5 movement in Bb in bar 24. In bar 25 is one of the few times we begin the bar not playing the root, the major 3rd, E, is used here, outlining the triad again before using a chromatic B to connect to the root of the next bar. This time we use a tritone interval outlining the 7 chord before landing on the 6, G, this transitions nicely to the C in bar 27, that 5-1 movement. Next there is a 1-3-6-5 pattern but using a ghost note syncopation to spice it up, and a 5-1-b7-1 to end that 4 bar phrase. In our last 4 bar phrase we begin by pumping some roots for the first 3 notes, never be afraid to repeat a not, the next E to the F has to swing to make it sound good. Then in bar 30 we have another tritone movement from Bb to E which is not in the scale or chord but provides some tension and resolves nicely to the F on beat 3. We mix in some triplets in bars 30 and 31 with some ghost notes and finally end with a 5-4-3, ghost note and root or 1.