by David Hamburger

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Ex. 7

Ex. 8

Ex. 9

Ex. 10

Ex. I 1

Ex. 12

fifth and fourth strings. We'll change things up a little for the lick we play over the B chord, too, starting on the second fret of the first string and going to the open second string, as shown in Example 12. Playing the B bass line and B lick together means fretting two notes at the beginning of the measure. Practice making

Walking bass sounds extremelycool for a whole tune or for turnarounds and transitions.

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the pinch with just the lick and the first bass note, as in Example 13, before adding in the rest of the bass line, as shown in Example 14. On a steady-bassblues, you could put Example 8 and Example 14 together to make a two-bar turnaround that fits over measures 11and 12.

Put It All Together

Now we're ready to assemble all of this into a

12-bar blues. 'Walk Me, Baby" (page 40) takes the 12-bar E-blues chord progression and plugs one of our one-measure bass-line/blues-lick moves into each measure of the progression, until the last two measures. Measures 11 and 12 include a slightly trickier turnaround, negotiating the move from E up to B7, then walking back down to set up the start of the next pass through the progression. ~ o o k just the bass line first, and play at through it a few times on its own, then try just the melody on its own. When both feel somewhat familiar, go through measures 11 and 12 beat by beat, looking for moments when you have to pinch a bass and a melody note together, and moments in between when you have to play just a melody note. (See "Turn Your Blues Around," below.) Once you've got this basic coordination under your fingers, you can experiment with placing different licks over this bass line (try using notes from the E minor pentatonic scale for starters) or even changing up the bass lines themselves. (Try listening to the bass-guitar lines on electric blues albums to get ideas.) Good luck, and keep it funky! AC

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Walk Me, Baby

Music by David Hamburger