How to Practice Walking Bass Time Feel by Playing With the Masters

I recently transcribed Ray Brown’s walking bass line on “Teach Me Tonight.”

But after learning the notes, I wanted to see if I could actually make the line feel like Ray Brown, even though I was playing it on a Precision Bass.

So I removed his bass from the recording and tried to take his place.

That turned out to be a much different challenge than simply learning the transcription.

Because knowing the notes of a walking bass line and making those notes actually sit inside the music are two different things.

If you want to improve your walking bass time feel, one of the best tests might be to play with the musicians your favorite bassist was actually playing with, and simply see if what you’re playing fits in, blends in, sounds or feels like part of the recording.

The Notes Are Only Part of the Bass Line

When you transcribe a walking bass line, it’s easy to focus most of your attention on the notes.

What chord tone did the bassist play?

How did they connect one chord to the next?

Where did they use chromatic notes?

Those things matter. But they’re only part of what you’re hearing.

A transcription can show you the pitches and rhythms Ray Brown played. It can’t completely show you how he made those notes feel. And man does his notes feel good!

There’s also the length of each note. The attack. The articulation. The dynamics. Where the notes sit against the beat. The consistency of the quarter-note pulse.

And, most importantly, how all of that interacts with the musicians around him.

So I started thinking about this as two separate steps:

• Step 1: Learn what Ray Brown played.
• Step 2: Learn how Ray Brown played it.

The second step is much harder to get from notation alone.

Trying to Sound Like Ray Brown

For this experiment, I transcribed Ray Brown’s walking bass line on “Teach Me Tonight,” performed by the Ray Brown Trio.

Once I had the line under my fingers, I used Logic Pro to separate the recording into stems and removed Ray’s bass.

That left me with the rest of the trio.

Then I tried to play his line in his place.

I wasn’t trying to come up with my own walking line. I wasn’t trying to reharmonize anything or demonstrate different ways to connect the chords.

I just wanted to see if I could play what Ray played and make it fit, even on an electric bass guitar.

And that immediately made me listen differently.

Why Playing With the Original Recording Is So Revealing

When I’m practicing by myself, it’s relatively easy to think something feels good.

A metronome can expose some problems with my time, but it still doesn’t give me the complete musical context of a rhythm section.

But… Removing the bass from the original recording does.

Now I’m not just trying to line my quarter notes up with a click.

I’m playing with a drummer and pianist.

I’m listening how the pianist comps and the drummer’s dynamics and trying to match the energy.

Is My Quarter-Note Pulse Consistent?

Walking bass depends heavily on the quarter-note pulse.

The challenge is maintaining that pulse while also navigating the harmony, shifting positions and deciding where the line is going next.

If I hesitate because of a difficult change or an awkward fingering, I can feel it immediately against the rest of the trio.

The notes might still technically be correct.

The line can still feel wrong.

Where Are My Notes Sitting?

There’s also the question of where each note sits against the beat.

This is difficult to communicate completely on a page.

Two bassists can play the same written quarter notes at the same tempo and still feel very different.

Playing along with the original rhythm section gives me a reference point. Instead of trying to intellectually calculate where the notes should sit, I can listen to how my playing interacts with everything around me.

Does it settle into the band? Or does it feel like I’m playing on top of a recording?

Either way, playing along to the recording teaches you how to make whatever it is that you’re playing to breathe with the music.

How Long Are My Notes?

This is one of those details that’s easy to overlook in a transcription.

A quarter note tells you when a note begins and gives you a notated duration, but it doesn’t necessarily tell you exactly how a bassist releases it.

That matters.

Shorter and longer notes can completely change the character of a walking line, even when the pitches and basic rhythm remain the same.

Trying to fit Ray’s line back into the recording forces me to pay attention to those details.

How Am I Articulating the Notes?

The attack matters too.

So do accents, dynamics and how one note connects to the next.

Again, none of this changes the chord symbol above the measure or the name of the note I’m playing.

But it changes how the line feels.

Am I Actually Listening to the Band?

This might be the most important part of the exercise.

When I’m staring at a transcription or concentrating on getting the notes under my fingers, most of my attention can easily turn inward.

But once the line is actually learned (at least from a mechanical standpoint), I want more of that attention available for the music around me.

Removing Ray Brown from the recording creates a simple test:

Can I stop executing a bass line and start playing with the band?

How to Practice Walking Bass Time Feel With This Method

You don’t need to transcribe an entire album (or even an entire tune) to try this.

A chorus, eight bars or even a short passage can give you plenty to work on.

1. Choose a Walking Bass Line You Love

Start with a recording that makes you want to play.

More importantly, choose a bassist whose feel you want to understand.

The goal isn’t necessarily to collect more walking bass vocabulary. You’re choosing a musical reference for how you want the line to feel.

2. Transcribe the Bass Line

Listen closely and figure out what the bassist is playing.

Depending on the recording, that might mean working through a few seconds at a time.

I use Music Phrase Pyramids to break the music I’m learning into smaller chunks and progressively build those chunks back up as I learn the phrase.

At this stage, I’m primarily trying to hear and learn the line.

3. Get the Line Under Your Fingers

Before focusing heavily on time feel, get comfortable enough with the notes that you aren’t searching for them every measure.

That doesn’t mean the line has to be perfect.

It just means you want to reduce some of the mental friction involved in remembering notes and finding them on your instrument.

The more attention you’re spending trying to remember what comes next, the less attention you have available to listen to the rhythm section.

4. Remove the Original Bass

This is where things get interesting.

Instead of playing on top of the original bassist, remove the bass from the recording and leave the rest of the band intact.

Now there’s an empty chair.

Your job is to fill it. And keep playing along with the recording until you get as close as you can to sounding like you’re actually part of the recording.

How to Remove the Bass From a Recording in Logic Pro

I’ve been using Logic Pro’s Stem Splitter for this.

Import your recording into Logic Pro and use Stem Splitter to separate the recording into individual stems.

Logic can pretty reliably separate elements such as the vocals, drums, bass and other instruments.

Once the stems have been created, mute the bass stem.

Now you can hear the rest of the original recording without the original bass part dominating what you’re playing.

I also like to loop whatever section I’m currently practicing rather than continually playing through the entire tune.

Note: You may still hear artifacts or traces of the original instrument depending on the recording.

That’s totally fine for this exercise.

You’re not trying to create a pristine commercial backing track.

You just need enough separation to hear how your bass playing interacts with the original musicians.

Put Yourself in the Bassist’s Chair

Now play.

At first, resist the temptation to start changing the line.

If you transcribed Ray Brown, play Ray Brown’s line.

If you transcribed Paul Chambers, play Paul Chambers.

If you transcribed another bassist whose time feel you love, try to play what they played.

The purpose of the exercise isn’t to prove that you can come up with your own notes. The purpose is to develop your time feel.

Don’t Just Transcribe the Notes. Transcribe the Feel.

I’ve spent a lot of time thinking about transcription as a way to build musical vocabulary.

Listen to something you like.

Figure it out.

Learn it.

Put it on your instrument.

But I’m becoming increasingly interested in what happens after you’ve found the notes.

What made those notes sound and feel the way they did?

The deeper I listen, the more I hear things that aren’t simply pitch vocabulary.

Rhythmic placement.

Articulation.

Note length.

Dynamics.

Interaction.

Feel.

Those things are all part of the language too.

If you want an easier way to work through the phrases you’re transcribing, check out Music Phrase Pyramids. It lets you capture, split and progressively build musical phrases so you can get them under your fingers and into your musical vocabulary.

Explore more ways to develop your time, feel, and groove in Technique & Groove.