Tom Lippincott

Walking Chords For Jazz Guitar

This is a follow-up class to The Art of Bass and Chords for Jazz Guitar and will expand on the concepts
discussed in that class. In the bass and chords class, we discussed in detail the construction of a walking
bass line as well as the addition of chords to the bass line to achieve the illusion of a bass part and a
guitar comping part played together. Most of the chords discussed were root position and therefore were
limited to those places in the bass line when the root is being played. A few chord inversions were
introduced to add more flexibility, but this class explores those sounds in more detail so that the player will
have more options for this style of playing and so that a "walking chord" accompaniment style will also be
possible. In this approach, each note in the walking bass line will be harmonized with a chord.

This class will focus first on a systematic exploration of finding chord inversions for all the basic chord
types used in American song book standards and jazz tunes. Then, we will explore ways to utilize those
inversions to a "bass and chords" bass line as well as to a full-fledged "walking chord" bass line.

The Art of Bass and Chords for Jazz Guitar explored chord voicings that were mostly shell voicings
consisting of the root on the fifth or sixth string and the 3rd and 7th (or 6th for sixth chords) on the G and
D, or two middle strings. Therefore, the inversions of those chords will follow a similar format of bass note
on fifth or sixth string and two other chord tones on the G and D strings. Just as in the previous class,
some additional chord tones or color tones may be added on the B and high E strings, but the main focus
will be on the simple, streamlined three-note chords that will enable the player to devote his or her
complete attention to creating a strong bass line.

An experienced player who is already adept at playing bass lines and adding chord accompaniment will
be able to glean useful ideas from this class without watching the first class, but any player who doesn't
already have a good command of playing bass lines and adding at least some chordal accompaniment
should refer to the previous class.

Below is a review of the basic shell voicings for common chord types covered in the previous class, as
well as in my Jazz Guitar Harmony part 2.

Example 1: shell voicings with the root on the sixth string

G^ G7 G-7 GØ G6 G-6 Gº

r 73 r b73 r b7b3 r b7b3 r 63 r 6 b3 r bb7 b3

°
& #w
w 73 nw
w b73 nb w
w b3
b7
nb w
w b7b3 w
w 3
6
bw
w b36
bw
w b3bb7
wr wr w r w r w r wr wr

4 4 3 3 4 3 3
4 3 3 3 2 2 2
¢⁄ 3 3 3 3 3 3 3
2 Tom Lippincott
Example 2: shell voicings with the root on the fifth string
G^ G7 G-7 GØ G6 G-6 Gº
9fr 9fr 8fr 8fr 9fr 8fr 8fr

r 37 r 3b7 r b3b7 r b3b7 r 36 r 6b3 r bb7 b3

° #w 7 nw b7
bnw b7
bnw b7 w 6 bw bw
& w
w r3
w
w r3
w
w r b3 w
w r b3 w
w r3
w
w 6
r b3 w bb7rb3
w

11 10 10 10 9 9 9
9 9 8 8 9 8 8
¢⁄ 10 10 10 10 10 10 10

All of the voicings listed are from the root G, but if any of them are unfamiliar, they should be played
and memorized from the eleven other possible roots. Also, notice that the minor seventh shape does
double duty as half diminished; this is because the only difference between the two chords is the fifth
versus the flat fifth, and neither voicing contains a fifth of any sort. Similarly, the minor sixth voicing and
the fully diminished seventh voicing use the same shape because of the lack of fifth, and also because
the sixth and the diminished seventh are enharmonic equivalents (the same note with two different
names).

Inversions

Normally, the process of inverting a chord consists of taking the notes and rearranging them in a different
order to get a higher or lower version of the chord. Taking this process literally with shell voicings would
result in many voicings that would not be practical for our uses here. Instead, we will use drop 3 voicings
as a basis for inversions of the shells with roots on the 6th string and drop 2 voicings as a basis for
inversions of shells with the root on the 5th string. Example 3, below, gives the four inversions of the
seven basic chord types voiced in drop 3 configuration on strings 2, 3, 4, and 6 as a first step.

Example 3: four inversions of each of the seven basic chord types, drop 3 voicings on strings 2, 3, 4, and 6

G^ G^ G^ G^
5fr 8fr 12fr

r 73 5 3 r 5 7 5 37 r 7 w 5r3
° #w # ww w
& #w
w w w w
w w w #w
w w
3 7 8 12
4 7 11 12
4 5 9 12
¢⁄ 3 7 10 14
 Tom Lippincott 3

G7 G7 G7 G7
5fr 8fr 12fr

r b7 3 5 3 r 5 b7 5 3 b7 r b7 5 r 3
w
° w ww w
& w
w
w
w
w w
w
w
w
w w
3 6 8 12
4 7 10 12
3 5 9 12
¢⁄ 3 7 10 13

G-7 G-7 G-7 G-7

5fr 8fr 11fr

r b7 b3 5 b3 r 5 b7 5 b3 b7 r b7 5 r b3
bw
° w w w
& bw
w
w
w
w b ww w
w
w bw w

3 6 8 11
3 7 10 12
3 5 8 12
¢⁄ 3 6 10 13

GØ GØ GØ GØ
5fr 10fr 11fr

r b7 b3 b5 b3 r b5 b7 b5 b3 b7 r b7 b b5wr b3
° bw w bw
& bb w
w
w
w
w b ww w
w
w bw bw
2 6 8 11
3 6 10 12
3 5 8 11
¢⁄ 3 6 9 13

G6 G6 G6 G6
5fr 8fr 12fr

r 63 5 3 r 5 6 5 36 r 6 5r 3
w
° w w
w w
& w
w
w
w
w w
w
w
w
w w
3 5 8 12
4 7 9 12
2 5 9 12
¢⁄ 3 7 10 12
 Tom Lippincott
4
G-6 G-6 G-6 G-6
5fr 8fr 11fr

r 6 b3 5 b3 r 5 6 5 b3 6 r 6 b 5wr b3
° w w w
& bw
w w
w bw
w w
w bw w w
w
3 5 8 11
3 7 9 12
2 5 8 12
¢⁄ 3 6 10 12

Gº Gº Gº Gº
5fr 8fr 11fr

r bb7 b3 b5 b3 r b5 bb7 b5 b3 bb7 r bb7 b5 r b3

bw
° w w bw
& bb w
w
w
bw
w bw
w w
w
w bw bw
2 5 8 11
3 6 9 12
2 5 8 11
¢⁄ 3 6 9 12

Obviously, the number of chord shapes has increased exponentially from the shell voicings, but keeping a few
of the following ideas in mind will make learning these shapes easier. Being aware of which note has
which function on each inversion will make it a simple matter to, for example, convert a major seventh chord
to a dominant seventh. Also, note that the major sixth chords and the minor seventh chords actually use
all the same shapes but transferred to different parts of the neck. G6 contains the notes G, B, D, and E.
E-7 contains the same notes: E, G, B, and D. This means that any chord shape for G6 is also a chord shape
for E-7. This concept is transferrable to any key by keeping in mind that a major sixth chord is the same as a
minor seventh chord down a minor third (or three frets). So, for example, any voicing/inversion of Db6 is also
a different inversion of (but contains the same notes as) Bb-7.

The same concept also applies to minor sixth and half diminished chords; any inversion of G-6 (G, Bb, D, F)
Is also an inversion of Eø (E, G, Bb, D). Thus, the same "down a minor third" shortcut can be applied.

Lastly, as most players already know, fully diminished seventh chords are symmetrical, and therefore all
inversions on any given string set will have the exact same shape/configuration as demonstrated above.

While many intermediate to advanced jazz guitarists will probably be at least somewhat familiar with the above
drop 3 voicings, as well as the drop 2 voicings below in example 4, this can seem like a dizzying array of
new chord shapes to learn for anyone completely new to them. Keep in mind that these four-note voicings
are merely used here as a template for three-note voicings that will function as something similar to
"inversions" of the original shell voicings. So for the purposes of this class, it is not absolutely crucial to have
complete mastery of all the voicings listed here. As long as you are familiar with them and understand the
function and construction of them, that will suffice.
 Tom Lippincott
5

In example 4, the same process is undertaken with drop 2 voicings on strings 2, 3, 4, and 5. These will be
used as a basis for "inversions" of the shell voicings with the root on the 5th string. Also, these chords are
transposed to the key of C in order to make the inversions easier to visualize in a similar way as the voicings
in example 3.
Example 4: four inversions of each of the seven basic chord types, drop 2 voicings on strings 2, 3, 4, and 5

C^ C^ C^ C^
3fr 5fr 8fr 12fr

r 57 3 37 r5 5 r 37 7 3 5 r
° w w w
w
w ww w
w w
& w
w
w w w w
5 8 12 13
4 5 9 12
5 9 10 14
¢⁄ 3 7 10 14

C7 C7 C7 C7
5fr 9fr 12fr

r 5 b7 3 3 b7 r 5 5 r 3 b7 b7 3 5 r
° w bw w
w
w b ww w
w bw
& bw
w
w w w w
5 8 11 13
3 5 9 12
5 8 10 14
¢⁄ 3 7 10 13

C-7 C-7 C-7 C-7

5fr 8fr 12fr

r 5 b7 b3 b3 b7 r 5 5 r b3 b7 b7 b3 5 r
w bb w w
w
° bw w w
w bw
b
&b w
w b
b w
w w w
w
4 8 11 13
3 5 8 12
5 8 10 13
¢⁄ 3 6 10 13
6 Tom Lippincott

CØ CØ CØ CØ
5fr 8fr 11fr

r b5 b7 b3 b3 b7 r b5 b5 r b3 b7 b7 b3 b5 r
° bw bw bb w
w b bw
w
& bb w
w bb ww
w bw w bww
w
4 7 11 13
3 5 8 11
4 8 10 13
¢⁄ 3 6 9 13

C6 C6 C6 C6
5fr 9fr 12fr

r 56 3 36 r5 5 r 36 6 3 5 r
° w w w
w
w w w
w w
& ww w
w w w
w
5 8 10 13
2 5 9 12
5 7 10 14
¢⁄ 3 7 10 12

C-6 C-6 C-6 C-6

5fr 8fr 12fr

r 5 6 b3 b3 6 r 5 5 r b3 6 6 b3 5 r
w
° b ww w
w bw
w
w bw
w
& ww bw
w w w
4 8 10 13
2 5 8 12
5 7 10 13
¢⁄ 3 6 10 12

Cº Cº Cº Cº
5fr 8fr 11fr

r b5 bb7 b3 b3 bb7 r b5 b5 r b3 bb7 bb7 b3 b5 r

° b ww bw bw
w bb w
w
w
w bw
&b w
w bw
w w w
4 7 10 13
2 5 8 11
4 7 10 13
¢⁄ 3 6 9 12
 Tom Lippincott
7
The next step in the process of deriving "inversions" of the shell voicings will be simply to remove the note
on the B string for both the drop 3 and drop 2 voicings. In many cases, this will result in a voicing that
maintains the sound of the chord, keeps the chord at three voices, and is relatively easy to grab quickly.

Sometimes, an alternate note or two will be used, either to make the voicing easier to play or to give the
voicing a more complete sound when the omitted note is important. Examples 5 and 6 give the modified
voicings. In example 5, only one voicing, the third inversion of G major 7, is modified.

Example 5: modified "inversions" of the shell voicings with root on the sixth string, based on drop 3 inversions

G^ G^ G^ G^ G^
5fr 7fr 8fr 12fr

r 73 3 r 5 3 95 5 37 6 5r
° w w #w w
w
& #w
w w w w
w w
w w w 6th replaces
B-7 as alternate 7th
4 7 7 11 12
4 5 7 9 12
¢⁄ 3 7 7 10 12

G7 G7 G7 G7
5fr 8fr 12fr

r b7 3 3 r 5 5 3 b7 b7 5 r
° w w w
w
& w
w w w
w w
w w
4 7 10 12
3 5 9 12
¢⁄ 3 7 10 13

G-7 G-7 G-7 G-7

5fr 8fr 12fr

r b7 b3 b3 r 5 5b3 b7 b7 5 r
° w
& bw
w
w
w bw
w w
w
bw w
w
3 7 10 12
3 5 8 12
¢⁄ 3 6 10 13
 Tom Lippincott
8

GØ GØ GØ GØ
5fr 10fr 11fr

r b7 b3 b3 r b5 b5 b3 b7 b7 b5 r
° bw bw bw
w
& bw
w w w
bw w
w bw
3 6 10 12
3 5 8 11
¢⁄ 3 6 9 13

G6 G6 G6 G6
5fr 9fr 12fr

r 63 3 r 5 5 36 6 5r
° w w w
w
& w
w w w
w w
w w
4 7 9 12
2 5 9 12
¢⁄ 3 7 10 12

G-6 G-6 G-6 G-6

5fr 8fr 12fr

r 6 b3 b3 r 5 5 b3 6 6 5r
° w
& bw
w
w
w bw
w w
w
w bw w
3 7 9 12
2 5 8 12
¢⁄ 3 6 10 12

Gº Gº Gº Gº
5fr 8fr 11fr

r bb7 b3 b3 r b5 b5 b3 bb7 bb7 b5 r

°
& bw bw
w bw
w bw
w
w bw bw w
w
3 6 9 12
2 5 8 11
¢⁄ 3 6 9 12
 Tom Lippincott
9
Example 6 shows the "inversions" of the shell voicings with the root on the fifth string, based on the drop 2
inversions. These voicings receive quite a few more alternate notes, as well as a few alternate voicings.
Note that the root position drop 2 voicings are omitted.

Example 6: modified "inversions" of the shell voicings with root on fifth string, based on drop 2 voicings
C^ C^ C^ C^ C^ C^
2fr 5fr 5fr 8fr 12fr 10fr

r 37 36r 35 9 5 7 3 6 35 6r 5
° w w w
w w
& w w
w w w
w w w
w
w
w w w
shell E-7 shell as 7th replaces 6th replaces A-7 shell as
6th replaces
alternate root 7th alternate
7th
4 5 7 9 12 12
2 7 5 9 14 10
¢⁄ 3 7 7 10 12 12

C7 C7 C7 C7
5fr 8fr 12fr

r 3 b7 3 b7 r 5 b7 3 b7 3 5
° w
& bw
w bw
w
w bw
w
w bw
w
w
shell b7th replaces
root
3 5 9 12
2 8 8 14
¢⁄ 3 7 10 13

C-7 C-7 C-7 C-7

5fr 8fr 12fr

r b3 b7 b3 5 r 5 b7 b3 b7 b3 5
° w
& bb w
w
w
bw
w bb w
w
w bb w
w
w
shell 5th replaces b7th replaces
b7th root

3 5 8 12
1 5 8 13
¢⁄ 3 6 10 13
10 Tom Lippincott

CØ CØ CØ CØ
4fr 8fr 11fr

r b3 b7 b3 b5 r b5 r b3 b7 b3 b5
° w bw bbb w
w
& bb w
w
w bb w
w bw
w w
shell b5th replaces
b7th

3 5 8 11
1 4 10 13
¢⁄ 3 6 9 13

C6 C6 C6 C6 C6
5fr 9fr 12fr 10fr

r3 6 36 r 5 r 3 635 6r 5
° w w
w w
w w
w
& w
w
w
w
w w w w
shell A-7 shell as
alternate

2 5 9 12 12
2 7 10 14 10
¢⁄ 3 7 10 12 12

C-6 C-6 C-6 C-6

5fr 8fr 12fr

r b3 6 b3 6 5 r b3 6 b3 5
° w bw
w bw
w
& bw
w bw
w w w
w
shell

2 5 8 12
1 7 10 13
¢⁄ 3 6 10 12
 Tom Lippincott 11

Cº Cº Cº Cº Cº Cº Cº
4fr 5fr 7fr 8fr 10fr 11fr

r b3 bb7 b3 b5 r b3 bb7 r b5 bb7 b3 b5 r b3 bb7 r b5 bb7 b3 b5

° w w bw bw bw bb w
w
& bw
w
w bb w
w bw
w b ww bw
w w
w w

2 5 5 8 8 11 11
1 4 7 7 10 10 13
¢⁄ 3 6 6 9 9 12 12

These inversions add considerably to the possibilities for harmonizing bass lines. The following example
shows how these inversions can be added to a typical walking bass line. The basic chord progression is
listed below the staff. This example finishes out with a common ending phrase.

Example 7: applying the inversions to a walking bass line

G-7 G-7/B¨ C7 C7/G F^ F6/D D7 D7/F© D7/A

5fr 8fr 8fr 7fr 4fr 4fr

j j
° ‰ œj Œ b œœ ‰ œœ Œ ‰ œœ Œ œœ Œ
& b œœ œ œ œ œ bœ œ œ œ #œ #œœœ œœ # œœ
œ œ b œ nœ #œ œ œ
G-7 C7 F^ D7
3 7 9 9 9 5 5 2 5
3 5 8 8 7 3 4 0 4
¢⁄ 3 5 6 7 8
7 10 9 8 7 5 4 5
2 3 5

G-7 G-7/B¨ G-7/D G-7 C7 C7/E C7/G

5fr 8fr 8fr 8fr 5fr 8fr

° ˙˙
& b œœ œœ œ b œœ œœœ œœ
œ
œ bœ œ œ œ

G-7 C7
3 7 10 9 5 9
3 5 8 8 8 8
¢⁄ 3 6 10
10
8 10
7 10
 Tom Lippincott
12

F^ F7/E¨ B¨6/D B¨-6/D¨ F6/C C7/B¨ F6 F^9(#11)

7fr 5fr 3fr 3fr

° œ œ w
œ b œœ œ b œœ Œ nœœœ
& œœ b œœ œ b œœ œœ
œJ
œœ ww
w
œ œJ œ w
F^ F7 B¨6 B¨-6 F6 C7 F6
3
0
9 5 3 3 2 3 2 2
7 7 3 5 3 2 0 2
¢⁄ 8 6 5 4 3
3 1 1

We have already seen how E-7 or A-7 can be used in some cases as an alternate voicing for C major 7
and/or C6. Other diatonic chords from a key center can also be used to harmonize bass notes that are
scale- derived passing notes between chord tones. Examples 8a and 8b show harmonized scales using
shell voicings as a preliminary study for adding these as passing chords.

Example 8a: diatonic harmonized major scale using shells with root on sixth string
G^ A-7 B-7 C^ D7 E-7 F©Ø G^
5fr 7fr 8fr 10fr 12fr 14fr 15fr

° œœ #œœ œœ œœ œœ
& # œœ œœ œœ œ
œ œ œ #œ
œ œ œ

4 5 7 9 11 12 14 16
4 5 7 9 10 12 14 16
¢⁄ 3 5 7 8 10 12 14 15

Example 8b: diatonic harmonized major scale using shells with root on fifth string
C^ D-7 E-7 F^ G7 A-7 BØ C^
5fr 7fr 9fr 10fr 12fr 14fr

° œœ œœ œœ œœ œœ
œœ œœ œ
& œœœ œ œ œ œ œ œ

4 5 7 9 10 12 14 16
2 3 5 7 9 10 12 14
¢⁄ 3 5 7 8 10 12 14 15
 Tom Lippincott
13
When playing in a minor key, a similar idea can be used to generate passing chords using the melodic minor
scale. The VI and VII chords of a melodic minor scale are both half diminished chords. We have already
seen that half diminished and minor 6 chords are the same. For example, in the G melodic minor scale,
the VI chord is E half diminished and the VII chord is F# half diminished. These two chords are synonymous
with G minor 6 and A minor 6. If all four inversions of each chord are alternated, a harmonized melodic minor
scale is approximated, although we end up with eight different chords instead of seven. This means there
will be a few repeated notes, but the effect is still one of an ascending scale, as demonstrated below. Drop 3
voicings on strings 2, 3, 4, and 6 again form the basis of these inversions, with the second string left out.

Example 9: diatonic harmonized melodic minor scale

G-6 A-6 G-6 A-6 G-6 A-6 G-6 A-6 G-6

4fr 5fr 7fr 8fr 10fr 12fr 14fr 14fr

° œœ #œœ œœ œœ bw
& b œœ # œœ
œ
œ b œœ œ œ #œ
w
w
œ bœ œ œ
œ

3 5 7 9 9 11 12 14 15
2 4 5 7 8 10 12 14 14
¢⁄ 3 5 6 8 10 12 12 14 15

While the above example works well for creating diatonic passing chords on a G minor sound, the same
technique can be used on half diminished chords by simply recasting the above as E half diminished, as
shown below.

Example 10: diatonic harmonized G melodic minor scale used on E half diminished

EØ F©Ø EØ F©Ø EØ F©Ø EØ F©Ø EØ

4fr 5fr 7fr 8fr 10fr 12fr

° œœ #œœ w
& œœ œœ b œœ # œœ
œœ b œœ w
œ bœ œ œ œ w
œ #œ œ

0 2 3 5 7 9 9 11 12
0 2 2 4 5 7 8 10 12
¢⁄ 0 2 3 5 6 8 10 12 12
 Tom Lippincott
14
In theory, the above idea could be used for any harmony derived from the melodic minor scale. However,
using this concept for altered dominant, the seventh mode of melodic minor, creates some voicings that
don't define the sound of the dominant chord clearly. A work-around is shown below by using the four shell
inversions of a D7 chord with three G-6 inversions as passing chords. This is essentially creating quickly-
moving V to I progressions in G minor.

Example 11: diatonic movement on D7 in the key of G minor

D7 G-6 D7 G-6 D7 D7 G-6 D7
4fr 5fr 7fr 10fr 12fr 12fr

° œ œœ #œœ œœ œœ w
w
& œœ bœ
œ # œœ œ
bœ œ œ œ #œ w
#œ œ œ
2 3 5 7 7 11 12 14 14
0 2 4 5 7 10 12 12 12
¢⁄ 2 3 5 6 8 10 12 14 14

The next example shows a harmonized bass line incorporating the above diatonic passing chord ideas in
both major and minor keys using only the voicings on strings 3, 4, and 6. The basic progression, similar to
the first phrase of "Autumn Leaves," is listed below the staff.

Example 12: applying diatonic passing chords to "Autumn Leaves" chord changes
C-7 D-7 E¨^ C-7/B¨ F7 F7/E¨ B¨/D F7/E¨
8fr 10fr 11fr 13fr 13fr 10fr 8fr 7fr

° œœ œœ bb œœ b œœ œœ
bœ
& b œœ bœ œ œ bœ b œœ œœ
œ œ œ
C-7 F7
8 10 12 15 14 10 10 8
8 10 12 13 13 10 8 7
¢⁄ 8 10 11 15 13 11 10 8

B¨^ C-7 D-7 D-7/F E¨^ D-7 C-7 B¨^

6fr 8fr 10fr 12fr 11fr 10fr 8fr 6fr

° œœ œœ œœ œœ
& œœ bb œœ œ bœ bb œœ œœ
bœ œ œ œ œ bœ
B¨^ E¨^
7 8 10 14 12 10 8 7
7 8 10 12 12 10 8 7
¢⁄ 6 8 10 13 11 10 8 6
 Tom Lippincott 15

AØ BØ AØ/C AØ/E¨ D7 D7/C G-6/B¨ D7/A

5fr 7fr 7fr 10fr 10fr 7fr 5fr 4fr

° œœ b œœ œ #œœ œœ œ
& œœ œ
œ
bœ œ œ œ # œœ
œ œ bœ œ
AØ D7
5 7 8 12 11 7 7 5
5 7 7 10 10 7 5 4
¢⁄ 5 7 8 11 10 8 6 5

G-6 A-6 G-6/B¨ A-6/C G-6/D G-6/E G7/D G7/B C-7

4fr 5fr 7fr 8fr 12fr 9fr 5fr 8fr

° œœ
& b œœ # œœ
œœ œœ b œœ œ nœœ œœ bb w
w
œ œ bœ œ œ œ nœ w
G-6 G7 C-7
3 5 7 9 9 12 10 7 8
2 4 5 7 8 12 9 5 8
¢⁄ 3 5 6 8 10 12 10 7 8

In example 13, the same process is applied to voicings on strings 3, 4, and 5 using a combination of diatonic
passing chords and inversions.

Example 13: applying diatonic passing chords to "Autumn Leaves" chord changes on strings 3, 4, and 5

C-7 D-7 E¨^ G-7 F7 F7/E¨ B¨6/D F7/E¨

5fr 8fr 7fr 5fr

° œœ œœ b œœœ b œœ œ
& bb œœœ œ œ œ b œœ
b œœ
œ b œœœ

C-7 F7
3 5 7 10 8 5 3 2
1 3 5 8 7 7 5 1
¢⁄ 3 5 6 10 8 6 5 3
16 Tom Lippincott

B¨^ C-7 D-7 B¨^/F E¨^ C-7 E¨^ G-7

7fr 5fr 5fr 8fr

° œœ œœ œ œœ œ
& œœ
bœ bb œœœ œ œ b œœ bb œœœ œ b œœ

B¨^ E¨^
2 3 5 7 7 3 7 10
0 1 3 7 5 1 5 8
¢⁄ 1 3 5 8 6 3 6 10

AØ AØ/G BØ/F AØ/E¨ D7 E-7 D7/F© D7/A

10fr 8fr 7fr 5fr 4fr 5fr 7fr 10fr

° œ b œœ œœ œœ œœœ #œœ
& œœ œ œ œ
b œœ #œœœ œ œ
AØ D7
12 8 7 5 5 7 7 11
10 10 9 7 4 5 10 10
¢⁄ 12 10 8 6 5 7 9 12

G-6 A-6 G-6/B¨ A-6/C G-6/B¨ G-6 G7/B G7/D C-7

8fr 10fr 12fr 14fr 12fr 8fr 7fr

° œ #œœ œœ œœ œ
& b œœ œ œ œ b œœ b œœœ nœœœ œœ bb w
w
œ w
G-6 G7 C-7
9 11 12 14 12 9 7 4 3
8 10 14 16 14 8 9 3 1
¢⁄ 10 12 13 15 13 10 8 5 3
 Tom Lippincott
17
Finally, in example 14, the above techniques are combined with techniques introduced in The Art of Bass
and Chords for Jazz Guitar, including the use of half step approaches, diminished approaches from below,
and tritone sub approaches from above. This example uses a full chorus of the the changes from "Autumn
Leaves" to give a real-world example of walking chords used on a tune. The basic chords are indicated below
the staff. This etude also ends with a common ending phrase that could be used on the last chorus of a
performance.

Example 14: one chorus of walking chords on "Autumn Leaves" changes

C-7 C-7/B¨ C-7/G F©7 F7 E¨/G A¨º F7/E¨
8fr 5fr

° bœ œœ œœ
& b œœ b œœ n #œœ bnœœ b œœ nœœ
bœ œ #œ œ œ bœ nœ
C-7 F7
8 5 3 3 2 3 4 5
8 5 1 2 1 1 3 3
¢⁄ 8 6 3 2 1 3 4 5

B¨6 F7/C B¨^/D B¨7/F E¨6 D-7 C-7 B¨^

5fr 7fr 6fr 12fr 10fr 10fr 8fr 6fr

° b œœ œ b œœ œœ œœ
& œœ bœ œ bœ bb œœ œœ
bœ œ œ œ œ bœ
B¨^ E¨^
7 8 10 13 12 10 8 7
5 7 8 12 10 10 8 7
¢⁄ 6 8 10 13 11 10 8 6

AØ G©Ø AØ E¨7 D7 E-7 Fº D7/F

5fr 5fr 5fr 4fr 5fr 6fr 7fr

° bœ œœ œ œ
& œœ # nœœ œœ
b œœ #œœœ œ nb œœ # œœ
œ #œ œ
AØ D7
5 4 5 6 5 7 7 7
5 4 5 5 4 5 6 10
¢⁄ 5 4 5
6 5 7 8 9
 Tom Lippincott

18 G-6 A-6 G-6/B¨ A-6/C G-6/B¨ A-6 G-6 D¨7

8fr 10fr 12fr 14fr 12fr 10fr 8fr 9fr

° #œœ œœ œœ œ #œœ
œ
& b œœ œ œ œ b œœ œ
œœ
œ bnœœ
bœ
G-6
9 11 12 14 12 11 9 10
8 10 14 16 14 10 8 9
¢⁄ 10 12 13 15 13 12 10
9

C-7 D-7 E¨^ Eº F7 F7/E¨ G-7/D F7/C

8fr 10fr 11fr 11fr 13fr 10fr 8fr 7fr

° bœ œœ œœ b œœ b œœ œœ b œœ œœ
& b œœ œ bœ nœ œ bœ œ œ
C-7 F7
8 10 12 12 14 10 10 8
8 10 12 11 13 10 8 7
¢⁄ 8 10 11 12 13 11 10 8

B¨6 A6 B¨6 D-7 E¨^ F7 F©º G-7

5fr 4fr 5fr 5fr 7fr 7fr 8fr

° b œœ œ b œœœ
& œœ ##œœ
œœ
nnœœœ
œ
b œœ œ #œœ
bœ œ œ
B¨^ E¨^
7 6 7 5 7 8 8 10
5 4 5 3 5 7 7 8
¢⁄ 6 5 6
5 6 8 9 10

AØ AØ/G AØ/E¨ C©7 D7 D7/A D7/F© A¨7

10fr 8fr 5fr 4fr 4fr 6fr

° œœ b œœ œ #œœœ œœ b œœ
& œ œ b œœ ##nœœœ œœ
œ #œ bœ
AØ D7
12 8 5 4 5 5 2 5
10 10 7 3 4 4 0 4
¢⁄ 12 10 6 4 5
5 2 4
 Tom Lippincott
19
G-6 A-6 G-6/B¨ A-6/C G-6/D G-6/E A-6/F© G-6
4fr 5fr 7fr 8fr 12fr 14fr 14fr

° œœ œœ œœ b œœ
& b œœ # œœ
œœ b œœ #œ œ
œ bœ œ œ œ
œ
G-6
3 5 7 9 9 12 14 15
2 4 5 7 8 12 14 14
¢⁄ 3 5 6 8 10 12 14 15

AØ AØ/E¨ BØ/D AØ/C D7 D7/C G-6/B¨ D7/A

10fr 10fr 9fr 7fr 10fr 7fr 5fr 4fr

° œ œœ œœ bœ #œœ œœ œœ
& œœ bœ œ œ
œ œ œ # œœ
bœ œ
AØ D7
12 12 10 8 11 7 7 5
10 10 9 7 10 7 5 4
¢⁄ 12
11 10 8 10 8 6 5

G-6 A-6/F© G-6/E A-6/F© G-7 A-7 G-7/B¨ Bº

5fr 5fr 6fr

° œœ
& b œœ œœ œœ œœ b œœ œœ b œœ
œ #œ œ œ œ œ bœ nœ
G-6
3 2 0 2 3 5 7 7
2 2 0 2 3 5 5 6
¢⁄ 3 2 0 2 3 5 6 7

C-7 D-7 E¨^ E7 F7 E¨6/G A¨º F7/A

8fr 10fr 11fr 12fr 13fr 13fr 15fr 15fr

b œœ n œœ œœ
° bœ œœ œœ #œœ b œœ
& b œœ œ bœ nœ œ œ bœ nœ
C-7 F7
8 10 12 13 14 15 16 17
8 10 12 12 13 13 15 15
¢⁄ 8 10 11 12 13 15 16 17
 Tom Lippincott
20
B¨^ AØ G-7 E^ E¨^ D-7 C-7 B¨^
12fr 10fr 8fr 6fr 5fr

° œœ œœ œœ
& œ
b œ œ #n#œœœ œ
b œœ
œœ
œ bb œœœ œ
b œœ
B¨^ E¨^
14 12 10 8 7 5 3 2
12 10 8 6 5 3 1 0
¢⁄ 13 12 10 7 6 5 3 1

AØ BØ AØ/C C©º D7 D7/A D7/C D7

5fr 7fr 7fr 8fr 10fr 4fr 7fr 10fr

3
° œœ b œœ b nœœ #œœ œœ œœ
& œœ œ œ # œœ œ
œ œ œ #œ œ œ
AØ D7
5 7 8 9 11 5 7 11
5 7 7 8 10 4 7 10
¢⁄ 5 7 8 9 10 10 5 8 10

G-7 D¨7 C7 G¨7 F-7 B7 B¨7 E7

8fr 9fr 8fr 8fr 6fr 7fr 6fr 6fr

° nœ b œœ b œœ œ
& b œœ bœ b œœ bb œœœ #œœ b nœœ #
nœ
œœ
œ nœ bœ
G-7 C7 F-7 B¨7
10 10 9 9 8 8 7 7
8 9 8 8 6 6 6 6
¢⁄ 10
9 8
9 8
7 6
7

E¨^ D-7 C-7 B¨Ø AØ AØ/E¨ D7 D7/F©

5fr 6fr 5fr 5fr 4fr

°
& b œœœ œœ
œ bb œœœ b b œœ œœ œ
b œœ #œœœ b œœ
bœ œ #œ
E¨^ AØ D7
7 5 3 6 5 5 5 2
5 3 1 6 5 7 4 1
¢⁄ 6 5 3
6 5
6 5
2
 Tom Lippincott 21

G-6 G-6/B¨ C-6 E¨7/D¨ D7 C/E D7/F© G-6 G-%

5fr 7fr 8fr 10fr 10fr 12fr 14fr

° j #œœ œ œœ bœ œ w
b œ œ ™™ b œœ œœ œ œ Œ b œœ w
w
&n œ œ œ bœ œ œ #œ œ œ w
œ bœ™ œ w
G-6 C-6 E¨7/D¨ D7 G-6
5
3
3 7 8 8 11 12 14 15 3
2 5 7 8 10 10 12 14 2
¢⁄ 3 6 8 9 10 12 14 15 3