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This section deals with the time signatures 2/4, 3/4, 4/4, 5/4, 6/4 and 7/4. All examples use the same set of chord changes over a blues in Bb. To come across a blues in 2/4 is very rare. This line has been used as a half-time feel in 4/4, i.e. play each note as a half note. This example uses 1st and 2nd category leading notes. Example Q1
The next two examples are in 3/4. If there are two chords per bar in an odd time signature, generally the second chord is placed in the last, smaller part of the bar. Hence, in 3/4 the second chord is placed on beat 3. If, however, you want to apply a polyrhythmic approach and indicate 2 over 3, then the second chord is placed in the middle of the bar, i.e. on the '2 and' (2 +). Example Q2
Example Q3
Example Q4
This example is in 4/4. The harmony is outlined by using predominantly chord tones and scale tones in the middle (beat 3) of every bar as well as leading notes to connect chords. Example Q5
In 5/4 the trick is to play a strong chord tone (preferably the root or fifth) on beat 4. This harmonic rhythm (3 + 2) will strengthen the sense of harmonic form. Example Q6
6/4 can be treated similar to two bars of 3/4, except it is best to place mainly chord tones other than the root on beat 4 in bars which contain only one chord; otherwise it will sound like twenty-four bars in 3/4. Example Q7
In 7/4 the second chord is usually placed in the last part of the bar. Apart from one exception, this example always has a chord tone on beat 5 of each bar. Walking bass is a very involved area in music theory. See also:
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