What Is Walking Bass and How Can You Learn to Play It?
- Diana Mascari
- Jul 26
- 10 min read
Updated: Jul 27
What Is Walking Bass— and How Can You Learn to Play It?
As a developing jazz pianist, I spent years listening to legends like Oscar Peterson, Dave Brubeck, and Marian McPartland—pianists whose left hands primarily supported the music with chords. At the same time, I was drawn to jazz organists like Jimmy Smith and Richard “Groove” Holmes, whose left-hand bass lines had a rhythmic drive and independence that fascinated me. I had the opportunity to jam with Jimmy Smith during college, and his approach left a lasting impression—not just on how I played, but on how I would eventually teach.
Those organists showed me that the left hand could be a complete rhythmic and harmonic foundation. Later, when I discovered Dave McKenna, I was thrilled to hear a pianist bringing that same walking bass concept to the piano. It reinforced something I had sensed for years—that the left hand has untapped potential to energize solo playing. That insight continues to shape the way I teach.
As someone who often performs solo or in duets with instruments like the saxophone, I’ve seen how mastering left-hand walking bass lines adds rhythmic momentum and a deeper harmonic foundation. For many of my adult students—especially those returning to the piano or starting after years of playing another instrument—learning this technique builds both confidence and musical independence. It’s a game-changer.
Before we get too far, you probably have some questions such as:
What Is Walking Bass and Why Is It Important?
What Does the Term Bass line Actually Mean?
Why Do You Focus on the Left-Hand for Walking Bass?
What’s the Difference Between Just Playing the Root (name) of the Chord and Playing a Real Bass line?
How Can I Learn to Create Basslines-Step by Step?
What Is Walking Bass and Why Is It Important?
What Is Walking Bass—and Why Should You Learn It?
Many of my adult piano students have heard the term “walking bass,” but aren’t quite sure what it means—or if it’s something they should try to learn. If that sounds like you, you’re not alone. And yes—it can absolutely help your playing.
As you may recall from my lessons and blog articles, I place a strong emphasis on left-hand accompaniment patterns. Why? Because they give shape, style, and personality to the songs you play. Just like you can prepare a favorite recipe in several ways, you can take one song and bring it to life with different left-hand patterns—like beguine bass, rolling 10ths, shuffle bass, and yes, walking bass. The style you choose is entirely up to you and what feels right musically.
What Is Walking Bass?
Walking bass is a left-hand accompaniment pattern built on steady quarter notes. You play one note per beat, usually related to each chord of the song while moving in a smooth, stepwise motion. It’s most often heard in swing-style jazz, which is why it’s so closely associated with that genre.
At its core, walking bass creates momentum—it “walks” the music forward. Once you're comfortable with the basic pattern, you can begin adding syncopation, grace notes, and other expressive touches. But the foundation is simple: steady quarter notes that outline the harmony.
If you want to get a feel for the sound, go to YouTube and listen to bassist Ray Brown—either with the Oscar Peterson Trio or his own group. Diana Krall’s Live in Paris album is another great example, especially the bass lines played by John Clayton. Their playing shows how much drive, elegance, and swing a great bass line can bring to a song.
Why Is Walking Bass Important?
If you enjoy playing songs from the Great American Songbook—think Gershwin, Porter, Kern, Rodgers & Hart, or Ellington—at some point you’ll want your left hand to do more than just hold a note or play a simple chord.
That’s where walking bass comes in. It adds rhythmic energy, harmonic richness, and stylistic authenticity. In fact, many of these songs were written with swing in mind, and a walking bass line brings out that character beautifully.
But it’s not just limited to jazz standards. Walking bass works well in show tunes, pop songs, and even holiday favorites. Any song that swings—or could swing—will sound more alive with this style of accompaniment. Learning it gives you another tool to express yourself at the piano and helps you grow more independent and confident in your playing.
What Does the Term Bass Line Actually Mean?
If you’ve been away from the piano for a while (or if you’ve played a different instrument in the past), the term bass line might feel a bit unfamiliar. But don’t worry—once you understand what it means, you’ll see how much it can add to your playing.
Let’s break it down. The term has two parts: bass (pronounced “base”) and line.
What Does “Bass” Mean?
On the piano, “bass” refers to the lower notes—the ones to the left of middle C. These are the notes you play with your left hand, and they’re written in the bass clef (also called the F clef).
To give you a visual reference: middle C is your landmark. Notes to the right (higher in pitch) are in the treble clef, and notes to the left (lower in pitch) are in the bass clef. When we talk about bass lines, we’re talking about single notes—played in that lower register—that add depth, style, and rhythm to your playing.
What’s the Role of a Bass Line?
In most songs, the left hand provides accompaniment—patterns that support the melody and define the style. A walking bass line is one of those patterns. It creates a strong foundation and helps the music “move forward.” And since it's built from the chords in a song, learning how to create bass lines also deepens your understanding of harmony.
So, instead of just holding down the root of a chord (like C for a C chord), the bass line connects those chords with smooth, flowing motion.
Why Is It Called a “Line”?
Unlike block chords or broken chord patterns, a bass line is made up of single notes that travel—they move up, down, or weave in between. That’s why it’s called a line. It’s melodic in its own way—just like a melody in your right hand—but it works behind the scenes, guiding the harmony and groove of the piece.
If you’ve ever practiced a scale, you already have a feel for what a line sounds like. Bass lines use similar motion, but with more rhythm and personality.
Later in this chapter, I’ll show you a few simple bass line patterns to help you get started—just enough to begin exploring how to create your own walking bass accompaniments.
Why Do You Focus on the Left-Hand for Walking Bass?
If you’ve been exploring any of the accompaniment styles I teach, you’ve probably noticed that the left hand does a lot of the work when it comes to shaping the feel of a song. Whether it's creating motion, grounding the harmony (chords), or adding swing, the left hand brings music to life—especially when playing alone or with just one other instrument.
Walking bass is no exception. This accompaniment style is built from low, steady quarter notes that sit in the bass register—below middle C. That’s simply where the sound of a bass line lives. Could the right hand do it? Technically, yes—but musically and practically, it just doesn’t make sense.
Years ago, the great jazz bassist Ron Carter wanted to play melody instead of bass. He solved this by forming a group with another bassist to hold down the bass lines, while he played a smaller, higher-pitched instrument called a baby bass. Even he didn’t try to do both at once!
That’s why we focus on developing left-hand walking bass skills. It’s the hand best suited for the job—and when you get comfortable with it, your playing becomes more full, dynamic, and expressive.
What’s the Difference Between Just Playing the Root (name) of the Chord and Playing a Real Bass line?
If you’ve played another instrument—especially in a band or ensemble—you probably know that the bass plays a vital role in holding everything together. On the piano, the left hand often takes on that role. But how you use it makes a big difference in the energy and style of your playing.
Yes, you can play just the root of the chord (the letter name, like C or G) in the left hand and hold it or even repeat it over and over. That’s a start. Some people even add the root an octave below or play simple “power chords” (like C and G played together). This can work in rock styles, but it doesn’t bring out the character of jazz standards, show tunes, or holiday songs.
What brings those styles to life is motion—a sense of rhythm and flow underneath the melody. That’s where a walking bass line comes in. Unlike just playing the root, a walking bass incorporates the notes of each (harmony) in a melodic way. It moves from note to note with purpose, creating momentum and emotional color.
So yes, there’s a big difference. Playing the root is basic. Creating a real bass line brings the music to life.
How Can You Learn to Create Bass Lines-Step by Step?
Over the years, I’ve taught many adult students how to create walking bass accompaniments. One thing that really helps is understanding a few basic principles that guide how bass lines work. These ideas won’t turn you into a jazz organist or Dave McKenna overnight—but they will get you started on building walking bass lines that bring your music to life and give it that wonderful swing feel.
Here are the simple patterns that have helped many of my students—and can help you too:
1. For Major Chords(This includes major 7th, 6th, and dominant 7th chords like C, C7, Cmaj7)Start on the root of the chord (the letter name) and follow this path:
C – E – F – F# – G – G# – A – Bb
2. For Minor Chords(This includes minor 7th and minor 6th chords like Cm7, Cm6)Start on the root and use this pattern:
C – D – Eb – E – F – F# – G – G#
3. For ii–V Progressions (One Chord Per Measure)Example: Dm7 to G7 (a common jazz movement)Play this 8-note line:
D – E – F – F# – G – G (one octave lower) – Bb – B
4. For ii–V Progressions in One MeasureExample: Dm7 to G7 (both in one measure, leading to C)Play:
D – Ab – G – Db → C
5. For Turnarounds (the end of a phrase or when repeating a song)
Use the classic I–vi–ii–V pattern: C – Am – Dm – G7Here’s a bass line you can use:
C – Bb – A – Eb – D – Ab – G – Db → C
These examples give you a place to start.
For further help, visit my blog which deals in depth with the I-vi-ii-V turnaround introduced in No. 5 above. The blog also includes a video on me playing I’m Old Fashioned so you can hear this pattern in context. https://www.mascaripiano.com/post/how-to-master-the-core-of-walking-bass-demystifying-the-i-vi-ii-v-turnaround
Conclusion
In this blog—as well as in many of my other blogs and Free Piano Courses you’ve seen how much expression and energy the left hand can bring to your playing. Walking bass is one more accompaniment style to explore, and while it may seem a little more involved at first, you absolutely can learn to create bass lines that give your songs a sense of movement and swing.
Many classic songs from the Great American Songbook—including those by Rodgers and Hart, Jerome Kern, and Duke Ellington—are built around common progressions like ii–V–I (Dm7–G7–Cmaj7) and I–vi–ii–V (Cmaj7–Am7–Dm7–G7). That’s why the walking bass patterns I’ve shown you are so useful—they’ll help you bring these songs to life with confidence and style.
Of course, every song is different, and you may run into sections that don’t follow the patterns exactly. That’s normal. My advice? Fill in the bass lines you can first—then go back and work through the trickier parts one by one. With a little patience and steady practice, you’ll find yourself playing smooth walking bass lines with your left hand—and enjoying how your songs begin to swing with a whole new energy.
Ready to Get Started?
Can I Really Learn to Play Walking Bass as an Adult? Yes, you absolutely can—and piano lessons are a great way to begin. Many of my adult students first hear the term walking bass and wonder if it’s too jazzy or too advanced. But once they start working with it—step by step—they’re amazed at how fun, accessible, and rewarding it becomes.
Whether you’re returning to the piano or starting after playing another instrument, walking bass can breathe new life into your music. It adds a steady groove, gives shape to your left hand, and brings familiar songs to life—especially when you’re playing solo or with a partner.
You don’t need to be a jazz expert. What you do need is curiosity, patience, and someone to guide you through the process. That’s where lessons come in. I’ll help you build confidence, understand how bass lines work, and learn to create them in ways that feel musical and natural.
Why not give it a try?
Piano lessons with Diana Mascari are designed specifically for adults like you—creative, motivated, and ready to enjoy the piano on your own terms.
Let’s get started!
Sparked your curiosity and practicing some of the walking bass lines recommended in today's blog, imagine how exciting it would be to learn how to turn your musical ideas into a composition. When you take Composition lessons with Diana Mascari, not only will you be able to create your own musical works, but you'll also have knowledge and insights as to how to play the piano better.
Whether you're a beginner or returning to music after years away, I’ll help you turn understanding into creativity and confidence.
To Schedule Your Free 30 Minute Composition Lesson or Piano Lesson Consultation with Diana Mascari, Click Here:
About Diana Mascari
American Composer &. Jazz Pianist
Teacher of Piano & Composition for Adults
Diana Mascari
American Composer & Jazz Pianist
Teacher of Piano & Composition for Adults
Diana Mascari has taught piano to hundreds of students for more than 47 years. She is dedicated to enriching her students’ lives by supporting their individual musicality.ition L She has developed a teaching system called the Transformational Approach to Piano. It offers her students colorful musical insights that broaden their experience beyond traditional methods.
Diana holds two Masters of Music degrees from New England Conservatory, taught keyboard harmony to music majors at Boston University, and was the music director of a multicultural Presbyterian Church for four decades.
Diana has performed as a solo jazz pianist as well as with her ensembles at many colleges and jazz clubs throughout New England. Many of these performances featured Diana's jazz compositions.
As a composer, she has explored the intersection of jazz and classical music. Her compositions reflect her deep appreciation for musical structure, enhanced by the spontaneity and emotion of jazz. Each piece has a timeless sense and is designed to move and inspire. Her works have been performed in Europe, Japan, and the Eastern United States.
Diana’s vibrant personality infuses her teaching, performing, and composing as she inspires piano students to achieve their musical goals.
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