Fingerboard Harmony For Bass - Gary Willis
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Introduction . .. . . . .. . . .. . . . . . . . . . . . . . . .. 2 How to U se thi this s Book
. . . ... 2
Second Finger Position ..... . .... . . . . ... 28 Fourth Finger Position . . . . . . . . . ...... . 33
About the Author . . . . . . . . . . . .... . .. .... 3
The Connection . . . ..
Intervals . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . .
Choosing a Key Center . . . . . . . . . . . . .. 39
Interva Inte rva l Facts
.
.
.5
Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Second Fi nger Positio n Inversions
.7 .
7
: .
. . . . . . .........
33
Finding More than One Key ......... 4 The Three Chord . . . . . . . . . . . ........ 43 The Four Chord . . . . . . . . . . . . . . . . . . . . . 44 Minor . . . . . . . . . . . . . . . . . . . . . . . . . ........
7
Seventh Chords ........ . .... . ........ . . 8
The Two Chord .... . ....... . ........ 9
The Linear Approach . . . . . . . . . . . .... . . . 9
The Five Chord . . . . . . . .. . . . . ..... . . 49
Passing Tones . . . . . . . . . . . . . . . . . . . . . . .. . 13
Shihing . . . . . . . . . . . . . . . . . . . . .. . . . . . . . .. . 55
Chord Tones Instead o f Roots . . .....
4
Memorizing .... . . . . . . . . . . .... ........ 58
The Minor Thirds Rule . . .. . . ........ ..
7
Secondary Dominants . ...... . . ...... 60
Eighth Notes . . . . . . . . . . . . . .. . .... .. . . . .
8
Three/Four ....... . ..... . . .. . . .... ....... 63
Extensions . . . . . . . . . . . . . . . . . . . . .. . . . . .. . 2
Other Chords ...... . ..... . . . . . . . . . .... 68
Review .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . 25
Putting
It All
Together . . . . . .. . . .. . . ... 69
Hand Positions . . . . . . . . . . . . . . . .... . .... 27
Special thanks to Mitch Sams Sams John Flitcraft a n d Dav Daviid Tyree for thei thei r help in the development o f th thii s book.
ISBN
H
~
0-7935-6043 8
L•LEON
O R P O R
7777
w . BLUEMOUND Ro .
P. O .
llox
T
1381 9 MI L W AU K l l
R
•
WI S 3 2 t 3
Copyright C 1997 by HAL LEONARD Copyrigh LEONARD CORPOR TIO N Internation Interna tional al Copyri Copyri ght Secur Secure ed All Ri gh ghtts Reserved For all all w o rks con conttai ained ned herei herein n: Unauth Unaut horized copyin copyi ng arra arrangi nging ng a dap daptin ting g. r ecor ecordi ding ng or public perf pe rfo or mance is an infr frin ing g ement of of copy copyrig right. ht. ln lringers are liable under under the l aw. ://www /www.halleonard.com Visit Hal Leona Leonard on th the e int erne rnett at http:/
ntroduction In high school I was always awful at math (I still am), but when the semester on geome try came around, I got straight As Fortunately. for me, the bass fingerboard is a very consis
tently geometric instrument From day one I've always associated any sound on the bass with its corresponding shape. For instance, a major third is a string and a fret away. That shape (the diagonal line drawn between the two notes on the fingerboard) will result in a major third from any other note on the neck (as long as you've got a string and a fret left t o recreate it). By contrast, a major third on a keyboard can be two white notes, two black notes, a white note then a black note, o r a black note then a white note. The fingering combinations (shapes) required t o play major thirds on any woodwind instrument are even more varied. My approa approach ch t o fingerboard harmony has always been based on these symmetr symmetriic shapes. There are two ways to create harmony on the bass . One way is t o play chords. The design and tuning o f the bass makes playing and studying chords a fairly inefficient process, even on a 66-string. The other way t o create harmony on the bass is t o play a seriies o f notes (a line) that reinforce o r compliment the sound o f the chord. In just about every style o f music you're going t o need t o create a line at some point. Hopefully. this book will give you a consistent way o f looking at harmony on the t he neck so you can play these lilines freely.
H o w t o U s e This
ook
The exercises and exampl examp les in th is book boo k are cumulat cumulative. Each idea o r concept is based on the previous exercise and example. I wouldn wouldn''t recommend skipping too far ahead without making sure you can confidently perform all the previous exercises. It's a very hands-on approach. While the exercises may seem easy t o understand, be honest with yourself and make sure you can exe execut cute e them with ease before you're tempted t o move on. As with any new concept, it may take a while before this way o f looking at harmony becomes subcon scious. t first, be very deliberate and hyper-conscious take the time t o make sure both your hands and mind understand what's going on with each exercise. Eventually yc>u'll be able t o visualize harmony clearly .anywhere anywhere on the neck
b o u tt tt h e
uthor
fter more than a decade o f co-leadi ng Tribal Tech with guitarist Scott Henderson, and their eight CDs,
GARY WILLIS has launched his solo career with the September 1996 release o f
o Sweat He
has performed
with Wayne Shorter; Allan Holdsworth, Hubert Laws Joe Diorio, Robben Ford and Wayne John son. A Texas native, Willis studied composition and improvisation at North Texa Texas s State University. fter moving t o Los Angeles in 1982 he became a course leader at Musicians Institute in Hollywood and later taught at California Institute o f the
rts in
Valencia, California. Since Willis move t o Colorado in 1993, he has become one o f the instrument s leading educators, releasing three books and one video. In addition t o this fingerboard harmony book, Hal Leonard will release his composition/solo book in I 997. He currently lives, writes, teaches and mountain bikes (not necessarily in that order) with his wife
Pamela and their two labrador retrievers, Buster and Jose, in Colorado Springs Colorado.
Intervals To begin with, let s make sure we understand a few general music terms. f\n interv l is the distance between two notes. The basic intervals come come from the major scal e.
•
Here s a G major scale:
The beginn beginniing note in a scale is called the root Each interval based on t he major scale is
measured from the root and numbered second, third, fourth, etc. When you get t o eight it is called an oct ve instead o f eighth eighth.. Listen t o each in interval terval on the CD. The intervals (distance (di stances from the root are as foll follows: ows:
DISTANCE from from from from from from
0 0 0 0 0 0
..
NAME
.
REVIATIOflflf
A
to
f
major nd
M
to
8
major 3rd
M3
to
to to
0 0
to
perfect
th
P4
pe rfect 5th
PS
majo ma jorr 6th
M6
major 7th
M7
4
Interval
acts
• The intervals from the root t o the second, third, sixth and seventh are called major (from the major scale) scale).. • The int nte er va valls t o the fourth, fifth and eighth are ca ll ed perfect. • Another name for a major second is a whole step. • O n the bass a whole step is two frets, ·and a half step is one fret. Here s what every interval in an octave sounds like:
minor 2nd (half step)
m
major 2nd (whole step)
M
minor 3rd
m3
majjo r 3rd ma
M3
perfect 4th
P4
augmented 4th (diminished 5th) perfect 5th augmented 5th (minor 6th)
4, aug4 (-5, dimS) PS
+5 , augS (m6)
major 6th
M6
m in o r 7th
m7
major 7th
M7
perfect octave
PS
It is very important t o be able t o create these intervals on the bass as well as identify them when you hear them). All harmony is bu buiilt on an understanding o f these intervals.
5
r i a d s When you play every other note in a major scale simultaneously you get a chord When
you play just three o f these note notes s together you get a
+
triad
Here are the triads created from the G major scale:
From on you g t a
root, G) m jor triad
From two A) you g t a minor triad
From thr B) you g t a minor triad
From four C) you g t a m jor triad
I t
0
0
0
t
0
0
0 0
0 I t
From five D) you g t a m jor triad
0
0 I t
From six E) you g t a minor t riad
I
From seven F ~ ) you g t a diminished triad
t
t
t
0
0
0
0 0
0
Triad
0
I t
0
acts
• Each note in the scale can become the root o f a triad. Each root has its own third and fifth t o complete the triad. • Except for number seven diminished triad, key o f G triads 1-6 can be identified by the sou sound nd o f the first interval the third). • T riads built on one, four and five are major. • Triads built on two, three and six are minor:
6
Second
inger Position
By starting with your second finger on G on the E string you can organize all the triads
in the key o f G in one location unde und er you hand. T his is called a second fing r position. You may have noticed in t hi his s posit ositiion some no note te s o f the triads have octaves that can also be used t o create t he same soun sou nd. For instance, you can play the t r iad b uil t off he 7th here:
4t
0
or 0
..--..--..-4
0
u
Play all the notes o f each triad available in this position (include the octaves o f each note). I I) G major
ii 2) A minor
iii (3 (3) B minor
IV (4) C major
0
0
0
OU
)
4t 0
0
v 5) D major
OU
)
0
q t
vii 7)
vi 6) E minor
F
dim.
0 0
0
0
u
4
•••
0
0
0
Using only the E A, and D str string ings, s, play throug thro ugh h triads 1-7. N o w use only the A D and G strings and play 1-7.
Inversions • When you start a triad with the third o r the fifth o f a t r iad you ve created an • A triad started with the third is called first
inversion
inversion
inversion. on. • A triad started with the fifth is called second inversi
To help you see the inversions, play triads 11-7 in first inversion using all strings. Then play triads I -7 in second inversion.
Seventh Two consecuti consecutive
th irds
hords
from a scale create a t riad. Three consecutive thirds give you a
s v nth chord
+
Here are the names and abbrevi abbreviations the G major scal scale.
built from
the root
built from
the
built from
the
built from bu ilt from
the
o f the
seventh chords cr c reated from each note in
the
one
chord chord
ma j7
2nd
the
two
chord chord
m7
3rd
the
three
4th the 5th
the the
fou r chord four c hord five chord
built fro fro m the 6th
the
six si x chord c hord
built from
the
seven chord chord
the
7th
chord
m7 ma j7 7 m7
m7b m7 bS
The labe labells for the seven seventt h chords are sim ila r t o t he ones for triad triadss exce pt fo r t he cho rds built on o n t he fifth and seventh. seventh . Here are t he chord ton es that each name imp mpllies
7
• Major 7th: root. major 3rd, perfect 5 th, major 7th
---...
majj7 ma
• Minor 7th: root, minor 3rd, perfect 5th, mi minor 7t h
---...
m7
•
___
nan nt 7 th: ro ot , Do mi na
majorr 3rd, perfect 5th, mi majo m inor 7t h
• Minor 7(b5): root, minor 3rd, d iminished 5th 5th,, minor 7th
the
---...
m7(bS)
The i rst th re e o f these 7th cho chorrds (ma (majjo r 7t 7th h, mino norr 7t 7th h , and domi dom inant majority of o f t he harmony t hat we' ll be studying for the rest o f this b o o k
7t h) co ns titute
8
Guitarists and keyboardists are able to learn harmony on their instruments in a vertical fashion. They are uniformly required to play chords (severa (severall notes at a time). This approach t o harmony on the bass guitar neck takes into account the role o f the bass in almost all situations. Bass players are seldom asked t o play more than one no te at a time. time. This means that a different horizontal approach to learning harmony is necessary. Instead o f playing all the notes o f a particu particullar chord at once, a bassist must imply the sound o f a chord one note at a time in a horizontal o r linear fash fashion ion.. In almost every style o f music you are required at some point t o play a line. Sometim Sometimes es it s in the t he middle o f a groove o r a fill, sometimes it s walking throu th rough gh a tune, and when you re soloing, it s almost completely linear. Creating these lines means making an informed decision about which note gets played on which beat. Just settling for t h e correct scale o r arpeggio rarely gets the job done. The end result can sound fairly academic academic..
+
Listen t o the C D t o hear how the C major scale works w ith Cmaj7. Cmaj7
9: •
a
F
r
F I
r
f
r
f
The ne next xt example shows shows what wha t happe happens ns when you don d on t start star t w ith the root o f h e chord.
Cmaj7
9: ® J
j
If
F
r
f
r
Scales work only when you begin with the root and ascend. Arpeggios work a liittle better, but both approaches result in lines that are neither connected o r very smooth.
The first thing t o understand about the construction o f lines is there are strong beats and weak beats that the ear considers before it is satisfied that the harmony is successfully being played.
+
Let s see how the strong beats work Try playing some random notes along with the
CD. Track 7 will have a pair o f wo bar Cm Cm7 7 exam examples ples.. In the first one you ll hear cho cho1 1d tones o f Cm7 C. Eb and G) on the strong beats I and 3. Play any note you want on the weak beats 2 and 4. In the second two bar example you ll hear those same chord tones on 2 and 4. Play any note you want on the strong beats I and 3. You should notice that no matter what you play in the first two bars you can still get a sense o f the Cm Cm7 7 sound while the second two bars sound much less like Cm7 . The important thing thing t o remember is that with a quart er note pu puls lse e the ear needs t o hear harmony notes on I and 3 and it puts a lot less emphasis on what s played on 2 and 4. The further we get into this process the mor more e we ll eff effect ective ively ly learn t o use the notes on beats 2 and 4 t o re rein inforce force what the ear hears on I and 3.
The kind o f cho chorrds we'll initially be study studyiing are seventh chords in a major major key Ther e are four qualities o f seventh chords in a major key : • major seven (maj7) • dominant seven (7)
minor seven (m7) half-diminished seven (07 o r minor seven flat five: m7b5)
To study major diatonic diatonic harmony we only need t o study the first three (maj7, m7, 7). The half diminished (m7b5 (m7b5)) is almost always fou fou_ _d a minor key. We'll get to minor keys late laterr on. In order to organize a line correctly. we need t o know the location o f these chord tones on the neck The notes o f any chord on the th e neck are are actually quite close together: Si ce seventh chords are built in thirds, the largest distance from one note o f a chord t o the next is a major third. Once you get t o the seventh, you're only a half step o r a whole step from the next root. In fact, the largest distance you can get from any adjacent chord tone is a w ho le step. step. In the fingerboard diagram be bellow, randomly imagine any pitch that comes t o mind and its location on the neck (for instance instance:: A string, ninth fret). Check on the diagram for its dis tance t o the nea neares restt chord c hord tone. tone . If it's no nott already already a chord tone, you'l you'lll find that it 's: no greater than tha n a whole who le step from a chord tone .
Cmaj string
• •
arpeggios 5 string
•• •
6 string
••
I.
4t 1•1•
4
t
ID
It
It
4
0
0 0
)
0
0
4
o
04
0
0
1•0
0
Cl
0
1to
4 0 0
ID
0
1•1•
ltO
1t O
1•0
0
0
D 4tlt
I
0 1t
0 00
0
1to
By using chord tones on beats I and 3, their proximity on t he fingerboard allows us t o reinforce the harmony with lines that are made up o f only half ste step p s and whole steps. This half-step/wholle-step process prevents the common sy m pt om o f jumping around that half-step/who creeps into everyone's lines at first and also he hellps t o keep lines from strictly sounding like scales and arpeggios. 1
Most o f the exercises in this book involve quarter notes and eighth notes. he reason for using quarter and eighth notes is that we re not studying rhythm. The way t o avo avoid id study ing rhythm is t o make the duration o f all the notes the same. Once you re comfortable with this process, you ll be able t o apply it t o anything from half notes to sixteenths. The best way t o learn about the available note choices is t o isolat e each chord in the area o f the neck that we re working wor king on . We ll begin the next few exercises by iso lating each chord in the first five frets. Cm7 F7
To help you memorize the shape o f each chord in this part o f the neck use one o f the patterns given here for your 4- 5 - o r 6-string bass. Cm7
8
0
0
0
0
5 stri ng
•
~ s t
4 string Cm7
9: i Q •
It
E
st ring
b
~
pl y 4 times
tT b
pl y 4 tim
[
J
~
j
s
j
Once you re able t o play up to the tempo o f he CD, move on t o F7. 11
f 6
0
4-striing 4-str
•
5-string
4-string F
j
.
I
6-string
t
J
.
ploy
E r
4 tim
s
=I
He re s a pattern th at combines Cm7 an and F7 . •
4-string Cm
Et •
play 4
F
5-string
f
E b
Cm
E
f
tim s
J
=II
play 4 tim s
F
2
As soon as yo you u're comfortable with these patterns, you're ready for the first exercise. Play four notes o f Cm7 then four notes from F7. As soon as the chord changes , play the nearest chord tone o f the next chord in in the dire direct ction ion you're going. Keep you yourr line moving in
the same direction until you run out o f room (first five frets). I f this exercise gives you trouble refer t o the previous patterns. As the chords change, the neck should have a di different fferent look Listen t o the C D for a sample o f he first four m eas ure ures s
•
F7
Cm7
F
F7
Cm7
J J
f f
continue Crn l
As you start to get comfortable with this exercise you can see how important it is t o be visuallize all the availab le chord tones across the neck able t o visua
assing Tones A passing tone is a no note te pla played yed on a weak beat beat (2 o r 4) that is a whole step o r less from the notes before and after it. We'll be using a passing note only on beat 4 for now. The cho chord rds s are the sa me (Cm (Cm7 7 and F7 . Begin each measure playing th ree consecutive chord tones. U se a passing note on beat 4. Keep your line in the same direction until unti l you yo u run out o f room (still only using the first
Fl
five frets). Use the passing note t o connect the cho chord rd tone on beat 3 t o the nearest chord tone o f the next chord on beat I o f the next measure .
•
Cm7
Cm7
F7
rt r
r
r
F7
J
IJ
6
F
..continue Crnl F l
This exampl example e loop loops s on a 4-string bass after four fou r measures. In order t o bene beneff rt from this exercise, begin each fou four-ba r-barr loop loop with ea ch chor chord d tone available for Cm 7 in the first five frets (on a 4-string there are seven available . You can see from this exercise that passing notes can come from the sca le le,, the chord, o r sometim sometimes es they the y're chromatic. With the alddition o f a passing to n e you can hear the lines are getting smoother: N ow ad d a passing note on beat 2. Beats I and 3 will be chord tones and 2 an d 4 will
•
be passing notes. Do n't worry about the direction in this one. Again, a sam ple line is given as the first four measures on th e audio
:t
F7
Cm7
j
F
If F
r
F7
Cm7
f
~
I
r
r
F
continue
Crnl Fl
3
I f you find yourself getting in trouble it s usually caused by wast wasting ing a goo d chord ch ord tone on
a weak beat. problem
Cm7
: 4~
br
*r I r
problem
br
*
r
~
The first measure doesn't connect as a line because the F on beat 4 is wasted and two Fs in a row are played. Also, the D on beat 3 o f the second measure is a thirteenth. The seventh (Eb) is wasted on o n a weak beat. beat. The second second measure sounds O.K. but we're goin going g t o save working on ninths, elevenths, and thirteenths (chord tones from above the octave) for later. An E on beat 4 will allow the line t o continue smoothly t o F on beat I . An E on beat 2
o f he second measure allows the seventh (Eb) to be played on the strong beat. solution
: 4~
br
so lu luttio n
* Ir *
h o r d Tones Instead o f Roots
br
Another thing you've probably discovered is that playing the root on be bea at I o f every
measure severely limits yo ur possi possibili bilities ties..
•
Using chord tones other than the root ope ns up the possibilities Cm7
9: 4 g
g
F7
I
r
F7
Cm7
F
r
I br r
~
~ ~
IJ
Jb ontinue Cml Fl
Stay with this exercise until you can comfortably sta r t on any chord tone o f Cm Cm7 7 and play i t in any direction with in the first five frets. Visualizing the pattern pattern o r gri d o f chord tones across the fingerboard allows you immediate immediate access t o the n otes that reinforce the sound. Also, this exercise allows you t o start hea r ing the chord tone s as starting notes o f a line in instead next xt exercise exercise we'll avoid starting wtth the root altogether. stead o f the root. In the ne
4
Em7 A7
Use the
one of
the patterns given
to
memorizee the shape memoriz
of
each chord for t h t part
neck Em7
4 string
5 string
6 string
of
4 string
•
Em
9: i •
play4 tim
]
.....
J
>
I Et J•
E
E
J -
5 string
~ ploy4 tim
Em
I[ f f J i 3
s
s
~
. 6-string pl y 4 tim s
Em
=
is 4 1
cr 3
The E on the th e C-string is omitted so the pattern will loop
I1£ r r J J J w ia = 1 . 3
5
Once On ce you re abl able e to pl y up t o th tempo o f he CD, move on t o A7. A
•
fl
•
0
4-string 4-strin g
•
6-string
5 string
4-string A7
play
•
•
tim s
J ~ .
E
IE J
J
II
5-string play
A7
• Tue
•
JJ
on the G-string is added so th
~
=I
pattern will loop
6-string
9: jJ J
J E rt
play
t
6
Now use the pattern for your bass tha t combines combines Em7 and A 7
4 str ing
•
•
:f J
ploy
A
Em
:
times
p
EJ
I
E j•
E
J
:J
mes
I
5 stri tring Em
o ttJJJ er r J
A
p loy
mes
If f [ r J J J r
In order to avoid the root on beat I of every measure you have t o be able t o change
direction direct ion s Use chord tones on I and 3 and passing notes on 2 and 4 no roots on I ). Feel
times
free t o change directions but make sure your lines extend t o the highest and lowest notes available in the fi r st five f rets.
•
Em
:
A
4J j The
A
Em
F
i nor Thirds
...continue ... continue Em7 A7
Rule
When a line is limited t o half o r whole steps the decision o f which note t o u:se for a
passing note is easy. There is usually only one note that wil willl get the correct result Fig I Fig
Fig 2 Fig
A
A
In the first measure, the d istance from beat I t o beat 3 is a whol whole e step G t o A) . The only possible note t o use on beat 2 is From beat 3 t o beat I is a major third A t o
The only possible note to use here on beat 4 is B. 17
In the second measure from beat I to beat 3 the distance between strong beats is a minor third (C t o E). There are tw o choices he re that will give you a half-step o r whole-step passing tone (D# in Fig. I. o r D in Fig. 2). Only one o f these w ill sound good. In this instance
the key center cent er will give you the right note. Em 7 and the correct note is D (Fig. 2).
A
are in the key
of
D major: Therefore,
For no w, the key centers for each exercise will be given. Late Laterr on when whe n w e study hand positions we'll w o rk on choosing key e n t ~ r s from a group o f chords. Remember; when there is a min minor or thir d between chord tones tones,, use a passing note from the key center.
ighth N o t e s One o f the
benefits o f earning t o avoid roots in lines involves solo soloing ing and the register o f the bass. Because o f the low register o f the instrument i t is difficult for a bass solo t o sound like it's abo above ve th the e harmony. harmony. espe especial cially ly i f here are a lot o f roots in the solo. If he rules o f he last assignment are applied t o eighth notes with the strong beats coinciding with the quarter note attack and the weak beats on the second o f every pair o f eighth notes, a very compe tent sounding solo line will result. The line below shows what the previous Em7-A7 bass line sounds like as eighth notes.
•
Em
A7
Em
A7
Em
As you play a solo in this fash ion, you'll discover the need t o change direct. direct. on often t o avoid the root. However; this keeps the line from sounding smooth. In the next exercise we'll go back t o using all four chord tones and concentrate on keeping the direction o f the line constant.
8
Dm7 G7
Once again , t o get a visual grid patterns patt erns
for
of
chord tones across
th
neck we'll begin w it h
Om7 and G7 Dm7
l
0
4 string
0
5 string
6 string
th
•
4 string
9:4 •
Dm7
.
J c
cJ
-fl
IE
play 4 times
E
j
---J
5 string Dm7
~ •
I f f tE
JJ
i
play 4 times
[
J
f
II
6 string
Dm7
o=
a J J J I DI r r [ £ r J 4 1
pl y 4 times
J
9
00
4-string •
4-string G7
9:4 J •
6-stri ng
5 stri.ng
5 string
G7
J
t
• I
play
E
J
mes
II
play om s
9:1 A
j j J J c r f i ICF F r £ J
6-string
f J J i 3 J E[ f Q
9:1
Here s a pattern •
that co mb mbiines Dm7
and
f
G7
Dm7
•
i J
5-string
9:1 A
V
c
J
E
JJ J J r E [ f I Dm7
G7
6-string
9:;i
£
play tim s
I E j• G7
Dm7
r
~
G7
4-string
9:;i
[J [
p l a y
J j J i 3 J E[ f
f
E
l
=II
J
play 4 tim
.
F J £J
:II play
[ J(
s
tim s
Ej
2
The next exercise uses passing tones on beats 2 and 4 and all four chord tones. Dm 7 and G7 are in the key o f C. Remember to get your passing notes from the key o f C when you have a choice. Start with a chord tone on your lowest string (E o r B string) and keep the line ascending until you run out o f room on your highest string (G o r C string, first five frets). Then change direction and descend until you run out o f room. Continue ascending o r descending until the outer strings are used •
Dm7
:j J J
G7
J
J
J
J
f r
IF
r
r r f
r
br
Dm11 G7 continue Dm
In the th third ird mea measur sure e o f the ne next xt example, example, you can see the direction has t o be interruptinterrupted since a pass ing note is not possible between C and B. Dm7
;l:i
r
r
Ir
bF
b
t.
I
exception
G7
Jb
IJ J J J
xtensions
Playing lines that maintain direction whether walking o r soloing) results in a more focused musical effect The listener's interest is held longer because the idea o f ascending o r descending is sustained over a longer period o f time. Maintai Maintaining direction becomes especially
II
valuable when the chords last for several measures at a time. Eventually the sound o f I , 3, 5 requiired, becomes limiting and predictable. In the and 7, even though it's been specifically requ course o f creating these lines you've probably stumbled ont o some notes that sound good t o your ear; but d o not fit into the I, 3, 5, 7 chord tones we've been been wor king on. I f you continue spelling chords in thirds past I, 3, 5 and 7 you get the chord tones 9, I I and 13. These chord tones are called extensions. + Let s check out how these extensions sound aga inst a Cmaj7 chord on the CD. Play the ninth D ) anywhere on your bass. Now play the eleventh F) and the thirteenth (A). You should shou ld recognize that the ninth and thirteenth sound O.K., but the eleventh doesn't work at all. Now try these extensions against a dominant 7th chord (track +
con't). Try the ninth, eleventh, and thirteenth just like before. Just like Cmaj7, the ninth and thirteenth sound good but the eleventh doesn't. con't). Try the ninth, eleventh and thirteenth again but this time t y a flatted thirteenth Ab) as well. You shou should ld hear different results results this time. time . The ninth and eleventh sound best while the thirteenths don't work quite as wel well. l. The natura naturall thir teenth sounds bet ter that the flatted flatted one but b ut is still the worst o f he three extensions. Next is a Cm7 chord (track. (track.
In each o f these seventh chords (maj7, m7, and dom7), two out o f the three extensions can be used on strong beats o f a line:
• For maj7 the extensions nine and thirteen work • For dom 7, the extensions
n ne
and th rteen also work
• For m 7, the extensions nine and eleven work
2
If you rearrange chord ton tones es I I3 you get the seven notes o f a scale: 11
9
i
EI
A
8
c
3
• ; D
E
• F
II
An easier way to reme remember mber exte extensipn nsipnss is that for every scale a seventh chord implies, implies, there is only one wrong note note:: For maj7 and dom7 the l v n is the weakest extension choi choice. ce. For m 7 the thirteenth is the weakest extension choi choice. ce. Am7 D7 Gmaj7
Let s take ta ke a look at the chord tones for each chord. The extensions are colored gray. There isn t a convenient way t o create a pattern combining the chord tones and extensions. Use these 1-3-5-7 patterns t o get started and then move on t o the exerc exerciise t o get fami liar with the extensions. A m 7 with extensions
4-string •
5-string 5-
4-string
ploy
Am7
9: 4 •
J
4
Am7
J
A
6-string
V
Am7
~
i
5 string
~
22
6 -s -string tring
E
J
• J
f
IE j •
I
f[
[ j•
tim s
J
=I ploy 4 tim s
gF
3
plcy 4 tim s
o=iJJJ f JJ E [ f 1Ef; Er J7J 3 3
3
7 with extensions
4 string
5 string
6 string
1
•
4 string 7
: •
J
J
f iJ
j
c
play
tim s
ploy
tim s
----1
I
J
•
5 string 7
23
Gmaj
4 string string •
with extensions
5 string
6 st ng
4 string
Gmaj7 p
c
I
j J• ·
;
play
3
times
I
Am7, 0 7 and Gmaj7 are in the key o f G major. For For.. the next example, us;e a correct extensiion for ever extens every y chord. O n ly one extens extension ion is necessary for the two meas ure ures s o f Gmaj7. 07
o a
r r f r
Gmaj7 Gm aj7
rt
J
IF J
1
ontinue
W h i le extensions do a nice job o f adding col colo r t o an otherwise basic line line,, they can t be
relied upon t o reinforce the fundamenta fundamentall sound o f t he chords hords.. Certain playing situatio situation ns requi req uirre a more inventive harmonic approach where a command o f extensions extensions arie necessary Other situations might require a more basic approac approach h. Ex ercise good judgement and consider your ro le each playing situation. 4
eview
To make sure you're ready t o move on, apply all the exercises we've used t o each set chord changes so far: Here are the ones we've used:
of
Cm7 F7 Em7 A7 Dm7 G7 Am7 D7 Gmaj7
Here's what we've done with them them::
Arpeggio lines with direction Play fou fourr notes o f a chord in one direction. As soon as the chord changes play the nearest chord tone o f the next chord in the direction you' you 're going. Keep you yourr liline ne moving in the same direction until you run out o f room (within the first five frets). Passing note on beat 4: Play thr three ee con consec secuti utive ve chord cho rd tones -then use a passing tone on beat 4. Keep your lin lin..e in the same direction until you run out o f room (within the first five frets). Passing notes on beats 2 and : Any direction within the first five frets.
No Roots: Avoid playing a root on beat I
o f any
measure. (any directions).
Eighth notes: Alternate chord tones and passing tones with roots make it sound above the harmony.
the
eighth note pulse. pulse . Fewer
Direction only: Play from the lowest note to the highest for each chord. Don t change
direction until the highest and lowest available chord tones are reached. The e diagrams on the followExtensions: Use a correct extension for each chord change. Th ing pages include chord tones and extensions (in gray) for the first three sets o f chord changes.
5
m with extensions
F
with extensions
@
4 string
5 string
m
6 string
4 string
with extensions
5 string
A
•
with extensions
6 string
4 string
5 string
Dm
st ring
6 string
4 string
with extensions
5 string
5 string
G
6 strin
with exten:sions s ions
6 string
5 string
6 s string tring
26
H a n d P o si ti o n s Key Finger String So far we ve spent a lot o f time working on harmony within the first five frets. Now we re going t o concentrate on a proces process s that will allow you complete control o f tlhe entire neck while confining your study t o only s e l e ~ e areas o f the neck The reason you decide t o locate your hand at any particular location o n the neck when whe n you re pl playi aying ng over chord changes should be a result o f he harmony. Almost all chord changes imp imply ly a key center: Once you decide on a key center; you choose a hand position on the neck where you want t o play. The traditional hand position labeling system that uses the fret number where the first finger is locate located d doesn t tell you anything about the key you re in in.. In order t o associate ke)I centers with hand position, since the they y re related, we re going t o use some new terminology. From now on, we ll call the area underneath your fingers in a hand position the
area. I t is defined by assigning each finger t o a fret and allowing a stretch to either o f the two frets on each side o f the es esta tabl blis ishe hed d fou f ourr fret fre t area.
....._,1---1--1
I st finger --.
_mm
-
Ist finge fingerr stretch
4+ 2
nd finger-. _ . . ......
3rd finger --.
•
4th finger --. _ . . ......
i--
--
---i
- 4 t h finger stretch
Where do you put your hand when someon someone e asks you t o play a G-major scal e? Most o f
you will locate you r second second finger on the third fret (G), E string t o play a G major scale. The labeling system that we re go going ing t o use takes into account the three decisions that you made for that scale:
Key Finger - String
The label for that position is G2E.
C fJI
/
ey
i
finger
string
7
Second
inger Position
The most common way o f looking at major keys is with the second finger. It usually allows you t o play all the notes in a m ajo r sca le without shifting shifting,, which also means yo you u don t have t o shift t o reach any o f the notes o f chords within that key. He re s w h at G E an d C2A look like:
3rd finger
._. 4th finger stretch
.
-
In the rest o f the fingerboard d iagrams we we ll be using, the note on the neck that is used to indicate the ha nd position will be outlined in gray. If that note happens t o be a chord tone hand it will be filled in with black. otherwise it will be empty.
._. Ist finger stretch Ist
)
-
finger
.
nd finger
.
3rd finger 4th
.
)
finger
.
._ . 4th finger stretch
-
8
Bm
nd Amaj
The next exercise uses the key o f A major. Here, the location o f your hand is A2E (key o f A, second finger on the E string). This establishes your 4 2 hand position. We ll use the chord changes Bm7 and Amaj7. Here s what they look like on the neck. The chord tones are black and the extensions are gray
fAJ 0
4 -string
Bm
with extensions
3
Fr
3
5
Fr
5 Fr
5 Fr
7
Fr
7 Fr
7 Fr
5-string 5-s tring
Fr
0
6-string 6string
3 Fr
•
4-string
...
m7
:j •
J
fJ= •
J
5-string ~
1
Ie
j•
,J J J c r
6-string
Bm7
~~ c ~
Et
rJ EE r t 1
Iii :
.,._
~ o ± i ~ J F J ~ J ~ t
•
j
~
]
I ~
£J
~
~
~ play
~ ~ w ~ ~ r ~ ~ ~ r ± ~
~ j ~
ploy4 tim s
.
.
~
29
tif 0
Amaj
with extensions
Hr
3 fr
s
s
r
3 fr
r
7 fr
Hr
4-string
0
5-string
6-string ploy times
ploy
times
Although the extensions are ind icated, just use chord tones I , 3, 5 and 7 a t first. Add the extensions when you're ready. For the ne next xt exam example ple,, use passing tones on be:ats 2 and 4 and remember t o get your passing notes from the key o f A when you have a choice. Bm7
fingering
b
Amaj7
4
4
3
4
2
I
I
2
4
I
3
I
4
3
continue
The fingerings given are for each note within the 4 2 area established by A2E Each note within the main four fret area is played by its corresponding finger: The notes that are one fret on either side o f the four fret area ( +2) are play played ed by fingers I o r 4 and are ind indiicated by the + after the num number ber.. Thi This s tem tempor por ary stretch is always immediately followed by a note within the four fret area area.. For instance, on beat 2 is a b outside the four fret area. By stretching with the fourth finger t o play that b and then using the fourth finger to play the following A. You immediately return t o the finger per fret consistency that allows your hand t o view the neck I f you play the b with the fourth finger and then play the A with your third finger your hand immediately loses s ight o f the key center. The fingerings that are presented here are very important. If you use them correctly, you'll be able t o see the sounds on the neck as consistent shapes anywhere you choose t o play on the bass . 30
Here's a four me measure asure samp le lin e using extensions
Bm7
•
o=i r
ingering:
2
Ama Am a j7
If 3
4
r
11r
r
I
3
r 4
r
r
I
4
r r
3
Ir 4
f J ~ 2
4
ontinue
As either o f th last t w o examples ascend o r descend you'll notice th notes outside the four fret area ( stretch notes ) are played accordingly. Ascending stretch notes are played by the first finger and desc descendi ending ng stre stretch tch note notes s are played by th fourth finger. This allows a smoother return t o the four fret area Amaj
F ~ m
Bm
E7
This exercise adds two more chords t o the previous one. one . Since E7 and ~ m 7 are from the key o f A major; we'll use A2E Here's what they look like on th neck The chord tones are black and th extensions are gray
mJ 0
3 fr
E7 with
x t n si o n s
3 fr
r
0
7 fr
7f r
4-string
•
5-string
6-string
4 string E7
9:
4
..
]
•
E
E
•
J
Ir
•
J
ploy
J
~
tim s
~
31
MJ 0
7
with
xt nsions 0
3 fr
3 fr
5
fr
5 fr
5 fr
7 fr
7 fr
7 fr
4 -string
•
ii
55-string string
3 fr
6-string
4-stri ng f l7
play
E
t
J
times
=I
In the ne next xt exe exerci rcise se Amaj7, Amaj7, ~ m Bm7 and E7 last for one measure each egiin by using each.. Beg just chord tones and passi ng no nott es and th en move on t o extensions when you yo u're ready. This eight measure example uses just chord tones in the first four bars, and extensions in the second four bars. Amaj7
r
fingering
Amaj7
r
Bm7
f 'r
I+
Bm7
m
F
I
F
+
'r
4+
The fingerin fingerings provided indicate ho w fall within the main four fret area
to
E7
r
Ir r 4
execute execut e
th e
E7
J
qJ
I
~ 4+
stre tch note s.
4
J
I+
The other
ontinue
notes
32
Fourth Finger Position second ond most common co mmon hand position is the fourth -finge -fingerr position. It usually requi requ ire res s The sec one stretch outside o f the four fret area to the seventh) t o play a major sca le. Ainy chord that includes that seventh scale degree will also invo involve lve that stretch stretch..
0
4th
The
r
finger _____
onnection
Before we get t o the A4E exercises, we need t o look at how these hand positions con
nect acro ss the fingerboard. 5- and 6-string basses make it a little easier to see the connection but the following diagrams should make i t clear for everyone.
Two t o Four You can connect second finger position t o the fourt f ourt h fin finger ger position position without shifting. O n
fourth.. In secon second d finger position the octave is the left is a second finger position. Next to it is a fourth played by the 4th finger on th e 0 st stri ring ng.. From there you can use a fourth finger hand position. The extra st strings rings that result from a combination o f hese two positions are provided provide d iin gray
~
,.
+
J t
~
33
our t o Two
A shift is involved t o connect fourth finger t o second finger I f you treat fourth finger hand position as a scale then the correct fingering requires that you play the sixth scale degree with the fourth finger which sets up landing on the oct octave ave with the second finger This is the shif shiftt that is involved in conne connecting cting fourth four th fing finger er to second finger The extra strings again are supplied in gray
+
-
The way these hand positions connect two t o four; four to two) means that no matter where you are on the neck a combination o f two and four will allow you t o see the ke key y center under your hands By studying these two hand positions, we're studying information that can be used anywhere on the neck
34
Bm
A m aj7
Although the fourth finge finger position is less familiar;
it
is SO
o f what
you need
to
know
in order t o see harmony on the ne k Th The e fo llo w in g exercises will use the same key and chord changes as the ones for second finger T he location o f your hand is A4E (key o f A fourth finger on the E string).
fi l::I
4 string
Bm
5
with e xt ensions
t
ing
6
t
ing
•
4- st ring
:i •
Bm7
.
J
J
~
c
~
__ .
I
j
eJ
play
•
times
~
':J
J
5-strin -string g
Bm 7
play 4 times
;0/ay
± J =± ~ High
¥J ~ J ~ c ~ ¥ f ~ C ~ ~ ~ F is
~· p
~ ~ ~
E F r ~
times
~ ~ ~
added so the pattern will loop.
35
bil i
4 string
Amaj
with extensions
3 fr
3f r
s fr
s fr
5 string
0
6 string
3tfr
he next
exercise
uses the
connection between
finger and second finger
Amaj7
Bm
4
fingering:
Bm
=
fourth
F
Ft I
d J IF
J
4
4
Amaj7
J
dJ
j
IJ d J
i continue
notes o f A E are played in that position Groups o f notes on t he D string and above should be played in th the e A2G posit position ion The fingerings provided enable you t o make the shifts necessary t o use the best position he lower
36
A m a j 7
F ~ m 7 Bm 7-E7
Now
let s add
E7
and
F ~ m 7
fill I
E
with
xt nsions
fr
s fr
4-string
5-string
6-string
A V
5-string
ploy
E
2
~ n g e r i n g
Since A4E connects to A2G fingerings are provi e
4 to
2
4
2
tim s
4
execute that shift.
37
t;.11 1
4 string
f 7 with
xt nsions
3 fr
3 fr
3 fr
s fr
S fr
s fr
5 string
6 stri ng
play 4 times
play4 times
[ ~ fingering;
•Fingerings
4 are provided
to
xecute
the
shift from A4E
3
to
4
3
A2G
Fo r the exercise b elow, use the con conn nection between between fourth finger and second fi nger.
fingen ng:
Amaj
fl=
4
4
rr
Fdm
J
J u 1
I
Bm
w
J J
1
1
u
J
J
r 4
GI
E
1
rr 2
... contmue
Your decision to use A E o r A2G should be based on where you expect your· liline t o go. For instan nstance and continued ce , in the sec o nd measure, if the G on beat 4 was followed y a back down, you'd play the ~ with a stretched four th fin finger ger and rema remaiin in A4E. Since it contiinue cont nues s higher, it it's 's more comfortab com fortablle t o use t he t o shift into A2G. 38
hoosin
a
e
enter
I f a chord progression is put together from chords in the same key there are consistent
relationships between them that give you clues about the key ce nter. As mentioned before, before , you usually won't see a m7b5 chord in a major ke key y so you do don n 't have t o worry about that one r ight now. Usually all you need are two chords from the same key and you can ·figure out the key center from th eir relat relatiionship. Here are the most important relationships in diatonic harmony: • The five chord is the only dominant seventh chord. Knowing the location o f the fifth will give you the root o f the key.
• A major seventh chord only happens on one and four. Two major seventh chords a apartt will tell you the lower major seventh chord is the one chord chord.. fourth apar • A major seventh chord with a minor seventh chord a whole step higher can only happen with the one and the tw o chords. • A major seventh chord and a minor seventh chord a ha lf step lower can o y happen with the four and th ree ee chords (keep counting down and you land o n the one chord).
• A minor seventh chord with a minor seventh chord a whole step higher can only happen with the two and three chords. • The minor seventh chords happen at two, t wo, three, o r six. If a minor seventlh chord is a fourth o r a fifth from another minor seventh chord, you have either three and six o r six and two. One more chord is necessary t o decide the key. Here are the chord types in order o f their occurrence: dom :
only happens on the fifth
maj : happens at one and four : happens at two,
three, and six
When choosing a key center; first look for a dominant seventh chord. Next look for
major seventh chords. A minor seventh chord will tell you the least about a key (since it can be a two, ''three, o r six ) but its relationshi relationsh ip with other chords helps complete the picture. As soon as you've established a key center you can dedde which 4 + 2 hand positi position t o use to play over those changes.
9
Choose a key center for the following progressions:
I.
Bbm7
Eb7
Abmaj7
2.
Am7
Em7
Bm7
3.
Fmaj7
Am7
Bbmaj7
4.
Cmaj7
Bm7
Am7
5.
Dmaj7
F ~ m
Bm7
Gmaj7
Eb7
Ab maj7
=
Answers: I.
Bbm7 ii 2)
v
5)
I (I)
ey o f Ab
The domi dominant nant se seven venth th Eb) is always a dead giveaway veaway.. 2.
Am7
Em7
Bm7
ii 2)
vi 6)
iii 3)
=
ey ofG
Two minor sevenths a whole step apart (Am7 and Bm7) are two and three.
3
Fmaj7
Am7
Bb maj7
I (I)
iii 3)
IV (4)
=
ey
of F
Two ma majo jo r seven sevenths ths a fourth apart (Fmaj7 and Bbmaj7) are one'' and four, als also oa
major seventh chord with a minor seventh a half step below Bb maj7 and A m 7) are four and ''three.
4.
Fmaj7
Em7
Dm7
IV (4)
iii (3)
ii (2)
=
ey of
Two minor sevenths a whole step apar apartt (Em7 and Dm7) are ''two and three, also Fma aj7 and Em7) are four and a maj or seve seventh nth chord with a m 7 a half step below (Fm
three.
5.
Dm aj 7
I (I)
Bm7 vi (6)
F ~ m
iii 3)
Gmaj7 IV (4)
=
ey
o
Two ma majo jo r seven sevenths ths a fourth apar apartt (Gmaj7 an and d Dmaj7) are are one and four.
40
indingMor e Than O n e
ey
When a progression contains more that one key center; the correct hand position can
make playing the progression easier. For example, the following progression can be played in one 4 + 2 location on the neck even though it involves more than one key center.
Ebm7 A b7 D bm aj7 Cm7 F7
Bbmaj7
The first three chords are in the key o f Db ma major. jor. 2, 5, and I ). The la last st thr ee chords c hords are in the key o f b major 2, 5, and I). Db A key o f Db, 2nd finger on the A string) works for the first three chords and 8b4E key o f Bb, fourth finger on the E string) works for the last three thr ee chords. chords. The whole progression can be played in one place on the neck withouit shifting. The following chord progressions involve more than one key center. Choose a 4 + 2 hand position for each key center. The hand positions should share the same location on the neck
I.
Em7
A7
Dmaj7
Dm7
G7
2.
Abmaj7
Dbmaj7
Cm7
F7
Bbmaj7
Cmaj7
Dmaj7
3.
C ~ m
Cmaj7
Bm7
A7
Dmaj7 I I)
Dm7
Answers:
ID4 D4A AI I.
Em7 ii 2)
v
5)
IAb2E I Dbmaj7 IV 4)
Cm7 iii/ii 3/2)
v
F7
Bbmaj7 I I)
5)
v
5)
IG2E I
IA4E I 3.
ii 2)
IBb4EI
Abmaj7 I I)
2.
Cmaj7 I I)
G7
Dmaj7
C ~ m
Cmaj7
Bm7
IV 4)
iiiiii 3)
IV 4)
iii 3)
41
The next two exercises involve different key centers but can be played in one location on the neck Remember, the first thing t o d o when faced with a new set o f chord changes is analyze them for key center cent er and hand position ion.. Here's the first progression: Dm7
G7
9=a
I
I
I
I
I
I
Cm7
9:
I
I
Cmaj7
I
I
I
y
y
I
I
F7 I
I
I
I
y
I
I
I
I
I
I
I
I
I
I
I
I
Bl>maj7
I
I
I
I
I
I
Y
I
I
y
Y
I
y
y
I
I
labell individual chords that Since hand position is part o f your analysis you don't have t o labe are in the same key. Just use the 4 + 2 label t o indicate your decisi on.
9: t
9:
l C4E I Dm7
/
G7 I
II
II
Cm7 I
I
Cmaj7
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
Bl>maj7
F7 I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
indicates that you've decided that Dm7 G7 and Cmaj7 is a 2-5-1 in C Bb E
I
indicates that you've decided that Cm7 F7 and Bbmaj7 is a 2-5-1 in
k
O m 7 G7 Cmaj7 Cm7 F7 B bmaj
For this thi s exe exercis rcise e refer t o pages 45 and 46 for the fingerboard diagrams t o these chords. Use chord tones and extensions on beats I and 3 passing notes on 2 and 4 . Remember t o play passing tones from the key i f you have a choice, and use your first finger for ascending "stretch notes and fourth finger for descending "stretch notes. Fingerings are given t o help you maintain hand position.
42
•
I C4E C4EII Dm7
=
fingering
t r r r •r I
Cmaj7
G7
1
I+
r
r r
I
1
r r r r r 1
I
I
l E
F7
Cm7
=
br r J & a 1
2
IC4E C4EII
Dm 7
I
G7
Bl>maj7
J
J 1J r 1
I
r
r r 3
continue
Cm aj 7
l E I
Cm7
:
F7
Bl>m aj 7
II
The empty bars are provided in case you need t o write out a line to get started. Just make sure you do most o f your w ork while looking at the neck Since the bass fingerboard is symmetr i c the vis ual re reiinforceme nforcemen nt you get from w orki orkin ng w ith t he shapes on t he finge fingerboard allow you t o move those shapes around and play comfortably anywhere on the neck
Cm7 -D bmaj7-Cm 7-F7-B bmaj
This progression introduces and four -chord:
two
chords we haven't haven't worked with so far far--
F7
Bl>maj7
the
three
chord
C m7
:4 E Cm 7
:
II
The
t
.
Three -Chord
Ab2E and 8b4E allow you t o stay in one location t o play the whole progression. The Cm7 in m easure I is a the three -chord o f Ab major. If you look ahead t o the chord d iagrams on -chords onl only include th e eleve nth as an ext xte ension. pages 45 and 4 6 you'll notice the ''three -ch N ormally. the 9th works on on minor seventh cho chords rds but bu t the nint ninth h that th at comes comes from the ke key y is a b9. In this case it would be a Db against a C m 7--not a pretty sound. When you use the natural ninth nint h over ov er a ''three -chord it gives you a note that is not in the key. In this case it would be a D natural. Using it on a strong beat would definitely imply another key center; which is not a bad idea when you're w or king on improvis improvisa ation. For now, avoid the ninth of of a ''three -chor -chord. 43
The
four c h o r d
Dbmaj7 is
th e
four - chord
of
Ab. What's d ifferent about
the
four -chord is that all all
extensions..(the ninth, extensions ninth, ele leven ven th , and thirteenth) can be effectively used on o n strong beats. Normally the natural eleventh o f a major seventh chord sounds awful. The eleventh o f a four -chord is a sharp eleventh which doesn't conflict with the chord the way the natural eleventh does. As with all extensions, the sharp eleventh doesn't rei re inforce the basics o f the chord hord,, but it do es add color t o the sound o f a line line.. You migh t have been taught that sharp elevenths will .work over any major seventh chord. W h en yo you u use a sharp eleventh over a one -chord, -chord , you you're 're implying the sound o f a different key. Again, this is a good improvisation choice cho ice,, but b ut keep your you r fo foc cus on the current key center until you're ready t o move o n
th ree
• Ol maj Ol
Cm7
F7
b
Blimaj7
: 4
3
I
4
3
4
continue
In this example the sharp eleventh o f the four -chord is used in measure 3. In measure 5 the line stays in 8b4E position by st strretching t o the A with the fourth finger. You could also play the four notes o f measure 5 in b 2G position (fingering 2- 1-4 -2). W h i le either fingering
works, you should consider 8b2G as the upper part o f Bb4E and always use for analyzin g. Remember to sh ift wh ile on the upper strings if necessary
the
lowest lowe st label
Dbmaj7
Cm7
Cm7
F7
Blima j7
: The fo follllowing owing pages provide all the diagrams you'll need for chords in second and fourth finger positions. The diagrams are based on the E string but are moveable t o any string. All you have t o remember is how second finger posit ion and fourth fing finge er position connect t o string ngs s requir require e a shift each other. For instance, i f you're in a C4E position, the notes on upper stri t o C2G. You don't have t o write the C2G label, just remember that it' it's s p art o f C4E I f you have a 5- o r 6-string bass, an F4A position shou should ld be labeled F2B since they con niect without shifting. It s best t o use the label from the lower strings and vis visua ua lize the connection t o upper posi tions. Refer t o these pages t o get a look at what any pa r t icular chord looks like f or the r est o f he exercises in this book 44
~
o n e
- c h o r d
(maj7) with extensions
0 0 t w o - c h o r d (m7) with extensions
4-strlng
5-string
6-string
0 0 t h r e e - c h o r d (m7) with extensions
4-string
5-string
6-string
four -chord (maj7) wiith extensions
4-string
5-string
five
6-string
4-string
chord (7) with extensions
5-string
6-string
six -chord ( m 7) with extensions
l f
? t
4-string
5-string
6-string
4-string
5-string
6-string
5
one -chord maj7) with extensions
4 -strlng
~
t h r e e
5-string
- c h o r d
6-string
(m7) with extensions
ill
4-strin 4-stri ng
t wo -chord m 7) with extensions
5-string
6-string
four -chord maj7) with extensions
4-string
ill
5-string
6-string
chord 7) with extensions
five
4-string
5-string
6-string
4-string
ill
5-string
6-string
six -chord m 7) wit:h extensions
4-s -string tring
5-string
6-string
6
inor
So far we ve confi confined ned
study o f the neck t o major key centers. Even though we ve had some key changes and secondary dominant chords, it s all been major diatonic harmony. The n ext step is minor key centers. our
Just like major; there are two hand positions for minor keys . You probably lknow th keys o f C major and A minor are related. Major and minor hand positions are related th same way For instance nstance,, the same notes from C A and C E will give you Am E and Am IE :
tJ
3
3 fr
0
5 fr
0
The connections between the two minor hand positions are similar The fou fourt rth h finger position connec connects ts t o th first without a shift:
t o th
major positions positions..
-47
The first finger position connects t o the fourth with a half-step shift:
Here are the kinds o f chords and their chord tones/extens io ns that occur in a minor key:
m7
1,b3,5,b7,9,
m7b5
I, b3 b5 b7 9 b 13
maj7
I, 3 5 7 9 I 3
four''-chord
m7
I,
five chord
dom7(\,9)
I, 3 5
six -chord
maj7
I, 3 5 7 9
seven sev en -chord
dom7
I, 3 5 b7 b9 b 13
one
-chord
t w o -chord three
chord
b3 5 b7 9 I I b7 b9 b 13 I, 13
8
The
tw o
-c h o r d : m 7 b5
The minor seven flat five is different than the chords we've studied so far. The chord tones I , b3, b , and b7 o f the minor seven flat five are self explanatory. what's different are the extensions. O n a regular minor seven chord the correct exten extensions sions t o use are inine and eleven. For the minor mino r seven flat five , the eleventh and flat thirteenth so und best. The reason the ninth doesn't work over a minor seven flat five is becau se the ninth that comes from the key is a flat ninth . While the flat ninth sounds good over the five -·chord, it doesn't work nearly as well as the eleven and flat thirteenth thirteenth.. The natural nine is often recom mended over a minor seven flat five. It doesn't reinforce the sound o f the key but it' it's s a good goo d improvising choice because o f the tension it creates by implying anoth e r key. The reason the flat thirteenth works is because i t doesn't conflict with the seventh o r the flat fifth. Put it down an octave and you can see it s a whole ste step p from eithe eitherr one.
The
five five -chord: 7 b9
The other chord you need t o pay attention to in a min or ke key y is the five -chord. -chord. It uses a chord tone that is not from the key signature. For instance, since the key o f A minor has no sharps o r flats the five chord shoul should d be minor sevent seventh h ( E, G, B, D) . Instead it is E7 (E, G ~ . B, D ). Almost all minor progressions use a dominant seve seventh nth chord for the five -chord.
The five -chord -chord in A minor is E7 and has a ~ that's not from the key. The Th e five chord in minor is also different because it uses a flat ninth, and flat thirteenth for the correct extensions. When you play over the five chord chord in minor, you need t o slightly alter the half step/whole step process we've been using. The flat nine causes the problem. The distance between E and ~ is a major third. Normally the passing note would bie but that's not in the key. Using the F natural as the pas sin g note helps re reinforce inforce the minor key sound. I t cre create ates s a mi mino norr thir third d G ~ to F within the half-step/whole-step line, but t sounds much better. The symbol for the five -chord in minor is always followed by the flat ninth (E7b9) which makes minor key ce cen nters easier t o recognize when you're analyzing chord pro gressions.
9
like in a major key center; the chords you'll see most often in a minor ke)I center are chords one through six. O f these, the minor seven flat five two -chord is the only fingerboard shape we haven't looked at Here's what it looks like in the Cm I A hand position. Just
two
4 string
chord ( D m 7b5 ) with extensions
fr
fr
S fr
S fr
5-string
6 string
•
4-string Dm7 o S
~ = •
o
J
c
r
---+1- j
b
ploy
:b
tim s
=
5 string
Dm 7 o5
t j Jd
: •
ploy 4 tim s
6-string
ploy
Dm 7 oS
tF ~ E f f
o=iJJkJ
f £ I ~ [
tim s
f f fb] j
II
50
Cm
Fm
D m b5 G b9
Here's an exercise in the Cm A hand position using the previously mentioned minor
seven flat five and seven flat nine, as we ll as the one -chord and four chord in minor: These chords are the most common for minor progressions progressions.. I t is less likely you'll see the three, six, o r seven in a minor progression
•
. lcml J
b
r
Cm7
o=at
Fm7
IF
r ~ r
f
Dm7 i5
:
f
G7 i9
br
F
br
'F I E
f I
Cm7
o
br
~ r
F
IF ~
br
br
f
Fm7
f
~
I
w
63
J JI
w
~
f
I br
br I F F
°
Dm7 i5
r br
f
r
G7 i9
J
j
br
IF
r
F
r
I
br
~
br ~ r on tinu
Notice in measure 6 the eleventh and flat thirteenth are used over the O m 7b 5.
Measure 7 is an examp examplle o f when to break the half-step/whole half-step/whole--step r ules over the five chord in min min or: The minor third between the B and A b create a more minor sounding line than using an A natural natural on beat 2. The notes in meas measure ure I 6 bring bri ng up an interest interestiing th ing about seven flat nine chords. The
flat nine on a do m inant allows you t o treat a dominant seventh chord as altered. Alte red b5 and means you can use b9 , In measure 16 the sharp nine is p layed on beats I and 3. I f you choose t o treat flat nine chords as altered, use your ear and carefu lly choose the notes that reso resollve the te nsion these extensi extens ions can create. Usually the sharp ni nine sounds best when i t reso resollves t o the 5th o f the fo llo w ing one chord. The flat thirteen sounds best resolving t o the ninth o r eleventh of o f the fo llowing on e chord chord.. In order t o deve devellop a sense o f where these extensi extens ions want t o reso resollve practice playing each extension as a wh o le note on the second bar o f G7b9 and listen for wh ich chord tone it wants t o reso resolve lve to. Then try t o get your lines t o accompl accompliish the same thing.
5
he
next exerc exerciise uses the same progression in
4 str striing
5 string
the
Cm4E hand positi position on..
6 string
•
4 string
play 4 tim
Dm 71>5
•
I
J ...._]
J
j
s
5 string Dm7 >5
play 4 tim
i •
d
6 string
3
s
I
ploy tJ mes
Dm > 5
52
•
lcm
I
Cm7
D m ~ S
: ~
Cm7
:t
D m ~ S
r
r ~
rt
b
1t
Fm7
1t r
rt
b
r r
b
~
r
r If G ~
F
rr
r ontinue
major or thi rd ar are e us used ed with the sharp nine as a passing In measure 7 the flat nine and the maj tone on beat 2 The eleventh is used over Fm 7 in measures 4 and I I and over m7b 5 in measure I 3 In measure 15 the flat thirteen and in measure 16 the flat nine are used over the hord G7b9 chord
5
B m 7b5 E7 E7b b9 A m 7 D m 7 G7 Cmaj7
This next ne xt exercise exercise combines the connection connections s across the fingerboard using the major and mi norr hand mino hand posi position tions. s. The first three chords are in A minor and the last three are in C major. By beginning in Am IE, you can use its related major hand position, C4E. Both pos i tions require a shift t o play the notes on the upper strings. Refer t o pages 34 and 48 for the con nection diagrams. Remember. the shift t o the upper position Am4D and C2G is dictated by position. You may not be able t o decide right how many notes you plan t o play in the upper position. position. ion. away, but eventually you ll learn t o anticipate how long your line will stay in either posit IA m l E I
(Am-iD) E7 i9
Bm71i5
F
fingering:
le-tel Dm7
=
F
r
F
I
F
G7
3
Am7
F
r
J IJ J r r
f 1t 4
Am i
bt
f
Ir
F r
~
r
IF
r
IF
Cmaj7
El
F
3
C2G)
r
f
br
'r
4
3
condnue
4
T he uppe upperr hand position is shown in parentheses. For Am I t he shift occurs so measu res 2 and 3 can be comfortably played in Am4D, then returns t o Am IE for the fourth measure. For C4E the shift only occurs on the last measure. If you continue playing from m easu re 8 t o the next Bm 7b 5 chord, you will be in Am4D until the notes descend into the lower position. Remember. since the main label comes from the lower position, the upper position is shown in parentheses.
IA m l E I Bm71i5
IC4E I Dm7
Am7
E7 i9
G7
Cmaj7
5
hifting The first thing t o do whe when n choosing a hand hand position for any progression is analyze the progression for key centers. Once you you ve found the basic key center o r key centers), you can easily locate a p os osiit ion th at makes the harmony easy t o see and keeps your hand from aimlessly fo l lowing t he roots around. T he goal is to eliminate as much shifting as poss possiible. This enables you t o learn more about informa information tion that can be transferred and used for other progressions. Occasionally Occasionall y some sh ift ing is inevitable, si nce one position doe doesn sn t alw alway ays s work for an entire progression. Fortu Fortunately, nately, these hand positions allow you t o change key centers without ever shifting more that a half step. For instance, here s how you can get from the key o f C
C2E) t o every other key center.
C2E
Db
Db2E
1/ 2 up
C2E
D
D4E
None
C2E
Eb
Eb4E
1/ 2 up
C2E
E
E2A
1/ 2 down
C2E
F
F2A
None
C2E
Gb
Gb2A
1/2 up
C2E
G
G4A
None
C2E
Ab
Ab4A
1/ 2 up
C2E C2E
A Sb
A2D Bb2D
1/ 2 down None
C2E
B
B2E
1/2 down
For shifting practice, supply the answers t o the following chart. The left colu col umn is the key center/hand position. Write the corresponding hand position label for the key in the right column that is a half-step. shift away Indi Indicate cate whether the sh ift is up o r down in the middle column. The first answe answerr is given
major G2E
G
B major B2A
Down
major
C minor CIA
A
A major
F minor
D major D4E
E major
A2E
major G4A
G
b
minor
Answers: .
·
·
·
· · FROM
.
G major
·
T P
ma j o r
A2E
ma jo r
D4E
G major
B major B2A
Up o r D o wn
F m inor Fm4A up) up) o r Fm 4 B
D own
E major E2A minorr Bb mino
D own
G 4A
TO ··-··
A major A 2E
CIA
D
-: '
0
Up
mi nor
A
SHI HIU U
__
D own
G2E
C
.
Bbm l E
A m 7 B m 7 Cm 7 Dm 7 Ebm 7 f b9 Fm 7 B b
Am7
~ :
I
Bm7 I
y
r I
I
y
I
y
Om7
Cm7 I
y
I
Y
r I
I
I
I Y
I
y
I
y
I
I
I
y
I
y
a I Ebl m
~ :
Fm7
F71>9
I
I
y
Y
r
I
I
y
I
r
I
I
Y
~
r
I
I
y
f_
I
y
I
I
y
y
I
y
II
T hi his s exercise involves using hal f-step shifts t o get t o fo fou u r different key centers.
IG lE I Am7
~ :
I Bb4E I
Bm7
r
I
~
Cm7
I
y
I
I-
I
I
m
B
F7b9
m
r I
r I
I
y
r I
Bb 4E
to
From Bbm 4E t o
Eb 4A
Fro m Eb4A t o G E
a
y
I
I
y
y
Bb7
-
is
I
I
y
Fm7
I
Bb m4E
y
A
y
From G E t o Bb4E shift From
I
y
y
Dm7
hall f ha
I
y
I
I
y
I
y
step up.
requires n o shift. re qui uires res no shift shift..
sh ift is
Remember, i f you have a 5- o r 6- string
a half step down.
bass , Eb4A
should be Eb28
56
The next progression is higher on the difficulty leve levell than we've been o ing so far; so the tempo is a little slower on the CD. Remember t o avoid the ninth o f the three -chord and get passing notes from the key center when you can .
•
IG
I
Bm
Am
o ir c r r
/ingenng:
4
m
r F 6
4
I Bb EI
r
•r 3
Cm
4
1 Er c 1 6
I+
Fm
4
3
4
J
r
~
F
3
ontinue
f
i
{
t
I• t
f
7
e mo r i zi n g
:
t
Em7
A7 y
Dmaj7 y
y
y
y
y
Dm7
G7
Cmaj7
Cm7
F7
Bbmaj7
Ebmaj7
Bbmaj7
Em7
:
: Em7
A7
A7
: Knowing the neck well means being able t o see dif d iffferent key centers under your hand. In order t o teach your hand t o see the fingerboard, you should be looking at the neck and not the paper. Your ability t o memorize chord changes instead o f reading them becomes a valuable asset during this process. The following progression has fifteen chord changes. Memorizing this progression as a number : series o f chord changes is like memorizing a thirty-seven digit phone number: Em 7 A7 Dmaj7 Dm 7 G7 Cmaj7 Cm 7 F7 B bmaj7
Ebmaj7 Em 7 A7 B bmaj7 Em 7 A 7 function . For instance, this progression An easier way t o memorize chord changes is by function. has th ree key cent ers: 0 , C. and
eventy In each key there is a 2-5-1. The 2-5- 1stake up seventy five percent o f the progression . By connecting what happens in each key you can red reduce uce what you have t o memorize by fifty percent an d have info information rmation that can transfer t o an y key and t o othe otherr tunes. Here Here''s how it works.
Fir st write what happens in the first ke y:
5
I
down. In stead Now you need a way t o connect it t o t h e next key which is a wh ole step down. instructions t o the next ke y center and then t o the new chord two steps), just give o f writing instructions yourself the interval t o get from the last chord in one key t o the first chord in the next key (only o ne step). In this cas e the root doesn't move so use the word becomes becomes..
5
I becomes
8
The same thing happens in the next line. Instead o f writing it again, add 2x's (2 times).
2
5
I becomes 2x's
The same thing happens in the next line with the add addiition o f a four''-chord. The inter val t o the next root is a half ha lf step step up.
2
5
I becomes 2x's
2
5
I
4
i
In the next key is a 2-5. 2-5 . Then up a half ste step p t o a one -chord, a tri-tone t o a short 2-5 and you're back where you sta.rted. rted.
2
5
I becomes 2x's
2
5
I
4
2
5
ii
I
i TT
2
5
Using this method t o store the information on your brain's hard drive takes up less room and allows you t o play it in any key. Also, it closely relates t o hand position information so what you learn about this tune will apply t o other similar progressions. Here are are the hand
positions for this exercise: ID
I C4E
I
5
I
becomes
5
I
becomes
5
I
4
I
I Bb2E I
ID
ii
I Bb2E I
I
5
li I
ID
TT
I
5
In order t o memorize this progression, play along with CD just using roots from the
three hand positions. The Then n play through it using just half notes notes (root-fifth, root-third, etc.) In order t o see i f you have it memorized, try starting in another ke key y (like Ab) and play through it with just roots (don't worry about position). If you end up where you started you probably realize how valua valuable ble this thi s me memo mory ry pr proc oces ess s is you can use it in any key
9
Once you have it memorized, pract practice ice a conventional bass line and work your way up whole-step/half-st -step ep process that we've been doing. o not write down a line and do t o the whole-step/half not read the written progression on page 58. You can hear an example o f a line that uses these three hand positions at the beginning o f C D track 94, 94, but in keeping with the spirit if exerciise, it's not written out. the exerc
•
Secondary
ominant s
C maj 7
7
9: 4 Dm7
:
G7
Fm
8 >7
El>m aj
F7
: Fm
G
Dm
8 >7
9: The first thing t o look for when analyzing a chord progression is a dominant seventh chord. The first dominant seventh in measure 3 07) is not from the key o f C.Therefore, we could say the key for those two measures is is G major: Since it s an isolated dominant seventh chord (the chords before and after it are not in that key) you can keep it a part o f C major by calling it a secondary dominant. A secondary dominant is the five o f a chord in a key other than the one -chord. In this case it' it's s the five o f five, which is the most common secondary dominant. To keep things simple, we'll call it a 27. Here's how t o memorize the progression.
I 2
7
5
2i
I 2
2
5
7
5
maj3 f
5
2
Treating the 0 7 as a secondary dominant makes analyzing and memoriz memoriziing the progres sion easier; but playing it requ requiires an extra step. Although 0 7 indirectly belo belongs ngs t o the key o f C, your hand needs t o see the notes from G major 0 7 is the five o f G). The basic guide line is that the notes for a secondary dominant come from the key that it implies. For instance, a five o f six in the Key o f C (E7) would imp implly notes from the key o f A minor: Since 0 7 is the five o f a dominant chord, it's considered part o f he key o f G major: 6
Here s t h e progression ana analyze lyzed d fo forr ha nd positions.
9: t
IC4 C4E EI Cmaj
C4E)
9:
Om
G2D) 7
y
G
I Fm
81>7
Bb2 E F
Ebmaj
{
9:
£b2 A Fm
81>7
IC4 E I Om
{
G7
{
9:
{
{
{
{
wit hout shi fting. The G2D) in m e asu re 3 is with a G4B) for 55 - and 66 -st ring basses. If yo you u re play playing ing G2D on a 4 -string bass, bass , it s be st t o see notes on t h e E string as part o f an imaginary G4B. The A- D- and G-string notes still come By sta starting rting w ith C4E yo you u re ab le t o use
Eb 2A
from G2D. He re s the first sixteen m e asures o f C D track 94 9 4.
c
G2D)
IC4EI
Co nt. Cma j7
= fingenrw ngenrw
7
Ir
~
IJ
~
Ir
J
~
~
3
2
I
C4E)
Om
Ir
Fm7
G
Ir
3
r
r r
r f
I
1
~
~
bt
~ 4+
3
2 Bb2E)
8> maj 7
~
4 81>7
b ~
~
~
IF
F7
~
~ r
r f
~
~ ~
~
2
b ~
~ r
~
t 4+
bBl>
~ r
I ~ 4
r
r
IC4EJ Om
Eb2A)
Fm
~
~ ~
~
b ~
2
G7
r
IF 4
4
r
~ ~
~
~
~
r
3
r
continue
6
The next exerci exerci se is a good way
to
see
if
you re really in command you
of
yourr hand posi you
tions. It sta r ts in •c2A goes as high as Eb E and returns t o C2A in the la st t w o measures. The tions. largest shift allowed is three frets from one position t o another. The idea is t o start with not notes es w ith in the first fi ve frets, frets, pla play y notes above the twelfth fret and return t o the first five frets by the end o f he progression.
IClA Cl AI Cmaj7
9: in ering
4J J J J 2
lc• e l Dm7
9:
07
2
-
G7
r r f J IJ J f 3
I
I
F
2
leb•el •el Fm 7
If I
~ 7
F
~
I+
Ir
~
r
F
leb2e l ~ m a j
F F
rrr
Dm7
I
2
4
4
4
lc2A c2AII
b
Fm7
9=
4
I
G7
f
F
J J J
I
F
continue
Sometimes the sequence o f notes and fingerings will allow you t o ant antiicipate the next position by one beat. In measure 2 the F pl played by the first finger doesn t belong in C2A but it with the ·first finger the transition to G D is made G2D D . By playing the E F and is a I o f G2 smoother. Similar Similar transition transitions s occur from measure 5-6 and from 12- 13. Here are the changes and hand positions.
IC2AI
Cmaj7
t
~ :
IGl GlD DI 07 (
I
(
;
y
(
I
;
lc•E c•EII Dm7
r
I
yI
y
I
I
;
(
(
yI
-;
yI
yI
yI
I
I (
r I
;
I
yI
y
I
(
I
y
y
;
;
;
I
(
I
I
;
y
;
I
y
y
r I
yI
yI
-
yI
r I
y
I
r
yI
r
;
(
yI
yI
;
(
;
I
y
;
I
(
(
(
;
(
;
;
;
I
y
y
Three Four Cm7
, ,
:
;l
(
7
;l
Cm7 (
;
;
.,
y
(
;
(
;
;
(
(
;
I
[)I. 7 y
(
;
y
y
y
y
(
;
;
(
y
y
y
y
Cm7 (
;
(
;
;( ;(
y
y
I
(
G7
6
Fm7
I
y
Bi7
Dm7
(
yI
y
(
;
D
1
81>7 (
I
I
IClAI
Fm7 y
F7
r
(
A
~ :
r
I
y
;
IFm7..E I
(
-;
(
yI
y
~ m a j 7
~ :
I
I
y
G7
r
I
~ =
I
;
y
(
;
y
y
(
;
(
;
I
Playing in 3/4 presents a different strong beat/weak beat scheme than we've worked on so far: In a measure o f 3/4 the stron strong g beat is still I . Beat 2 is considered almost as strong as I, while 3 is the weak beat. The note you choose for beat 2 (the semi-strong beat) is based on the distance t o the next chord tone o r extension on beat I o f the next measure and the passing note choices in between. For example, example , in the first bar on the next page, starting on a C and ascending, ·the next chord tone is Eb You don't have a choice here, Db and D w or k f or beats 2 and 3. From the Eb in measure 2 t o the G on beat I o f measure 3, you have a choice o f notes t o use t o get there. Trea Treatting beat 2 as a strong beat when you have a choice will put an F on beat 2 and an on beat 3. You can hear tha thatt thi this s is a bette betterr cho choiice than an E on 2 and an F on beat 3. Since w e already have the minor thirds rule for 4/4, this could be called
the major thirds rule for 3/4. When the chord tones on beat I are a major third apart, use a chord tone o r corr correct ect extension extension on beat 2 and a passing note on beat 3. The harmony in this progression is fairly static (chords lasting for more that 2 measures. This exercise is going t o focus on a way t o help create more interest ove overr these static sound ing changes by using implied harmony harmony . By implying dominant chords in the right places, you can establish movement and phrasing that makes your lines flo flow w better: In this progression the fourth measure o f each four-bar phrase is where the implied dominant chord works. You choose the five five -chord o f the chord that starts the next four bar phrase. For example,, The G7b9 in measure 4, br example brea eaks ks up th the e eight consecutive measures o f Cm7 into tw o four--bar phrases. By implying a C7b9 on measure 8, you create a stronger sense o f arriving at four Fm7. There is only one note difference between the chord tones and extension o f Cm7 and Fm7. The C7b9 helps separa separate te the sound o f Cm7 from Fm7 and makes the beg begiinn nning ing o f the next four-bar phrase stronger: Here's the progression with the implied chords in parentheses: Cm7
:
GJl.9)) GJl.9
j
(
(
;
;
(
Fm7
:
(
;
;
;
(
;l
(
;
Cm7
;
;
;
;
(
[)I. 7
7 (
;
y
y
;(
;(
;
GJl.9) (
;
I
I;
;
CJl.9)
Cm7 (
I
(
;
AJl.9) (
;
(
(
;
;
;
Cm7 (
;
y
y
y
(
;
•
I
(
;
GJl.9) GJl. 9) (
;
y
y
y
y
y
y
(
;
y
6
Since the chords last so long, don t worry about labeling the hand positions before you start this exercise. Use half steps and whole steps for your line, but switch t o arpeggios for impllied five -chords -chords.. Also, make sure that your arpeggios include the third o f the chord. the imp Here's a sample line for the first twenty twenty-fou -fourr measures o f rack 96. G7\>9)
t F C7\>9)
Fm7
Cm7
fl
ro
I
r •r
r r
r •r r r
§r r r r
•r
If you analyze this progression for hand positions, you'll find that the chords (0 7 and
nants,, the 0 7 Ob 7) are not in the key o f C minor. Since we just finished with secondary do m inants should look familiar. It's the five o f five. For these tw o measures measures,, use a G major hand position. The Ob 7 is not a secondary dominant because it is not a five o f any chord from the key o f C minor. It s called a tr trit iton one e sub (substitu (substitute). te). A triton e is another name for a dimin ished fifth. Three (tri) whole steps from G is Db. The Ob 7 is used as a subst substitute itute for G7. He re s how the the tritone sub works: The most important chord tones o f any chord, besides the root, are the third and seventh. The third and seventh o f G7 are B and F When G7
resolves t o Cm7. The chord tones B and F resolve t o C and Eb The Ob 7 chord also has B enth and third. These same two chord tones resolve the and F as chord tones, as the sev seventh same way t o Cm7. The only difference is the root The tritone sub creates an interesting hand position situation. Since Ob 7 is the five chord o f Gb, you r ha hand nd position should be based on Gb major. But, since it's also a tritone sub for G, you should use G natural as a passing tone between F and Ab. You can also use Gnatural as a sharp eleven extension. You can always recognize tritone subs because they usually resolve down one half step step..
6
This next exercise focuses more on shifting. Remember; the first thing you should do when you see a new progression IS analyze it for key center/hand positions. The example below uses minor and major key centers.
4
Cm7 I
Gm7 (
(
y
i
i
i
(
(
(
i
(
(
i
i
i
Fmaj7
~
I
y
(
(
I
y
i
(
(
_
Fm7 I
y
i
(
i
(
I
y
i
(
Ebm 7
Ebmaj7
~
i
C7
(
I
y
(
(
i
(
i
(
Ab7 I
y
I
y
I
y
I
I
I
r
I
y
I
y
BJ 7 I
y
I
y
(
i
Obmaj7 y
yI
I
y
I
y
I
(
(
(
I
y
G7b 9
Dm7b5 y
I
y
I
y
I
y
I
y
i
i
r
i
I
I
i
i
Except for the last few exercises, we ve tried t o keep most o f he shifting t o a minimum in order t o focus on wha whatt s under your you r hands In the next exercise exercise,, we re goi going ng t o work on moving around more. By starting in Cm I A Cm4E and Cm IE you can play through t hi his s progression by only moving your hand positions a half h alf step. step. Cm AI
IF lD I Gm7
Cm7
9:
I
4
I
I
i
I
(
I
i
I
i
I
i
(
(
i
i
i
I
i
i
I
I
i
I
(
I
i
i
I Ol>
Ebm7
I
I
I
I
i
I
I
(
i
(
i
I
(
i
I
I
i
i
I
I
(
I
I
I
9:
(
i
I
i
(
i
I
(
I
I
I
(
i
I
(
i
I
i
i
i
I
i
I
I
(
i
i
I
(
I
I
I
(
I[ I
I
i
I
i
(
;_
I
I
i
4E I Ebm7 i
(
(
i
I
I
i
i
I
i
(
Ab7 I
I
i
I
I
(
i
(
I
I
I
(
I
I
i
I
G7b 9 i
I
I
I
I
I
I
I
(
i
I
(
I
B i7 I
I
(
i
i
(
i
(
(
I
I
i
(
i
i
i
(
i
I
1Cm4E I Dm 7b 5
Dbmaj 7
I
I
(
i
I
(
I
C7
y
I
i
m AI
I
I
(
Dm 7b 5
Fm7
I
I
i
I
BJ 7
I Eb
Ebmaj7 I
i
IF4 A I Gm7
Fmaj7
9:
i
I
(
(
Obmaj7
1Cm4E I Cm7
9:
I
I
Fm7
Ebmaj7
9:
I
I Eb4 A I I
(
I
i
Fmaj7
9:
C7
I
G7b 9 I
I
I
I
I
I
65
CmlE
I Cm7 I
9: a
I
IF2 F2A AI Gm I
I
I
I
I
I
I
I
I
I
I
I
I
I
C I
I
I
I
I
I
I
I
I
I
I
I
I
E
9: 9:
Fmaj7 I
I
Fm I
I
I
I
I
I
I
I
I
I
I D 2E I
E maj I
I
El>m
I
I
I
;
I
;
I
;
I
I
I
I
Ab7 I
;
8 >7
I
I
I
I
I
I
Dbmaj I
I
I
I
I
;
I
I
;
I
I
I
I
;
;
;
IC m l E I Dm1••5 Dm1
G ~
;
I
I
I
I
Practice playing through the progress progressiion w it h each o f these starting positi positions Cm/A Cm/A,, Cm , and Cm I E) T his w ll prepare you for the next exerci exercise: pl p layi ng smooth ly from Cm / A and d back ev e ry twenty four measures ere are the hand po s itions t o use t o Cm IE an
•a
I F4 A I Gm
m l A I
Cm
~ :
I
y
I
(
y
I
(
;
y
I
y
I
I
y
y
I Fm I
(
y
I
;(
y
(
o El>maj
~ :
I
I
y
y
I
I
y
y
Ebm
I
I
;
y
y
I
I
I
y
y
I
I
(
I
(
y
D I
(
I
y
I
y
I
I
y
I y
(
;
(
y
I
;(
I
y
(
y
;
I
(
;
ID I
y
I
I
y
A
I
y
I
y
Ebm
I
y
I
y
D m ~ S
m a j 7
I y
y
y
y
(
;
;
I
y
y
I
IC m l E I A
(
(
;
I
y
I
(
I
y
(
;
(
(
y
I
y
I
y
I
(
I
y
;
I
8 >7
(
I
y
(
;
I
y
y
ICmlA I
D (
I
(
;(
AI
y
Ab7
;
I
I
(
y
(
G ~
C
y
;
I Eb Fm I
y
;
I
y
A
;
(
y
8 >7
IF A I Gm
Ebmaj
~ :
;
I
y
Fmaj7
~ :
y
I
(
(
I
y
I
y
Cm
~ :
I
y
Fmaj7
~ :
C
I
y
;
y
Dm?b S
m a j 7
(
;
I
y
(
I
y
G ~ I
y
y
I
II
66
Here's the first 4 measures o f track 98
• 4J
F 4A I
m l
G m7
Cm7
9:
Pngen ng:
f
br
~
I
If r r F 3
t T
1t
4
3
I Fmaj7
f
b
C7
Fm7
I bp).7
b
F r
:
r r
rr
Elomaj7
9: b
J
Ir ID
r
~
I
I
l
If r D
r F I E F br
t
f
D m ~ S
m a j
r
G ~ 9
If r F
br
F lA I C7
G m7
br
f J
r
iJ I J I
br
~
I
IF r r F I
b
2
™ Fm7
ma j7
9:FttbF
rbr
1 r ~ r 4
Elo maj7
9: t
I
I br J br
6
C m7
9:
r Ir
ICmlE I
~ m
~
~
I l
q
~
b 4
r 4
I
r 1br
r ~ r
1r 4
3
t
t
I
1C m1 AI
I D
br 4
4
F ).7
t. f
t
F~
4
I
D
a j 7
F
m
G
~ 9
br
I ontinue
4
The fingerings are provided t o show the transitions between positions:
• Measure 2, beat 4: third finger anticipates the move t o F4A • Measure 6, beat 4: first finger make makes s the transition to
b 4E
• Me asure 14, beat 4 : fi rst finger anticipate anticipates s the move t o F2A • Measure I 8: You could actually play from Ab on beat 2 t o the F in measure 19 all with the fo urth finger. It's not po liti itically cally correct fingering but it gets the job done.
• Measure 21 , beat 4: fourth finger makes the transition t o
Ob
2A
67
-'
Other
hords
ll the chords we've worked on so far have been part o f major o r minor key centers. Most o f the other types o f chord symbols you'll see fall into the fa fam m iliar ma majj o r seventh, minor se venth and d om inant seventh categori categories. Here Here''s a list o f most o f the other kinds o f chord symbols you' you 'll see and how t o treat them. them. They're all listed with a Groot. Major Gmaj9
same as maj7, emphasi emphasize ninth Gmajj 13 Gma same as maj7, emphasize t h irteenth Gmaj7(1 I I ) treat as a four chord in a major key (sharp eleven occurs naturally)
Gmaj7# 5 G6/9 G6
same as maj7, emphasize sharp five, use natural five on weak beat same as maj7, emphasize ninth and sixth, use majo majorr sev seven en on weak we ak beat same as maj7, except emphasize 6th and use majo majorr se seve ven n on o n weak we ak beat
Minor Gm9
Gml l
Gm13 Gm6/9 Gm7#5
same as m7, emphasize ninth same as m7, emphasize eleventh same as m 7, em emph phas asiz ize e thir t hirtee teenth nth same as m7, emphas emphasiize sixth and ni n inth same as m7 , emphasize sharp five, use natural five on weak beat, al also thought o f as invers inversiion on:: b maj7 G
Dominant G +7 treat as five o f C minor (the aug five is
G7(b 13 G7alt. G7(#9)
the mi m inor third o f C) dom7, 7, empha emphasize size nint nth h, some sometim times es a one chord (funk o r blues) same as dom same as dom7, emphasize thirteenth, sometimes a on e chord (funk o r blues) same as dom7, emphasize sharp eleven and use regular fifth on weak beat, often seen as a tritone sub, see page 64 same as dom7, emphasize sharp eleven and use regular fifth on weak beat same as dom7, emphasi emphasize sharp eleven and use regular fifth on weak beat same as thirteenth thirteenth,, emphas emphasiize flat ni nine same as G+7 means flat and sharp fives and nines, treat as fiye o f C minor (see page 51 implies altered
G7(#9#5)) G7(#9#5
implies altered
G9 G 13 G7(# 11 G9(# I I) G 13( I I ) G I 3(b9)
b-
Other
G 7 0
Gsus2 Gsus4 G7sus
ii
Gsus(b9)
is usually used as a passing chord (following chord is usually half step above o r below) best treated as the 3, 5, b7, and b9 o f a dom7(b9) in t h is case b 7(b9) impliies t hree notes G, A and D, not usually seen in linear type bass parts impl
implies thre implies three e notes G, C. and D, also not usually seen in linea linear'' r'' type bass parts is create created d by either eithe r a full Om 7 chord with a G in the bass, or, since the relative major o f D minor is F major major:: an Fmaj7 chord with a G in the bass. It's used as a one o r five chord. Play the root at the beginning o f the measure and use the rest o f the measure to play the other chord hord''s sound. same as G 7sus same as G7sus, emphasize flat nine
68
Putting
t
ll Together
Almost all the lines we've worked on so far have been confined t o hal halff ste steps ps and whole steps. As you develop the ability t o play these smooth lines, you become more aware o f all possibillities under your hands. While smooth sounding lines are the most challenging, the possibi they're only part o f the vocabulary you need to use in m us usiical situations. The ability t o con trast smooth lines with intervals and arpeggios should be your eventual goal. Creating con trast using other elements shou should ld be part o f yo your ur vocab vocabulary ulary as well. Rhythm, contour; register and harmony are the main elements that should be part o f
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