Playing Around Chords

[Dom]

Hi,

I play Bass Guitar - my Bass is a; Warwick Corvette Rockbass.

Anyway I was wandering how to play around a chord. For example if the guitarist is playing Cm7, what do I play when the normal guitarist is playing that?

Thanks,

Dom

[alexclaber]

To over-simplifiy, play the root on the strongest beats, the fifth on the next strongest and then the minor third and minor seventh on the other beats. Try to make a melody or riff that outlines the chord by using the relevant chord tones (1, m3, 5, m7) and passing notes in between. Also try to make your bassline lead from one chord to the next.

Note that often you'll get the best results from using fewer notes but using rhythm to make them melodic - listen to almost any Motown for a masterclass in this from James Jamerson.

Alex

[Bilbo]

Depends whether it is a II chord in a Bb major scale or a VI chord in a Eb major scale. Or a I chord in a C minor key or a IV chord in the key of a G minor. It could be a II chord in a melodic minor mode.......

I am being facetious. A C minor chord would ususally be a II chord in the major key of Bb so you could play a Bb major scale (Bb C D Eb F G A Bb) or a C dorian (C D Eb F G A Bb C - the same thing but starting on the second note).

You could also play a minor pentatonic (C Eb F G Bb) but this is just the same thing again but with the D and A left out (weaker notes of the scale).

Does that help?

[The Funk]

[quote name='bilbo230763' post='455331' date='Apr 6 2009, 12:38 PM']Depends whether it is a II chord in a Bb major scale or a VI chord in a Eb major scale. Or a I chord in a C minor key or a IV chord in the key of a G minor. It could be a II chord in a melodic minor mode.......

I am being facetious. A C minor chord would ususally be a II chord in the major key of Bb so you could play a Bb major scale (Bb C D Eb F G A Bb) or a C dorian (C D Eb F G A Bb C - the same thing but starting on the second note).

You could also play a minor pentatonic (C Eb F G Bb) but this is just the same thing again but with the D and A left out (weaker notes of the scale).

Does that help?[/quote]

It could be a III chord in Ab major too - if it has that particular sound.

[Galilee]

Stick with a C.

[The Funk]

[quote name='alexclaber' post='455258' date='Apr 6 2009, 11:08 AM']To over-simplifiy, play the root on the strongest beats, the fifth on the next strongest and then the minor third and minor seventh on the other beats. Try to make a melody or riff that outlines the chord by using the relevant chord tones (1, m3, 5, m7) and passing notes in between. Also try to make your bassline lead from one chord to the next.[/quote]


[quote name='bilbo230763' post='455331' date='Apr 6 2009, 12:38 PM']Depends whether it is a II chord in a Bb major scale or a VI chord in a Eb major scale. Or a I chord in a C minor key or a IV chord in the key of a G minor. It could be a II chord in a melodic minor mode.......
[...]
You could also play a minor pentatonic (C Eb F G Bb) but this is just the same thing again but with the D and A left out (weaker notes of the scale).

Does that help?[/quote]

If you look closely, the minor pentatonic Bilbo showed you adds one note to the four chord tones Alex showed you - and as Bilbo pointed out, if you know exactly which Cm7 chord it is, you can add two more note choices.

[AM1]

[quote name='Dom' post='455242' date='Apr 6 2009, 10:53 AM']Hi,

I play Bass Guitar - my Bass is a; Warwick Corvette Rockbass.

Anyway I was wandering how to play around a chord. For example if the guitarist is playing Cm7, what do I play when the normal guitarist is playing that?

Thanks,

Dom[/quote]

Hi

There's lots of theory based answers here but no one asked you if you understand how chords and scales are constructed, i.e. root, 3rds, 5ths etc.

A bit more info about where you're at in terms of understanding scales and chords will make it easier to define a "start" point for you in constructing basslines.

You can take several approaches - one is to learn all the theory/harmony and that's the mathematical approach, i.e. using 3ths and 5ths etc. Another approach is to just use your ears and jam til you find basslines that fit and playing with chromatic/various scales up and down the bass will help you to understand which notes/scales work over which chords.

The name of a chord i.e. Cm7 indicates a start point but only a start point. A chord does not become a chord until you decide what "root" note to play.

As long as you hit the right notes to give emphasis to the chords harmonically when chords change, you can get away with a lot inbetween.

[escholl]

[quote name='AM1' post='455403' date='Apr 6 2009, 01:28 PM']You can take several approaches - one is to learn all the theory/harmony and that's the mathematical approach, i.e. using 3ths and 5ths etc. Another approach is to just use your ears and jam til you find basslines that fit and playing with chromatic/various scales up and down the bass will help you to understand which notes/scales work over which chords.

The name of a chord i.e. Cm7 indicates a start point but only a start point. A chord does not become a chord until you decide what "root" note to play.

As long as you hit the right notes to give emphasis to the chords harmonically when chords change, you can get away with a lot inbetween.[/quote]

+1

as i'm not really up on music theory, i tend to use the "by ear" approach...but then again my basslines also aren't anything special ^_^

[BigRedX]

Anything that sounds right.

I could probably make an argument for absolutely any note given the appropriate musical context.

[hitchy64]

Hi, nobody has mentioned the word "Arpeggio".
An arpeggio is the notes of a chord played one at a time ie. typically root, 3rd, 5th. I would play these, not all of the notes all the time, but with passing notes to the next chord. I hope this helps.

[AM1]

[quote name='escholl' post='455446' date='Apr 6 2009, 01:59 PM']+1

as i'm not really up on music theory, i tend to use the "by ear" approach...but then again my basslines also aren't anything special ^_^[/quote]

A mix of both is what I am aiming for, but I think the value of learning about harmony, intervals, scales, arpeggios and chord construction and the fretboard cannot be underestimated. Otherwise it's easy to become a "pattern" player, which is pretty much where I'm at...we played on Sat in the studio then live and I tend to impro basslines a fair bit, i.e. i will have learned the chord sequences (again mainly by ear) but then learned which scales/intervals/arpeggios work around them, so I always have bassline ideas to try and as long as I hit the right notes when chords change it does work.

Understanding intervals is a key weapon in the arsenal.

But the playing by ear approach is not always ideal, if you become a pattern player and don't really know what notes you're playing then it can be limiting. Half the time I have no idea of the note names I'm playing on the bass, but they work harmonically because of understanding scales and intervals.

Just as equally, it can be limiting to only use the mathematical, theoretical approach, sometimes you need to break out and experiment.

A mix of both is the ideal.

[Oscar South]

Theres no quick fix or easy formula for this, but its by no means complicated.

Practice your scales/modes/key signatures, practice your 7th arpeggios, practice your pentatonic scales, practice your chromatic scale, listen to and analyse music where the bassist plays in a style you're interrested in copying and apply all you've learned musically.

You now have the vocabulary, the technical facility and the aural intuition to play how you want to play.

If you want an 'easy option' though, just learn your pentatonic scales and use little runs, 7th/octave licks, slides etc. out of them. Its not as interresting but it'll get you part way there and its all you really need in a rock context.