The Weekly Lesson

[rslaing]

Thank f*** for that- someone is actually reading this thread

[velvetkevorkian]

Now I just need to sit down and play it...

[Major-Minor]

[quote name='silddx' post='524690' date='Jun 26 2009, 10:42 AM']Ahh, the harmonic series! Gotcha. So fifths and fouths are prominent in the harmonic overtones of every note I play. Thank you. I expect what gives a particular bass its character is how the materials it comprises emphasise these overtones.

Stacked fifths, they are so useful! I pull those out of the bag every now and then and my singer really likes them, presumably because of the lovely harmonic support they provide.[/quote]
Just to correct and clarify:

The most prominent overtone (harmonic) is the octave, then the fifth, then another octave higher, then the 3rd. After that the harmonics become somewhat indistinct and actually slightly out of tune. There is a flattened 7th in there but I am not aware of any 4th or at least not one that is easily heard.

The Major

[rslaing]

[quote name='Major-Minor' post='525751' date='Jun 27 2009, 10:09 AM']Just to correct and clarify:

The most prominent overtone (harmonic) is the octave, then the fifth, then another octave higher, then the 3rd. After that the harmonics become somewhat indistinct and actually slightly out of tune. There is a flattened 7th in there but I am not aware of any 4th or at least not one that is easily heard.

The Major[/quote]

Yep - the fourth is there, it's the next harmonic (in order) after the octave and the fifth. But you are correct, it is hard to hear to the mere mortal.

Then we have a major third and a minor third and then a minor 7th comes in to the picture.

Notice the relationship of the harmonic series to anything? Yes, modern harmony is based on the natural law of the harmonic series.

Here's a pic. along with the rest of the harmonic series

Edited June 27, 2009 by rslaing

[Major-Minor]

[quote name='rslaing' post='525756' date='Jun 27 2009, 10:16 AM']Yep - the fourth is there, it's the next harmonic (in order) after the octave and the fifth. But you are correct, it is hard to hear to the mere mortal.

Then we have a major third and a minor third and then a minor 7th comes in to the picture.

Notice the relationship of the harmonic series to anything? Yes, modern harmony is based on the natural law of the harmonic series.

Here's a pic. along with the rest of the harmonic series[/quote]
Morning Rob
Forgive me if I have missed something (its a common fault of mine!) but on the pic you posted I don't see an F natural - the fourth note of C major.

And I'd be very interested if you would expand on your theory of the relationship between modern harmony and the harmonic series. I can see that the major triad is clearly there, however the dominant 7th is surely too weak to be audible in the overtones. And the rest are more academic than useful.

EDIT: Rob I've just realised we are talking at cross purposes re the FOURTH. You are referring I think to the INTERVAL of a fourth between G and C, whereas I am referring to the fourth note of the major scale (F in the key of C).

Edited June 27, 2009 by Major-Minor

[rslaing]

[quote name='Major-Minor' post='525819' date='Jun 27 2009, 11:41 AM']Morning Rob
Forgive me if I have missed something (its a common fault of mine!) but on the pic you posted I don't see an F natural - the fourth note of C major.

And I'd be very interested if you would expand on your theory of the relationship between modern harmony and the harmonic series. I can see that the major triad is clearly there, however the dominant 7th is surely too weak to be audible in the overtones. And the rest are more academic than useful.[/quote]

Sorry if I have misled you! I did not mean the fourth as being the note F relative to C.

[i](PM to Major Minor - this lack of fourth, relative to the fundamental, in the harmonic series, underpins and demonstrates our earlier conversation about the fourth/11th clashing as a minor 9th with a major third in a chord, unless (I am trying to be careful here, as the next lesson covers this and I don't want to confuse people without giving the answer) used in a dominant chord - GENERALLY!!)[/i]

I meant the INTERVAL of a fourth.

The intervals in the harmonic series from the fundamental C are octave, fifth, fourth, major third etc. In other words:-

Fundamental note C, then,
interval of an octave to the harmonic C
then interval of a perfect fifth to G
[b]then interval of a perfect fourth to the note C[/b]
Then interval of a major third to E
Then interval of a minor 3rd to G

etc etc

I told you my communication skills weren't great! Let me know if there are any other ambiguous statements (or errors) so I have made so I can clear them up.

Thanks

Rob

PS I will send you an interesting document over now regarding the harmonic series.

EDIT:- The point of illustrating the harmonic series was not because it has any real audible value.
The academic value/purpose is that it will help musicians (who want to know of course, ) understand why and how the harmonic series has a direct bearing and relevance to modern harmony.

Edited June 28, 2009 by rslaing

[rslaing]

[b]Lesson 2 - Chords and Scales.[/b]

[b][i]Part One.[/i][/b]

Before we start, if you have any questions, or need explanation about any aspect of this content, please ask on the forum or send me a PM. Those of you that have my private email address and want expansion on any of this - feel free to contact me.

WARNING:- If you want to be a clone, sound and play like every other bass player on your CD's by just learning copycat established licks, this lesson will be a waste of time.

HOWEVER:- If you want to develop your skills and be able to develop and play bass lines, create your own individual sound/style, have a greater understanding of the great bass lines you hear and be able to reproduce them more quickly - then the content of this lesson will go a long way towards helping you achieve that aim.

James Jamerson and Carol Kaye, and countless more modern players, came from a jazz background, and some even came from a classical environment.
Jamerson was a double bass player originally and Carol Kaye was a bebop guitarist. And because of that experience and the knowledge required in a demanding musical environment, they had the ability to play in a way that brought a new sound to popular music. They knew the notes that could be played over a chord or chord sequence. Because of the rhythmic development of music produced, for example, in Motown, they could play very melodic bass lines without having to play the basic chordal notes that can be heard in a lot of the other "pop" music of the time, played by bass players who lacked the musical knowledge to "stand out from the crowd".

[b]There are basically only 15 chord scales commonly used[/b], and the most confusing area for musicians at some stage, is "which scale can I use as the source for notes that I can play over that particular chord or sequence of chords".

The 15 scales are different modes of the 4 primary scales. These are (starting with the note C)

[b]Major[/b] C D E F G A B C

[b]Melodic Minor ascending[/b] - sometimes called the "jazz" minor C D Eb F G A B C
(There are three main minor scales but we'll stick with this one for now)

[b]Diminished[/b] (See below)

[b]Wholetone[/b] (See below)

Once you understand this lesson, and know your [b]chordal and passing notes[/b], you will be able to apply the info and have a great facility for practical application when playing. The best way to practice and learn these critical scales, and more importantly, how they sound, is to play along with pre-recorded backing especially recorded for the purpose of learning scales and playing them over chord sequences. [b]IF YOU WANT SUPPORTING BACKING TRACKS TO PLAY OVER USING THE MATERIAL IN THIS POST[/b] send me a PM please.

Over a period of time, I will try to upload some of them so you can access them directly from this thread.

The purpose of giving insight into this subject so you can develop your own bass lines for example, over chord symbols/lead sheets.

There are a number of statements made here which may, to the experts, seem very basic or even contradictory to their knowledge. They are made only for the purpose of keeping things simple for now, we have to start somewhere. Over a period of time, I will introduce explanations about how and why some of the rules can be broken. For now, please just run with this, but if there are any glaring mistakes, let me know so I can edit them.

[b]The scales are made up of chord tones and passing notes[/b]. You probably know this, but let's review the following assuming that you don't:

A chord is made up of 3 or more notes that sound together. Most often, chords are tertian, meaning constructed from thirds.

Example: The chord of F major is built from the scale F G A Bb C D E

To build a basic 3 note chord, take the F note, and add every third note of the scale. You then have the notes F A and C. This is the F major chord.

To build a 4 note chord, use the same approach and add the E to the basic 3 note chord. You then have a chord Fmajor7. We'll stick to 3 or 4 note chords for now and go in to 5,6 and 7 note chords later.

The appropriate chord scale for a chord in a song is determined by the harmonic function of the chord in the key. Which also means that each chord has a different sound in relation to a specific key (tonality). An identical chord symbol in two different places in a piece of music, can therefore have different functions, and the choice of notes that will "fit" that chord may be different.

We'll do some functional harmony stuff later on if anyone is interested, and for now we'll look at the main 15 scales and their uses so you can pick up a chord chart and start applying them.

I will also be linking to some more midi files at the end of this lesson so that you can play over them and hear how your choice of notes from those scales sound in relation to the chords and the key centres of the song.

[b]Chord scales mainly have 7 notes, but there are a few that have 5, 6 or 8 notes.[/b]

The scale produces a basic chord and other voicings that have tensions. Basically, [b]chord tones [/b]always sound like they "fit" nicely when played over the relevant chord, and other "[b]tension[/b]" notes of the scale tend to create more dissonance. Tensions from the scale can be added to chords to create what we call "extended voicing" without changing the chord scale "colour".

[b]Chord tones[/b] are the 1st, 3rd 5th and seventh notes of the scale and sometimes the 6th. These are the principle notes you would play over a chord, and you would add the other notes in the scale as passing notes.

[b]Tensions [/b]are the three extensions of the chord called the 9th, 11th, and 13th.
In the case of C Ionian scale (see the scales below) the 9th would be D the 11th would be F and the 13th would be A.
They can also be used as melody tones because they still "fit" the chord. They do however, create more dissonance or tension.

Another type of note in the scale is termed [b]"avoid notes"[/b]. They are called this because they sound (to most people) extremely dissonant and jarring to the ear. The avoid notes are a half step above a chord tone. When played, they create a minor 9th interval above a chord tone, and if not used properly, sound "wrong".

The avoid notes can be used, but you have to know what you are doing. So it might be best to leave their application until later in the lessons.

Avoid notes are normally only used as passing tones in melodies. They are normally only used as approach notes in bass playing - in between chordal notes and tensions on an upbeat, a chromatic lead into a scalar note a semitone above or below.

In the scale of C major the note F is an avoid note and can't be used as a tension. It is the interval of a minor 9th with the major 3rd (E) that creates the dissonance.

[b]There are natural and altered tensions[/b]. Natural tensions are the 9th, 11th, #11th and 13th.
Altered tensions are b9, #9, b5, #5, and b13. An altered 5th of the scale is treated as a tension. Dominant chords, e.g. the G7 in a key of C, can have many altered tensions depending on their key function. We will cover altered dominant scales etc in a few weeks time.

The tension notes, 9, 11 and 13 means that the chord underneath is a seventh type. So, for example in a:-

Cmaj9, the chord will be made up of C E G B
C9 (dominant) the chord will be made up of C E G Bb D
C13, the chord will have C E G Bb as the supporting notes to the 13th which is A.

If one the upper tensions is present in a chord symbol, you can use other tensions to support it. For example, in a C 13th you can also include the 9th (D)

Note, in a major 6th chord, e.g. C6, the 6th note of the scale (A) is added to the basic triad of C E G.

[b]MAJOR CHORD TENSIONS[/b]

Major chords can use the tensions 9, #11, 13 if they are in the scale. You will not generally see tension 11 (the note F in the scale of Cmajor) on a major chord because it is an avoid note. Tension 13 (the note A in Cmajor scale) is available on major 7th chords, but it is more often found as chord tone 6 on a major sixth chord. An extended major type chord must be shown to have the major 7th in the chord symbol. E.g. Cmaj9, Cmaj7 Cmaj13.

This is to avoid confusion with dominant seventh chords with extended tones/tensions which would be written as C7 C9 C13 etc. The dominant type chords built on the fifth of the scale always contain the minor seventh interval from the root of the chord (in the case of C7, the note Bb is the 7th because C7 is the dominant chord in the scale of F major).

The tensions in a major type chord are 9 #11 and 13.

[b]MINOR CHORD TENSIONS[/b]

Minor type chords can take tensions 9 11 13 if in the scale. The b9 tension is hardly ever used. Tension 13 is sometimes seen, but is more often seen as the chord tone 6 on a minor 6th chord. Tensions in the chord show an underlying minor seventh chord (e.g. Cm7, Cm9, Cm11).

Tensions in a minor chord are the 9 11 and 13.

[b]DOMINANT CHORD TENSIONS[/b]

These chord types can take b9 #9 #11 b5 #5 b13 and 13 if they are available in the chord scale.
The C mixolydian scale, which can be played over C7 (C dominant in the key of F major) has tensions 9 and 13 AND the avoid note 11. It produces C C7 C9 C13 but NOT C11. (There are exceptions to the rule but please just accept this for now and we will cover the exceptions shortly) A dominant chord type called C7sus4 (chord tones 1 4 5 b7) uses the 4th degree instead of the 3rd of the scale as a chord tone. Note 4 is considered a chordtone, not tension 11.
If a chord is shown as a 9 or 13, then the underlying chord is a dominant 7th type (C7 C9 C13)

Other ALTERED dominant scales produce the rest of the possible chord tensions. If a tension is shown in the chord symbol (i.e. dom#11 mixob9b13) it is understood to be an acceptable tension on the basic dominant chord. Notes that occur in this instance a half step/semitone above a chord tone are not avoid notes because they enhance the function of the dissonant dominant chord. Altered dominant scales and related tensions are coming up in a lesson in a few weeks time.

[b]BASIC CHORDSCALES[/b]

These are the ten most important scales for building bass lines and improvisation. The rest of the scales we will look at in later lessons are variations of these 10 basic types. The first 7 scales are derived from a major key. The other three scales fit the other chord types not covered by the diatonic modes.

I have shown these earlier, but will repeat them here for ease:-
(Using C as the starting note in each example)

1). LYDIAN - C D E F# G A B - Structure 1 2 3 #4 5 6 7
The #4 makes this one sound a little unusual. Basic derived chords are the major triad, major7 and major6. Tensions are 9 #11 and 13. The Lydian is usually linked with the IVmaj7 chord.
2). IONIAN - C D E F G A B - Structure 1 2 3 4 5 6 7 of the major scale.

Derived chords are major triad, major7 and major6. Tensions are 9 and 13 (avoid note 4!) Associated with Imaj7 chord.

3). MIXOLYDIAN - C D E F G A B - notes 1 2 3 4 5 6 b7 of a major scale.

This is the basic dominant scale. Derived chords are major triad and dominant 7th. Basic tensions are 9 and 13. Avoid note 4. It is the scale used for the basic V7 chord.

4). DORIAN - C D Eb F G A Bb - structure 1 2 b3 4 5 6 b7

Basic derived chords are minor triad and minor 7th. Tensions are 9 11 and 13. There are no avoid notes. Normally associated with the IIm7 chord.

5). AEOLIAN - C D Eb F G Ab Bb - structure 1 2 b3 4 5 b6 b7

Basic derived chords are the minor triad and minor 7th. Tensions are 9 and 11 (avoid note b6) It is ususally associated with the VIm7 in major keys and Im7 in minor keys.

6). PHRYGIAN - C Db Eb F G Ab Bb - structure 1 b2 b3 4 5 b6 b7

Basic derived chords minor triad and minor 7th. Tension is 11 (avoid note b2 and b6). Associated with the IIIm7 chord.

7). LOCRIAN - C Db Eb F Gb Ab Bb - structure 1 b2 b3 4 b5 b6 b7

Basic derived chords are the diminished triad and minor7b5. Usually associated with VIIm7b5 and is sometimes called the half-diminished. Tensions are 11 and b13 (avoid note is b2).

NON DIATONIC SCALES

In addition to the above, there are 3 non diatonic scales, these scales do not emanate from the major scale.

8). The SYMMETRICAL DIMINISHED. C D Eb F Gb G# A B - Structure 1 2 b3 4 b5 #5 6 7.

This is an eight note scale and is has a symmetrical structure of whole step, half step, whole step, half step etc until you reach an octave from where you started. Therefore, the notes in C diminished are the same as those in Eb diminished, Gb diminished and A diminished. On this basis, there are only another two diminished scales based on the same principle, which are C#dim and Ddim. Then you arrive at Ebdim which is the same scale as Cdim. In other words, every 3rd note is the root of another scale that contains the same notes as the chord a minor 3rd away from it.
Basic derived chords are the diminished triad and diminished 7th. No avoid notes.

9). WHOLETONE. C D E F# G# Bb - structure 1 2 3 #4 #5 b7

The wholetone scale is also a symmetrical scale as it consists of whole tones only. There are only 2 different wholetone scales and this is a 6 tone scale.
Basic derived chords are the augmented triad and the augmented 7th.
Tensions are 9 and #11 with no avoid notes. It is normally used as a dominant type chord.

10). MELODIC MINOR (Ascending, or Jazz minor) C D Eb F G A B - structure 1 2 b3 4 5 6 7

This scale can be thought of as a major scale with a b3. This is a very important scale as it generates other important modes which are used in improvising and building walking bass lines.

The descending version is the same as the Aeolian. Basic derived chords are the minor triad, minor6 and minormaj7. No avoid notes. Available tensions are 9 11 and 13 and it is normally found as a Im6 or IVm6 chord.

The other 5 scales will be covered in the next lesson.

PENTATONIC SCALES

Normally pentatonic scales are the first scales learned and used by beginners. That's because they seem to "fit" so many sequences and are easy to learn because of their "shapes" on the fretboard of your bass. Problem is, so many people never progress beyond pentatonics and as a result, just sound like every other bassist that doesn't have the knowledge above and how to apply it.

However, they are great for colouring the melody and bass line or when soloing because they contain the characteristic notes of the mode you might be playing in.

The major pentatonic fits the first 3 chordscales - leaving the 4th and 7th as "colour" notes.

The minor pentatonic fits the next 3 - dorian, aeolian and phrygian, leaving the 2nd and sixth notes as colour notes.

Major pentatonic notes are (using C major as example) C D E G A.

Minor pentatonic notes are (using C as example) C Eb F G Bb

More soon...................don't forget to either post in the thread if you have any questions. PM me if you want private answers.

I hope this stuff is proving to be useful.

Edited July 2, 2009 by rslaing

[Paul_C]

One typo, the Dorian has a flat 3rd and flat 7th - you described the notes correctly, but not the "structure"

It wouldn't hurt to note that the Aeolian mode is also the Natural Minor scale.

[rslaing]

[quote name='Paul_C' post='530104' date='Jul 1 2009, 11:18 PM']One typo, the Dorian has a flat 3rd and flat 7th - you described the notes correctly, but not the "structure"

It wouldn't hurt to note that the Aeolian mode is also the Natural Minor scale.[/quote]

Thanks for pointing that out Paul, I have corrected the typo.

Yes, the Aeolian is the Natural Minor Scale. I omitted that initially so as to not cause confusion amongst learners, because of the importance of concentration on the Jazz minor (ascending Melodic Minor) for now. The Jazz Minor is going to be studied when we look at the other 5 scales that I didn't cover in this lesson.

The other Minor scales are scheduled for a another lesson when we study functional harmony and songs written with the tonic as a Minor chord.

I am still working on the backing tracks for constructing basslines and playing the scales in Lesson 2 part 1.

I hope to have them online very soon.

[Mecklenburg]

rslaing - I tried to PM you but its not letting me! Any chance you can PM me, I'd like the supporting written materials for this lesson please.
Thanks!