The Weekly Lesson - Lesson 2

[rslaing]

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

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

I have started this in another post to separate it from the first lesson, and will do so in future posts. For this week only I have duplicated the content of this in to the first lesson so people who have tracked or subscribed to the topic can find it ok.

[i][b]Backing tracks for the scales below are now available in part two of this lesson.[/b][/i]

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.

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 sticking to 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]Backing tracks for the scales below are now available in part two of this lesson[/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.

[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 Bb - 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 above - 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 16, 2009 by rslaing

[Major-Minor]

Well done Rob ! This should keep some Forum Members going for a year !

The Major

[foal30]

as I've got older and more "into" Jazz I've come to appreciate the pentatonics a bit more.

one thing is to use them from "different" starts.

so for example we can use the minor pentatonic on a major chord, starting from the 6th
chord is Abmaj...start the minor pentatonic from the F (F = 6th of Ab major)

on a dominant chord try the b3 to get an altered sound

and on half diminished go from the 4th

something to try anyway.

The Melodic Minor I agree is very important and well worthy of serious exploration
I think it is important to have a go at this, it's chock full of goodness.

[Major-Minor]

For the sake of those who are new to all this, I think we need to clarify that [font="Arial Black"]Rob's truly excellent work[/font] here is really concerned with improvised soloing (in any genre - but here he has presented the accepted "jazz" thinking).
As bass players we get presented with a whole load of different circumstances when we solo - drummers who stop playing / pianists who try to obliterate us / guitar players who insist on comping in the same range we are soloing in etc etc
(THINKS - I might start a thread about how bass players should insist on certain criteria for the accompaniment of their solos).

I would encourage Rob (if he has time) to break down these theory lessons into bite sized chunks, and gear some of it at least, to the theory /understanding that a rhythm section bass player needs to know - ie how this knowledge translates into a good bass line. Those of us who have the benefit of experience, probably know most of what Rob has written here (although it's always good to read the theory from another's perspective) but I'm concerned that, to a newer player, this will seem like gobbledigook and will put them off reading further.

The theory of music is a fascinating subject, but some of it's concepts take time to digest and internalize and I don't think it can be rushed.

The Major

[rslaing]

[quote name='Major-Minor' post='529338' date='Jul 1 2009, 08:57 AM']For the sake of those who are new to all this, I think we need to clarify that [font="Arial Black"]Rob's truly excellent work[/font] here is really concerned with improvised soloing (in any genre - but here he has presented the accepted "jazz" thinking).
As bass players we get presented with a whole load of different circumstances when we solo - drummers who stop playing / pianists who try to obliterate us / guitar players who insist on comping in the same range we are soloing in etc etc
(THINKS - I might start a thread about how bass players should insist on certain criteria for the accompaniment of their solos).

I would encourage Rob (if he has time) to break down these theory lessons into bite sized chunks, and gear some of it at least, to the theory /understanding that a rhythm section bass player needs to know - ie how this knowledge translates into a good bass line. Those of us who have the benefit of experience, probably know most of what Rob has written here (although it's always good to read the theory from another's perspective) but I'm concerned that, to a newer player, this will seem like gobbledigook and will put them off reading further.

The theory of music is a fascinating subject, but some of it's concepts take time to digest and internalize and I don't think it can be rushed.

The Major[/quote]

Okey dokey - in Lesson 2 part 2 , which will be next weeks lesson, we will have a look at developing some bass lines from the information given in part 1. Good idea.

As I said in Lesson 1, this thread in not for newbies or people that can't read music. If you fall in to that category,please PM me and I can send you some stuff to start you off, and you can always revert to these online lessons once you get a grip of "the basics" that are required to take you on to another level.

Later today, I will upload some playalongs/backing tracks so you can experiment playing the chordscales in Lesson 2 Part 1, over those particular chords.

In next weeks lesson, we will put some chord sequences together with play alongs so you develop some walking bass lines over some 4 bar sequences.

Although the information in the first part of lesson 2 can be used for the basis of improvisation, it also contains the theory required to construct your own bass line - in other words, the scalar notes available to "fit" a chord symbols.

Take them one by one, and once you have played the chordal tones of a chord a few times, experiment by putting some of the tensions in there too, so you can develop the sound of your lines. Nothing is cast in stone here, it's up to you to experiment.

You will find it best to play the chordal notes on the downbeats and the scalar notes/tensions on the upbeats for now.

Most of them will be in a 4 to the bar bass style because of the recent thread we had where a lot of people showed interest in walking bass lines and bebop.

However, the theory can apply to most genres, and the important thing is learning how to play over the chord changes and which notes work for you in the type of music you are interested in. There are dozens of backing tracks you can invest in, in the style of your choice. if you need a list of suppliers, drop me a pm.

I'll get the playalongs uploaded as soon as I can so you can start to put the content of lesson 2 part 1 in to perspective.

Rob

EDIT :- Play alongs have now been uploaded - see lesson two - part two.

Edited July 2, 2009 by rslaing

[voxpop]

This is fantastic.....keep them coming.

[steve]

Great stuff Rob, your explanations are very clear. I for one appreciate you taking the time to type all this out.

[51m0n]

If no one minds I may well collate this all in a single word doc, and maybe when a topic is complete I'll post it up as a downloadable 'chapter'???

Or it could go in the wiki???

Edited July 2, 2009 by 51m0n

[ZMech]

Sorry if I'm being a bit dim here, but there's one thing I'm unsure about. If you're playing two octaves below the chord that's being played, then will your note effectively be both a 2nd and a 9th and the same time? or does it not even matter? I have a habit of over thinking things, so tell me if i should stop worrying. Also, had never before heard the bit about avoid notes, shall keep it in mind.

[rslaing]

[quote name='Zach' post='531305' date='Jul 3 2009, 01:09 AM']Sorry if I'm being a bit dim here, but there's one thing I'm unsure about. If you're playing two octaves below the chord that's being played, then will your note effectively be both a 2nd and a 9th and the same time? or does it not even matter? I have a habit of over thinking things, so tell me if i should stop worrying. Also, had never before heard the bit about avoid notes, shall keep it in mind.[/quote]


It doesn't matter which range you are playing in.

The interval from a note of a second or a ninth has the same "name", but a second is a tone above and a ninth is an octave and a tone above - an octave apart.
For example, if the chord is C major, and you play note D, it can be a second or a ninth.

If you are talking about chords, and the chord is C major7, the chordal notes would be C E G B. If you expanded that chord to Cmaj9, then you would add the D. That note D would be a ninth above the root C of the chord.

If you want to make reference to the note D in relation to the note C, and that note D is a tone above C, then you would describe it as the interval of a second.

Intervals within the octave are called simple intervals, and if the intervals are over an octave apart, they are called compound intervals.

[url="http://www.aboutmusictheory.com/music-intervals.html"]Here is a reference page on intervals.[/url]

Edited July 3, 2009 by rslaing

[rslaing]

[quote name='Zach' post='531305' date='Jul 3 2009, 01:09 AM']Also, had never before heard the bit about avoid notes, shall keep it in mind.[/quote]

Nothing to worry about.

Some scales have notes which are very dissonant when played against other notes in the chord and generally are best "avoided" - unless you know what you are doing It's all explained in the lesson but the best thing is to generate a chord and play the scales slowly over it. You'll soon find them, and this method also helps to improve your "ear"

This is general info, because sometimes, avoid notes can be used. But for non-advanced musicians, stick to the ones that work when creating melodic consonant lines.

However, it doesn't hurt to have this knowledge, because then you can make your own mind up.

[Major-Minor]

[quote name='rslaing' post='531350' date='Jul 3 2009, 07:45 AM']It doesn't matter which range you are playing in.

The interval from a note of a second or a ninth has the same "name", but a second is a tone above and a ninth is an octave and a tone above - an octave apart.
For example, if the chord is C major, and you play note D, it can be a second or a ninth.

If you are talking about chords, and the chord is C major7, the chordal notes would be C E G B. If you expanded that chord to Cmaj9, then you would add the D. That note D would be a ninth above the root C of the chord.

If you want to make reference to the note D in relation to the note C, and that note D is a tone above C, then you would describe it as the interval of a second.

Intervals within the octave are called simple intervals, and if the intervals are over an octave apart, they are called compound intervals.

[url="http://www.aboutmusictheory.com/music-intervals.html"]Here is a reference page on intervals.[/url][/quote]
Can I just add to this that you can have a chord with an ADDED 2ND ie C D E G. If there is no major (or dominant ) 7th, this would be described as C2 (usually written with a small "2" ) or sometimes Cadd2 or C add D. This is a lovely chord - very settled and calming - a good "final" chord. And if you add the 6th to this (C D E G A) it is called a C 6/9. Again a great chord to finish on (very common in the swing era).

It's worth hammering home again the fact that a 9th (for instance) can be a [u]chord[/u] name (Cmajor9) or an [u]interval[/u] (a major 9th). Spot the difference ? If a note name is mentioned (C in this case) it is a CHORD. If no note name is there, it is an INTERVAL.
Rob has said this already:
A chord is 3 or more notes.
An interval is the distance between 2 notes.

So when you mention a 9th, you need to be clear which it is - a chord or an interval.

The Major

[skywalker]

Hi Rob

Can I ask please about inversions, when I am playing over say a Cmaj7 or C7 chord, I will tend to play the 5 and b7 or 7 below the tonic and the three (and octave 5) above the tonic (second inversion). Mainly this is to stop me making stretches and being all over the fretboard, the notes are close together. The question is is there a right or wrong time to use an inversion or is it a matter of taste or covenience.

Thanks

Steve

[rslaing]

[quote name='skywalker' post='534906' date='Jul 7 2009, 05:06 PM']Hi Rob

Can I ask please about inversions, when I am playing over say a Cmaj7 or C7 chord, I will tend to play the 5 and b7 or 7 below the tonic and the three (and octave 5) above the tonic (second inversion). Mainly this is to stop me making stretches and being all over the fretboard, the notes are close together. The question is is there a right or wrong time to use an inversion or is it a matter of taste or covenience.

Thanks

Steve[/quote]

Unless you are playing in a structured environment where the notes are predetermined to concur with the rest of the musicians, and as long as your choice of notes "fit" and define the song harmonically, it doesn't really matter. If you are talking about rock/pop/blues/jazz, as the bass player you have to define the harmonic aspect of the song, as well as apply your rhythmic choices along with the drummer.

As a guide, apart from playing the root notes (mainly) on the downbeats (beat 1) at the beginning of a bar, and the root or other chordal notes on say, beat 3 or the upbeats of any of the notes when playing quavers/eigth notes, (theres something for you to investigate!!) have a listen to your preferred music for a guide. Play along with it, finding the chord changes first, you'll find more often than not, whenver there is a chord change, the bass is playing the root. Listen to the player on the CD, and see how he mixes up the scalar notes to make up his bass lines.

If you want to advance your playing, I don't personally think you should apply any rules that will limit your potential. What I mean by this is be as flexible as possible, both mentally and physically. Learn all of the scales in the lessons and play them over a chord sheet of a song you know so you can hear your progress. Buy a few Aebersold cd's that have the backing and music (they are only around £15 each or so) and work through them. If you want one to start you off, pm me.

You should physically be capable of playing an octave over 3 and 4 strings, and a tenth interval over 4 strings. For example, play an A note on the 5th fret of your E string (with your 2nd finger) and play the A an octave higher on the 7th fret of the D string (with your pinky). If you want to cultivate some stretching exercises, try using your ring finger instead of your pinky. Also play this with your 3rd (middle) finger and pinky if possible.

Then play the Bb on the E string (6th fret) with your 4th finger, and the Bb on the G string (3rd fret) with your 1st finger. I don't have particularly large hands, and can reach this ok.

The physical side of your playing is very important, so I strongly recommend a book at this link called [url="http://www.amazon.co.uk/gp/reader/0793502489/ref=sib_dp_pt#reader-link"]"Bass Fitness - An Exercising Handbook" [/url]by Josquin des Pres.

It's cheap as chips, and is great for hand and finger development.

Cheers

Rob

Edited July 7, 2009 by rslaing

[skywalker]

[quote name='rslaing' post='535020' date='Jul 7 2009, 06:54 PM']Unless you are playing in a structured environment where the notes are predetermined to concur with the rest of the musicians, and as long as your choice of notes "fit" and define the song harmonically, it doesn't really matter. If you are talking about rock/pop/blues/jazz, as the bass player you have to define the harmonic aspect of the song, as well as apply your rhythmic choices along with the drummer.

As a guide, apart from playing the root notes (mainly) on the downbeats (beat 1) at the beginning of a bar, and the root or other chordal notes on say, beat 3 or the upbeats of any of the notes when playing quavers/eigth notes, (theres something for you to investigate!!) have a listen to your preferred music for a guide. Play along with it, finding the chord changes first, you'll find more often than not, whenver there is a chord change, the bass is playing the root. Listen to the player on the CD, and see how he mixes up the scalar notes to make up his bass lines.

If you want to advance your playing, I don't personally think you should apply any rules that will limit your potential. What I mean by this is be as flexible as possible, both mentally and physically. Learn all of the scales in the lessons and play them over a chord sheet of a song you know so you can hear your progress. Buy a few Aebersold cd's that have the backing and music (they are only around £15 each or so) and work through them. If you want one to start you off, pm me.

You should physically be capable of playing an octave over 3 and 4 strings, and a tenth interval over 4 strings. For example, play an A note on the 5th fret of your E string (with your 2nd finger) and play the A an octave higher on the 7th fret of the D string (with your pinky). If you want to cultivate some stretching exercises, try using your ring finger instead of your pinky. Also play this with your 3rd (middle) finger and pinky if possible.

Then play the Bb on the E string (6th fret) with your 4th finger, and the Bb on the G string (3rd fret) with your 1st finger. I don't have particularly large hands, and can reach this ok.

The physical side of your playing is very important, so I strongly recommend a book at this link called [url="http://www.amazon.co.uk/gp/reader/0793502489/ref=sib_dp_pt#reader-link"]"Bass Fitness - An Exercising Handbook" [/url]by Josquin des Pres.

It's cheap as chips, and is great for hand and finger development.

Cheers

Rob[/quote]

Thanks Rob

All fully understood - and I will see where I can get the book.

Cheers

[rslaing]

The link in the post is to Amazon, and you can get it there.

Here it is again:-

[url="http://www.amazon.co.uk/Bass-Fitness-Exercising-Josquin-Pres/dp/0793502489/ref=sr_1_1?ie=UTF8&s=books&qid=1246991425&sr=1-1"]http://www.amazon.co.uk/Bass-Fitness-Exerc...1425&sr=1-1[/url]

Edited July 7, 2009 by rslaing

[Mecklenburg]

[quote name='rslaing' post='529004' date='Jun 30 2009, 07:32 PM'][b]Lesson 2 - Chords and Scales.[/b]

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

[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)


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).[/quote]

Hi,

Just a quick (hopefully) question. I've been playing around in the Locrian in C and want to use the bass line, am I right in thinking that I can use this over a chord progression in key of C, or can I only use it over the diminished chord in that scale (which is B if I remember?)

OR

Would I use the Locrian in B and then its playable over a chord progression in C?

I feel like I'm almost there with all this lesson - I learnt this sort of stuff when I was at school/music lessons about 17/15years ago and have subsequently forgotten it all!
If I can get my head round this bit I think I will have cracked it - so any help will be much appreciated!!

[Mecklenburg]

anyone able to help on my query?

[dlloyd]

[quote name='Mecklenburg' post='595418' date='Sep 11 2009, 09:39 AM']anyone able to help on my query?[/quote]

Rob's away for now. Not sure if he'll be back.

In the key of C major, the vii chord is Bm7b5. B Locrian is associated with this chord.

Play C Locrian over a chord progression in C major and you'll sound like a loon.

[Mecklenburg]

[quote name='dlloyd' post='599651' date='Sep 15 2009, 10:04 PM']Rob's away for now. Not sure if he'll be back.

In the key of C major, the vii chord is Bm7b5. B Locrian is associated with this chord.

Play C Locrian over a chord progression in C major and you'll sound like a loon.[/quote]

Hiya thanks for that, I'd just read something on another webpage and it confused me slighty, but this has cleared it up! Excellent, thanks very much!