jakenewmanbass Posted February 7, 2010 Share Posted February 7, 2010 (edited) This exercise is one that I have been giving out in lessons for years. It is a very straightforward way of playing through all the chords (as arpeggios) of a major scale. The exercise goes up the arpeggio and down the scale to the second degree which becomes the tonic of the next arpeggio and so on. I have written the chord sequence out once, it repeats every eight bars. The great use for this is getting your fingers accustomed to making those shapes so that once you know it by heart you can make those sounds without thinking. But that is not all... It's very important that you eventually see it as a global concept and look within it for the continuity that should if you really investigate allow you to expand each of the component sounds (chords) all over the instrument, so it's a lot more than just an exercise if handled the right way. Enjoy and feel free to comment or question. This is for Silverfoxnik.... [attachment=42024:Arpeggio...nic_exce.pdf] You will notice that once you have played it through once it then is done backwards with the arpeggios upside down (from the seventh) this is just one variation there are lots and I recommend investigating them for yourself. Jake Edited February 7, 2010 by jakesbass Quote Link to comment Share on other sites More sharing options...
silverfoxnik Posted February 7, 2010 Share Posted February 7, 2010 Thanks Jake! Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted February 7, 2010 Author Share Posted February 7, 2010 [quote name='silverfoxnik' post='738570' date='Feb 7 2010, 10:46 PM']Thanks Jake![/quote] Now learn it in twelve keys....! Quote Link to comment Share on other sites More sharing options...
Marvin Posted February 8, 2010 Share Posted February 8, 2010 Jake, why are there so many lines? Is it tab for a six string bass? Thanks for providing this exercise if I ever get my lazy arse in gear to practice I will use it. Cheers Rich Quote Link to comment Share on other sites More sharing options...
ZMech Posted September 19, 2011 Share Posted September 19, 2011 woo, structured arpeggio practise Quote Link to comment Share on other sites More sharing options...
Guest bassman7755 Posted September 19, 2011 Share Posted September 19, 2011 (edited) [quote name='jakesbass' timestamp='1265563520' post='738226'] This exercise is one that I have been giving out in lessons for years. It is a very straightforward way of playing through all the chords (as arpeggios) of a major scale. [/quote] Question: why the #11 on the Cmaj7 - all the other aprs are plain diatonic unextended 7th chords except this one ... are you just testing to see whose awake Edited September 19, 2011 by bassman7755 Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted September 20, 2011 Author Share Posted September 20, 2011 (edited) Because it is the 4th chord relating to the key of G... G contains an F# and therefore produces a major 7 #11 chord when started in arpeggio form on the 4th degree. incidentally this would be the same spelling for any key for the chord found on the fourth degree of the scale. It's also worth pointing out that the arpeggio in fact contains C E G B and not as you say an F# it's only when you play the scale portion of the exercise that the F# is encountered, it is however very much part of the sound of the 4th degree chord (also known as the Lydian mode) and it would be used extensively in chord voicings derived from that position. Edited September 20, 2011 by jakesbass Quote Link to comment Share on other sites More sharing options...
Guest bassman7755 Posted September 20, 2011 Share Posted September 20, 2011 [quote name='jakesbass' timestamp='1316504304' post='1378785'] it is however very much part of the sound of the 4th degree chord [/quote] Really ? - From a bass line construction perspective its probably going to start sounding odd if I'm emphisising the leading note during the IV chord at least in any stuff I am ever likely to play (maybe its a "jazz" thing and assumes an impending cycle of fourths movement...). Still seems arbitrary to me and (more importantly) confusing to beginners since its the only 5-note arpeggio in a sequence of otherwise pure 4 note ones. Quote Link to comment Share on other sites More sharing options...
Bassowner35 Posted September 20, 2011 Share Posted September 20, 2011 My computer doesn't seem able to recognise the file type. What program do I need to read it? Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted September 20, 2011 Author Share Posted September 20, 2011 (edited) [quote name='bassman7755' timestamp='1316508843' post='1378843'] Really ? - From a bass line construction perspective its probably going to start sounding odd if I'm emphisising the leading note during the IV chord at least in any stuff I am ever likely to play (maybe its a "jazz" thing and assumes an impending cycle of fourths movement...). Still seems arbitrary to me and (more importantly) confusing to beginners since its the only 5-note arpeggio in a sequence of otherwise pure 4 note ones. [/quote] look at the exercise again and this time read the notes instead of the chord symbol, it's not a 5 note arpeggio, the Arpeggio is C E G B, and neither is it confusing to beginners... it just is what it is. I am not speaking only of constructing bass lines but about having a wider harmonic knowledge and being able to hear the 4 chord in it's accurate context. There are plenty of examples of the use of the 4 chord in the Lydian form, lots of standard song sequences would employ it, it can be found in all forms of music and is. For the sake of clarity lets put it this way. If you played a Cmaj7 in part of a sequence that came from the key of G then the F natural would be harder to justify as in technical terms it would be a wrong note.... there are of course plenty of people who could contextualise it successfully. You seem bent on proving something about which you are technically completely incorrect [quote name='bassman7755' timestamp='1316508843' post='1378843'] its probably going to start sounding odd if I'm emphisising the leading note during the IV chord [b]at least in any stuff I am ever likely to play[/b] [/quote] I think this is revealing about where you are coming from, there are various styles of music that not all of us listen to all the time, because that is true it does nothing to undermine the accuracy of it's theory. And who suggested you should emphasise the F#... get with the program mate you're the bass player.... play the root man, ffs Edited September 20, 2011 by jakesbass Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted September 20, 2011 Author Share Posted September 20, 2011 [quote name='Bassowner35' timestamp='1316511136' post='1378883'] My computer doesn't seem able to recognise the file type. What program do I need to read it? [/quote] It's a pdf but for some reason the file extension is a bit odd if you change it to .pdf it should work Quote Link to comment Share on other sites More sharing options...
lowdown Posted September 20, 2011 Share Posted September 20, 2011 [quote name='jakesbass' timestamp='1316512379' post='1378903'] look at the exercise again and this time read the notes instead of the chord symbol, it's not a 5 note arpeggio, the Arpeggio is C E G B, and neither is it confusing to beginners... it just is what it is. I am not speaking only of constructing bass lines but about having a wider harmonic knowledge and being able to hear the 4 chord in it's accurate context. There are plenty of examples of the use of the 4 chord in the Lydian form, lots of standard song sequences would employ it, it can be found in all forms of music and is. For the sake of clarity lets put it this way. If you played a Cmaj7 in part of a sequence that came from the key of G then the F natural would be harder to justify as in technical terms it would be a wrong note.... there are of course plenty of people who could contextualise it successfully. [/quote] Nicely summed up Jake. Garry Quote Link to comment Share on other sites More sharing options...
SlackAlice Posted September 20, 2011 Share Posted September 20, 2011 Hi Jake, many thanks for sharing this excercise....very helpful...........(I will be back for lessons soon ). Angie Quote Link to comment Share on other sites More sharing options...
Guest bassman7755 Posted September 20, 2011 Share Posted September 20, 2011 [quote name='jakesbass' timestamp='1316512379' post='1378903'] look at the exercise again and this time read the notes instead of the chord symbol, it's not a 5 note arpeggio, the Arpeggio is C E G B, and neither is it confusing to beginners... it just is what it is. I am not speaking only of constructing bass lines but about having a wider harmonic knowledge and being able to hear the 4 chord in it's accurate context. There are plenty of examples of the use of the 4 chord in the Lydian form, lots of standard song sequences would employ it, it can be found in all forms of music and is. For the sake of clarity lets put it this way. If you played a Cmaj7 in part of a sequence that came from the key of G then the F natural would be harder to justify as in technical terms it would be a wrong note.... there are of course plenty of people who could contextualise it successfully. You seem bent on proving something about which you are technically completely incorrect I think this is revealing about where you are coming from, there are various styles of music that not all of us listen to all the time, because that is true it does nothing to undermine the accuracy of it's theory. And who suggested you should emphasise the F#... get with the program mate you're the bass player.... play the root man, ffs [/quote] This is not an argument about being "correct" (well I hope its not actually an argument ) - harmonised 7th chords are not rocket science to either of us and lets get the natural F out the way - I never mentioned or implied that. OK I completely get why you label the chord #11 because you are indeed playing the F# in that bar, no argument there. My query is (and was) purely around why the IV chord gets the extra extension. Now I expected you to answer along the lines of "hey this is jazz (or whatever) and we generally play the #11 on the IV chord" great and that would have been the end of it. Whats actually transpired is that you said (words to the effect of ) "there no special treatment of the IV- its a 4 note CEGB apreggio" despite that fact that the notes played and the chord designation are clearly a 5 note (CEGBF#) arpeggio. My point, such as it is, is merely that someone who is new to all this stuff and has perhaps just read about harmonised 7th chords may possibly be puzzed by the inclusion of the #11. Thats all really Quote Link to comment Share on other sites More sharing options...
Doddy Posted September 20, 2011 Share Posted September 20, 2011 Just looking at the first four bars and each one contains the fourth note of the scale,so in the bar of Cmaj7#11 the fourth note of the scale has to be sharpened to keep in with the diatonic harmony as the IV chord is Lydian (#4). I don't really see what the argument(?) is about. Good exercise Jake. Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted September 20, 2011 Author Share Posted September 20, 2011 (edited) [quote name='bassman7755' timestamp='1316517553' post='1378992'] This is not an argument about being "correct" (well I hope its not actually an argument ) - harmonised 7th chords are not rocket science to either of us and lets get the natural F out the way - I never mentioned or implied that. [/quote] nothing wrong with an argument as long as it's conducted along civil lines [quote name='bassman7755' timestamp='1316517553' post='1378992'] Whats actually transpired is that you said (words to the effect of ) "there no special treatment of the IV- its a 4 note CEGB apreggio" despite that fact that the notes played and the chord designation are clearly a 5 note (CEGBF#) arpeggio. [/quote] this is why I asked that you look at the exercise again. it is NOT a five note arpeggio in the exercise, it's simply the correct spelling of the chord found on the fourth degree of a major scale, which by it's very definition and make up, is a maj7#11 chord... now it wasn't me that decided that, it was the laws of harmony, I am simply giving people an exercise that allows them to access all that info in one fell swoop. I'm more than happy to discuss the possibles when it comes to understanding fretboard harmony, but I would much rather have a conversation about what one can do with the appropriate tools rather than a lengthy drawn out discussion about whether a note belongs in a certain location as defined by whether or not it sounds strange to you. The F# is a legitimate fourth chord harmony note and if you get really good on your bass folks you may well find a context in which it's appropriate... Finally your CEGBF# assumption is not one that would really work as a chord voicing (which is where this info would end up) a more appropriate spelling would be C G D E F# B this would be a good example on the piano and give s a strong sense of the tonality of the chord, if you were to voice that on a keyboard you'd find that an F# would be a lovely addition to your bass line if carefully placed edit, the chord I spelled out there is actually a Cmaj9#11, yummy... and it's one of the places that your newly discovered F# in a Cmaj context would sound fab... give it a try... go on, will ya! Edited September 20, 2011 by jakesbass Quote Link to comment Share on other sites More sharing options...
lobematt Posted September 20, 2011 Share Posted September 20, 2011 [quote name='Bassowner35' timestamp='1316511136' post='1378883'] My computer doesn't seem able to recognise the file type. What program do I need to read it? [/quote] I cant open it either? Quote Link to comment Share on other sites More sharing options...
Guest bassman7755 Posted September 20, 2011 Share Posted September 20, 2011 [quote name='jakesbass' timestamp='1316520197' post='1379042'] it's simply that the correct spelling of the chord found on the fourth degree of a major scale, which is by it's very definition and make up, a maj7#11 chord... now it wasn't me that decided that, it was the laws of harmony, [/quote] Its the correct spelling for a harmonised IV11th chord yes and I never disputed that, or the harmonic legitimacy of the F#. All I did was remark on its emphisis by virtue of it being the only 11th extension in the sequence: classical harmony does not single out the IV chord for special attention: [url="http://www.musictheory.net/lessons/46"]http://www.musictheory.net/lessons/46[/url] hence my "surprise" to see it. Emphisis is all were talking about here - noone is disputing basic harmonic principals. We had probably better leave it at that ... I am however interested in why this emphisis exists, and how I might exploit it in the future. I presume the idea is to pave the way for a IV-I resolution in the same way as the 3rd degree of the V is used in a V-I ?. [quote]Cmaj9#11, yummy... and it's one of the places that your newly discovered F# in a Cmaj context would sound fab[/quote] I could give you a pound for every time I have or ever will use that kind of chord and still have change for a fiver Quote Link to comment Share on other sites More sharing options...
Guest bassman7755 Posted September 20, 2011 Share Posted September 20, 2011 [quote name='Doddy' timestamp='1316520157' post='1379039'] Just looking at the first four bars and each one contains the fourth note of the scale [/quote] So why not notate them all as 11th chords in that case then - why only do this for the IV (or list the IV as plain maj7 to be consistent with the others ...) ?. pah ... I must be being thick or somthing Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted September 20, 2011 Author Share Posted September 20, 2011 (edited) [quote name='bassman7755' timestamp='1316525995' post='1379175'] So why not notate them all as 11th chords in that case then - why only do this for the IV (or list the IV as plain maj7 to be consistent with the others ...) ?. pah ... I must be being thick or somthing [/quote] Not thick, just not acquainted with the language perhaps. The point is this. when considering the nature of a chord from it's position in a major harmony context, it's a good idea to have all the info relating to that chord present... the reason: you can immediately identify where the chord has come from by the distance between the notes in the scale. This information is not 'you must emphasise the F# in a C major' but more, 'if you understand the context of the F# in C you will have a better idea of where you are and what you can play' If you want a really blatant example of the use of this harmony check out the melody to Inca Roads by Frank Zappa. It's a marvelous use of the note in question, creates a really interesting and haunting melody... and btw I have had the great honour of playing with Ike Willis... one of Frank's singers As for why it doesn't need to be notated as an 11th, I'm at pains to point out (for the 4th time now) that the arpeggio is NOT an 11th that is just the chord symbol for that position here... with Ike singing: http://www.youtube.com/watch?v=LTiCF__8zXU&feature=related Edited September 20, 2011 by jakesbass Quote Link to comment Share on other sites More sharing options...
Bassowner35 Posted September 20, 2011 Share Posted September 20, 2011 Thanks for the exercise. I managed to read it by changing the file extension as suggested. Quote Link to comment Share on other sites More sharing options...
xilddx Posted September 20, 2011 Share Posted September 20, 2011 [quote name='bassman7755' timestamp='1316508843' post='1378843'] Really ? - From a bass line construction perspective its probably going to start sounding odd if I'm emphisising the leading note during the IV chord at least in any stuff I am ever likely to play (maybe its a "jazz" thing and assumes an impending cycle of fourths movement...). Still seems arbitrary to me and (more importantly) confusing to beginners since its the only 5-note arpeggio in a sequence of otherwise pure 4 note ones. [/quote] Dude, I don't know sh*t about theory, but I do have good ears. Jake was kind enough to give me this exercise too, and the arpeggios sound to me to be spot on, they sound RIGHT to me. Quote Link to comment Share on other sites More sharing options...
daz Posted September 22, 2011 Share Posted September 22, 2011 (edited) Is there any chance of you recording a short clip to show how it (the arpeggio excercize) should sound? Edited September 22, 2011 by daz Quote Link to comment Share on other sites More sharing options...
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