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Adam Nitti Technique Series – PRACTICING WITH CHORD TONES: ARPEGGIO INVERSIONS
Meet Adam Nitti
A lot of bass players are intimidated by the idea of improvising over chord changes. Although it would be beyond the scope of a single installment to present a complete and comprehensive guide to improvisation, I wanted to try and shed some light on some simple concepts that you can work on to improve your soloing. In subsequent columns, I’ll elaborate on these some more and demonstrate more of their application.
For any improviser, it is essential to have a working knowledge of chords. Chords are the building blocks of harmony, and they essentially act as ‘signposts’ that help an improviser to navigate through a chart. Most of us who have experience playing improvised walking bass lines or solos probably have at the very least assembled and memorized a collection of scale forms or patterns that we have used to play over particular chord types. Scales can be useful in the creation of musical phrases, but for any improviser is very important to have a thorough and complete understanding of chord tones and how to find them on the fingerboard.
A true test of whether or not a player can improvise effectively is to see if they can outline the changes for the listener without having any accompaniment playing underneath them, whatsoever. If you can outline the changes and harmony of a tune using nothing but your bass, then you probably are on the right track to further developing your improvised voice. It is very difficult to do this relying on scales alone… Take for example, a common 4 bar ii-V-I progression. For this example, let’s use the key of F major:
G min7 – C 7 – F maj7 – F maj7
Using modal concepts, the easiest way to navigate through this entire 4 bar phrase would probably be to use a single F major scale (F Ionian). All of the notes included in the F major scale are compatible with each of the 3 chords (G min7, C 7, and F maj7), because all 3 of these chords come from the harmonization of the F major scale. If you were playing with a band, you could simply improvise using the F major scale while a keyboard player or guitar player was comping the changes and you would sound as if you were playing ‘in key’ over the entire progression. However, if you were to just improvise using that same F major scale without any accompaniment, to the listener it would sound as if you were just noodling using a major scale in a more static fashion. In other words, you would not be effectively outlining the changes, even though you might be ‘in key.’
Now, imagine if you were to use arpeggios instead of scales to improvise over this same ii-V-I. Arpeggios are just broken chords, so obviously they are going to be the structures that most accurately mirror the sound and color of the chords they are built from. This is because they are built using chord tones only. Following the order of each chord in the F major ii-V-I progression, you could use the following arpeggio forms to improvise over each chord change:
G min7 arpeggio – C 7 arpeggio – F maj7 arpeggio – F maj7 arpeggio
Since each arpeggio only includes notes that are found in each corresponding chord, you are effectively outlining the changes in the most literal way possible.
Now, obviously the great improvisers do not rely on arpeggios alone… You would never want to improvise on a gig using nothing but chord tones. That would sound quite unseasoned and amateur-like! If you listen to a great solo in which the improviser is outlining the changes effectively, you will notice a couple of things. For one, you will hear that in many cases, they will use a chord tone or other type of guide tone on the downbeat of a chord change. This signifies harmonic transition and creates a smooth connection between phrases as these chords pass beneath them. Another thing you will notice is that rarely will a great improviser play phrases that are exclusively made up of scale fragments or sequences. Quite often, he or she will build phrases that incorporate greater intervallic distances exhibiting contour and changes in direction. Usually these intervallic distances are based on movement among connected chord tones that imply a particular color or harmonic mood.
The value of mastering the application of chord tones in the practice shed cannot be overestimated. For this reason, I have spent a lot of time over the years working on chord tone exercises. In fact, I still practice in this way today, especially in cases in which I am learning to navigate through some challenging chord progressions for the first time.
For this installment, I want to present you with some basic arpeggio form exercises that you can work on that will help you navigate the fretboard more effectively. Many of you will already be familiar with various arpeggio forms that are played starting from the root, but I want to share with you some additional patterns that can be played from any chord tone included in the arpeggio. I call these arpeggio inversion exercises.
ARPEGGIO INVERSIONS
Here are some forms you should memorize up and down the range of the neck. What’s great about them is that they allow you to play ideas that don’t always sound so ‘root-centric’. That is a big problem for many bass players starting to improvise. Because we bass players almost always have foundational roles in an ensemble, we have a tendency to want to build ideas from the root because that is what we do most. When you are improvising, you want to think more like a singer or sax player. Let go of the foundation and try to play ideas that are more rhythmically and melodically independent. Taking care to avoid using the root as a starting note for your phrases will help you to do this a little more effectively. Arpeggio inversions can help with that because they offer forms that start on the 3rd, 5th, and 7th, instead. Here are the forms for maj7, min7, and dominant 7 chords, along with example videos that demonstrate the fingerings:
CONTINUOUS 8TH NOTE EXERCISES
Using single static chords, practice playing non-stop swing 8th notes using only notes found in each arpeggio. This will feel very awkward at first, so it is imperative that you start these exercises VERY SLOWLY, taking care to only include chord tones and nothing else. Here is an example of how you might play this exercise over a C7 chord using only notes from the C7 arpeggio inversions up and down the fingerboard:
After you are able to do this at a variety of tempos for each chord, then it’s time to start practicing the same approach over more complex progressions, and then ultimately over complete tunes. Here is an example of me demonstrating how to practice continuous 8th notes using chord tones only over a ii-V-I progression in C major:
As you can see, this is a challenging way to practice over chord progressions and tunes. Be patient as you work on these. Learning how to target chord tones both with your ears and your eyes on the fingerboard will take some getting used to, but the payoff is immense. The key to becoming great at this is thinking and looking ahead as much as possible. Next time around, we’ll expand on chord tone practice strategy a little more. Until then, keep it bassy-
Adam Nitti
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
