Connect with us

Latest

Jazz Studies With Bill Harrison: Play-Along Tracks Lesson 7 – The Minor Key Mystery

Published

on

Meet Bill Harrison –

Bill-Harrison-Lesson 7-Aug2010 – Minor Keys (Click above to download the accompanying pdf file for musical examples)

Correct me if I’m wrong about this, but it seems that the subject of “minor” gets short shrift in lessons and discussions about jazz harmony. Perhaps this is because the major scale and its modes take a lot of time to learn and use with ease. Maybe it’s because major scale harmonies (I, vi, ii and V) are so common in standard tunes and the mainstream jazz repertoire. But I think that one of the main avoidance factors is that there are so many kinds of minor scales that many musicians find the whole subject terribly confusing.

I know I did, for many years. So I’m going to do you a favor and (hopefully) de-mystify minor in one short lesson.

When we say that a song (or a section of it) is in a minor key we mean that this chunk of music is written using material from the major scale that shares its key signature. This is the origin of the term “relative minor”. Recall that the natural minor scale (also called aeolian mode) is just the major scale starting on the 6th degree. (Ex. 1) It is your “go to” choice for the chord that is built on the same degree – our old friend vi-7.

Now here’s the allegedly tricky part: Natural minor has an inherent weakness if we want to use it as our home (or tonic) scale. The problem is that this scale has no leading tone (also known as the major 7th). Instead, there is a wimpy sounding whole step from the minor 7th up to the root (or 8). (Ex. 1) What this means is that there is no functional V7 – I present in the natural minor scale. Without that harmonic formula our ability to create tension and release is severely curtailed.

Recall that V7 – I is the most common of all cadences in western music. All of the familiar aspects of the functional harmony we know and love and use every day would be non-existent without V7 resolving to I. The V7 – I cadence depends upon the movement (or resolution) of two notes: the 7th degree of the scale moving up to the root and the 4th descending to the 3rd. (Ex. 2) shows how this works in major keys.

The sad fact is that we can’t construct a dominant 7th chord on the V in natural minor because the 3rd of that chord is minor. So there can be no V7 – I cadence if we use this scale as our home base. What is a composer or improvisor to do if we can’t rely on the strong pull of V going to I? (Ex. 3)

Fortunately this problem was solved several centuries ago by some wily folks who manufactured a new scale by simply raising the 7th up a half step. You most likely already know this one: the harmonic minor. That unique minor 6th / major 7th combination is the result of the need for a leading tone (and therefore a major 3rd on the V chord).
(Ex. 4)

So when we say “minor key” we really mean the harmonic minor scale built on the 6th degree of the relative major key. Functionally speaking, the relative minor for the key of C major is A harmonic minor. We create harmonic minor by raising the 7th degree of natural minor one half step.

There’s really no mystery to it at all!

I have to include a caveat for the harmony mavens: the harmonic minor is NOT the only scale that is used to signify “i” in minor. We’ll discuss the intricacies of the melodic minor scale another day.

And next time we’ll apply this theory to our role as bass line creators.

Bass Videos

Interview With K3 Sisters Band

Published

on

Interview With K3 Sisters Band

K3 Sisters Band Interview…

It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.

Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music,  music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.

Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.

Here is the K3 Sisters Band!

Photo, Bruce Ray Productions

Follow Online:

k3sistersband.com/
TikTok
YouTube
Instagram
Facebook 

Continue Reading

Bass Player Health

What is a Pinched Nerve? with Dr. Randy Kertz

Published

on

Dr Randal Kertz - Bass Player Health - Oct 2022

What is a Pinched Nerve?

In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.

Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!

The Bassist’s Complete Guide to Injury Management, Prevention & Better Health

View More Bass Health Articles

Continue Reading

Latest

This Week’s Top 10 Basses on Instagram

Published

on

TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @colibriguitars @adamovicbasses @brooksbassguitars @lecomptebass @mgbassguitars @mauriziouberbasses @jcrluthier @biarnel @officialibanezguitars @chris_seldon_guitars

View More Bass Gear News

Continue Reading

Gear News

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Published

on

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
 
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.

Product Specification-

Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg

For more info please visit www.ashdownmusic.com

Continue Reading

Gear News

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary

Published

on

30th Anniversary Limited Edition SansAmp Bass Driver DI

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…

The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.

This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.

The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.

It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.

Anticipated Availability:  May/June 2024

For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/

Continue Reading

SUBSCRIBE NOW

Facebook

Trending