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Reharmonizing “Chi Chi”

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The Power of One Note

Reharmonizing “Chi Chi”…

My last column featured how to play the Charlie Parker tune “Chi Chi” in the first position on the six-string bass. In this edition, I would like to show you how to re-harmonize the progression with chord substitutions.

What is a chord substitution?

A chord substitution is the procedure of using a chord in place of another in a chord progression and the new chord is made to function like the original. Usually, substituted chords possess two pitches in common with the triad that they are replacing.

If you haven’t already, I would print out the last columns sheet and this one as well below:

As you can see in the last column, I have the melody on top and a simple bass line on the second page. In the latest column, we have the bass line from the last issue on top and a reharmonized version on page 2.

It is helpful to know the functions of the chords in order to make successful chord substitutions. The diatonic structure consists of three families of chords: tonic, subdominant, and dominant.

The tonic family expresses the tonal foundation of a key. The subdominant family expresses movement away from the foundation. And the dominant family expresses harmonic tension. This tension is released with chords that move the harmony back to the tonic. Chords belonging to the same family can often be substituted for each other.

1-Reharmonizing “Chi Chi”

Take a look at bar 2 of the original. We have a Bb-7 for 2 beats going to an Eb7 for two beats. This is a typical ii-V chord sequence. And this ii-V chord sequence leads us back to the I chord.

Think of the I chord as the resting place, where things feel settled. The dominant (V) is where the tension happens and promotes the feeling of a need for resolution and the sub-dominant (IV) is the chord that leads us to the dominant.

I know you must be thinking; “But David, what is this about the IV chord and the V chord? I thought we were talking about the ii chord?”

Ah yes, the ii chord. If you spell the IV chord you get Db-F-Ab-Cb and if you spell the ii chord you get Bb-Db-Eb-Ab.

You can see that both chords have two notes in common: Db & Ab.

2-Reharmonizing “Chi Chi”

What about the V chord…the Eb7? Well, the two beats of that V will bring us back to the I chord. This is a typical Jazz cadence.

What I have done is take the ii-v that was originally written and substituted the IV chord. This way the first 4 bars of the tune remain on the Ab7. This brings the tune more into a blues versus a Jazz blues.

Bar 6 is where I change things up again. Written is the Db-7 for two beats going to a Gb7.

Another common substitution is going from the IV chord up a half step to the D diminished. Why does this work. Well, take a look at the notes in a Db7:

3-Reharmonizing “Chi Chi”

Now take a look at the D diminished. 3 of the 4 notes are the same. SO this substitution takes on 2 possible roles, 1 it becomes a D diminished or you could call it a Db(b9) with the (b9) in the bass.

4-Reharmonizing “Chi Chi”

Either way you look at it, it is still the same notes.

Now go to bar 11 of the original. You have 2 beats of C-7 and 2 beats of Ab7. I decided to have a full bar of Ab7. Again, it gives a more bluesy versus jazz bluesy sound.

Why the Ab7? As previously notes, the III- is part of the same family as the Ab-tonic. Moreover, there are two notes common to both chords:

5-Reharmonizing “Chi Chi”

That about wraps it up. My suggestion would be to play both versions and see which one you like best.

Also, if you go to my website www.thebassguitarchannel.com or Facebook page, I will have a link to a video of both columns.

Enjoy, stay safe and healthy!

David C Gross has been the bassist for a lot of folks. He has written 14 bass books and 3 instructional videos, hosts “The Notes From An Artist Radio Show” on www.cygnusradio.com Monday nights 8 PM EDT, and the “Notes From An Artist” podcast available on iTunes, Spotify and all podcast platforms.

NFAA brings you behind the scenes with individuals who forged a timeless musical canon – spanning rock, jazz, funk, blues, folk, country, and permutations thereof. Listen to stories and anecdotes hitherto untold and relive more than a few chronicles that have become lore with a fresh vision. It’s the soundtrack of our lives. Celebrate the past, live in the present, and anticipate the future – take Notes From An Artist

You can contact David @ www.thebassguitarchannel.com/contact for more information regarding his online lessons and world-renown correspondence course.

Bass Edu

Approach Notes – Part 5

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James Rosocha

Continuing our lesson of Approach Notes, Part 5…

In continuing with the concept of approach notes being applied to chord tones, this lesson approaches the root, third, fifth, and seventh degree of each arpeggio inversion by incorporating a double chromatic approach from above, and a single chromatic approach from below. 

The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and a single chromatic approach from below -before continuing to the third, fifth, seventh, double chromatic from above/ single from below to the root, continue to the third, fifth, and come back down.

The next example approaches the first inversion of G major 7th arpeggio.

A double chromatic from above/ single from below approaches the third, continue to the fifth, seventh, root, double chromatic from above/ single below to the third, continue up to the fifth and seventh, and back down.

The third example approaches a second inversion of a G major arpeggio.

A double chromatic from above/ single from below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above/ single from below to the 5th, continue to the 7th, root, and back down. 

This final example approaches a third inversion of a G major 7th arpeggio.

A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.

Be sure to pace yourself with these lessons to avoid burning out.

Being overly ambitious with your practice schedule can lead to unrealistic expectations. Try learning one approach note concept and one chord type a week. Change your practice routine as necessary and tailor it to your needs as a musician. Good luck!

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Bass Edu

BASS LINES – The Blue Notes (Minor Blues Scale)

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jaime Vazquez

Hello bass players and bass fans! Happy New Year 2024!

In this issue, we are going to study the blue notes.

In blues, jazz, and rock, a blue note is a note that (for expressive purposes) is sung or played at a slightly different pitch from standard. Typically the alteration is between a quartertone and a semitone, but this varies depending on the musical context.

The blue notes are usually said to be the lowered third(b3), lowered fifth(b5) and lowered seventh(b7) scale degrees. The lowered fifth(b5) is also known as the raised fourth(#4). Though the blues scale has “an inherent minor tonality, it is commonly ‘forced’ over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities”.

Blue notes are used in many blues songs, in jazz, rock and in conventional popular songs with a “blue” feeling.

Formula:

The A Minor Blues Scale

1 – b3 – 4 – (#4/b5) – 5 – b7

A – C – D – (D#/Eb) – E – Bb

The grades(blue notes):

b3, (#4/b5), b7

C, (D#/Eb), Bb

See you next month for more full bass attack!

#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thebluenotes, #minorbluesscale & #bluesscale

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Bass Edu

BASS LINES: Staccato for Bass

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jaime David

Staccato for Bass…

Hello bass players and bass fans! In this issue, we are going to study the technique known as staccato.

When we talk about the staccato technique, we are referring to a form of musical articulation.

In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence.

* In 20th-century music, a dot placed above or below a note indicates that it should be played staccato.

* The opposite musical articulation of staccato is legato, signifying long and continuous notes.

Fig. 1 – An example of a normal notation.

Fig. 2 – Is the same example but now with the staccato articulation

Fig. 3 – A basic groove played and written in a normal notation.

Fig. 4 – The same basic groove using the staccato technique.

So, at the end of the day, you as a bassist will decide what type of technique you will use depending on the effect you want in your performance.

See you next year for more full bass attack!!! Happy Holidays & New Year 2024!!! Groove On!!!

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Bass Edu

BASS LINES: Legato Slide vs Shift Slide

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jaime Vazquez

Legato Slide vs Shift Slide…

Hello bass players and bass fans! In this issue we are going to study how to read the swing eighths.

When we talk about slide techniques, we are referring to what is known in classical music as the glissando.

• Glissando = a continuous slide upward or downward between two notes.

There are two types of slides, legato and shift.

Legato Slide = strike the first note and then slide the same fret-hand finger up or down to the second note. The second note is not struck.

Fig. 1 – Legato Slide – Upward

Fig. 2 – Legato Slide – Downward

Shift Slide = Same as Legato Slide, except the second note is struck.

Fig. 3 – Shift Slide – Upward

Fig. 4 – Shift Slide – Downward

So, at the end of the day, you as a bassist will decide what type of Slide you will use depending on the effect you want in your performance.

See you next month for more full bass attack!!! Groove On!!!

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Bass Edu

Approach Notes – Part 4

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James Rosocha

Bass Lesson: Part 4 of Approach Notes…

My previous lessons on the topic of approach notes covered approach notes from above, approach notes from below, and approach notes from below and above. This lesson flips the concept around to approach notes from above and below. Don’t make the mistake of only learning this material in the major keys. As a starting point, these exercises should be applied to major 7, minor 7, dominant 7, minor 7 b5, and diminished 7 in all 12 keys for all inversions. If you are just starting this lesson, I recommend you go back to my first lesson on approach notes and follow them in sequence. My lesson on arpeggio inversions lays the groundwork for the approach note concept to be applied. 

The first examples approach the root of a G major 7th arpeggio as a double chromatic from above and below- before continuing to the third, fifth, seventh, double chromatic from above and below to the root, continue to the third, fifth, and come back down.

The next example approaches the first inversion of G major 7th arpeggio. A double chromatic from above and below approaches the third, continue to the fifth, seventh, root, double chromatic from above and below to the third, continue up to the fifth and seventh, and back down.

The third example approaches a second inversion of a G major arpeggio. A double chromatic from above and below approaches the fifth, continue to the 7th, root, 3rd, double chromatic from above and below to the 5th, continue to the 7th, root, and back down. 

This final example approaches a third inversion of a G major 7th arpeggio. A double chromatic from above and below approaches the 7th, continue to the root, 3rd, 5th, double chromatic from above and below to the 7th, continue to the root, 3rd, and back down.

These lessons take a very long time to complete so pace yourself and don’t give up. Good luck!

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