Bass Edu
Reharmonizing “Chi Chi”
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.
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.
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:
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.
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:
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
BASS LINES: Triads & Inversions Part I
Triads & Inversions Part I…
Hello bass players and bass fans! In this issue, we are going to study the triads and their inversions.
It is very important for all bassists to understand and master the triads, but it is even more important to understand their different inversions.
In Part I, we are going to learn what the triad is in fundamental position.
The Formula consists of root, third and fifth.
Degrees of the Triad
Major Triad: 1 – 3 – 5
Minor Triad: 1 – b3 – 5
Diminished Triad: 1 – b3 – b5
Augmented Triad: 1 – 3 – #5
Fig.1 – The C, Cm, Cdim & Caug triads
(Fundamental Position)
Bass Edu
Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque
Premiere! Bass Playthrough With Foetal Juice’s Bassist Lewis Bridges – From the Album, Grotesque
Bassist Lewis Bridges Shares…
“Gruesome’s sparse intro marks a stark contrast from the intensity of the rest of the album. The original intention was to keep the bass simple but colourful, however as I worked on it, the lines grew more expressive and the more striking flourishes began to emerge. The intensity builds into a harmonic minor passage that takes us into the drop — a signature death grind cacophony. This is where Foetal Juice thrives. You’re getting a full-on right-hand barrage to in the face to take you into a groove-laden mulch-fest.
I owe my throbbing bass tone to the Darkglass Alpha Omega pedal borrowed from our sound engineer, Chris Fielding (ex-Conan), mixed with the clarity of the tried and true Ampeg SVT CL.
As mentioned earlier, colourful basslines are important, especially in a one-guitar band. Chucking some funny intervals and odd flourishes here and there brings life into the brutality. There’s no point sounding brutal if it’s not gonna be fucking evil too!
Recording this playthrough was hard work. This was not the fault of James Goodwin (Necronautical), who was kindly filming and is ace to work with, but because in true Foetal fashion, we had stinking hangovers — and that jam room was hot!”
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Bass Edu
Bass Lines: The Circle
Bass Lines: The Circle…
Hello bass players and fans of bass! This month we’re going to study “The Circle.”
The Circle of Fourths can also be called “The Circle of Fifths or just The Circle.
Practicing the scales, chords, and ideas in general via the circle has been a common practice routine for jazz musicians and highly recommended.
It is a disciplined way of working through all twelve keys.
Plus, many bass root movements to jazz and pop songs move through sections of the circle.
Fig. 1 – “The Circle”
See you next month for more full bass attack!
#bassmusicianmag, #basslines, #bmmbasslines, #groovemaniac, #thecircle, #thecircleoffourths, #thecircleoffifths,#scales & #chords.
Bass Edu
Approach Notes – Part 5
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!
Bass Edu
BASS LINES – The Blue Notes (Minor Blues Scale)
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