Bass Guitar Scales Chords & Arpeggios PDF eBook for bass guitarists. Fret diagrams & tab. Instant download. Scale, chord & arpeggio shapes, play in any key. Common Chord Progressions: I-IV-V i-III-IV-VI. I-V-VI-IV. I-I-IV-VI. IV-V-IV. VI-V-IV- V. I-VI-IV-V ii-V-I. VI-IV-I-V. I-IV-I-V 12 Bar Blues: I-I-I-I IV-IV-I-I V-IV-I-V. CHORD. step you will be successful and enjoy playing bass for years to come. bass guitars will also have a pickup selector switch along with volume and tone knobs. A.
|Language:||English, Spanish, German|
|Genre:||Fiction & Literature|
|ePub File Size:||15.80 MB|
|PDF File Size:||16.80 MB|
|Distribution:||Free* [*Regsitration Required]|
PDF Drive is your search engine for PDF files. As of today demonstrate how the boss can supply bass lines, piano cºnd guitar type Because Bass Extremes. Bass Guitar Lesson - Rock Bass - Beginner to Pro in 4 Weeks - Free download as PDF File .pdf) or read online for free. Bass Guitar for jinzihao.info - Download as PDF File .pdf), Text File .txt) or read online.
Leave it until you've gotten through the second section on chords, Lesson V. It is similar like driving — you actually do not think all the time where is throttle or brake pedal. This points towards a general rule of bass playing all rules have exceptions that you use the fingers on the frets in ways that enable you to reach all the notes that you will want to play with the least amount of vertical movement of the fretting hand on the fret board. Again, don't be obsessive. Then alternate them.
When we press D string at fifth fret. G clef for example is used to show position of note G on the staff. Just plain c-major scale notes. Back in days when I started learning. For six string bass guitar. If it sounds a bit strange now. D A Bm G and it is repeating for almost all the song. Also when you go to next level of learning — I think this will be useful as well. When you master this manual. This means that in waltz. And for rock or blues we have four beats or counts per measure with quarter note receiving one beat or.
Phrygian — notes are: Notes are: Chapter 2 — C —major scale C-major scale is composed from 7 basic notes — C. Mixolydian — notes are: Lydian — notes are: Aeolian — notes are: Locrian — notes are: Played in that order.
If we play same scale. Dorian — notes are: Numbers are here instead of other names. In this book. I will name them by numbers. I preferred note naming at that time. For example: I rather call the first position — first position. Main idea of playing through positions is not to make big moves with whole hand on guitar neck.
I still used four string bass guitars - so first position was E-position. Every position refers to specified C major mode. The last position will be actually reflected first one. Having in mind that this book covers both four string. I will explain seven. We can say that B-string basically was addition to four string bass.
And in very short time you will be amazed with results.
So important thing at beginning. Much wiser is rather to slow it down until you can play the exercise easily and smooth. Start practicing in slow tempo. And make the same clip of the same exercises after two weeks. Of course. If you are real beginner.
At the very beginning. Just be patient. I noticed that when you pronounce notes aloud. If you have some kind of recording device. Practicing is accumulative process. If you are not able to. So keywords are: I noticed one of the reasons why people do not pronounce notes aloud is that they are a bit shy. Smile is good — laughing is not. Chapter 4 — Before you start Before you start practicing. After every single practicing session.
And when you pronounce or sing. But believe me. Lot of work and passion is behind every successful musician. I do not know how to explain it in words. As a matter of fact. In very short time. Science says.
You will see improvement instantly. I guess it is because of repeating: Especially for introvert kind of persons. You will notice that your progress is exponential. I know that some of you may ask what the difference is. Your idol.
That is beyond my knowledge. So even if you do not notice small improvements after any exercise. You will need just a minutes. Be patient and persistent. This is also good practice for your entire life. And also. I guess that would be all I wanted to say before you take your guitar. If images are too small for you.
I recommend you to save them onto your computer and print them. Good luck! Play exercises all the way to the end and back. Here where I live. Do not give up easily. I am not sure if I got the point in translation.
When we reach note B on G-string we play backwards — B. This will help you to remember where to start with your practice for next time. If you are using four string bass guitar — simply disregard the left column.
We do not press anything — just pick the string. Notes with different sign. Guitar fingerboard also: Numbers show frets. Fifth string is low B. If it is too quick for you.
I will repeat one more time. One famous musician said — if I do not practice for one day — I can notice that. Be patient. I am right-handed person. If you do not feel comfortable with plucking strings with fingers. Chapter 5 — Before you start- exercises for warming up and stretching fingers I suggest you to warm up fingers and hands before you start practicing scales and positions. Just put the fingers onto fingerboard. For all these exercises set metronome on tempo Vertical line bar lines separates time signature - so play in.
Do not worry if it seems it is too slow. Remember the good news. After less than a week you will start to realize it is not so hard — it is easy. I would recommend somewhere on the middle of your fingerboard. It is allowed to raise tempo when you are able to play exercise nice. When you reach top form. If frets are too far for your hand.
If you rush while you are still not able to speed things up — you are on good track to screw things completely. And if I do not practice for three days — audience starts to notice. If it is still too quick — do not be afraid to slow down even more.
One of things that they actually do is the same as sportiest — they train to achieve and keep good form. You have probably already heard when some famous musicians. G 2 … and so… Remember at very beginning it is hard. At very beginning it is ok just to play one single note. There is big chance that you will not set your fingering correctly. These few exercises are also excellent for stretching hands.
One finger. If I do not practice for two days — critics will notice that. Do not worry about this. Numbers match fingers. Put fingers on whatever position on your guitar. You play: If you are just starting — I guess you will even feel a bit of pain in your hand. Repeat every exercise at least eight times. After a while. Stretching exercise No 1. But for start. It looks simple. I do recommend these exercises. You can move hand up. Stretching exercise No 5.
Stretching exercise No 9. E and F notes. From that point. Notes that you play in this position are: For four string guitar: On E string — play.
It is actually Phrygian mode of C-major scale. F — index finger 1. D note is played with open string. B and C notes. On B string. G — ring finger 3. B — middle finger 2. On A string — play open A.
A and B notes For five string guitar. But having in mind that I will also use extended scheme for five-string guitar. C — ring finger 3. A - index finger 1. E — middle finger 2. On D string — play open D. But not all chords are triads. Triad means three. Many chords have four or five notes or positions in them. Two note 'chords' are not defined as chords; they are called diads and sometimes, double stops. A Chord, as defined above, is created by grouping together three or more notes played at about the same time.
But, what notes? Well, basic major chords are made up of the 1st position and the 3rd position and the 5th position notes in the scale. This is the definition of a major chord. What notes are in a C major chord?
C, E and G. Play them on your bass one after the other in sequence - a 'chord-based bass note sequence'. I use this rather long but very explicit term to indicate that you are playing separate notes, not playing all the notes together as a guitar player might when playing a chord. This term also means that you will play the notes which, by definition of the specific chord mentioned, make up that chord. Play them, the notes C, E and G, in two or more locations.
Starting with the C note on the E string, 8th fret and with the C note on the A string, 3rd fret. How about the C note on the D string, l0th fret? What notes are they in an E major chord? Play them on your bass as chord- based bass note sequences in several locations. Pick a few other chords, maybe D major and G major and Bb major. Name the positions of each scale in your mind as you play them, ie.: Basic minor chords are made up of the 1st position and the flatted 3rd position and the 5th position notes of the major scale or, more simply put, the 1st, 3rd which is the flatted 3rd of the major scale and 5th positions of the minor scale.
More on formulas which describe how to form chords several pages from now. What notes are in an A minor chord? A, C and E.
Play them on your bass as a chord- based bass note sequence. Name them in your mind. What notes are in a C minor chord? Play them on your bass as a chord-based bass note sequence. Find a couple of different locations. Pick a few other minor chords, maybe F minor and Bb minor and D minor. We are just dropping mention that it's a major. When someone plays a chord or says that we're in the key of.
You won't be floundering. If someone plays a C chord, you'll know that the notes, C, E and G 1st position, 3rd position and 5th position are the basic notes that you can use in different combinations and sequences to play along with the C chord.
When the C chord is changed to an F chord, you'll know that to play along with the F chord you just have to find an F note on your bass and play the 1st, 3rd and 5th positions of the F scale, and follow the chord changes as they happen.
For example if the chord changes to an Em E minor you'll just play the 1st, 3rd and 5th positions of the E minor scale, 1st, b3rd, 5th of the E major scale , etc. Often the 1st, 5th and the octave will be the most important positions notes for you to play. As you play by following the chord changes you'll note that sometimes the same notes appear in different chords.
This can make your note decisions easier and we will cover this idea in more depth later. Connecting Notes You'll sometimes use 'connecting notes' to get from one chord-based bass note sequence to another. Much of the time the notes that are in the scale that you're using are the easiest to use as connecting notes.
You'll pick connecting notes up as you go along and learn to feel where they might be inserted in the sequences of notes you end up playing. They add flair and style to your playing and take you a little beyond the basics. A notes which may be in the scale being used but do not appear in the particular chord structures or chords being played or.
B notes which are not in the scale being used and, as such, do not appear to have any relation to the music structure. However, in the sense that connecting notes are useful for bridging different chord-based bass note sequences or even keys, they always serve a relational function. Another term that you may hear which has the same meaning as 'connecting notes' is 'passing tones. Some people can even play a seemingly haphazard mixture of notes in the scale and notes out of the scale, only resolving see the next definition the overall sound or feeling of the notes with the chords being played the music structure at the last second or the last couple of notes in the melodic passage or the melodic-rhythmic passage in the case of most bass playing.
This is not explicitly related to the topic of connecting notes. Theoretically it is more advanced and complicated and is for your consideration a year from now. Usually, 'concord' as contrasted with 'discord.
These are a good examples of how you can further and sometimes more deeply understand musical ideas with the aid of a dictionary of musical terms see the Appendix - Carl Fischer publications. How do you use connecting notes? Just about any way that sounds okay and not dissonant, unless dissonance is what you want at that moment. Just use them to make the bass line s flow smoothly. The repetitious emphasis of one sound among several.
Between two sequential short vertical lines crossing the five parallel lines the staff on which notes are written. Chromatic Scales 'Chromatic' scales: I mention this in tandem with ideas about connecting notes because 'chromatic' scales can be used to fill in the empty spaces between scales, within scales or between chord-based sequences of bass notes by just helping you to get around easier, to be 'connecting' one sequence of notes with another.
They're like connecting notes in a sense but, by definition, they are scales and therefore have a defined structure or sequence in contrast with connecting notes which do not. Actually you can start almost anywhere in the twelve half-steps, depending on where in the music you're placing the chromatic section and what notes are nearby.
Play two or three fully chromatic scales. Try some with the b2nd, 2nd, b3rd and b6th left out. You'll have to do a little sliding with one of your fretting fingers most likely your index finger here and there. Try using a chromatic segment two or three chromatic notes to connect sequences of chord-based bass notes. F and F are the chromatic connecting notes between the C and Em chord-based bass note sequences. That last sentence was a tough one! Reread it slowly and play around on your bass and concoct a few more of these chromatically connected chord-based bass note patterns.
Then from the second chord structure back to the first. Not all chord-based bass note sequences connect easily using chromatic connecting notes. Find some that do. Try three and four chord-based bass note sequences and some chromatic connecting notes. Maybe from A natural minor to C natural minor to F back to A nat m with some chromatic connecting notes between each.
Choose some others on your own. And try using minors with the unflatted 6th positions. Chromatic scales are very cool sounding. Segments of chromatic scales are used a lot in Jazz and Funk.
Syncopation Often chromatic notes are 'syncopated' or played on the upbeat, jumping a half-beat ahead of the count by suddenly switching the emphasis and timing of your notes from the downbeats to the upbeats.
Play some of your notes on the upbeats or between the downbeats using the ideas in the paragraphs above about 'chromatic scales. Work at it repeatedly until you can do it fairly fluidly. If you need to, take an extra day. This skill will add excitement to your playing! For example, try playing these segments of a chromatic scale: Then repeat, starting with the C on the downbeat but play the rest of the notes on upbeats or between the downbeats. Then alternate them.
This exercise will help you get the hang of playing on upbeats. In Rock bass, playing the note on the upbeat rather than the downbeat. This causes the beat to sound 'quicker' and adds a little extra excitement! See 'Counting' on the third or fourth page. The half-beats between the beats that you count 1, 2, 3, 4.
Try playing a few chromatic scale segments in several keys, say, C and Bb and A and Eb. Play the positions 1, 3, 4, b5, 5, 6, b7, 7. Then syncopate the 3rd to the 7th position notes, 3, 4, b5, 5, 6, b7, 7, and repeat. Kind of a warm up. Then switch to playing notes in those keys that are chord-based.
Say, first the notes in each chord in the sequence of this chord progression in the key of C - C, Em, Dm and G use a few connecting notes. For example, play the notes C, E, G the 1st, 3rd and 5th positions in a C major chord , then the notes E, G and B the 1st, minor 3rd and 5th positions in an Em chord , then the notes D, F and A the 1st , minor 3rd and 5th positions in a Dm chord and then the notes G, B and D the 1st , 3rd and 5th positions in a G major chord.
After you've played these four sets of three notes this would be an example of 'playing through the chord changes' play them again and this time add chromatic connecting notes between the 5th position of each chord-based three bass note sequence and the 1st position of the next three note sequence.
And connect the 5th position of the Dm chord, the note, A, to the 1st position of the G major chord by playing the note, G. Or play the two notes, A and G , repeating the note, A, in keeping with our convention of playing two chromatic connecting notes between the chord-based bass note sequences.
And then, play two chromatic connecting notes what notes would they be? This is a good example of what I mean by using connecting notes as well as using chromatic notes. Instead of dealing with notes' names you could also understand this by thinking in terms of positions. If you really want to go nuts, you could try syncopating the chromatic notes. Of course to do this would require you to set up some kind of rhythm. See the earlier section on 'Counting.
Another mix up: Then add some chromatic connecting notes to those chord-based bass note sequences. What a trip! If you can learn to do this you're doing great! How are they related? By harmonic structure. That is, each of the chords has concordant what's the definition of 'concord'? But simple. Try to figure out similar material in the keys of, say, D and F. I'm asking a little more of you here.
I'm asking that you move your fingering patterns around to other places on the fret board. I'm also asking you to move groups of fingerings around to other places on the fret board. I'm asking you to transpose.
This might be difficult the first time but persevere. It'll expand your musical mind. Inversions Definition: Better reread this one slowly and multiple times. Mull it over. Instead of any music theory about inversions I'd just like to give an example and some numbers. Play separately on your bass, for example, the three notes of a D chord: D, F and A. Play the D note with your middle finger on the fifth fret on the A string. Play the F note with your first finger on the fourth fret on the D string.
And play the A note with your pinky on the seventh fret of the D string. This is an extremely common fingering pattern which may easily be moved higher, lower or across the fret board. This is most desirable because you don't have to keep searching your mind for the correct notes to play in any given situation, you can just rely on fingering patterns which you've already learned and which are easily transposable all over the fingerboard.
It's possible simply because you're not using any open strings, which, in general, is a good idea. So, you've played the D, F and A notes as above, the 1st, 3rd and 5th positions of the D major scale. Play them a half dozen times using the pattern above. Of course, forwards and backwards. Now, instead of playing the F and A notes where you've just played them, in your next sequence of three notes, play the D as above but now play the F note with your first finger on the second fret of the E string and then play the note, A, with your pinky finger on the fifth fret of the E string.
Repeat this pattern a few times switching the D note fingering to your pinky. This second pattern is, for bass players, an 'inversion' of the first pattern. You've inverted both notes, F and A, 3rd and 5th positions, having played "upper notes lower," see definition, last page. Play the two patterns back to back. Play this a half-dozen times. Play the variation D, F , A, F. Move these 'positional fingerings' to several other locations on your fret board. Numbers In the first pattern, the notes D, F and A are the 1st, the 3rd and the 5th positions of the Dmaj scale.
That is, usually we visualize the positions as going upwards to higher notes. In an 'inversion,' as bass players, we often but not always visualize the notes as lower than the 1st position or tonic note. In going downwards, inversions, we count down: A third up F is a sixth down also F but an octave lower.
To reach the inverted A note, how many down must you count since the usual A note, the 5th position, up, is counted up as 5? How is this inversions useful? Well, inversions extend your range and choices of notes that you can play and once you get the hang of regular upward moving fingering patterns and then inversions, you won't bother counting any more, you'll just know the 'positional fingerings'. Very important idea!! Also, inversions help you to play lower notes.
It's your job as a bassist to generally play the lowest notes possible, to be the support of the music in the ranges above the bass. The bass holds up the band. Positional Fingering We must make a distinction between the musical use of the words, 'position' and 'positional'. The word, 'position', means to label with a number a unique placement in a structure or a sequence, a place occupied by a note in a scale ' and 'positional,' means 'placed, set in place or in a place' as with a sequence of notes that are played in the same way regardless of where on the fret board they are played.
By this latter term, 'positional,' I mean 'positional fingering'. Positional fingering is what bass playing is all about. I cannot emphasize this enough. Inversions are just other forms of positional fingering. You'll notice that almost all positionally fingered patterns can be played within a fret 'box' of four to six frets and usually on only three strings at a time within that box.
Of course once you reach this point, it'll become clear to you that it's time to abandon using open strings for the most part. Why don't you review the previous information now. Play around on your bass with these ideas and fingering patterns. There are some additional things: These are learned by feel. Or maybe, mechanically, by repetition.
Also, you will become infected by the Rock musician's eternal Quest for Tone! Tone in this context is how a note sounds.
It's produced by combinations of all the techniques that you pick up by practicing as well as listening to songs as they're played on CDs or the radio, by trying suggestions that are given to you by other players, by trying different effects which can be obtained from both effects devices as well as by the manipulations of the strings by the fingers of both of your hands as you play see the techniques in the Appendix. Of course tone is also created by turning the knobs on your amplifier.
This is where you begin to improve your sounds and create your own style s. I won't go any further into music theory or technique because this stuff is up to you - what you like or dislike, who begins to influence you musically and what directions you want to go in.
All that I present in these basic lessons is designed to bring you to the point where you can know some basics and actually know what you're doing while conversing with and playing with other musicians. I might add that knowing this stuff will help you if you decide to switch instruments, too. All this scale and chord stuff is used by everyone on all other musical instruments. Information that helps.
When playing notes in an upward or ascending direction, when you get to the 7th, play the major 7th in major scales - in minor scales, of course, play the minor 7th and when playing notes in a downwards or descending direction, when you get to the 7th which will be more quickly than when playing in an upwards direction , play a minor 7th even when you are playing within a major scale or chord - it just sounds better!
Of course if you're playing within a minor chord framework, you'll also use the minor 7th position note when playing in a descending direction.
Lesson V - more on chords.
This information is a l i t t l e more advanced. While you're learning this next lesson please continue practicing things like:. Use at least the first two fingers if plucking. Try alternating your thumb with your plucking fingers.
Build up some speed. Use down and up strokes if you're using a pick. They are the same for bass.
More on chords. Why do you need to learn more about chords when a bass player doesn't play chords? At least not in the sense that a guitar or organ or piano player plays chords, by striking three or more notes simultaneously or very close to simultaneously.
Well, what do you do when the organ player or guitar player says she's playing a minor 9th chord? Or a diminished chord?
Or a major 7th? Or a 7th flat 5th? Or an 11th? Or shock! The answer is: You can do that! With a bass!
And by using one or another of the techniques in the Appendix and by choosing which bass notes to play to emphasize one feeling or another in the overall music structure you can create moods and emotion in the music! You can be gross or be very subtle. Bass has a lot more going for it than just thumping along with the drummer's kick drum which is, of course, always a very good idea no matter how cool your playing gets.
This is a very important Rock basic, this coordinating with the drummer's kick drum, one which you ought not ever forget. In the Rock musician's eternal 'Quest for Tone' it also means loosely the bass or treble sound, the texture or scratchiness or smoothness and roundness of the note, the 'punchy-ness'.
So, if someone is playing, say, a C chord and changing to an F and a G, you have a pretty good idea what to do, right? Let's say that the guitar player says, "Let's put an A minor 9th in here. Well, you know, the A tonic note can never be wrong. So you start with that. Then you know the 5th E sounds good most of the time so you throw that in. So far so good.
Sounds good! But a little simple. So you question your knowledge base in your mind: So you know where the minor 3rd is because you know that you just flat the major third. Now you've got three good notes! But what else can you do? Well you now have the chance to learn from reading the info below that 1 any minor 9th chord has a minor 7th a flatted major 7th in it. So you think - the major 7th, a G still talking about the A min 9th here and flat it to the G note, maybe higher than the tonic note or lower than the tonic an inversion , a lower G note two frets lower than the tonic.
But what's this 9th??? Well, a 9th is the next whole-step beyond the octave, the 8th, in this case, the B note, one whole-step above the octave A note. An inversion of that is the B note just two notes two half-steps above the tonic.
Remember, in our major and minor scales? We had the 1st, 2nd, 3rd, 4th, 5th, 6th, 7th, and 8th or octave? Well now, we extend beyond that to include the 9th, l0th, 11th, 12th and 13th. The 9th, as we saw above, is two half-steps or a whole-step above the octave. Its inversion is the 2nd. Play the 9th and 2nd positions in each scale, the A natural minor and A major.
I mean play the scales and add the 9th. When you play the 9th, immediately play the 2nd. As for fingering, since you're using fingering patterns as you learned from previous pages to play the scales, just expand the use of the 'box', the grouping of frettings within four or five frets vertically, to include notes on the next highest string. If you're already using the highest string, then move your tonic note, the 1st position, to the next lower string but higher up on the neck.
Or try using an inversion. Discover just where these new positions are relative to the pattern s you already know. The l0th which is not really used in chord nomenclature very often because of the powerful harmonics of the 3rd - the third overpowers the l0th so we don't usually add a l0th to a chord , the l0th is four half-steps or two whole-steps above the octave 8 th.
Its inversion is, of course, the 3rd. You can see a pattern developing here.
The 11th is five half-steps above the octave and is the octave of the 4th. Play the scales and add the 9th and 11th. After playing the 9th play the 2nd and after playing the 11th play the 4th. The 12th isn't used, again, as in the case of the 3rd and the l0th because of the power of and powerful harmonics of the 5th.
The 12th and 5th are inversions of each other. The 13th is equivalent to the unflatted 6th but an octave higher.
If you've come this far, you probably have a firm grasp of where on the fret board, of what part of that 'box' pattern you learned. Play both scales and add the 9th, 11th and 13th and each of their lower octaves, the 2nd, 4th and 6th. In the natural minor scale use a flatted 6th and a flatted 13th in keeping with the definition of natural minor scales.
In the major scale, the melodic minor scale and our 'Rock minor' back eighteen or twenty pages ago , use the unflatted 6th. The above info is useful of course. It's also an example of how to play notes which go with the extended chord structure s that the other musicians are using. Here are some tab diagrams or charts for the 9th, 10th, 11th, 12th and 13th positions. The fretting fingers horizontally across the fingerboard stay within 4 frets vertically except for the two highest positions, the 12th and 13th.
Since the 10th and 12th are rarely used except as connecting notes you only have to go out of the box for one note, the 13th. Please say the names of each of these notes as you play them. You could sing them, too, as you play, an octave or two higher. D 7 to 9 — slide up 3rd finger A D 7 to 5 — slide down 1st finger A Don't worry about the lower notes for now.
Right now, this is about the 9th, 10th, 11th, 12th and 13th positions which are higher than the notes in the scale in the first octave. Maybe even more important than the fixed notes.
Sounds silly? You could play all wrong notes and by using various techniques make them the right notes and the best sounds for the song! Of all the things that could be practiced every day, working a technique or two into your everyday playing is the most important single thing that you can do. Chords and Chord Groups Below is how you create major and minor chord-based bass note sequences. These are notes that you have the option of playing.
You can include them all or leave some out. But for now play them all. Further on in this section is a list of how to create many other chords and, for the bass player, this is also a list of the notes which can be selected but don't have to be selected when you're playing the notes in chords and trying to influence the sound of a piece in one way or another.
But for now, play them all so that the harmonies of the individual chords become familiar and you can actually hear the chords in your mind even though you're playing separate notes. From here on I will refer to the positions by number and omit the ths or rds or nds after the numbers. I advise you to spend a lot of time on this section, maybe five days, and play the notes of many different chords using each of these ideas, below, which extend or alter the structures of chords.
Then play the major 7th succession of notes see the chart beginning two pages forward , then the major 6th succession of notes, then the major 9th succession of notes, then the major 11th, major 13th, then the minor 6th, etc. Constructed by adding on a major or minor third beyond the existing chord's notes. The 7th is a 3rd four half-steps beyond the 5th. The 9th is a minor 3rd three half-steps beyond the 7th. The 11th is a minor 3rd three half-steps beyond the 9th.
The 13th is a 3rd four half-steps beyond the 11th. Most often used on the 5th and 9th position notes but sometimes on higher numbered positions, too. Just one or two at first. You might also want to buy the CD or cassette that has the song s on it.
Chord Groups There are three basic groups of chords: Major chords are characterized by having a 3rd; minor chords have a b3rd; dominant chords have a b7th, again, using the major scale positions as basic reference points and defining the minor and dominant 7th scales and chords in terms of the positions of the major. The dominant 7th group has many more chords. There is a fourth group, the augmented and diminished group augmented means 'added to' or sharped and diminished means 'subtracted from' or flatted b whose chords are characterized by having one or two altered notes.
This group has very few chords in it and is less important for that reason. You will, however, run into augmented and diminished forms of chords so please understand them in their group, below. LISTEN carefully as you play to get your ears attuned to the differences in these successions of notes.
By going through these formulations mentally and playing them on your bass you'll slowly become familiar with them, patterns will become more apparent to you and you'll absorb them rather than just memorizing them. Remind yourself to do this: For example, if you play the notes C, E and G, mix them up a bit.
Add a 6th. Add any other position s. Add some fingering techniques in the Appendix. You've learned seven or eight fingering techniques by now haven't you? It's very important to spend this much time on this!! Five days of this and it'll blow your mind how much you've improved!!
Positions Note: If the 7th were not present the chord would be called an 'add 9th. If the major 7th is in the chord then the chord is called a major 9th. It's named or labeled by its highest numbered extension. If no 7th is present then it would be called an 'add 9th. The chord is called the 11th if the 7th is present. Minor group: Positions minor 6th b This is a case in which the 6th is not flatted to the natural 6th as is done in the natural minor scale. Dominant 7th group: When the b7th is present it is common to label a chord by the number of its highest extension.
Co or Abo diminished 7th bb5-bb7 A double flatted 7th, - equal to a major 6th. If it has no 3rd it is neither major nor minor. The suspended 4th chord, most often played without the 3rd present, is used a lot in Rock music!
Many musicians prefer to use it as a substitute for chords with 3rds in them because it gives the lead singer or instrumental soloist s more flexibility since it is neither major nor minor. The major 3rd highly defines a structure and many musicians like to do away with committing so heavily to a harmonic structure that's so narrowly defined or restricted as with the use of a major 3rd.
As you can see sometimes chords can be notated in more than one way. This may seem confusing but most of the time it really isn't because once you get the hang of all this chord nomenclature, a glitch in the labeling won't matter very much to you at all.
When you're playing alone, sometimes you just have to make an educated guess. When playing with other musicians the best choice to make is simply to ask the others what note or position they're using. As you can see, there's no end to the chords that people can invent. The only test as to whether a chord or sequence of bass notes is valid or not is whether or not it's useful, that is, whether or not it sounds good in the context of the rest of the music structure around it.
As you can see, too, there are clear patterns to all this. Patterns of what positions using the major scale as a reference point to sharp or flat depending on the names that are given to the chords. You don't have to actually memorize any of this. With time, it'll all become second nature. Repeat the above exercises for each of the groups I hope that you can see them as little games. It's been very important to have spent so much time on this. One other thing that is useful to know and which might have popped up in your mind as a question when going over the above material is this: Well, no, not necessarily.
Take the extended chords for example. They can be played by your guitar or keyboard player without the tonic note or the band can allow the tonic or root note to be played by another instrument like a saxophone or harmonica.
Which is where you come in. You play the 1st position when others are leaving it out or maybe don't play it - at your option. Leaving out the 1st position can be fun and lend an air of the unexpected to the music! Reggae bass players do this frequently. Slash-chord notation This leads to another idea about notation which you ought to know: Chord Progressions Definition: Advanced Scale Concepts For Guitar. How to Draw Anime for Beginner.
Cartooning for the Beginner. Classical Masterpieces for Bass. Concepts for Bass Soloing. Cutting Edge, Advanced, Students' Book. Jazz Improv for Bass. Sonata for Guitar solo Guitar Scores. Nuevos estudios sencillos for guitar Guitar Scores. Guitar Electronics for Musicians Guitar Reference. Compositions for the guitar Guitar Scores. Advanced Scale Concepts and Licks for Guitar: Private Lessons.