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D min7
II
E min7
III
F Maj7
IV
G7
V
A min7
VI
B min7 (b5)
VII
Exercise 1.
Make sure to start slowly and learn the shapes. This does not need to be
done with a metronome, drum machine or click.
Once you have learned the shapes and your hand is comfortable with the
movements, practice along to a click or a playalong drum track. Start slowly
and aim for a good tone, even dynamics and a steady, solid feel.
Enjoy practicing and tune in next week!
Dave
D min7
II
E min7
III
F Maj7
IV
G7
V
A min7
VI
Exercise 2.
B min7 (b5)
VII
In the first two lessons, we started all of our shapes from the root note. As
bass players, we are taught that the root note is very important and that it
helps us to compliment whatever chord the guitar or piano is playing. This is
true, but we can use other notes within the chord, which are perfectly
acceptable, help to compliment the sound of the chord, but add a little
harmonic twist.
Exercise 3.
Select one of the chord types that we are using (e.g. min7)
Begin with C as your root note. (I.e. our 1st chord will be C min7)
Start on the root note and play an ascending 4-note arpeggio. This is a
root position arpeggio.
Now start on the 3rd of the chord and play an ascending 4-note
arpeggio. This is a 1st inversion arpeggio.
1. When the shapes feel comfortable and familiar in the key of C, play them in
all 12 keys, moving around the cycle of fourths.
2. Next, try calling out the name of the interval that you are playing on each
note.
(E.g. Root, Flat third, Fifth Flat Seventh etc..)
3. Once you are comfortable and have the intervallic structure of each chord
type in your head, call out the names of each of the notes that you are
playing, as you play them. (E.g. C, E Flat, G, B Flat etc)
4. Make sure to start slowly and learn the shapes. This does not need to be
done with a metronome, drum machine or click.
5. Once you have learned the shape and your hand is comfortable with the
movements, practice along to a click or a playalong drum track. Start slowly
and aim for a good tone, even dynamics and a steady, solid feel.
Enjoy practicing and tune in next week!
Last week we looked at Root position Chords and 1st inversions. This week,
were going on to our 2nd and 3rd inversion shapes.
Exercise 4.
Select one of the chord types that we are using (e.g. min7)
Begin with C as your root note. (I.e. Our 1st chord will be C min7)
Last week we looked at our Root position and 1st Inversion shapes.
This week, we start on the fifth of our min7 chord and play an
ascending 4-note arpeggio. This is a 2nd inversion arpeggio.
Now start on the b7th of the chord and play an ascending 4-note
arpeggio. This is a 3rd inversion arpeggio.
You may wish to play the 2nd and 3rd inversions from this weeks lesson alone
or create a sequence, where you play root position 1st inversion 2nd
inversion 3rd inversion (combining last weeks shapes and this weeks
shapes). Either is good, as we are initially just getting our hands around the
shapes.
1. When the shapes feel comfortable and familiar in the key of C, play them in
all 12 keys, moving around the cycle of fourths.
2. Next, try calling out the name of the interval that you are playing on each
note.
(E.g. Fifth, Flat Seventh, Root, Flat Third etc..)
3. Once you are comfortable and have the intervallic structure of each chord
type in your head, call out the names of each of the notes that you are
playing, as you play them. (E.g. G, B Flat,C, E Flat, etc.)
4. Make sure to start slowly and learn the shapes. This does not need to be
done with a metronome, drum machine or click.
5. Once you have learned the shapes and your hand is comfortable with the
movements, practice along to a click or a playalong drum track. Start slowly
and aim for a good tone, even dynamics and a steady, solid feel.
Enjoy practicing and tune in next week!
In weeks 3 & 4, we looked at playing each chord starting from any note in that
chord.
Starting from the Root:
Exercise 5.
We!ll start by moving the V chord - G7 through all of its inversions. This
means that we begin and end each time on familiar territory. I!ve
omitted the G7 Root position arpeggio because we!ve used that shape
in all of our previous exercises. You can add it in at the start of the
exercise if you like.
This exercise can be played two different ways. The note we start G7 3rd
inversion from is F, so we have access to it from the 3rd fret of the D string
or one octave below, from the 1st fret of the E String. Either way, you have
to move out of position, so both can be considered equally good options.
Once you have this idea down, you can move the D min7 chord through
each of it!s inversions, but keep the G7 and C Maj7 as root position
chords:
Finally, we!ll move the C Maj7 chord through each of its inversions, but keep
the D min7 and G7 as Root Position chords:
1. What I!ve listed here is just the tip of the iceberg. If you think about it,
we!ve used a very straightforward system:
2. All arpeggios Ascending. (Try them with all descending)
3. 2 Chords in Root Position, one moves through Inversions.
Exercise
01
02
03
D min7
Root Position
Root Position
Root Position
G7
1 Inversion
2nd Inversion
3rd Inversion
C Maj7
Root Position
Root Position
Root Position
04
05
06
1st Inversion
2nd Inversion
3rd Inversion
Root Position
Root Position
Root Position
Root Position
Root Position
Root Position
07
08
09
Root Position
Root Position
Root Position
Root Position
Root Position
Root Position
1st Inversion
2nd Inversion
3rd Inversion
st
Exercise
01
02
03
04
D min7
Root Position
Root Position
Root Position
Root Position
G7
Root Position
Root Position
Root Position
Root Position
C Maj7
Root Position
1st Inversion
2nd Inversion
3rd Inversion
05
06
07
08
Root
Root
Root
Root
Position
Position
Position
Position
1st
1st
1st
1st
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
09
10
11
12
Root
Root
Root
Root
Position
Position
Position
Position
2nd
2nd
2nd
2nd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
13
14
15
16
Root
Root
Root
Root
Position
Position
Position
Position
3rd
3rd
3rd
3rd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
Exercise
01
02
03
04
D min7
1 Inversion
1st Inversion
1st Inversion
1st Inversion
G7
Root Position
Root Position
Root Position
Root Position
C Maj7
Root Position
1st Inversion
2nd Inversion
3rd Inversion
05
06
07
08
1st
1st
1st
1st
Inversion
Inversion
Inversion
Inversion
1st
1st
1st
1st
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
09
10
11
12
1st
1st
1st
1st
Inversion
Inversion
Inversion
Inversion
2nd
2nd
2nd
2nd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
13
14
15
16
1st
1st
1st
1st
Inversion
Inversion
Inversion
Inversion
3rd
3rd
3rd
3rd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
st
Exercise
01
02
03
04
D min7
2 Inversion
2nd Inversion
2nd Inversion
2nd Inversion
G7
Root Position
Root Position
Root Position
Root Position
C Maj7
Root Position
1st Inversion
2nd Inversion
3rd Inversion
05
06
07
08
2nd
2nd
2nd
2nd
Inversion
Inversion
Inversion
Inversion
1st
1st
1st
1st
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
09
10
11
12
2nd
2nd
2nd
2nd
Inversion
Inversion
Inversion
Inversion
2nd
2nd
2nd
2nd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
13
14
15
16
2nd
2nd
2nd
2nd
Inversion
Inversion
Inversion
Inversion
3rd
3rd
3rd
3rd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
nd
Exercise
01
02
03
04
D min7
3 Inversion
3rd Inversion
3rd Inversion
3rd Inversion
Root
Root
Root
Root
G7
Position
Position
Position
Position
C Maj7
Root Position
1st Inversion
2nd Inversion
3rd Inversion
05
06
07
08
3rd
3rd
3rd
3rd
Inversion
Inversion
Inversion
Inversion
1st
1st
1st
1st
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
09
10
11
12
3rd
3rd
3rd
3rd
Inversion
Inversion
Inversion
Inversion
2nd
2nd
2nd
2nd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
13
14
15
16
3rd
3rd
3rd
3rd
Inversion
Inversion
Inversion
Inversion
3rd
3rd
3rd
3rd
Inversion
Inversion
Inversion
Inversion
Root Position
1st Inversion
2nd Inversion
3rd Inversion
rd
Exercise 7.
This week we are going to learn about the min7 (b5) chord (also known as
the half diminished)
As its name suggests, this chord shape is just like a minor 7 chord, but with
the 5th flattened. (I.e. moved down by 1 fret.)
Lets compare the 2 chord types:
Minor 7 shape (Root, b3rd, 5th, b7th)
Now that you know this shape, were ready to start looking at a song that uses
all of the chords weve learned so far.
The chord progression Ive used is based on the popular Jazz standard
Autumn Leaves and well be using it to explore some different options in
walking bassline construction.
For this weeks lesson, you simply have to play each of the arpeggios, starting
from the root note. The key here is not to play fast or even to make it groove
in time, we simply want to identify where on the neck each of the root notes
are and then play the correct 4 note arpeggio.
1. Work through these changes slowly and make sure you know your
shapes. As you improve, start playing it in time with a drummer, drum
machine or groove sample.
Enjoy practicing and tune in next week!
Exercise 8.
This week, we are going to explore ways of connecting together the chords in
our progression. The problem we have if we just play root position arpeggios
in every bar is that the last note of bar 1 and the first note of bar 2 arent close
together they dont make a smooth, flowing line.
Lets use 2 in a bar feel. This is where you play on beats 1 and 3. If youve
learned your arpeggios well, this exercise should be quite easy.
For every chord, start on the root note and then play the 3rd. (It will be a
Major or minor 3rd depending on the chord type)
For every chord, start on the root note and then play the 5th. (It will be a
perfect 5th on all the chords except the F#m7 b5 that has a b5)
Start to mix up the options here play root - 3rd on some chords and
root - 5th on others. Explore the possibilities.
If a chord lasts for 2 bars, you can simply repeat the root and 3rd.
If a chord only lasts for half a bar, just play the root note.
Ive written out the first 8 bars with a line that uses the root - 3rd pattern. In this
example, Ive always used a low root note and gone to the 3rd above every
time.
Although this type of pattern means a lot of position shifting, we are trying to
learn about connecting together chords. Ive marked in the nice connections
when we have a tone or semitone leading into the next root note.
Eventually, we will be able to connect together chords in position, but for now
the most important thing is knowing your root notes, 3rds and 5ths and being
able to confidently move between them.
1. Work through these changes slowly and make sure you know your
shapes. As you improve, start playing it in time with a drummer, drum
machine or groove sample.
Enjoy practicing and tune in next week!
Exercise 9.
This week, we are going to present six different options for linking up the first
four chords in the chart.
Again, lets use 2 in a bar feel. This is where you play on beats 1 and 3. Each
of the exercises has a certain shape or contour.
Ex. 01 is an ascending line that only changes direction in the last note
(if we are playing in position, we have to change the direction of the
line)
Ex. 02, 03 & 04 all create lines within a limited range e.g. 1 octave.
Ex 05 & 06 explore the possibilities missing up 3rds in the octave above
the root note and 3rds in the octave below the root note.
Instead of trying to learn these lines as a lick or pattern, try and focus on what
the notes are doing think more about creating an ascending line with 3rds
or playing 3rds within a small range.
That way, when you play over a different chord progression or play in a
different key, its much easier to translate the concept, rather than trying to
figure out new fingerings for a lick.
1. Play through these examples and then try some ideas of your own.
2. When you feel comfortable playing around with 3rds, start all over
again with 5ths.
3. Its a great idea for you to write out ideas that you have. Transcribing is
an incredibly valuable skill and it means you can build up a body of
work your own lines!
Enjoy practicing and tune in next week!