Q: I recently bought a 6-string bass and started working on playing chords. How should I voice more complex chords (e.g. Gm13) using few (3 to 4) notes, while maintaining the quality of the chord?
A: It is important to note a few things when doing this. Much of this is learned by doing it wrong and having someone correct you, but you should learn the difference between – for example – a 6 chord and a 13 chord.
Yes, the 6 is the same note as the 13, but they imply different things.
If it’s a 6 chord, that means that you should replace the 7th with the 6th.
If it’s a 13 chord, that means that the 6th is a “color tone”, and is used in addition to the 7th (which is flatted typically on a 13 chord!)
That’s just one example, but experiment with every possible voicing you can think of (they don’t always have to contain the root, either!)
I love to explore variations on a chord shape and, to do that, I will often:
- Experiment by moving one note in the chord up or down to another note in the scale to see how it sounds.
- Retain a chord shape but move the root somewhere and, if I like the sound, figure out what chord that might be outlining or implying. (for example moving the root of a C7#9 chord by a try-tone can give you a F#13 chord shape). This is one of the examples in the PDF.
Download this PDF, and you’ll find a few chords to try:
- The 1st (Maj9) is a little hard to finger but has a beautiful sound (Matthew Garrison uses this chord a lot)
- The 2nd (min9) is easier as you can bar the top and bottom notes. This might be my favorite chord on the bass.
- The next two are chords using the 6th (or 13)
- and, finally, a Maj7#11 voicing that I like and is easy to play.
Remember: You can always add or subtract notes. You can always substitute notes from within the scale. Just be sure to always explore the sound of the chord and also try to see the relationship to the chords around it in the tune.
The key is exploration. Find sounds you like and experiment with all scale tones within a chord to see how they affect the sound of it.
Note: To make this more accessible for everyone, my examples in the PDF will be using the tab for a 4-string (along with notation) but keep in mind that you can take any note and move it up (or down) an octave to span 5-, 6- or more strings. This is how I came up with many of the chord shapes that I use on my 6-string bass, and they’re just like my 3- or 4-string shape, but with notes transposed an octave. Basically, if you understand how chords are constructed, employing the use of upper structure tones (9, 11, 13) is as easy as moving one note by a step or two.
Readers, what would you recommend? Share your thoughts in the comments.