Music Theory Archives

Learn how to practice descending triads on bass using chord tones, fretboard shapes, and a groove-based exercise in the key of D.

Discover how Bb major and open D tuning unlock the D Phrygian sound for rich, dark-toned bass riffs and modal creativity.

For any beginner or intermediate bass player getting into music theory, understanding intervals is one of the basics that should be covered. This lesson breaks it down while keeping it groovy.

Let’s bring in the new year with a touch of theory and chord building on the bass. This lesson is all about 10th chords... what they are, how to play them, and a quick exercise to help you practice major and minor chords.

In her new “Keep It Groovy” lesson, Ryan Madora digs into the iconic bass line on Journey’s “Don’t Stop Believin’.” If you have any aspiration to play in a bar, wedding, or corporate band, this is definitely a bass line that you need to know.

The ii-V-I is one of the most common chord progressions in music. As bassists, we have a horizontal view of the harmonic movement. Today we’ll see how other instruments view the progression and implement voice leading to build interesting lines.

Olivier Babaz is back with his second entry in his “Bass & Creativity” lesson series. In this video lesson, he’s focusing on exploring the sounds, colors, and options through improvisation within the Dorian mode.

In this video lesson, we'll practice and explore the harmonic possibilities of combining bass playing with one or two top notes. Follow along with the video and topic outline.

A reader sent Damian one of the most honest questions we've seen, focused on his lack of understanding theory and his desire to change that. Check out what Damian has to say on “Where To Start with Music Theory.”

Ryan’s new “Lightbulb Moment” started out with a question: “Is there one song that contains an exemplary amount of bass playing knowledge?” She picked one and broke it down completely. (The tune may come as a surprise!)

In this lesson, Lorin Cohen illustrates how to use one minor pentatonic scale over five chord types. In this case, using the B minor pentatonic scale to play over a progression. This illustrates what Lorin calls a “vertical” approach to soloing, where we create lines that move swiftly up and across the fingerboard.

A reader emailed Damian describing his struggles with music theory and asked for his thoughts on the importance of it. While there are lots of ways to look at this, Damian breaks describes some paths to take in your musical growth.