Search Results for: chords
109 results for “chords”
Lesson: Minor Tetrachord Patterns
In the last tetrachord lesson we went over the concept of tetrachords and how they change the way we think about scale patterns. In that lesson the focus was the major modes and a question was posted asking about the melodic minor and harmonic minor modes. Therefore this week’s article will go over tetrachords in the melodic minor and how...
Live looping: Thinking Outside the Box
I was in a music retail outlet recently where I purchased a Boss RC-20XL Loop Station. A great piece of kit, a glowing review of which I will post separately. What occurred to me, as the eager shop assistant demo’d the device, was that live looping may have become a little typecast in the minds of many musicians; i.e. a...
Lesson: Scale Patterns from Tetrachord Combinations
We normally think of scales in terms of eight-note patterns and treat them as a unit. There are the standard modal forms for both major and minor, the bop variations, blues variations, but all of these still cling to the paradigm of an octave based scale unit (even if the total number of notes in the scale changes). As bassists...
Creative Looping Within Your Means
If you can plug it in or mic it up, you can loop it. That is the conclusion I’m fast coming to when experimenting with live looping technology. Although another very important rule of thumb is, “Keep it simple, stupid” :) I wanted to put a few short thoughts together on having a creative mindset when using the looper, using...
Optimized Techniques for Marathon Gigs
How many times have you played a continuous four hour gig? Have you ever had to go from the studio to a gig? Or play two gigs in one day? If you have, you understand the important of having an optimized playing technique. If you have not, and are going to try, you need to prepare yourself to be as...
Using Triadic Harmony in Solos
The foundation for harmonic structure is the triad. They are the basic chords of Western harmony, and using them in a solo provides a sense of structure and strongly outlines the underlying chords. Do not be fooled into thinking this is some boring drill where you arpeggiate the triads from chords in a lead sheet – there are lots of...
Lesson: Basic Line Construction Types
After doing last week’s column, I’ve been thinking more about approaches to creating lines connecting ii and V chords. I’d like to revisit the subject and delve into some basic line construction types. Each particular technique constitutes parts that become interchangeable and apply to a wide range of bass line situations. Throughout these exercises we’ll be going back and forth...
How To Harmonize Melodies
At some point in your musical career you are bound to be given a melody line… and nothing else. Maybe it’s one you have created, it might just be an idea someone else is working, or perhaps it’s the melody to a standard you have to learn on the bandstand. Regardless of the circumstances the bottom line is that you...
Dynamics and accents: Walking
Yes, accents are good. Dynamics are good. Good pitch, dynamics, note choice and use of register are the icing on the musical cake; they separate the artist from the journeyman. Today we’re going to look at accents in walking bass. Accents are the bones of propulsion. How do we use them to best effect? What beats should be accented? We...
Lesson: Pattern Recognition in Jazz Standards
Believe it or not pattern recognition is extremely important to being a successful jazz player. There are a few common chord progressions that will pop up in many tunes – having an arsenal of lines or phrases for these different pattern sets can save your neck on the bandstand if you don’t know the tune. In this lesson we’ll go...
Lesson: Accents, Dynamics and Balance
We’ve probably heard the word “dynamic” used to describe the work of musicians from time to time. It’s a compliment. Dynamic equals ‘interesting.’Changes in energy and intensity communicate feeling and add contrast to performance, and can add a sense of momentum and “swing.” Music without dynamics is dull; it sounds mechanical; without the injection of human energy, it might as...
Melodic Line Construction: “Oppositionality”
When we hear the word “line” in the context of “bass line” or “melody line” we tend to think in terms of scales and/or chord tones as we are learning theory. This is good. There is a further level of thought about lines that has to do with the notes not in the scales or chords; the use of non-chord,...