Seriously, I've never used them before and I now need to use them. So how do I use them?

Left to right, top to bottom.

Left to right, top to bottom.

yep....and play the chords indicated in their corresponding sequence.

the responses so far are pretty trite, but accurate.

usually you just tap your foot, follow the bars, and improvise a bassline based on the chords, and avoid stomping all over the vocal/lead melody.

If you don't know how to improvise based on the chords, time for some theory study.

Important to keep in mind if you see something like this - E/B - it means E with a B in the bass. You're supposed to play the B, and if you decide to add some chord tones besides the B, remember to play chord tones of E, not B.

Also if it's a Nashville chart it will probably read I - iii - vi - ii - V - I (or something like that), rather than using the chord names. upper case = Major chord, lower case = minor chord. If the song is in C, the I = C, V = G, ii = dminor, iii = eminor, vi = aminor.

Study some theory.

It's doubtful there would be any Nashville chords... I've yet to see them in the UK, although I'm sure there would be some instances where they are used, probably in the country music scene.

If you're unsure what the chord symbols mean, play the root note.

G
Gm
G7
Gmaj7
Gmaj7#11
Gm7
G7#9

You'll get away with playing a G in all those cases. You could even get fancy and play the fifth (D) as well, unless you see b5, #5, o, or +, each of which I think would be rare in your specific circumstance.

If you want to look really clever, add the thirds, unless you see the symbol 'sus'. You've got two options: if there's an 'm' in the chord name, the chord has a minor third, otherwise it's a major third.

In every case, the root note is the strongest choice. But it might get boring if that's all you play.

Its also a good idea to know how charts are structured.

http://www.music-mind.com/Music/mpage6.HTM

I love chord charts, no brain strain reading notes. First know what style the music is in. What is the time signature (if any) is it cut time (Latin chart)? Next check out the roadmap of the chart. Look for break or rhythmic figures you might need to catch. Any of ink dynamic markings, fermata's, maybe english things like "funky Barbarian polka." Any chords you aren't familiar with, spot any shapes of bass lines like slash chords that make up a scalewise bass line, or pedaled bass. Okay you've looked at it and should be no surprises. If a second or so ask the drummer what kind of feel he's going to play? He might sing a bar or two the feel. That should give you an idea where to start your bass line. From this point on its all eyes and ear. Listen to what's going down come up with a line that fits. Remember simple is better than stepping on a body part. Keep eyes open you line keeping drummer happy, keep band leader happy. Cool groove on and develop the line as you feel more comfortable with the tune.

Bring a PENCIL not pen to make corrections or make reminder marks. Erase when gig is over if only a one time deal that's why pencil. I usually keep a regular pencil and a red pencil in my gig bag for exactly this reason.

maybe english things like "funky Barbarian polka."

Hell yeah! :D Of course the only time you'll ever see that is if you've been called for a kazoo session :scowl:

It's doubtful there would be any Nashville chords... I've yet to see them in the UK, although I'm sure there would be some instances where they are used, probably in the country music scene.

If you're unsure what the chord symbols mean, play the root note.

G
Gm
G7
Gmaj7
Gmaj7#11
Gm7
G7#9

You'll get away with playing a G in all those cases. You could even get fancy and play the fifth (D) as well, unless you see b5, #5, o, or +, each of which I think would be rare in your specific circumstance.

If you want to look really clever, add the thirds, unless you see the symbol 'sus'. You've got two options: if there's an 'm' in the chord name, the chord has a minor third, otherwise it's a major third.

In every case, the root note is the strongest choice. But it might get boring if that's all you play.


+ 1 on that. If you don't know any chord theory, you're going to definetely want to stick with footballs on the roots. If you know your chord theory, however, you can create a more interesting and fun to play basslines. You can play the arpeggios of the chords to make a walking line and such, but like the other posters said, you have to know the style of the song to determine that anyway. Again, if you don't know your chord symbols, stick with the root notes. If you know em', play some more intersting stuff.

I never really got much practice with chord charts, as in the beginning of my playing I only played in original metal bands who never EVER write down their music, and my high school orchestra, where we read standard notation. Recently I've bene playing in groups with chord charts, and I like it alot better. Less fumbling around with individual notes!

I love chord charts/lead sheets too. It leaves the line very open to interpretation. Usually if a line is written out in standard notation, it generally requires you to play it as written, or at least close to as written. With a chart, I can make it mine.

You could even get fancy and play the fifth (D) as well, unless you see b5, #5, o, or +, each of which I think would be rare in your specific circumstance.



It's still a fifth - even if it is flat!

So just about every Bossa Nova and a lot of Jazz charts have b5 chords in them - but that's why you need theory - you can still play root - five - just a flat 5 !! :p

If you really want to get to grips with playing chord charts, the very best thing you could do is to have a go at learning walking bass... That's even if you have no desire to play walking lines, jazz or whatever.

Jamerson was arguably the biggest influence modern bass playing has ever had, and if you analyse his basslines, they are overflowing with walking concepts. Take a look at Ed Friedland's book Building Walking Basslines.

Anyway, to try and clarify my rambling response further up in the thread...

A successful bassline always outlines the harmony, and many of the most successful basslines do this very simply. The clearest way to outline a series of chords is to play strong chord tones on the strong beats of the bar.

In 4/4, the strong beats are usually 1 and 3, 1 being the strongest:

|| 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 ||

The strongest chord tone is the root, followed closely by the fifth.

When you're reading a chord chart and you see Bbm7, the clearest way you can tell the world that the band is playing Bbm7, is to play a big fat Bb on the 1. The exception to this is when you see a slash chord, as Brad mentioned, where the intended bass note is behind the slash... If you see D/F#, you'll want to play an F#.

The rest of the bar, you're going to want to take cues from what everyone else is playing to determine when you play other notes. You might feel like playing only on the 1, you might feel like playing a funky 16th note line... as long as what you're playing compliments what everyone else is playing and reinforces the intended feel of the piece, you're fine...

As long as your line centers on the chord tones, you can use non-chord tones to pass between them, but only play chord tones on the strong beats, otherwise the harmony will become weak and ambiguous.

Remember that you don't have to hit every chord tone. The overall harmony is created by all the musicians and it's often sufficient (indeed preferable) for the bassist to stick to roots and fifths. Simple is often the best.

It's still a fifth - even if it is flat!

So just about every Bossa Nova and a lot of Jazz charts have b5 chords in them - but that's why you need theory - you can still play root - five - just a flat 5 !! :p

Yep, but we're talking about a specific situation here. Fassa is playing in a Worship band that (presumably) aren't going to be playing much in the way of jazz.

But my point was that you can still play 'root - five' if there is a b5 chord, whereas you said not to!! :p

Yep, but we're talking about a specific situation here. Fassa is playing in a Worship band that (presumably) aren't going to be playing much in the way of jazz.

Lots of flat 5s in Gospel, and a lot of the above referenced slashed chords, even in the simplest worship music - Chris Tomlin comes to mind - where the guitar chords will be moving around and the bass will stay on the same note. An example would be Israel Houghton's Lord You Are Good (not really very simple). The chart will read E - E/B - E/D - E/A - E on the verse and on the chorus there are no slashed chords, so the bass follows the chord changes. TP plays more complex lines, but the E is always there on one. I don't play his line, choosing to make the song mine, but the E is always there on one.

Lots of flat 5s in Gospel,

I stand (or sit) corrected.

Fasa, if you see any of these you'll have to play a b5:

b5
ø7
o7

But my point was that you can still play 'root - five' if there is a b5 chord, whereas you said not to!! :p

Yeah, yeah... see how trying to come up with a simple explanation made everything horribly complex! :bawl:

Important to keep in mind if you see something like this - E/B - it means E with a B in the bass. You're supposed to play the B, and if you decide to add some chord tones besides the B, remember to play chord tones of E, not B.

Also if it's a Nashville chart it will probably read I - iii - vi - ii - V - I (or something like that), rather than using the chord names. upper case = Major chord, lower case = minor chord. If the song is in C, the I = C, V = G, ii = dminor, iii = eminor, vi = aminor.

Study some theory.

Except it won't be in roman numerals if it's a nashville number chart-it'll be in arabic numbers. This has to be one of the hardest things to explain on a forum.
-Cmoney

You're right. my bad. 6/5 = 6 chord with the 5th of that chord in the bass...

Also if it's a Nashville chart it will probably read I - iii - vi - ii - V - I (or something like that), rather than using the chord names. upper case = Major chord, lower case = minor chord. If the song is in C, the I = C, V = G, ii = dminor, iii = eminor, vi = aminor.

Study some theory.

Just a point of clarification, if it's a "Nashville Number" chart it would most likely read:

1, 3-, 4, 5, 1
or
1, 3m, 4, 5, 1

The underlying theory is exactly the same.
Every "Nashville" chart I've ever had to use used actual numbers and not the Roman counterpart.
Here's an interactive example from Chas Williams website (http://nashvillenumbersystem.com/SOP.html)

If you're trying to get a handle on reading chord charts, a fairly easy way to get some learning under your belt is to go out and buy a piece of sheet music ... you know, the kind they sell at GC or Sam Ash or whatever your local music store is. Get a piece of sheet music for a tune you're familiar with, even if it's not the exact type of music you play.

The sheet music will give you the chords noted on the top of the staff, usually the melody written out in notation below that, and then the words below the staff. As you play along with the song, you'll see how the chords fit into the measures and get a little comfortable with what the symbols look like.

Chords charts are really pretty easy, you just have to get used to using them .... :cool:

Are jazz chord charts a whole different ball park to normal chord charts?

Are jazz chord charts a whole different ball park to normal chord charts?

Nope. Same thing.

Just wanted to point out that in many cases chord charts will contain some bars with standard notation or rhythmic notation in the places where it's the arranger's intent to have you play a specific line or kicks with the band. In other words, if you can't read, at the very least, rhythm notation, you're not going to be able to read every chord chart you could come across.

. . . .you're not going to be able to read any chord chart you could come across.

You mean "every", not "any", correct? Just don't wanna scare the OP off too much:)
If it's rock/pop you'll prolly be given very basic chord charts with nothing fancy, and certainly no notation, but yeah, learn as much as you can 'cause ya never know!
As for notation, I can't read myself out of a paper bag, but I know my theory inside and out, and often end up writing the chord charts for people I work with, so it all depends.
About the Nashville numbers approach---one of the best things I ever did was start writing my own charts out that way for bands I worked with, especially singer-songwriters who were prone to changing keys on the fly to try and find the best key for their voice. I LOVE numbers charts!

Thanks, pbass2. I did mean "every" and fixed that.

I don't agree that pop/rock charts will certainly not have any notation. Pop/rock music can have kicks and breaks and, when arranging and writing chord chards, you'll need to use rhytmic notation if you want to be sure they're played. If you're handed a chart with no rhythmic notation but the tune has some kicks or breaks in it you'll probably want to have some system of writing them in so that you're sure to play them when reading the chart in a performance.

Yes, the Nashville number system is fabulous and can be a real time-saver. It can likely have rhythmic notation as well. :)

If you're handed a chart with no rhythmic notation but the tune has some kicks or breaks in it you'll probably want to have some system of writing them in so that you're sure to play them when reading the chart in a performance.

Definitely---you'll at least want to use your own kind of "short hand" whatever that might be, until it's all committed to memory. But at the end of the day, as I discovered as a weak reader, whatever little "cheat-sheet" system I came up with for that sorta thing is still never as efficient as real notation:)