Help with inversion chord tone practice!

[woodchips]

Hi all,

I am trying to figure out the best way to go about practicing 7th chord arpeggios up and down the neck. There seems to be many different ways of approaching this, and I am quite confused on how to include proper positioning, utilizing all strings, going from the lowest note available, and going all the way up the neck for each arpeggio. Thank you for any feedback.

[Basshoofd]

Start with this:
Tutorial 6: How to practice Arpeggios « Scottsbasslessons

[woodchips]

Thank you, I'll give it a try.

[Art Araya]

Next try this exercise recommended by Damien Erskine. It's a good one!

Chord Tone Exercise | notreble.com

[woodchips]

Thank you, I'll try that as well.

[mambo4]

once you have a basic grasp of constructing arpeggios, I'd recommend Getting a fake book and follow the chords to actual songs, to see how chord tones behave in their natural habitat.

[MalcolmAmos]

Originally Posted by mambo4

once you have a basic grasp of constructing arpeggios, I'd recommend Getting a fake book and follow the chords to actual songs, to see how chord tones behave in their natural habitat.

Hitch hiking on what you said. I've just spent the better part of this afternoon with Scott and his videos on how to use arpeggios. And decided about fifteen minutes ago that I'll stick with my chord tone bass lines.

Lot of that has to do with the music I play and where I am on my bass journey. You make a good point, take what Scott has shown us to some actual chord sheets and use that to play a song.

FWIW here is what I came up with from Scott's videos.

Major arpeggio (maj7)
-------|-------|-------|-------|
-------|-------|---7---|-------|
---3---|-------|-------|---5---|
-------|---R---|-------|-------|

Minor Arpeggio b3 and b7
-------|-------|-------|-------|
-------|---b7-|-------|-------|
-------|-------|-------|---5---|
-------|---R---|-------|-------|---b3---|

Dominant Arpeggio 3 and b7
-------|-------|-------|-------|
-------|---b7-|-------|-------|
---3---|-------|-------|---5---|
-------|---R---|-------|-------|

Your thoughts on starting on different fingers as a placement vehicle. I see the logic, but not the merit. Should mention the hints on what finger to use when making the note we see in standard notation - I've never understood that. Skipped over that somewhere.

[Rick Robins]

Wood,
It helps if you know the triad inversions first.

Give this link a try..Jeff Berlin ..You cant go wrong.
Jeff Berlin - A Comprehensive Chord Tone System for Mastering the Bass 1987

One tool I found along the way that will break the bass player habit of going back to the root is this:
If a bassist throws the root away, lets use Am7, they could play the 7,3,5, / 3,5,7 / 5,7,3 of any 7th chord. What you will find is you are playing inversions of triads.
Ex: Am7 you would be playing CMaj triad inversions.

Now pedal an open A and insert the Cmaj traid inversions at will above the 12th fret. Your ear should hear what's going on.

Then try it with AMaj7 , then A7.

[woodchips]

Thank you for the great advice from everyone. The continuous arpeggio excercise is I think, what I've been looking for to be able to connect arp's to one another no matter what progression you are playing. It's practical practice as that's exactly what you do when you play over changes. I'm starting to get that, haha.
I can see this will take me months/years to get down, and as I am just starting in Cmajor have a long way to go.

[woodchips]

Rick,

Thanks for the exc. The exc. you described "throwing the root away" looks similiar to the Carol Kaye idea of stacking triads to each note of a 7th chord. Is that similiar to what you're talking about?

[anonymous122511]

REALLY Learning a tune