Question about 2-5-1 Jazz progression

[Fire-Starter]

So I started working on this today, the 2-5-1 progression. I played it in the key of C on the piano, then on the guitar, so my question is on the bass, if I wanted to solo over each chord, in this case in the key of C Major, I would play the following ....not so much from root to root, but ...

For the second note the D, which would be minor, I would play Dorian over it
DEFGABCD


For the five note the G, which would be Maj, I would play the Mixolydian.
GABCDEFG

For the first note the C, which is Maj, I would play Ionian.
CDEFGABC

Am I close or way out in left field? also I believe there are other modes I could play over those yes ?

Thanks for any help, I am really going to take more time to reading and chord structure etc, I am finding out it theory starts to make more sense when you can here/play the chords on the piano and guitar.

[TheBasicBassist]

In this situation, I tend to think more about emphasizing certain chord tones, or special intervalic relationships, rather than using a set scale. But you're, certainly, on the right path.

When I'm soloing over a progression, such as ii-V7-I, I'll often bass my lines off of the seventh chord triads(?), using things such as # or b 9ths, 11ths and 13ths. On dominant
7th chords, I'll throw in some aspects of a whole tone scale or using an octatonic scale based on the b9th of said dominant chord.

Listen to the greats, they will light you're way.

[MalcolmAmos]

Originally Posted by Fire-Starter

So I started working on this today, the 2-5-1 progression. I played it in the key of C on the piano, then on the guitar, so my question is on the bass, if I wanted to solo over each chord, in this case in the key of C Major, I would play the following ....not so much from root to root, but ...
For the second note the D, which would be minor, I would play Dorian over it
DEFGABCD
For the five note the G, which would be Maj, I would play the Mixolydian.
GABCDEFG
For the first note the C, which is Maj, I would play Ionian.
CDEFGABC

Am I close or way out in left field? also I believe there are other modes I could play over those yes ?

What you have described is Relative modes and you described them correctly.
Keep going you are on the right track.

Are there other things? Yes. You are working on relative modes right now keep going with that.

One thing. We speak of notes in Arabic numbers, 1, 2, 3, and we speak of chords in Roman numbers. So over the I chord you would/could play Ionian, over the ii chord you could play Dorian and over the V chord you could play Mixolydian. Got notes and chords mixed up.

Good luck.

[Fire-Starter]

Originally Posted by MalcolmAmos

What you have described is Relative modes and you described them correctly.
Keep going you are on the right track.

Are there other things? Yes. You are working on relative modes right now keep going with that.

One thing. We speak of notes in Arabic numbers, 1, 2, 3, and we speak of chords in Roman numbers. So over the I chord you would/could play Ionian, over the ii chord you could play Dorian and over the V chord you could play Mixolydian. Got notes and chords mixed up.

Good luck.

Kool, and thanks

[Richard Lindsey]

Originally Posted by Fire-Starter

So I started working on this today, the 2-5-1 progression. I played it in the key of C on the piano, then on the guitar, so my question is on the bass, if I wanted to solo over each chord, in this case in the key of C Major, I would play the following ....not so much from root to root, but ...

For the second note the D, which would be minor, I would play Dorian over it
DEFGABCD


For the five note the G, which would be Maj, I would play the Mixolydian.
GABCDEFG

For the first note the C, which is Maj, I would play Ionian.
CDEFGABC

Am I close or way out in left field? also I believe there are other modes I could play over those yes ?

Thanks for any help, I am really going to take more time to reading and chord structure etc, I am finding out it theory starts to make more sense when you can here/play the chords on the piano and guitar.

For what you're talking about, resorting to modes is kind of wasted effort. You can get everything you need at that level by just thinking in terms of (1) chord tones and (2) the key. That whole sequence is in C major, and it makes more sense for you to think of it that way than to think you need to be in three different modes.

Yes, there comes a point at which you might want to get more sophisticated with your chord-scales, and yes, it's possible to bring in all sorts of scales and modes that imply all sorts of additional harmonies, but at this stage, thinking in terms of one-mode-per-chord in a diatonic (i.e., within-the-key) functional harmonic context is kind of pointless. It gives you no information you didn't already have from knowing the key and the chord tones, therefore it adds no explanatory power. If you're in one key, think of it that way, not as necessarily a different mode every time you hit a new chord. If you think every chord is a different harmonic world always, this can hinder you from seeing how they actually work and function in relation to each other. I'd respectfully suggest you reread JTE's earlier post.

There's no point in complicating things unnecessarily. As they say, things should be as complicated as they need to be, but no more so.

[Jazzerbone]

The way you described the modes is correct, and that's one way of looking at things. Your on the right track. It may be more productive to start thinking about chord tones more than modes.

Regarding modes though, it's generally considered good practice to stay away the 4th note of the scale. If your wondering why, just play a C chord and play a big fat F on top of it. Nasty sound.

Best thing you can do is listen to the greats. Learning the theory is great, and your willingness to learn it is much more than many can say. But after you start to get your mind wrapped around theory stuff, the great recordings will show you HOW to use those notes.

[togglehead]

Funny...we're just talking about this (reall, me getting schooled on this) in the other thread "2 5 1 licks". Check it out.

[251]

Originally Posted by togglehead

Funny...we're just talking about this (reall, me getting schooled on this) in the other thread "2 5 1 licks". Check it out.

find that other thread here;

2-5-1 licks

[Fire-Starter]

So on a II V I in the key of C maj I get this the first time around....

II V I
DFAC GBDF CEGB


The second time around .......I inverted the II chord to get the V


II V I
DFAC GFDB CEGB



I Belive this is done so the piano player can keep his hands in the same position and still get the V by just inverting the notes in the II chord.

My question is, does this change our approach as a bass player when it comes to that inverted V, i.e will my approach be different when I get to the V chord the on the second pass which is now DFGB vs GBDF on the first pass. shall I say "Well it's' a V chord in the key of C Maj, inverted or not, I will concentrate on using the G to define the root of the chord in both cases"

I know they sound simular but the V chord now has a D root the second time through vs the G as the root the first time.

GBDF vs DFGB.

I hope I explained this correctly, please be patient if I did not but this is the best way that came to mind at the present.