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Bassline Help for a Jazz/Blues Progression
- Thread starter BassFace01
- Start date
Yes, that symbol for Half Diminished seems to be absent from my board too, maybe that's it? ; )
So i've been reading all of your suggestions, you guys helped a LOT! I guess ive never really been a jazz guy, and that word intimidates me so much, it almost seems like i forgot everything i know about bass the second i heard the word "jazz", even though its a blues progression as well.
One question: any suggestions on what to play over the D#o7? I did a major scale groove using the A7, D7, then back to the A7, and in the fourth bar, did a walk up to A using E minor, did the usual A7 groove, the usual D7 groove, and here we are at the D#o7! Anything I play sounds really off, any tips?
One question: any suggestions on what to play over the D#o7? I did a major scale groove using the A7, D7, then back to the A7, and in the fourth bar, did a walk up to A using E minor, did the usual A7 groove, the usual D7 groove, and here we are at the D#o7! Anything I play sounds really off, any tips?
What I was thinking is the little zero with out a strike through normally means a full diminished bb7 or 6.....
and the little zero with a strike through means a Minor seven flat fifth m7-5 or ø 1-b3-b5-b7.
I think only the original song writer knows for sure which way he wanted this chord played. It happens so fast it does not matter all that much, no one in the audience will hear the difference. Giving it more thought full diminished chords only appear, in the World I walk around in - when using harmonic minor and this is not the case here.
So....... the song writer, The Shadow and The Green Hornet are the only ones that know for sure.
One more - the instructor that gave the progression to the OP.
Is it the Half Diminished chord as indicated by MalcolmA's post? Use the Arpeggio he has indicated (ø 1-b3-b5-b7) and work with that to spell out that chord tonality maybe, easiest approach imo.
You don't have to use the whole Arp, just partials that spell it's tonality, could walk up something like D#-E-F#-G to A, or a little more chromatically, have a little mess around with it and see what lends itself best to resolving to the A soundwise/feelwise that suits, but try to outline the tonality of that chord for the tension it's momentarily there to introduce.
No sir!!! It's a D#07, a diminished seventh!
It builds a hell of a lot of tension, I guess whenever I play it, it doesnt sound right to me, but that could be because my ears arent mature enough to understand this (somewhat) of a jazz progression. I'll have to noodle around a bit to make sure it resolves nicely on the A7.
No sir!!! It's a D#07, a diminished seventh!
It builds a hell of a lot of tension, I guess whenever I play it, it doesnt sound right to me, but that could be because my ears arent mature enough to understand this (somewhat) of a jazz progression. I'll have to noodle around a bit to make sure it resolves nicely on the A7.
It will sound a bit weird if your not used to them, find something in the scale or Arp that kind of goes with the rest of the line, gotta have a play around sometimes to see what fits the best, all the best anyways.
The notes you've got available to you in the D# diminished triad are D# F# A. (You can add the seventh into the mix as well but I'm trying to keep it simple.)
How many beats does the chord last for?
Here are some ways you can handle the chord based on how long you are on the chord.
One beat - play the root = D#
Two beats - play R and 5 = D# A
Four beats - play R, 3, 5, R = D# F# A D#
These are not the only solutions. Just some simple ideas that are guaranteed to work and get you started. If you get bored with these options you can add approach notes, scale tones, and chromatics as your ear adjusts to what is going on.
Four beats per bar, and I think I came up with a pretty nice sounding line
thanks to you guys! I made sure the chord was voiced appropriately, while still giving that forward motion feel and keeping a nice groove, its got a nice melody to it as well!
I decided to go with the seventh as well, so i used D#, F#, A, G, and the octave to boot!
Try this:
D E F# D | D# F# A D# |
In each measure, the first three notes are ascending, and then you drop back down to the root. Sammy Nestico uses this line fairly frequently in his arrangements. It's particularly effective if you add a ii chord in the next measure to make the whole progression | D | D#o7 | Emin7 A7 |
D E F# D | D# F# A D# | E B A E | F# etc.
I think only the original song writer knows for sure which way he wanted this chord played. It happens so fast it does not matter all that much, no one in the audience will hear the difference. Giving it more thought full diminished chords only appear, in the World I walk around in - when using harmonic minor and this is not the case here.
So....... the song writer, The Shadow and The Green Hornet are the only ones that know for sure.
In the world I work in, diminished 7 chords are extremely common, and "o7" is a common and well-understood chord suffix. I don't think that there is any ambiguity at all about what the writer intended.
