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Chord tones

Hey guys I'm just new on here and was wondering if anyone could suggest a good book on chord tones, and another on scales. I've been playing for years by ear but would like to study these topics in greater depth.
Thanks in advance.
 
I think a great book to start up with would be " Chord Studies for Electric Bass" by the Berklee Press. I think getting a good theory book would also be great since you'll want to know how chrods function. I would also check out studybass.com this is a great resource to all beginning and aspiring bassists. Good luck, if you're interested we could set up a lesson via skype.

-Adam Prado
 
Hey guys I'm just new on here and was wondering if anyone could suggest a good book on chord tones, and another on scales. I've been playing for years by ear but would like to study these topics in greater depth.
Thanks in advance.
Adam listed several books. Here are some papers you may find useful. You probably already know most of this, speed read till you have to slow down.

First: As everything we do starts with the Major scale let's start there. [Invalid or Expired Link Removed] Notice at the end of each lesson - bottom of the page - is a button to proceed to the next lesson.
Or do a Google using this key word -- WWHWWWH -- that will send you to several papers on the Major scale and how it is formed. The following chart helped me see the entire Major and Natural Minor scale, i.e the big picture on one sheet of paper:

Major Scale Chart
C D E F G A B...............Notice the C scale has no Sharps
G A B C D E F#.............and the G scale has one, the F#
D E F# G A B C#...........and the D scale keeps the F# and
A B C# D E F# G#.........adds the C#. Then the A scale keeps
E F# G# A B C# D#.......everything and adds the G#. See how
B C# D# E F# G# A#.....it builds on it's self.
F# G# A# B C# D# E#
C# D# E# F# G# A# B#
F G A Bb C D E.............Look what happens with the flat scales
Bb C D Eb F G A...........F has one the Bb, then the Bb scale keeps
Eb F G Ab Bb C D.........it's self and adds the the Eb. Same thing
Ab Bb C Db Eb F G.......the sharp scales did...
Db Eb F Gb Ab Bb C
Gb Ab Bb Cb Db Eb F
Cb Db Eb Fb Gb Ab Bb

Memory pegs:
See God Destroy All Earth By F#irey C#haos. Order of the scales with sharps.
Fat cats go down alleys eating birds. Order of the sharps.
Farmer brown eats apple dumplings greasily cooked. Order of the scales with flats.
The key signature is showing three sharps. What scale has three sharps? C has none, G has one, D has two, A has three. Which sharps? Fat Cats Go so the A major scale has three sharps, F#, C# and G#.

Natural Minor Scale Chart
A B C D E F G ................Notice how the 6th column of the
E F# G A B C D................Major scale becomes the 1st column
B C# D E F# G A..............in the minor scale and how the 7th
F# G# A B C# D E............column of the Major scale is now the
C# D# E F# G# A B..........2nd column in the minor scale. And
G# A# B C# D# E F#........yep, the 1st column in the Major scale
D# E# F# G# A# B C#......is now the 3rd column, etc. etc.
A# B# C# D# E# F# G#....Ask your self why? Hint, think relative minor.
D E F G A Bb C
G A Bb C D Eb F
C D Eb F G Ab Bb
F G Ab Bb C Db Eb
Bb C Db Eb F Gb Ab
Eb F Gb Ab Bb Cb Db
Ab Bb Cb Db Eb Fb Gb

As scale charts are hard to find I recommend you print this off and keep it handy

OK that gives you the major and the natural minor scale. Now lets make some chords from the major scale. The chords are made from any scale by stacking that scale in 3rds, i.e. taking every other note, for example:

Code:
C Major scale – notes and chords
Note	 ScaleTone 	Chord	spelling	        function
C		1	Cmaj 7	CEGB R-3-5-7 		I	(tonic)
D		2	Dmin 7	DFAC R-b3-5-b7		ii
E		3	Emin 7	EGBD R-b3-5-b7		iii
F		4	Fmaj 7	FACE R-3-5-7		IV	(subdominant)
G		5	G7	GBDF R-3-5-b7		V	(dominant)
A		6	Amin 7	ACEG R-b3-5-b7		iv	
B		7	Bmin7b5	BDFA R-b3-b5-b7		viidim  (1/2 diminished)

Why is the D chord minor?  Where did that b3 come from?  The D MAJOR scale has a
F# and a C# in it, so when you ended up with DFAC the F and C have been flatted.  
And a flatted 3 and 7 make a minor cord.  Drum roll. More on that later under 
"Some more stuff"

Notice every major scale will have three major chords, three minor chords and one diminished chord. Chords from a major scale always fall in the same order; Major, minor, minor, Major, Major Dominant, minor and diminished. Now let's talk about chord tones.

Notice the Cmaj7 chord tones are the C, E, G for the triad and when we add the B we get the four note Cmaj7 chord. Also notice that is the scale degrees of R-3-5-7 The root (R) is the 1st degree in the scale, in this case C, the E is the 3rd degree of the scale, G is the 5th and B is the 7th. As a bassist that is important because chord tones, i.e. scale degrees are what we play 95% of the time. The other 5% is scales for our melody notes WHEN we get a lead break.

Now - YOU make a stacked chord chart on the A major scale. Use the C major scale above as your Rosetta stone. Once you have stacked a scale by yourself you will never have to look up a chart again. You will be able to figure it out yourself. That fish thing.

Some more stuff:
Bass Patterns based upon the Major Scale box.

Code:
Major Scale Box.  The box can be a friend.  
Place the R (root) on the C note - 4th string 8th fret 
and the notes of the C major scale await you.  Yep, 
the box will place them under your fingers automatically. 

G|---2---|-------|---3---|---4---| 1st string
D|---6---|-------|---7---|---8---|
A|---3---|---4---|-------|---5---|
E|-------|---R---|-------|---2---|4th string

Chords are made from the following scale degrees:

Basic Chords
• Major Triad = R-3-5 place the R on the C note 4th string 8th fret and play the R-3-5 (in your box) and you just played the chord tones of the C major chord. Drum Roll.
• Minor Triad = R-b3-5
• Diminished Chord = R-b3-b5

7th Chords
• Maj7 = R-3-5-7
• Minor 7 = R-b3-5-b7
• Dominant 7 = R-3-5-b7
• ½ diminished = R-b3-b5-b7
• Full diminished = R-b3-b5-bb7

See a chord and play it's chord tones. As every key will have three major, three minor and one diminished chord it's a good idea to get your major, minor and diminished bass line chord tones into muscle memory so when you see a chord your fingers just know what will work. Now the song may only give you enough room for the root, or root five - adapt and get as many chord tones into your bass line as needed. Root on 1 and a steady groove from the other chord tones plus something to call attention to the chord change will keep you gigging.

Scales
• Major Scale = R-2-3-4-5-6-7 Home base -- Yep, use the box.
• Major Pentatonic = R-2-3-5-6 Leave out the 4 & 7
• Natural Minor Scale = R-2-b3-4-5-b6-b7 Major scale with the 3, 6 & 7 flatted.
• Minor Pentatonic = R-b3-4-5-b7 Leave out the 2 & 6.
• Blues = R-b3-4-b5-5-b7 Minor pentatonic with the blue note b5 added.
• Harmonic Minor Scale = R-2-b3-4-5-b6-7 Natural minor with a natural 7.
• Melodic Minor Scale = R-2-b3-4-5-6-7 Major scale with a b3.

Let the major scale be your home base then change a few notes and you have something different. No need to memorize a zillion patterns. Let the major scale pattern be your go to pattern - then adapt/adjust from there.

Generic Notes - for your bass line.
• The root, five and eight are generic and fit most any chord. Remember the diminished has a flatted 5.
• The 3 is generic to all major chords. So R-3-5-3 will fit under any major chord.
• The b3 is generic to all minor chords. And R-b3-5-8 will fit under any minor chord. Why the 8? Well the 8 is just another root in the next octave.
• The 7 is generic to all maj7 chords. Yep, R-3-5-7 fits nicely.
• The b7 is generic to all dominant seventh and minor seventh chords. G7 = R-3-5-b7 or Gm7 = R-b3-5-b7.
• The 6 is neutral and adds color, help yourself to 6’s. Love the sound of R-3-5-6 with a major chord.
• The 2 and 4 make good passing notes. Don’t linger on them or stop on them, keep them passing.
• In making your bass line help yourself to those notes, just use them correctly.
• Roots, fives, eights and the correct 3 & 7 will play a lot of bass.

OK that's what they are, now how to use them, well that is another story. But long story short, Root on 1 and if you have time (room) add a 5 then an 8, then the correct 3 and 7. For your melody; your melody line and your chord line should share some like notes. One shared note per bar is enough for harmony, two per bar is better and three is probably not necessary. Easy way to build a melody is to use chord tones over the chord, i.e. play arpeggios, but, that gets a little confining so over the chord play the chord's pentatonic scale. You get three like chord tones for harmony and two safe passing notes for color. Plenty of melody notes for a first draft. No, not in pentatonic order, make melodic phrases from the 5 notes.

Have fun.
 
Well, how about a book called "The Book of Chord Tones" would that fit the bill?

There are three volumes, one each for Major, Minor and Dominant chords. There are also e-books for all the triads in a major scale and melodic minor scale.


Check the links below.