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Discussion in 'General Instruction [BG]' started by s7on3d, Mar 4, 2003.

  1. s7on3d


    Jun 26, 2002
    Ra'anana, Israel
    At my weekly bass lesson, my teacher plays a 3 note chord from time to time... What I'm wondering is which 3 notes of the scale do you play? Is it just the first, third and fifth?
  2. Christopher


    Apr 28, 2000
    New York, NY
    Depends on the situation.

    In a lot of instances, you can usually leave out the fifth and play the seventh or whatever instead, as the fifth doesn't define the maj/min quality of the chord.
  3. Yvon

    Yvon Supporting Member

    Nov 2, 2000
    Montreal, Canada
    I move this one to GI
  4. Garry Goodman

    Garry Goodman

    Feb 26, 2003
    You might think about studying theory. trids,their inversions,four part chords,five part and 6 part.Depending on how many stings you use,it will limit your voicing possiblities. If you play 4 string, the root ,3rd, seventh is a common one,or playing tenths and adding a fifth above the root. Systematic inversion will help you.Limit yourself to any three strings.Pick a triad,say c major. on each string,find every c,e, and g note. Play ceg,then slide the c on the same string to the next e,the e on the second string to the next G on that string,and the G on the third string to the next C on that string.Keep the process going for the four qualities of triads: major,minor,diminished,augmented.it will open your ears!
  5. moley


    Sep 5, 2002
    Hampshire, UK
    Yes, a normal triad is 1, 3 and 5.
  6. s7on3d


    Jun 26, 2002
    Ra'anana, Israel
    Thanks for all the help and speedy replies. I'm playing around with it as we speak... so much fun...

    By the way, i learn theory with my teacher; but not as much as I'd like to as I don't have enough time.
  7. Garry Goodman

    Garry Goodman

    Feb 26, 2003
    just remeber: everything is II -V-I

    9 chord families, three chord functions (II -V-I) every chord funtions as one of those,and there about 2o scale sources that are compatible horizontally with those vertical chord familie.
  8. chardin


    Sep 18, 2000
    Could you explain this more in short, easy to understand words? :)

  9. Garry Goodman

    Garry Goodman

    Feb 26, 2003
    Hi- well that is a brief description,but I'll try to say it differently. I learned this from Dick Grove,who started a music workshop by the same name about 30 years ago. His step son,Dana Rasch, a brilliant guitarist by anyone's standards was the guy who turned me on to Dick.Dana's concepts made our original tunes sound like music.

    Dick Grove laid out music theory as it was being utilized in the "real workd" outside of traditional classical theory.

    The main idea is that there is three chord funtions that make music work. A one chord,a 2 or 4 chord and the 5(V7) chord.At any one moment in a tune, you are using one of these funtions.2-5-! or II-V-! . They defines a key.When you see a dmi7 go to g7,that' II-V in Cmajor.

    When you look at a tune like "Blues for Alice" ,there are a few of these,and they go by quickly.These are momentary key areas.You are changing keys every bar. you can identify this by a series of IIm7-V7 chords.No song can ecape from this basic chord function concept!

    The nine chord families are made up of a I,II and V chord in major,and I,II,IV,and several V chords in minor.
    (G7 b9+9 is in minor)
    A one chord in Major is ,for example in C: c-e-g-b-d-f#-a or Cmajor13+11.Many songs just use the c-e-g-(Cmaj.) or c-e-g-b(cmaj7) etc. You can use many interior chords from the family,or all 7 notes.(pardon my "wankerness" here,but having a 7 string bass allows you to hear such a chord on your bass)

    Most songs in pop,broadway,rock,jazz,funk etc. use one of the 119 chord progressions.You have played most of them already, like a line progression: cmaj to cmaj7 to c 7 to cmaj6 or I-vi-ii v in a millon songs "The Finstones" for example or the i-IV-V of blues.

    We see the chord progression,the quality of each chord ( maj,minor etc.) it's function(a vi chord can funtion as a iim,for example. A V chord always (well almost always) resolve to a I chord. I also need to know that when I see a one chord,like c major,I play a c major scale or it's modal derivative horizontally for melody,solo,bass .If I use a 6 part I(one) chord I now have the augmented(+) 11 to deal with,so I alter my scale source to c lydian(G major scale starting c) to match the f# or +11, in the chord.This is the concept of soloing through "changes".If I am on a Jazz gig,and "Joy Spring" is called,I better know this stuff in order to play as good as the sax player on my solo) we,as Bassist need to get them to stop that joke("very, very bad!-bass solo next")

    Dick's clarification of all of this takes away all guess work for contemporary music.I am sorry to say he is no longer with us,but his legacy lives on. I already have people not liking what i write so a little more doesn't bother me-I would say that if one plans to do more than just play three chord music, one would be doing one's self a great diservice not learning this essential material. I hope that is a better explanation.If you woud like help with any of this,or sight reading, or a method to be able to play something quickly when you hear it,feel free to email me.

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