Do you have a "go to" passing tone?

[Baloo Pasquariello]

I notice that when I'm being lazy I tend to go for the 2 as a passing tone from the root, primarily because it's easy to grab. G-C? Play an A. G-D? Play an A. G-Em? Play an A.

I don't always do this, only when I'm on auto pilot, but wondering what are the most common go-to patterns others have.

(The sixth as a passing tone sounds cool, I might have to drill that into muscle memory)

 

[AGCurry]

It depends on what the "from" and "to" chords are, and the style of music.
From I to IV: 5 or 3.
From I to V: 4 or 6.
From V to I: 3, 2, 7, 6.
From IV to V: 1, 2, or 6.
I could go on, but I won't.

 

[byacey]

Aren't passing tones usually something outside of the diatonic series, like a flat 5, or a flat 2 in the case of a tritone, augmented 5th, etc?

 

[Jogobass]

My understand is that a passing tone is anything a half step away from the scale. In major scale for instance I like to play #4 then the 5 when going up, but natural 4 then 3 when going down. But yeah, also the tritone when going to the root, sounds very Jazz

 

[AGCurry]

Aren't passing tones usually something outside of the diatonic series, like a flat 5, or a flat 2 in the case of a tritone, augmented 5th, etc?

Not really. Passing tones can quite commonly be "in" the scale. However, some say that it cannot be "in" the chord, e.g., going from C to F in the key of C major, A is a passing tone but E and G are not. If that's the true meaning of "passing tone," some of the examples I gave above are not truly passing tones, but they are leading tones.

 

[scott sinner]

My ‘go to’ would usually be anything echoing the melody. Didnt think I had one, but I introspected here a minute and I think that’s true.

 

[bolophonic]

My ‘go to’ would usually be anything echoing the melody. Didnt think I had one, but I introspected here a minute and I think that’s true.

Same here, I think.

 

[Geogio]

I ghost or slip in muted percussives at times. On the passing tones.

 

[byacey]

Same here, I think.

In the melody, there will always notes that aren't found within the chosen chord, unless you are harmonizing against every single note in the melody. Usually to use one of these notes as a passing tone, you would want to ensure it makes sense in the context of the bass line to avoid non-sensible movement.

 

[Baloo Pasquariello]

I ghost or slip in muted percussives at times. On the passing tones.

I do that too... I feel like that's part of my "style".

 

[AGCurry]

I ghost or slip in muted percussives at times. On the passing tones.

I think that's what we commonly call "ghost notes." A passing tone can be played that way, but if it's muted enough that the pitch can't be heard, I'm not sure that it's really a tone. Passing tones can be used in walking lines, or any rhythm, really - but they're always on weak beats.

 

[Geogio]

I think that's what we commonly call "ghost notes." A passing tone can be played that way, but if it's muted enough that the pitch can't be heard, I'm not sure that it's really a tone. Passing tones can be used in walking lines, or any rhythm, really - but they're always on weak beats.

So... drums don't have tone? Percussive thumps with tone through muting variations... finger tip, finger meat - at el... for a tonal percussive.

A lot of those techniques require the use of the plucking thumb as well as two or three fingers, sort of like the European electric bass method.

 

[WG Plum]

All my tones are passing tones. Not great, not bad, just passing.

 

[two fingers]

"It depends". What style of music? What key? What's the melody?

No, I don't have a go-to.

 

[Malcolm35]

passing tone (noun)

1. a note not belonging to the harmony but interposed to secure a smooth transition from one chord to another.

Sus2 or Sus4, of the parent chord then the inversions make good passing tones, IMO.

 

[Papageno]

You may find the definition of a passing tone in this article.

 

[EngrSorenson]

I often use NCTs (Non Chord Tones) changing from one chord to the next. It definitely depends on the chord changes and style, but I enjoy half step approaches, particularly when the roots are a whole step apart. It’s low-hanging fruit, but when it’s executed well it pulls things along.

In fact I received a compliment this year from an amateur vocalist that my chromatic passing tones help them lock in on ballads and anticipate their entrances. I was never more proud to be a bass player.

 

[Altitude]

I often use NCTs (Non Chord Tones) changing from one chord to the next. It definitely depends on the chord changes and style, but I enjoy half step approaches, particularly when the roots are a whole step apart.

...or a fourth apart. A half step approach (from either direction) works great as it creates the kind of tension that the next root resolves. So if I don't have a better idea in a situation, I do that.

It does become a little predictable though.

 

[BassChuck]

It depends on the energy you want to generate and how important the chord you're going to is in the progression or phrase. Or whether or not you're stressing the root or some other chord member.
(speaking intervals here, not scale steps)
A fifth above the target note, or a fourth below is strong and gives a lot of energy.
A fourth above the target note or a fifth below does the same kind of work, but is a little more passive in energy.
A whole step above is nice, but not too directional.
A whole step below is good, but not a lot of energy.
A half step below is very strong and really points to the target note with good energy
A half step above is also very strong, but can have a jazzy sound like a b5 or b9.
Scales are a good source of information as to what notes sound 'in' or 'out' of the tonality.
Chords are great and will rarely lead you wrong, but will lack a certain energy and perhaps sound even bland.
What this all boils down to is your personal taste and perception of what serves the style. There's not right or wrong.... outside of your perception and the occasional stink eye from the band leader.