Movable Chords 4 string Bass?

[FretlessMainly]

I should add that while the voicings I posted are no more difficult to play than standard root-position 1, 3, 5 and 1, b3, 5 voicings (in fact, they are generally easier since they only involve 3 frets instead of 4), mine are more complex conceptually because they include inversions and 7ths.

It might be better to start in C Major and learn the Major/minor dyads and then root-position chords that are diatonic to C Major. In any Major key, there are seven chords:

I is Maj7
II is minor7
III is minor7
IV is Maj7
V is Dominant7
VI is minor7
VII is minor7(b5)

So in C Major, we have:

CMaj7 Dmin7 Emin7 FMaj7 G7 Amin7 Bmin7(b5)

Practice just root-position dyads (two notes) up and down the scale:

| C and E | D and F | E and G | F and A | G and B | A and C | B and D | C and E |

This establishes the Major/minor aspect of the chords in any Major key. Once you can make this musical, you can add a third note, which could be either the 5th or 7th. What you'll find is that adding that third note requires stretching if you are talking root-position 1 3 5 or 1 b3 5. So, my voicings eliminate that stretching and add variation through inversions and note choices.

 

[BassBron]

@ fearceol. That link you gave me is very nice. The little exercises with the variable metronome, are very usefull. If I place the metronome setting on 60 , the finer points such as turn arounds or approaches get buried in the mix, but by reducing the rhythm, you pick it up, and allows you to start slowly to get your "groove" going , as well as jumping to different frets, but still using the same pattern. The repetitive fingering only changes near the headstock when you have to use open strings, as well as when you play on the G string where your fretting hand mainly moves in a vertical position on that string.

 

[MalcolmAmos]

.......... Practice just root-position dyads (two notes) up and down the scale:

| C and E | D and F | E and G | F and A | G and B | A and C | B and D | C and E |

This establishes the Major/minor aspect of the chords in any Major key. Once you can make this musical, you can add a third note, which could be either the 5th or 7th. What you'll find is that adding that third note requires stretching if you are talking root-position 1 3 5 or 1 b3 5. So, my voicings eliminate that stretching and add variation through inversions and note choices.

Good point, I'm reading some material from Jazz Guitar Masterclass by Don Mock and he talks about when comping just use the 3 and 7 (b3 and or b7 as the case may be) and let the other guys handle the root and five. Being Country I probably will not use it, in public, but, found it interesting.

 

[FretlessMainly]

Good point, I'm reading some material from Jazz Guitar Masterclass by Don Mock and he talks about when comping just use the 3 and 7 (b3 and or b7 as the case may be) and let the other guys handle the root and five. Being Country I probably will not use it, in public, but, found it interesting.

You'd raise some eybrows using that in country, for sure. Back when I was in a Jazz trio, the pianist often voiced chords using, for chord tones, only the appropriate 3rd and 7th. He then replaced the root with the 9th and the 5th with the 13th. Given that you can create extremely open voicings on piano (using two hands), this really opened up the sound. I was able to then do any type of line I wanted - scaler; chord tones; chromatics. I was also able to replace natural 5ths with b5ths without stepping on anything.

 

[roadkill2309]

You'd raise some eyebrows using that in country, for sure.

I think the word you're looking for there is 'hackles,' not 'eyebrows...'

 

[billy2gun7]

Malcolm: I want to thank you for your clear-cut explanation about play Bass chords. I'm a beginner-intermediate bassist, and I've looking high and low for a very clear and precise explanation. Thus, armed I shall now go and practice!