which m7 ....? Noob question alert.

[slybass3000]

The OP wanted some general pointer to play tetrachords. Two of the pointers given will work:
1. to take notice of the next chord and use the notes of that chord passing through the tetrachord (like Slybass wrote, a very versatile approach)
2. to use the notes of the key scale of the piece (like I wrote, a functional harmony/diatonic approach).

Yet it all comes down to taste. The tetrachord needs two whole tones and one semitone to take three steps, so the real question is if the semitone comes first, in the middle, or last.

For example, if Am7 is ii in G (Phil's example; however, vi in C is also possible), the bass needing to descend to D7, Slybass will play A - G - F# - E since F# is 3rd of the D7 chord. I will figure to play the same, since A - G - F# - E follows the G major scale.

However, to attain a real downgoing tension, A - G - F - Eb is stronger. So a third pointer might be: for more tension, the semitone comes last. If this tension is desired in a certain case depends on taste. this correlates with Slybass' example.

Now that we're at it, we could also discuss how to go up a fourth in four steps. F.e. going from D to G in G major, we shall need to put in a chromatic note. Would you play D - E - F - F# or D -D# -E -F#? And why?

Good question and I make a strong point in my basslines to support the color of the chord first of all. So the important beats in a bar for harmonic purposes are the 1 and 3. By playing the minor third on the third beat we are implying more of a minor then a major chord and even if it is a very typical line especially in a Blues form I try to keep that for the the minor chord and really focus on putting the major third on the 3rd beat or by playing the second line in your example. I love the movement of 1-#1-2-3 because it is actually the second tetrachord of the major bebop scale of the destination chord.

 

[billoetjen]

Once again, I'm reminded that TalkBass was THE reason why the Internet was developed.

Lots of great stuff for me to chew on. Thanks especially goes out to Chris K; your response gave me the most to work on immediately. The key is key.

I'll be trying out everything that's been said in this thread. Thanks to everyone.

By the way, the descending tetrachord on the Dmi7 chord moves to G7 in the next measure (key of Cmaj; example from a ii, V, I). The descending tetrachord on Ami7 is from an example of modal playing where the chord is maintained over 4 measures.


Thanks again, everyone!
Bill

 

[slybass3000]

The descending tetrachord on Ami7 is from an example of modal playing where the chord is maintained over 4 measures.
Bill

This is an example where in minor keys and minor blues several scales can be used for the I chord. This is the minor natural(relative minor of C Maj) when going down but you can use the melodic minor or harmonic going up to the I. You can even use dorian as well. So all the different colors happens with the alteration of the seventh and the sixth.

 

[Chris K]

Once again, I'm reminded that TalkBass was THE reason why the Internet was developed.

Lots of great stuff for me to chew on. Thanks especially goes out to Chris K; your response gave me the most to work on immediately. The key is key.

I'll be trying out everything that's been said in this thread. Thanks to everyone.

By the way, the descending tetrachord on the Dmi7 chord moves to G7 in the next measure (key of Cmaj; example from a ii, V, I). The descending tetrachord on Ami7 is from an example of modal playing where the chord is maintained over 4 measures.


Thanks again, everyone!
Bill

You're welcome. Keep asking.