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IMPORTANT PRACTICE ON BASS (and Guitar) I can't stress how important this is to practice on the bass (and on guitar too). Bassiste (and rock guitar players) are known for always aiming for the *root* in the bottom so this is doubly critical to practice if you're going to do any kind of serious fine walking or soloing for any style, but especially jazz & pop-jac. It is critical to practice the inner chordal notes without the roots on the botton, You need to break away from the root habit to thoroughly know and create on your neck, Practice this Chordal Note Exercise. in the Chordal Scales of 6. C, Eb, and F. InG, it's G Am Ba C D7 Em Ffm-5 G. In C it’s.C Dm Eu F G7 Am Bo-S C. Tn Eb it's Eb Fm Gu Ab Bb? Ca Da-5 Eb. ¥F is F Gn Am Bb C7 Dm En-5S F. But it's also important to know the Solfeggio Transposing chordal scale that these aze: Tok id IV We vi viieS T and adding the 4th voice it's: Tmaj7 447 i417 IVmaj7 V7 viJ vid)-5 Tmaj7 put it's important to do just the triads for awhile until you get used to the fingerings and sounds, important to connect your ears to your fingers. Note the minor chords have the dots: ii while the major chords are always the upper-case Roman nunerals -- this is the way denoted in college/university music courses. Practice first with the root in the bottom: El G am Bm C D Em Fime5 G R35 Rb35 Rb3S RIS R35 RIS RIS RIS ‘Also practice this going up on one chord and going down on the next chord. B35 Sb3R etc. Now do it with the 3rd on the bottom? 1 aa ait Ww vw vi vii-s L 35R BSR SSR. 35R 35R b35R = DSBSR 35R With the Sth on the bottom: 5R3 SRb3SRb3 5R3 5R3 SRb3 DSRS. 5R3 ‘The V7 is noted for your future reference, the b7 is not played in triads, but will be played when you add the 4th chordal note. Later on, you can add more 4m the immediate range of notes to each chord also,.when you start getting used to this exercise. In the key of C for instance, on bass, be sure to start your 3rd (in the bottom) on the low E string. These exercises will insure that you start, thinking chordally and not play licks by rote (memorization), end will help you to find any chordal notes without thinking "root" all the time on the bottom. You'll be free then for creating fine soloing. Remenber you do not have to practice in "all keys”, but do practice in the keys of: G, C, Eb and F. Here's the extended chords and how they're spelled for more advanced practice, Be sure to also play the chords, going up on one chord, down on the next, and when you get to the highest chord, then reverse the process. You'll soon get used to the fingerings. On guitar it's harder, as there's more fingering choices, be sure to explore the different fingerings, it's not as hard as you think. qmaj? 8747s Ta? Ws va? vtt7-5— Ima? R357 Rb35b7-Rb35b7 IST R357 Rb3Sb7 RbIbSb7 BST (e) 2002 Carol Kaye wuw.carolkaye.com/ HOW TO USE THIS RECORDING First, listen to the recording so you can absorb the knowledge that jazz players have been using for decades. You will be pleased to see how quickly you can incorporate these ideas into your own playing. Listening helps develop the ear. Comprehension may not be immediate, but will come in Aisne: Much of today's music is derived from the old standards which this book and recording will help you eam. The use of chords and “color’-chord substitutes are relatively easy to master given time and practice. Soon you too will be-able to create your own ideas by using the chordal scale theory, Cake Coat Second Blues Version in F: Pr Br fF br Be id BbT AmT5 DT Gm? cr FT Dt © Copyright MCMLXXXVII_ Carol Kaye www.carolkaye.com : PO Box 2122 Canyon Country, CA 91386-2122 USA Third Blues Version in F: Fmaj? BbT Bhm? ‘EDT AmT Bb7 AwT Abmt Gut Bot EL Amt ADT Domajt abr Fmajt Em AT Dm Dbm? cmt BI Boy br amt abt Amt Abmt opt : SS == bee ont Bot EY ant? ab? Dbmajt br Major, Minor and 7th Chords: All chords fit into the above categories. This is a very basic way to get to know your 2, 5, 1 chord theory (two-minor, five-seventh, one-major). A chord starts with three notes. The Root is “Do,” the third is "Mi," and the fifth is "So." The notes below form the G Major chord or triad. The noies of a scale are numbered 1 (Root), 2, 3, 4, 5, 6, 7, Root (8), 9. 10, 11, etc. The octave, of course, is also called the Root. The 10th is the octave of the 3rd, the 11th is the octave of the 4th, the 18th is the octave of the 6th, and so on. ‘The 7th chord adds an additional note to the triad. In the G’ chord, the flat seventh has been added (Root, 3rd, 5th and 7th}, ar R 3 6 OMT In addition to playing triad notes (Root, 3rd and 5th), you may also use the 6th and the 9th. Once you learn these notes as “home-base" notes, skip around on them. G major chord notes 2S SS Ro2 3 5 6 R ® ——, Minor chords add to the Root, #3rd and 5th by using the '7th and 9th. G minor rk 2 bs 5 b7 R 98 @? uses the Root, 3rd, 5th, 7th and Sth. Gr x ee SEs FH R 2 3s 6 bY R 9 A favorite walking line is to move from the 3rd and walk up each fret to the Sth for major and 7th chords. The minor chord uses the !3rd. major minor Cycles of Fourths and Certain chords are attracted to each other. Example: E resolves to A, A to D, D to G, G to C, etc. This is called a cycle. D is four notes up from A, of five notes down from A. Hence, a fourth or fifth away. You will quickly lear the chords on the bass if you name your triads starting with E on the 12th fret. The fingering is all 2-1-4. When practicing, name the triads out loud as you play them. it will help you identify the groups of fingerings you need to memorize. Example: E, A, D, G, ete. Chordal Scales If you play chordal scales in 10ths (fingerings 2 & 4) up the neck and learn the triad "home-base” notes with those chords, you will break away from the "box" habit and develop more creative habits in your walking and soloing, Do Re Mi fa So La Ti Do G Am Bm C 0” Em Fim G ‘The Major Chord Triad Notes Are: ‘The Minor Chord Triad Notes Are: Am r bs 5 R ba There are three different fingerings for the minor chord: 4-2-1-1-4, 2-1-4-4-1 and 1-4-2-3-1. Pract each one. 434 Finger 8m the same as Am, C is fingered the same as G. D’ has an extra note in it (the *7th) and is Em (*deviates) Notice that you use F# in Am. Jazz players like to use the major 6th in forming their patterns around minor chords. Some notes in the above patterns go against the G-note scales. This is acceptable since these patterns are teaching you "home-base" fingerings in the major, minor and 7th chords. Key of C Triads ‘Skip every other note of the scale to learn triad extensions: Root-3rd-5th-7th, '7-Sth-'3rd-Root ss cmaj7 Dmt Em? Emaj? = The Diminished Chord The diminished chord is part of the minor-chord family because of its flatted third. It subdivides the 12-tone scale four times by repeating every three frets (ool, ‘3rd, *5th, 6th or 7th). Fingering: 1-4-1-8 Ge Passing notes start a haif-tone (one fret) lower than principal notes. The fingering is as follows: 1-1-3-4, 1-1-3-4, ete. =e"? The G Chordal Scale: G Am Bm OC Do Em Fim’? {ij (GMaj) (Am) V7] (CMa) (0%) cy) The C Chordal Seale: z c Dm Em F Go Am Bm’* (fi) (CMaj’) (Om) (Vp a (G) Chords that appear in parenthesis ( ) have different names but use the same notes, thus forming different noted scales. Remember, there are only three basic chords: major, minor and 7th. The rest are just substitutes. Chords that appear in brackets [ ] are basic major, minor and 7th chords. Diminished chords are mainly “color” substitutes for 7th chords, Augmented chords are tension substitutes for the 7th and minor chords that add “color.” Notes are every four frets, with passing every two frets = your whole-lone scale. The motion of music is produced in cycles by using ii’ to V" to | chords. The G? chord: the dominant minor to G (Dm or Dm’) can be used as a prime substitute chord. This is called a subdominant to dominant 7th (Dm-G’). The C’ chord: the dominant minor to C (Gm or Gm’) can also be used as a prime substitute chord. Gm’ is really a subdominant to C’ (which is dominant to F, the Tonic chord). In simple terms, the i”, V’ and | relationships are called the subdominant to dominant to Tonic. ‘Am’-D’-G (Tonic); Gm’-C’-F (Tonic); Fm’-BY-E> (Tonic) Ebm’-A¥-Db (Tonic); Dbm’-G"-C! (B) (Tonic); Bm’-E”-A (Tonic), etc. ‘The Augmented Chord The augmented chord consists of the Root, 3rd and 15th, and is fingered as follows: 4-3-2-0 for Ge. It subdivides the 12-tone scale three times by repeating every four frets. The passing notes are the two notes in between. An augmented chord can be played with the fingering 3-2-1 (Root, 3rd and i5) every two frets, which is a whole-tone scale. Gt 3 3 Below are three practice patterns for Dm’, G’ and C (i, V’ and 1). ‘The Dm® that repeats every three frets (like a diminished chord) takes the place of Dm’, G? and C (i’, v' and 1). Dm9~GT-C D1 (Edm9- subdominant e & be of Ab7-b5 of DT) A Additional Diminished Patterns Adding 2 parallel fourth (4th): Ge(w/athy G™ (AP, Be, D?, ante casey ro 10 Additional Augmented Patterns “Are You Sleeping?" The same notes as the whole-tone scale but more fun. Gt Flat Five Chords ('5): Halfway between the octave G to G is the flat five (5). In the key of G, Dis the flatted fifth. Below is an exercise to help you get acquainted with these substitute triads. anebt — SS a 3 =o 3 Db Ee. be 2 =e ba z 7559 (G54) is the same as D>? and 07558 (D+?) is the same as G’. The turn around, G, E, A and D becomes G, B, Eb and At, Practice triads and the different parts of this booklet separately, taking one subject at a time. Theory is not dificult and can be fun when used to connect various patterns. Remember, always play with your feelings. Good Luck! "