Chord tones (Root, 3rd, 5th, 7th) are the most powerful choice you can make when creating your walking lines. They are the core of the chord, the juicy notes. Therefore being in control and becoming fluent is crucial!
Chord tones are the foundation that we are going to build our walking bass constructions on. As you know, we can build much higher if the foundation is strong and solid. This is why this material has to be completely internalized in order to go further in our studies. You have to be able to instantly recognise different chord types and distinguish various chord tones that make them up. It is not as difficult as it may first look like. I am going to explain main chord types construction step by step, so you will know how to easily find individual chord tones on the fretboard. You have to be in total control of using chord tones within your lines. When I say in control, I mean that you have to be able to play them in your sleep! In any key!
In Module 1 we will apply chord tone patterns to one of the most popular jazz standard “Autumn Leaves” and Jazz blues. These two are not randomly picked. “Autumn Leaves” contains all the main chord types within its progression, so the patterns we will apply will be reflected from four different chord types perspective. Jazz Blues on the other hand is made up mainly of dominant chords but on its progression are based numerous standards and its 12 bar progression is a MUST to know by any jazz musician.
Introduction – Chord Tones Explained
Believe me or not, but most jazz standards consist in 90% of three main chord types. Major 7th(Maj7), minor 7th(m7) and dominant 7th(7). These three chord types may obviously have a variety of different voicings, but the vast majority of these voicings has usually one of mentioned chords as a base. You have to be in control of using them over the entire fretboard as this knowledge is going to constantly accompany you on your musical path. Do not be afraid to spend adequate amount of time to really know them inside-out.
- Maj7 chord consists of the root (R), natural third (3), perfect fifth (5) and natural seventh (7).
- Second chord m7 consists of the root (R), flat third (b3)), perfect fifth (5) and flat seventh (b7)).
We notice straight away that both chords has the root and perfect fifth but what differs between them is third and seventh.
- Dominant chord, called simply 7 chord consists of the root (R), natural third (3), perfect fifth (5) and flat seventh (b7)
To our three chord types I would like to add one more, called half-diminished (m7b5). It is basically a m7 chord with flatted fifth, the other chord tones are exactly the same.
- m7b5 chord consists of the root (R), flat third (b3), flat fifth(b5-diminished) and flat seventh (b7).
TO SUM UP:
Major 7th R-3-5-7
Minor 7th R-b3-5-b7
Dominant 7th R-3-5-b7
Minor 7thb5 R-b3-b5-b7
Make sure that you analyse the above information with instrument in your hand. You have to be able to know where each of the chord tones is located in relation to the root. The PDF file will help you visualize that…writing it down on paper will also be helpful to more understand the difference between these chord types.
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To help you with learning chord tones, I advise that you spend a quarter of your session on practicing arpeggios (Maj7, m7, 7, m7b5). Arpeggios are nothing else, than a chord broken into single notes played in succession. There are so many advantages of practicing arpeggios (in the right way of course), that I could spend all day talking just about it. But let stick to the fact that by doing so, you will get the control over using chord tones and be able to instantly find their location on the fretboard. I am currently working on a book about how to practice arpeggios on bass, so watch this space!
Do not move onto the next lesson too quickly, before having mastered current material. Also, at the beginning try, not to work on too many patterns in one session, that is only going to distract you. Isolate each concept and work on it until you can pre-hear it in your head.
As we just starting to learn walking lines, we have to make sure that they sound solid first. Therefore we are not going to play any fancy rhythms yet. Really focus on playing long, even and undecorated quarter notes. Try to reduce the space between them to the minimum. The longer your quarter notes will be at this stage, the better will short rhythmic variations sound later on.
Root-Root-Root-Half Step Above/Below
Let’s start to learn our vocabulary with explaining what the leading tones are and how they function in walking bass lines construction. We are going to be using this concept throughout the whole course, so it is very important to understand it at the beginning. Leading tones are also called half steps above and below and I will be using this name from now on to describe this concept. Half steps create feeling of tension and release and this is what makes a walking bass line sound jazzy. To illustrate that, in our first two patterns, play the root of the chord for first three beats and then, on beat four half step (one fret) above or below the root of the next chord. These simple patterns will help you to quickly internalise progression of “Autumn Leaves” and Jazz Blues by the root motion. Let’s illustrate that.
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Root-5th-Root-Half Step Above/Below
Using combinations of root and 5th is the best and most solid solution when first starting to walk over chord changes. Root and 5th form a framework of a chord. These notes can be used on any type of chord as they do not specify if chord has a major or minor quality. In our first standard “Autumn Leaves”, when half-diminished chord occurs, remember to play b5th as opposed to perfect 5th. When using root and fifth patterns you must bear in mind that the 5th can be played above or below the root. Also the root itself can be played an octave higher or lower. In these patterns root of the next chord is being targeted from a half step above and below creating a strong feeling of destination. When you get to the bar where two chords appear in on measure you can either play the root and correspondent half step or the root and the third or fifth.
The concepts we are learning here may sound unnatural and exercise-like when you apply them to the entire progression, but our goal is to sculpture the sound and feel of each pattern in our brain, so you can hear it before you play it. My advise is to focus on not how fancy but how solid they are!
Root-3rd-Root-Half Step Above/Below
We are now getting more specific with our walking lines because the 3rd tells us about chord quality, whether is major or minor. Now our lines will sound more “in” with the chord changes. Before, the lines we have played have not reflected major or minor tonality of the chord.
Root-7th-Root-Half Step Above/Below
The 7th of the chord also informs us about the tonality ( major or minor). Remember that you can use 7th above as well as below the root. Second option is used more often as it often sounds better. Again half steps are used to target the root of the next chord.
Root-3rd-5th-Half Step Above/Below
Once we have learnt to instantly find individual chord tones on the fretboard and their relation to the root, the next step in laying foundation for our walking lines are patterns based on triads. Root, third, and fifth form a triad of the chord. The triad gives us extremely clear sound of the basic chord. Start your statement with playing the root on beat one, then play the 3rd which tells us about the tonality of the chord and then support the whole concept by adding the 5th on beat three. To finish off, play half step above or below the root of the next chord to create tension and release. Variations on triads sound more interesting and complex as opposed to combinations of root-chord tone-root-half step a/b. Make sure that you can fluently play variations on major and minor triad finding the 3rd and the 5th both above and below the root.
In these patterns we are targeting the root of the next chord from half step above and half step below.
Root-3rd-5th-3rd/Root-5th-3rd-5th
These two patterns are variations on triads. They are very popular and widely used in different types of music, not only jazz. You will hear them on many differet recordings. It is necessary that you have them in your bag of tricks and patterns. Make sure that you practice them in all keys.
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Once you have a firm grasp of concepts used in this module you should try to mix them all up over our standard tunes. Untill now we have practiced using only one idea at the time, what made our lines sound unnatural. Now, when you blend them all together you notice how interesting they start to sound. And what is most important, how SOLID they are!