Download the PDF TAB

Optional download of video, mp3, pdf and Guitar Pro 5 tab here
http://www.tradebit.com/visit.php/213998/product/-/153244846
To practice Major triads as chords in root, 1st and 2nd inversion Im using Twinkle Twinkle Little Star as example.

Thx to the great bassplayer and Playbassnow.com teacher Adam Neely for opening my eyes with this video:
http://www.youtube.com/watch?v=XfD_tNAfy78&feature=mfu_in_order&list=UL

Check his other videos

Here is a link to a transcription, TAB or backing track for this lesson, but You need to be a registered user to download. ]]> http://playbassnow.com/speed-technique/legato-scale-practice-tips/feed/ 0 http://playbassnow.com/playing-styles/fingerstyle/partage-with-tab-and-backingtrack/ http://playbassnow.com/playing-styles/fingerstyle/partage-with-tab-and-backingtrack/#comments Thu, 17 Feb 2011 13:23:05 +0000 Bruno Tauzin http://playbassnow.com/?p=4982 Click here to view the embedded video.

Here my composition called “Partage”

You can download the tablature and the playback here

Knowing your major scales in every part of the bass neck in all positions is invaluable and should be practiced daily. The exercises i have given you in the following tutorials will really open up the geometry of the bass neck and if practiced alongside the arpeggio exercises you will truly start to ‘see’ the available harmony for any chord sequence all over the bass. By practicing each different fingering of the major scale and then incorporating the continuous scale exercises you will also be practicing them modally as well.

Take your time and be patient, the continuous scale exercises are tough to start with! Remember, becoming a great musician is a lifetimes worth of study… so enjoy the ride!

Happy shedding,

S.

Part 1

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Part 2

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Here my composition called “Ancien monde”, for 6 string bass

The bass plays the theme in G major.

You can download the tablature and the playback here

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A quick lick recorded acoustic with my laptop crappy mic:-)
Im playing my old cheap Maison electro acoustic bass
A lick/run with a lot of slides only using notes from the E major scale.
I also show a E maj9 chord voicing – from bottom up it is
E (root) – open E string
B (fifth) – 14th fret A string
F# (ninth) – 16th fret D string
G# (third) – 13th fret G string

Download original quicktime movie here

Anthony Crawford gives examples on how to tap out scales on bass

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Chords: C – G – Am – F

Scale: C major

Transcription

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E maj scale in 4th steps over 2 octaves

Bmaj7 = B major scale
Gmaj7 = G major scale

Tablature

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The Major tetrachord is a four note scale that can be played with 4 different patterns/fingerings, you should practice them all.  Pattern formula is whole step, whole step, half step.

And when you have learned the Major tetrachord scale you can easily play the Major scale (see video #6 to 13 in the video playlist)

This is a a method/series to learn the modes and common scales by dividing an eight note scale into 2 four note scales (the brain has an easier time remembering 1234 1234 than 12345678).

You only need to learn 4 different tetrachords to be able to play all 7 modes : Ionian Major, Dorian minor, Phrygian minor, Lydian, Mixolydian Major, Aolian minor, Locrian half diminished.

Playlist with Four different fingerings for a Major tetrachord:
First all patterns played in sequence, then one by one:

Playlist with Four different fingerings for playing a One octave (Ionian) Major  scale (a C Major scale is contructed of two Major tetrachords, the C Major and the D Major tetrachord)
and four different fingerings for playing a Two octave (Ionian) Major scale

And you can download the Major tetrachord shape with 4 different fingering options below
And go to the next lesson HERE

Gmaj scale exercise in triads over 2 octaves (african feel)

Another fast doublethumb groove in G based on minor pentatonic

Instead we divide it into 2 parts – so we get two four note scales (called tetrachords) – identical patterns where the first (called the lower Major tetrachord) G A B C:
Whole step (G to A), whole step (A to B), half step (B to C)

And the second (called the upper Major tetrachord) D E F# G
Whole step (D to E), whole step (E to F#) and half step (F# to G).
The beauty of it is that it is easier to remember 2 x 4 notes than 8 notes in a sequence, its easier to get an overview of the fretboard when you condense the scale into smaller scale units.

More info on tetrachords HERE and on www.notreble.com there are some good articles too,  HERE

And you can download the Major tetrachord shape with 4 different fingering options below

Click here to view the embedded video.

A continuation of the theme from previous video (Minor 7 chord improvisation with scale substitution ) , how to improvise over a D minor 7chord, this time using the pentatonic scales contained in the C major scale or any of the modes derived from it – look below

C major ionian and/or C major pentatonic
Dm dorian and/or D minor pentatonic (of course)
Em phrygian and/or E minor pentatonic
F major lydian and/or F major pentatonic
G mixolydian and/or G major pentatonic
Am aolian and/or A minor pentatonic
Bm locrian

These all contain the same notes, but you target the notes differently by cheating the brain to see new patterns

Click here to view the embedded video.

A practical theory lesson on how i approach improvising over a static m7 chord groove. In jazz, funk and rock, if a solo section consists of a static m7 chord, most often the Dorian minor scale is used (1, 2, b3, 4 , 5, 6, b7). The dorian minor scale is built on the 2nd step of the Major scale.
In this example the D dorian minor scale is 2nd step (or mode) of the C Major scale – or in other words it IS a C major scale just starting on the 2nd step/degree.
So on any given minor7 chord we can improvise a Major scale a whole step below.
ie if we play over a Em7 chord , we can play a D Major scale

Click here to view the embedded video.

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Lecture about the foundation of the music we know – the major scale ; its use and why its such a good idea to learn.

Whole thing is almost 30 minutes but ive divided it into three parts, first today – so hang in there;-)

We are “harmonizing” the major scale – building a chord an each step of the scale and numbering them as we move along (this is also known as the “Nashville number system” used by the studio musicians fro writing down songs)
Also an introduction to learning to analyze the most common chords and progressions in songs, so we can learn tunes faster and transpose them easily too .

For further written explanation revisit this lesson on playing bass lines over triads

In this second lesson, we have the roots, fifth and octave.

The chords are Cmaj7 – Am7 – Dm7 – G7

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A simple walking bass with root and fifth.

The chords are Cmaj7 – Am7 – Dm7 – G7

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In this second lesson on 6 string bass, we will explore the highs with a little melody in A major.

The chords are: A / D / A / E7

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In this first lesson, a groove with chords in F major.

You will notice that the groove is dampen by the palm of the right hand.

The chords are: F maj7 / Bb maj7 / F maj7 / C7

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This exercise is designed to give you a basic understanding of superimposed rhythms known as polyrhythms.

The triplet is the most common polyrhythm- we hear it all the time. So, this exercise is using triplets to illustrate how polyrhythms work.

This particular exercise gives us a 3:2 polyrthythm or 2:3 depending on how you want to feel it. You can also apply this rhythmic application to melodies, solos, lines, and other scales or arpeggios.

If you really want to pursue polyrhythms, tunes like “Eulogy” by Tool or “Frame by Frame” by King Crimson feature some really cool polyrhythmic stuff. However, the undisputed masters of polyrhythms are probably Igor Stravinsky or Frank Zappa.

If the instructions in the video are not clear, leave a comment, to which I will reply.

A rhythmically stranger sounding lick i know, playing 2 sequences of 7 notes in the first part and then landing on firmer ground in the second half;-)

But sometimes its good not always playing on the same ole’  1 – 2 – 3 – 4 beats IMO

The main part of the lick is the A Major pentatonic scale ( or the F# minor pentatonic scale if you want to look at it like that – its the same notes), but in the second 7 note sequence  i play a note from the A major scale (the Major Seventh, the note “G#). I like going in and out of the main Major scale (1, 2, 3, 4, 5, 6, 7)and the simpler pentatonic equivalent (1,2, 3, 5, 6, ).

After the slow version of the lick i play the basic scales – the A Major scale and the A major pentatonic scale

In the end of the video i introduce another scale option – the E major scale and the E major pentatonic scale – try and play that scale over the backing track for a more open sound.

E Major scale = A lydian scale , a major scale with a raised 4th (D#)

In fact try and play the initial lick transposed to E.

Quicktime version

iPod mp4 version

Flash flv version

Cmaj7 ionian scale (C-D-E-F-G-A-B-C) First practice the scale in different positions, learn my example, develope your own….

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This a continuation of the playing over triads series, go to previous lesson and backing track HERE

In this example i cram almost everything i know in playing the bassline over the progression:

Chordnotes – Major triad 1, 3, 5 sometimes with a 6th added.
Scale notes – When doing the walkup or walkdowns from one chord to the other i just use the notes from C major scale.
Chromatic passing notes in between scale notes – For example, on the F chord, if you are goin from the 3rd A to the 5th C, you can use notes inbetween in passing – A (A# B) C.
Inversions of the chords – the root position of the Major triad (you can add the octave too) is 1, 3, 5, then first inversion 3, 5, 1 and the second inversion 5, 1, 3.
Doublestops (2 note chords) – Playing the root plus the 10th (an octave + a third)

Playing this in a band would surely get me fired for overplaying, but again, its an example of possibilties and inspiration for you to in learning to play over these fairly simple Major chords.
And we havent even touched the use of the 7th, as i basically play over triads with a 6th added here and there, but its the pure major chord sound witch is used a lot in most rock and pop songs.

Quicktime version

iPod version

This is a lesson 2 in this series, go to lesson 1 HERE or continue after this to lesson 3 HERE

iPod version here

Im just playing the notes from the triads  in a fairly strict up and down fashion over the music in this exercise – in a real playing situation i would of course vary the patterns – mostly put emphasis on root notes, use other rhythms , add scale notes etc..

But this is for you to get equally comfortable with the third (3rd )  and the fifth (5th) as well as the root

Now we use the C, F and G Major triads in a chord progression

Another way to learn this is by looking at at the chords as steps of the major scale (for explanation revisit lesson 1)

We are in the key of C so:
C Major is the 1st step of the C Major scale,
F Major is the 4th step of the C Major scale,
and G Major is the 5th step of the C Major scale

Optionally you could look at -The same chord sheet as above where numbers replaces the letters making it much easier to transpose

The positions revisited:

The C , F and G Major triads played in different positions up to the 7th fret, please memorize them, you will gain a great advantage in being able to break out of the “only playing root notes” box

(Click the image for full size)

iPod version

This is a prepatory exercise for Ch11 Using Major triads in basslines

The C , F and G Major triads played in different positions up to the 7th fret, please memorize them, you will gain a great advantage in being able to break out of the “only playing root notes” box

(Click the image for full size)

Explanation of  why you should learn this;-)

Since most western music harmony is based on the 7 steps of major scale, and that the chords built on the major scale are VERY common and should be memorized and transposed since they cover the foundation of MOST songs you will ever play.

And most pop and classic rock is composed either on a guitar or piano playing simple chords  (often by a non guitarist or non pianist), hence the “easy” keys and chords (C, G, D, Am, Em…) that  are VERY common.

So if we take the 7 steps of the major scale and build a simple chord on each step, in this case a triad (a three note chord):

• 1  C E G – spells a C Major triad – written as C
• 2  D F A – spells a D minor triad – written as Dm or D-
• 3  E G B – spells a E minor triad – written as Em or E-
• 4  F A C – spells a F Major triad – written as F
• 5 G B D – spells a G Major triad – written as G
• 6 A C E – spells a A minor triad – written as Am or A-
• 7 B D F – spells a B dimished triad – written as B0 or Bdim, but is not thatcommon and is often changed to a G Major triad with B in the bass – G/B

To build a triad from a scale, you play every other scale note, ie the C Major triad is the 1st,  3rd and 5th step of the C major scale, the D minor triad is the 2nd,  4th and 6th step, the E minor triad is the 3rd,  5th and 7th step….

So we have:

C, Dm, Em, F, G, Am, Bdim

and if you look it as scale steps from the C major scale, it translates to:

1, 2m, 3m, 4, 5, 6m, 7dim

If we only use the Major chords we get :

C, F, G or the scale steps 1, 4 ,5

Which is a very common progression – ie Blues, Rock ‘n’ roll (Chuck Berry, Elvis…)

| C | C | C | C |
| F | F | C | C |
| G | F | C | G |

Or written as numbers (the scale steps) as the Nashville studio musicians do:
| 1  | 1  | 1 | 1  |
| 4 | 4 | 1 | 1  |
| 5 | 4 | 1 | 5 |

A very wise thing to do since you can transpose to all keys more easy just thinking in scale steps

| 1 | 4 | 5 | 1 | in C is
| C | F | G | C |

And transposed to G is

| 1 | 4 | 5 | 1 |
| G | C | D | G |

Go to next chapter of this tutorial with a song built on the 1st, 4th and 5th step ogf the major scale using the triads you have learnt in the video

Music theory for understanding the modes of the major scale.

Major scale exercises that I talked about in my practice log post previously. Playing scales in 3rds is a great way to improve your chops and general musicality. I’m playing here in g, but they should be practiced in all keys.

Here is a transcription of chipie from great saxophonist Ornette Coleman (1930 -).

This theme is very melodic, and sounds beautiful on fretless bass.

The tone of this song is F major.

A bit of fun with my piccolo bass – a cheap  SX shortscale bass with piccolo strings

A previous piccolo bass jam here

Click here to view the embedded video.

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Well, the scale almost all western music is built on

Scale degrees/intervals, example in C:
C, tonic (1)
D, major second (2)
E, major third (3)
F, perfect fourth (4)
G, perfect fifth (5)
A, major sixth (6)
B, major seventh (7)

Scale formula:
Whole step – C to D
Whole step – D to E
Half step – E to F
Whole step – F to G
Whole step – G to A
Whole step – A to B
Half step – B to C

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