Improve Your Bass Improvisation ~ by Mike Overly

Even if you know the key signature of the song you are going to play, you still don’t know what key you are in because one key signature represents two keys: major and relative minor. And even after you analyze the song and know the key you are in, you still won’t be able to improvise because to do that you need to know what scale to play. As we will learn in this lesson, that’s not always a simple choice. So, let’s begin with the traditional view of music, which starts with…

http://www.12tonemusic.com/bass/lessons/Improve%20Your%20Improvisation.pdf

www.12tonemusic.com/bass

If You Move Two Frets, You’ve Moved To Far – by Mike Overly

Wouldn’t you like to change chords faster? You could if you played them closer.

Where do chords originate? The simple answer is: from the letters and tone numbers of a scale. In other words, it’s just like the Scrabble® word game. You know how to play that game, select some letters and then see how many words you can spell with those letters. Well, guess what? Music is exactly the same. You select the letters of a scale and then you see how many chords you can spell with those letters!

Since there are many scales from which you can select letters to spell chords from, we will limit this lesson to the G major scale and its chord triads. A chord triad is harmony of three different letters played simultaneously. Many books have been written about this “music-spelling” game. They are known as Music Theory books. These books go into great detail explaining the rules of spelling such as: intervals, inversions, extensions, alterations and so on, until you become a Ph.D. at the spelling game. But who has that kind of time? So, here’s a very simple concept that will have you easily spelling 7 different chord triads from the G major scale. Ready? Just select “every-other-letter” from the scale. Wow, that sure was simple!

Let’s begin by illustrating the G major scale as letters and scale degree tone numbers in two octaves. Figure 1.

 The following ilustrates the circle-6-2, G major scale as letters and tone numbers on the guitar fretboard. Figure 2.

Now, let’s start the chord triad spelling game. The first chord of the G major scale is the G major chord, which is spelled with three “every-other-letters: G B D. This first chord of the G major scale is symbolized by Harmony Numeral I (one). Figure 3.

Here’s another fun game, find the hidden picture. In other words, find the hidden chord! Do you see the circle 6-1 G major chord hidding within the circle 6-2 G major scale? Here is something interesting. Even though there are only three lettes, this chord has six sounds. Figure 4.

And now, a bit of the rules that was mentioned earlier. Since the G major chord begins on the tone 1 (also known as the root and tonic) of the G Major scale, it is called the I (one) major chord. Scale degrees tone numbers: 1 2 3 4 5 6 7 symbolize single pitches. In contrast, harmony numerals: I ii iii IV V vi viib5 symbolize groups of pitches called chords or arpeggios. Chord tones are played at the same time and arpeggio tones are played one at a time with no sustain. The harmonies I, IV and V are major, while the ii, iii and vi are minor. The viib5 is a minor flat five. Traditional music theory calls harmony seven of the major scale: diminished.

Now, let’s proceed. In the key of G major, the ii minor chord is A minor (Am, A C E) and is shown in circle 6-3. Figures 5 and 6.

The iii minor chord is B minor (Bm, B D #F) shown in circle 5-1. Figures 7 and 8.

The IV major chord is C major (C E G) also in circle 5-1. Figures 9 and 10.

The V major chord is D major (D F# A) in circle 5-4. Figures 11 and 12.

The vi minor chord is E minor (Em, E G B) in circle 4-1. Figures 13 and 14.

And finally, the viib5 minor flat five chord is F#mb5 (F#mb5, F# A C) in circle 6-1 and circle 4-1. As we previously said, traditional theory  calls this a diminished triad. Figures 15, 16 and 17.

As you can now see, all the chords of the G major scale, or any scale for that matter, are within one fret of any other chord. You can’t get any closer, or faster, than that!

So, ’til next time, have some fun playing closer and faster chord changes… I’ll be listening!

http://www.12tonemusic.com