The Two Notes That Say the Chord
The third and the seventh carry the harmony. The root is your job anyway and the fifth says almost nothing. Enter a progression and see the guide tones, and how little they move between chords.
Where should I send it?
Enter your email and the tool unlocks on this page.
You'll also get the practice emails. Leave any time.
Chords
Type any chords separated by spaces. Qualities understood: maj7, m7, 7, m7b5, dim7, 6, m6, mMaj7.
What to do with them
- Play only the guide tones through the progression, two notes per bar, nothing else.
- Notice how far they move. Usually a half step. That's voice leading, and it's why the changes sound connected.
- Now put the root on beat one and a guide tone on beat three. That's already a usable bass line.
- Fill the gaps with chromatic approach notes and you have a walking line built on the harmony instead of on a scale.
Your next step
The third and the seventh say the chord. In these courses they're where a real solo starts.
Intermediate Soloing & Improvisation Concepts for Upright Bass
Cole DavisYou can already get through the changes. This is the system that turns them into a real solo.
- Hear a chord by its 3rd and 7th, not just its root.
- Drop half steps into a line: the “wrong notes” that make it sound like bebop.
- Play a full transcribed chorus. Every solo in the course is written out for you.
Jazz Soloing on Electric Bass from the Beginning
Cole DavisFrom “I freeze when it's my turn to solo” to soloing through blues, rhythm changes and ii-V-Is.
- Take a solo on a blues without panicking.
- Solo through a ii-V-I in any key.
- Build a solo from a bass line: the chiseling method.
Not sure which course fits? Answer a few questions and we'll point you to one. Or browse every course.