bassist, author, clinician, educator
September/October
1998
Chord Study: Blues in F (Part 1)
by Michael Dimin
In the July/August issue we looked at embellishing your really groovin' bass
line with chords. We also looked at the specifics of playing and voicing
chords on bass. The next four lessons will present the development of
an arrangement of a blues in F in a chord-melody style.
Playing in a chord-melody style is a great way to gain a better understanding
of the relationship between harmony and melody. Additionally you will explore
the range, flexibility and potential of your bass. You will become a better
soloist, expand your role within an ensemble and become a more valued player.
Through practice and performance your understanding of these techniques will
increases as will your musicianship. Finally, you will, no doubt, impress other
bass players and musicians because these techniques sound so "hip!".
Each lesson presents a chorus of a blues in F. Each lesson presents more advanced
techniques. Although the topic of these lessons is an overview of chordal playing,
other techniques have been employed, including: functional harmony, chord substitutions
and building a walking bass line. This lesson is a chorus in a simple "comping" style
with a swing feel. I have included tablature so you can determine the most
comfortable fingering for your fretting hand.
The most important aspect of playing chords on bass is the choice of notes
and their voicing. Low frequency bass notes voiced in a "closed" position
will sound undefined. For most major, minor and dominant 7th chords, voice
only the root, third and seventh of the chord. Since the fifth of the chord
is common to many forms (major, minor, dominant) of the chord, we will omit
it. The root is obviously important. The third and seventh, the "guide
tones", give the chord its major, minor or dominant quality. Spread the
voicing of the chord tones to lend clarity and definition. As a general rule,
voice chords with the root on the E string as: root, seventh, and tenth (third
up an octave). For chords with a root on the A string, voice the chord as:
root, third and seventh.
This blues contains three chords, the I (F7), the IV (Bb7) and the V (C7).
The first chord, F7 is comprised of the notes F, A, C and Eb. The important
notes of this chord are the root (F), the third (A) and the seventh (Eb). To
increase the clarity and definition, "open" the harmony by playing
the A (third) an octave up (tenth). The F7 chord will now be voiced F, Eb,
A (root, seventh, tenth). This voicing of the F7 contains the important chord
tones, and the voicing is spread wide enough for clarity and definition.
The second chord of our blues is a Bb7 (Bb,D,F and Ab). This time I do not
raise the third up an octave because the root is high enough to still lend
the necessary clarity and definition. The chord is voiced Bb, F, Ab (root,
third, seventh).
The final chord needed to play through the first chorus is the C7. The C7 is
voiced exactly like the Bb7, moved up two frets. In upcoming lessons, I will
add a walking bass line, chord substitutions and finally a melody. Remember
to make it swing!