Using Arpeggios on Bass Guitar | Will Edwards | Skillshare
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31 Lessons (60m)
    • 1. Introduction

      2:51
    • 2. Demo: 12 Bar Bassline

      1:21
    • 3. Instructor Introduction

      1:24
    • 4. What is the Tonic?

      0:59
    • 5. What is the Key?

      1:15
    • 6. Review of Major Scale

      2:01
    • 7. Chords by Numbers and Qualities

      3:18
    • 8. Review of Dominant V Chord

      1:58
    • 9. Intervals vs. Note Names

      3:49
    • 10. Major 7 Arpeggio

      2:43
    • 11. Minor 7 Arpeggio

      1:09
    • 12. Dominant 7 Arpeggio

      1:34
    • 13. Augmented (Both 7ths) and Half-Diminished Arpeggios

      1:39
    • 14. Fully Diminished Arpeggio

      1:23
    • 15. Hands On: Applying What You've Learned

      3:13
    • 16. Improvisational Practice

      1:24
    • 17. 1st Inversion Arpeggio

      1:21
    • 18. 2nd Inversion Arpeggios

      1:26
    • 19. Pedalling

      1:45
    • 20. Hands On: Inversions Over 12 Bar Blues

      1:51
    • 21. Groove Overview

      1:01
    • 22. Improving Your Timing & Tempo

      2:00
    • 23. How to Practice Emphasis

      1:13
    • 24. Subdividing by Eigths

      2:54
    • 25. Subdividing by Sixteenths

      2:22
    • 26. Contour Overview

      2:03
    • 27. Finding Common Tones

      4:47
    • 28. Switching 3rds and 7ths

      0:52
    • 29. Contour of Major 3rds

      2:32
    • 30. What if You Have Questions?

      0:51
    • 31. Conclusion

      0:58

About This Class

Arpeggios are a great way to learn the bass fretboard AND start making improvised music.  This is particularly handy in Jazz playing (where improvised performance is expected).  But, up and coming musicians can also learn a great deal about how music works from learning and using arpeggios.

Whether you're interested in getting started with bass or you want to take your skills a bit further, this course is a good place to start.  This course will teach you all the most common arpeggios and then provide a step-by-step method for using them as building blocks over any chord progression.  Please follow the class project to practice and internalize the lesson material.  If you have any questions or concerns about the course, just reach out!  I'm always available and glad to help.

Transcripts

1. Introduction: thank you so much for enrolling in my course. This is base Survival Guide, and it's kind of the culmination of a whole lot of lessons that I've learned has a basis. So what this course is really gonna instruct you to do is to learn it, think about music, especially songs and court progressions in terms of numbers, and then to map those numbers to arpeggios and learn how through a reliable system basically to improvise a base line along with any court progression that's gonna work, that's going to sound good. And that's going to allow you to kind of get into a groove, which is another part, a playing bass, the rhythmic aspect, not just getting your pitches right In this first section, I'm gonna give you run down a whole lot of essential ideas, like thinking in numbers, tonics and keys. We're gonna go over the major scale, and there's a variety materials you can download along with the lessons. I encourage you to really work hard mastering, making sure you're very comfortable to everything in the first section, so that subsequent sections make sense in the second section, we're gonna work on arpeggios primarily. I'm gonna show you how to practice them, what to practice. And then we're also going to some hands on works so you can see how your work is paying off in the latter sections of the course will be talking about inversions and we'll be talking about groove and Contour. Okay, so inversions really is just a great way to use the same old arpeggios. But to be kind of able to move mawr fluidly and mawr specifically around the fretboard, you'll see what I mean in those sections. The groove part. We're going to talk a little bit about how to subdivide beats and how to create cool grooves and practice cool grooves. So part of my approach is a bassist is to formulate skills that enable me to kind of be in the moment when I'm actually playing. So there is some academics here. There's quite a lot of academics in this course, but the outcome is that you shouldn't really be doing math on stage. You should be acting intuitively the same way that you are able to talk conversationally without really thinking about it. You know, you've done a lot of work to learn vocabulary and to learn your language. But when you actually come to talk, it's not really a head game you're not really thinking about, and that's where I want to help you get with music. The section on Contour towards the end of the course is about learning how to move around the base. Fretboard learned how to move from court accord in a way that's a smooth as possible, but we don't want to have sudden, jarring adjustments from note to note, and a great baseline can still serve the cords and have great contour in the section on contours. Gonna kind of outline how you can develop that skill and practice it. 2. Demo: 12 Bar Bassline: I want to give you a little taste of the kind of skills you can develop in this course by giving you a demo right now. So you know what I did right? There was improvised a baseline following a court progression the whole time. I'm thinking G c and D seven, but I'm playing arpeggios and it comes out as a baseline. It perfectly matched to a G 12 bar blues quick to the fore. And I'm just playing arpeggios. I'm thinking about it as 14 and five chords and I'm playing dominant and major seven arpeggios throughout this course, you're gonna find out what all that means. And if you don't already know what it means, you're going to learn what those air pigeons are gonna learn. Why they're named the way they are. You're gonna learn how to think about these cords, numbers like 145 and match the Roots GC and the two specific arpeggios that are gonna enable your hands just kind of, like, move over the fretboard and play cool baseline on the fly 3. Instructor Introduction: bass player performed jazz ensembles and trios played thousands of gigs. Jazz and blues and pop have also had experience with different theater groups and also worship performances as a player. Most of my experience has been developed on state. Now I am a multi instrumentalist. I do play keyboards and guitars. Well, in addition to my on stage experience, have recorded these three polling CDs, and they've been covered in the press from San Diego. Toe, Vancouver, British Columbia. I'm, a touring solo artist, also performed with dozens of different hands and ensembles. I've learned a lot on stage, but I've also learned a lot in the academic environment. So I've studied music theory at university level, and I'm familiar with all of elements and principles of formal jazz education and my intention as instructor. Here's list frame of pulling things. I wish I had a bassist a long time, so things like how to create good contour, how to create good group, how to practice these principles. Perhaps one of the things that really sets me apart as an online instructor is that I have a lot of experience teaching people face to face, and I really do take an interest in my students progressing, please reach out to me and know that I'm here for you and let's continue with course. 4. What is the Tonic?: Now let's talk a little bit about what a tonic ISS, and this is a topic that's going to serve you really well. So a tonic is something we here. Okay, you could certainly describe it in academic theoretical terms, but what a tonic really is is an experience. So as a musician, when you're playing music, the tonic is what you hear as being grounded or resolved and let me play an example for you . So if we have this that see that note sounds result and we call that the talk, it's also seen you don't have to really think about it is a note just recognized that's not resolved, and that is okay. That's what a tonic is. So depending on the notes you play, you frame up different tonics, and when you understand what the tonic is, helps you create that great sense of resolution, right 5. What is the Key?: Now let's talk about what a key is Now. Key is not always the same as the tonic. It's very similar, but it's not really always the same. So a key, for example, would be G major, a G major scale like that. That's a key because it contains seven unique notes. All the notes with one sharp F sharp okay, and a major contains three Sharps B flat contains two flats, so on so forth the number of flats or sharps from natural. That's what really determines what key is, which notes we dealing with the most keys. Certainly all major and minor keys contain seven unique notes, but you see a tonic can be G for multiple keys. For example, G major and G minor. We hear this G is the tonic because it feels resolved, but the notes were from G major. Once again, you can hear G sounds resolved, and it's the tonic. But now we're in the key of G minor. Sochi and Tonic are not identical concepts, but they are related 6. Review of Major Scale: throughout this course, we're gonna be using concepts that directly referenced the major scale. So I want to make sure that you're very clear on what that is and how to play it. But I'm gonna recommend is that you download the tab that I made that accompanies this lesson. It's just a pdf. He contains the G major scale, and it goes like this. Now that G major scale is in the tab, I want you to practice it, realizing that you can move it elsewhere on the fretboard. So, for example, if we leave that up to frets way precisely the same finger, we get an A major skin, right? So once you know one major scale, you can move it around the fretboard to create all the other 11 major scales for a total of 12 1 for each note in the chromatic scale, which would be a a sharper B flat, B, C, C sharp or defect d de sharp or e flat, E f f sharp or G flat, G G sharp or a flat, and then you're back to a. So there are 12 unique notes in the Western chromatic scale, and you can start a scale on any one of them. And if you follow that finger pattern that I just showed you and that's in the tab, then you can basically just move it anywhere you want on the fretboard, and you're gonna find that you can play all 12 major scales the primary goal of this specific lessons to make sure that you're fluent in the major scale. If you already are great, if you're not, this is what I want you to do is practice the tab until you can play it at 120 beats per minute. No trouble, and you're not really making mistakes. Hopefully, you're not really having to think about it. If you could do it at 120 then you probably are at a point where you're relying on some muscle memory, and that's where you want to be. 7. Chords by Numbers and Qualities: throughout this course, we're gonna be talking about using numbers to describe cords as well as intervals or scale degrees. So when we look at our scale, we've got a one were rude do 34567 and then our octave or root again. And that is the formula for a typical major skip. You're gonna find that we modify somebody's, for example, we take the seventh. Now we make it a flat seven. That's one of the components of a dominant arpeggio that we'll talk about later on. Or you might have a minor thirds in a major third. You have a minor third. Now what we're gonna find is that minor and major dominant arpeggios correlate to major minor and dominant chords. And when we're doing that correlation, we want to keep in mind that within a key, if you numerically identify each note, you can numerically identify each chord. And when you do that, they follow a pattern of major minor. Let me show you what I mean. So let's look at the key of G major. We have G A B, C D E f sharp, right those your seven notes in G major Now you can build a cord off of any one of these notes, so the G chord you can create an acorn. You can create a B chord C chord, so on so forth. When you do this, you wind up with a specific pattern that's predictable in every major key of major and minor courts. So when you build a one chord, it's a major court. We indicate that by using an uppercase Roman numeral one when you build four and five chords, you were also getting major triad, so we indicate those with an upper case for an upper case. Five Roman numeral with 23 and six. You always get a minor court or minor. Try it so you want to represent those with lower case Roman numerals, and that's why we use Roman numerals is very common. It's also kind of known as the Nashville number system, but it's very common. People have been doing it for hundreds of years in music and now, says Remen numerals better for this purpose than our typical numerals because our Arabic numerals don't have an upper case and lower case A to institute is a to but in revenue rules a lower case to upper case. Two different and we can use in represent major and minor. I recommend that you look at each key and I've made a cheat sheet that you can download a pdf along with this lesson that contains all of the 12 keys and then build cords off of each key and you'll find you'll prove to yourself that if you write out the three chord in the key of D Flat major, which would happen to be in half, he wind up with an F minor court. The quick way to remember this 14 and five they're always major 23 and six. They're always minor. The five, as I mentioned earlier, is dominant. The seven chord does wind up being a different quality. Altogether. We call it half diminish, but in order to be clear, the seven chord is always gonna be 1/2 diminish court or what they call a minor seven flat five 8. Review of Dominant V Chord: a topic we're gonna bring up again and again in this course is concept of a dominant okay, and I want to talk a little bit about what a dominant is. A dominant is also known as a five court, and a five chord is accord with in a major key that's rooted on the fifth scale degree. So in G, we have G. Amy C. D is our fifth scale degree. It's the fifth note in the scale, and when you build a cord from the fifth scale degree in a key in this case you get a D seven chord that's called a dominant chord, okay? And the dominant court is unique because it has a major third, but it has a minor seventh and has attention that needs to be resolved. You can even hear it in the arpeggio. There's a little bit attention that needs to be resolved. We're gonna talk about the dominant arpeggio how to play it and go over that in the next section. But right now what I want to outline for you is that this is the five court I want to make sure you understand This is the cord represented by the number five or the Roman numeral five throughout this lesson, and it's a very special court because it only occurs one place within the key, and so it can kind of function as a thumbprint or fingerprint for your song. So if you see a core progression like C G seven, a minor and F and you see this core progress, you see a G seven. You can probably bet on the fact that that's the five chord of your key. You find out what key that's the five off. What key has the fifth scale degrees G that would BC? This core progression is in the key of C major, so it's a really great thumbprint kind of fingerprint way to identify a core progression, and that helps you determine the key. Helps you understand tonics and it all the way. You've been a long use, the dominant arpeggio that will be talking about later on 9. Intervals vs. Note Names: learning to talk about numbers is so effective because numbers are true in any key. So when we look at playing 3rd 7 of G, well, that's a G B Indian in F sharp. Those notes have no role as a root 3rd 5th and seventh of any other key except G. So if we mastered this pad, but we think about it as G, B, D and F sharp, it only is going to serve us in one instance where we're playing in the key of G. What if we play in the key of a Suddenly this G is flat. Seven b is two or a nine. The D is a four on the F sharp winds up being a six, so they have completely different meanings. Some of them work. Some of them don't in this. But when we think about in terms of America pattern fifth major seven, we can just move that up to a and while we get a nice pattern that's reproducible actually applicable. How if we move up a and playing pattern way we were playing out G. The pattern stays the same or muscle memories the same. We get this huge return because we've invested our time in learning the G major seven arpeggio. But we could just move it up to A and play the same thing and think about it numerically. Think we're playing root 3rd 5th and seventh, not thinking of note names so again to summarize the value of talking about numbers. And this is true of cords as well is that they're true in any key. If we want to play a 145 progression that's talking about chords in terms of numbers, and we do that at G, what will be playing some kind of gays and not seen as some kind of D on? Then we can take a one for five name like some kind of A D and E, but thinking in terms of numbers, it's the same in every key, no matter what me I moved to so learn to think in numbers. That's why I recommend it throughout this course, and this course is kind of designed to help you is a bass player. Start to think about everything in terms of numbers. We're gonna talk about cords as Roman numerals. We're gonna talk about individual scale degrees is just simple numbers. One is commonly also called the route, and once you get used to this method of thinking about music and pitch in terms of numbers and relationships and intervals, suddenly all the patterns become very clear where they were kind of obscured, hidden. If you are only thinking about note names, so I encourage you at all turns at all costs. Please use numbers. Learn to think in terms of numbers. Learn to play in terms of numbers, not in terms of note names. If you have more classical training in music, of course, knowing note names if you're fluent in them, that's fine. I use note names. I've had a lot of academic background and I'm very familiar with the name said. For me, the two are kind of interchangeable. But I found overwhelmingly that when I'm teaching students that when I talk about intervals and get them to think in terms of intervals, then they're playing. Their ability. Improvised takes off way faster than if I teach them the names. So if you know note names and they're totally fluent for you, that's fine. You don't have to worry too much about relying on those from time to time. I still think that you have to look at numbers if you want to really digest in, comprehend the patterns that I'm describing in this course. But, you know, it doesn't have to be to the total of mission of what you know about note names. I just don't want to encourage students to go and labor for hours and hours learning note names, knowing full well that for a beginner intermediate student that just really doesn't have a lot of value. 10. Major 7 Arpeggio: in this lesson, I'm going to start really teaching you the arpeggios that I use And these air really cornerstones of this whole approach to playing bass. So these are really important for you to master and get very comfortable. We're gonna start with the major seven arpeggio and I've developed tapped for you. You can download along with this lesson and practice, but I'm going to demonstrate for you and then kind of tell you how I would practice it if I were you going to start out. We've got this g major arpeggio. We start with our middle finger on G. We're gonna be using all four fingers. Okay, so we're gonna start with g Way Gotta be is the third, then D and we're gonna play that pinky ring finger on F sharp, which is our seventh back to The Octopus. So you have active 753 and way to practice. This is to play each of the arpeggios for each one of the 12 chromatic tents. We start with G, and then we're gonna do see okay, then we're gonna move all the way up to F at the A threat. Then we're gonna go to be fun six Threat E flat gay flat d flat, f sharp. Better to be. Then we slide up to e goto a d and then we're back to G. Okay, so this is how that's gonna go way go to see all the way up to f at the eighth fret B flat . So on so forth from B flat, e flat, a flat two D flat to f sharp to be all the way up to e a two D and then back to G, And that winds up taking us through all the possible major seven arpeggios that are you're basically playing everyone and harmonically So, for example, are D flat major. Seven are That's an harmonic to a C sharp. So moving through those 12 routes, as I just showed you on the fretboard is a great way to practice anything essentially in all 12 routes 11. Minor 7 Arpeggio: Now let's look at the minor seven arpeggio and see what that is. We're going to start with G. Only this time we're going to start with our index finger on G. We go up to the pinky thistles are seven. The year this is an F and then up the octave. So we have root. 3rd 5th 7th and talked it again. Now, a couple of things to realize about you're a minor arpeggio that are different from your major arpeggio. Of course. A minor third. You have a B flat instead of B three. Other thing is you have in mind or seven. Okay, Now I have prepared tab for you so you can download that practice this you want to get to the place with each one of these are pages we can comfortably play them at 120 beats per minute. The tone is good. You know, your confidence with them is good and you relying mostly on muscle memory 12. Dominant 7 Arpeggio: Now we're gonna talk about the dominant arpeggio. So this is an arpeggio. The matches dominant courts or has a dominant seventh. This is an interesting core because it has a major third, but a minor seventh in it. I have prepared a tab for you so you can download it. If you want to see Bass Tab for how to play this arpeggio in G And like everything else, we're gonna be able to move them to all 12 of our roots. We're gonna want to do that with the major, minor and dominant. So we start playing the dominant arpeggio with our middle finger. We're gonna be doing G. In this example You go root 3rd 5th just like the major. It's exactly the same as the major until you get to the seventh because the major seventh is here. We blame on your seventh in the dominant are so never you. Do you want to get used to this pattern thing? This would be the arpeggio that you play over a G seven court and if you move it up to any other note, you know you moved to the scene and then you move up to the f a flat d flat f sharp be slide up e e a d back to G play all 12 of these dominant arpeggios and practice them in every rid. 13. Augmented (Both 7ths) and Half-Diminished Arpeggios: arpeggios that we just covered. Major, minor and dominant by far. They are the most common that you'll encounter in music, but they're not really the only ones. There are others. I want to mention them for you, but there's an augmented. This is essentially a shark. Five. So we would play G three and then you play a sharp five. There you could play a major seven or a minor, said Let me demonstrate an augmented major seven chord kind of a bizarre sound, an augmented seven chord. Then there's also the half diminished chord. That's the quality that always occurs on the seventh degree. This would be in a minor. Third would be a flat fifth, then minor seventh. You'd move that threw away 12 Ritz. If you wanted to learn these, you do the same thing. Moving through all the 12 routes that's 1/2 diminished, and I've worked out tab for each one of these as well that you can download with this lesson and you can learn them in G and then, of course, duplicate them out to G C F B flat, e flat, a flat D flat, F sharp, B e a. D m. Back to G, working through each of the 12 routes 14. Fully Diminished Arpeggio: final chord quality that is again not used very much in popular music. But I want to make you aware of is a fully diminished seven core. Okay, so unease. E way to play that on a guitar or a base is by stacking minor thirds like this and Go index pinkie, you shift the whole thing up. One fret on the Jason Strange UNIX pinky. She kind of playing this step pattern. You keep going, you wind up getting and diminished a fully diminished seven arpeggio again. It doesn't get used very often at all in popular music, but if you want to learn them, then if you know the augmented major seven the augmented seven the half diminished and fully diminished, as well as the major seven, minor seven and dominant you could pretty much be unstoppable. I'd say that these ones that are covering in this lesson really have a lot of applications . May be in jazz if you're getting into some heavy jazz, but they don't really have a lot of applications in popular music's major minor and dominant is going to cover you in 95% of the situations that you'll ever find yourself in. Unless you're really getting into some hard core jazz 15. Hands On: Applying What You've Learned: So now we're getting into a really exciting phase of your learning because we're gonna actually apply this. Okay, so this is a hands on lesson. I want you to follow along with your base, and we're gonna look at a very comp base progression called the 12 Bar Blues. So in the key of G major, the 12 bar blues contains thes courts G. We'll go quick to the four, which then goes to see back to G for two measures or two bars. Then we play, see for two bars, G for two bars. Then it's D C, G and back to D, and that adds up to 12 bars. Okay, that's the 12 Bar Blues. This is called a quick to the four because it goes from the one chord to the four chord on the second. Now we want to go back to the beginning of the course where he talked about tonics and keys who want to ask Well, what is the key here? So if we've got g c and D, the key is going to be g major. And in g major G is the one, so it must be major. See, is the four, so it must be major and D is the is also major. It's the five chord which we know is dominant as well, right? So that's great opportunity for us to use our dominant arpeggio. Now it we know what their qualities are. We want to identify them with Roman numerals and think about these as just 14 and five chords in a 12 bar blues arrangement or a form. And then we want a map are appropriate dominant or major arpeggios onto these roots as the music. So you wind up with this, - and there we have it. We have a 12 bar blues built out of arpeggios and that goes and demonstrates exactly what I was doing at the very top of this course. Now we can think about these as being 14 and five arpeggios were mapping them to major in dominance, and we understand what those are, and we can also understand where we are in a key. That G is the one, and C is for two years the five and the five chords always dominant. That sort of thing developing these numeric awareness is understanding what qualities are major minor and dominant and mastering a major minor and dominant so that they're like second nature in your hand. These are really the cornerstones of this course, so you wanna download those PdF's the base tab, practice them until you can play them in 120 beats per minute. No problem. Then break out this 12 bar blues pattern. You can also use a jam track that I created for you specifically in the key of G major. And then you can also use the one that I created in a major just to basically practice moving to a different position and using these active the same patterns. 16. Improvisational Practice: one last thing I wanted to talk about before, the section concludes, is having you improvise a little bit over that, a major court progression. So there's a jam track from the last lesson that you can download, of course, the G major blues that's there for you to do the hands on work that we did in the lesson together. But I also gave you an A major 12 bar blues, and that's designed for you to take all this that you've learned about using arpeggios and mapping into cords and move it to a different position, just like I'm saying you can so you can see how well that works, and you can also have some practice just kind of breaks the ice a little bit on using that technique. But I want to encourage you to improvise as well, so you don't have to play a thing kind of plodding line you can play. You can improvise and play some kind of your own rhythm line. Find a good group. We're gonna be talking about groove later on in the course and how to infuse that into baselines. But feel free to do that now and use both the G and the A major as reference points for kind of jamming a little bit. You know, Now you've got these arpeggios under your hands and you understand how to use them. It's going to make it a lot easier for you to just kind of jam out, have some fun, and I recommend you do that. 17. 1st Inversion Arpeggio: Now I'm gonna show you how we can start our arpeggio on the third and create a first inversion arpeggio. Okay, so we've got see me being and then we're back. Me, You are way to start on the That is still a C major seven arpeggio starts and contains all four notes. We call this first inversion see major seven arpeggio. I've prepared first inversion arpeggios in major minor and dominant for G because we're going to reference everything from G. As I stated earlier in the course, you can just move it around the fretboard toe other notes, but we're gonna focus on it and g when we're learning. And I've written out tab for first and second inversions in G. Then what you want to do is play first and second inversions moving through the 12 roots, right with from G to see up to F to B flat and e flat a flat that so on so forth through the 12 routes practice all the 12 inversions fruit first, then first inversion, then second inversion 18. 2nd Inversion Arpeggios: in this section. We're going to talk about inversions and inversions Really help us when we want to start on a note other than the root of our court. So, for example, if we want to play a c major or pinned you but we don't want to start on C, we can start on another note, for example, we could start on G. That is a C major arpeggio because the nose were still see e g and be right, But we're starting on g g two b c These and this is the fifth to seventh to the rude things particular arpeggio starting on G being all the notes in a C major seven arpeggio We call that a second inversion reason why is because it starts on the fifth. So if we start on the route then it's over the position arpeggio normal arpeggio If we start on the third, we get a first inversion. We start on the fifth we get a second inversion and ultimately you could start on the seventh and you wind up getting 1/3 inversion. We're really just gonna talk about first and second in versions because in addition to reposition arpeggios. First and second versions give you more than enough to work with. So this is what we call a second inversion. C major seven arpeggio. 19. Pedalling: Let's look at peddling on a court progression like this, C G seven a minor and then back to see. Okay, so see contains a G. It's the fifth of C G seven, of course. Contains a gene is into the rude, but even a minor contains aji. It's actually the set minor seventh of our a minor court and then we're back to see where is the living in So we can do this. We can play a C major seven arpeggio. Then we can play a G seven arpeggio waken playing a minor arpeggio, and then we can play a scene. And now the unique thing about that is that we are not always starting on the route. We play the route when playing the G seven, but we're not playing the route when we are playing The arpeggio with C or the a minor chord were peddling. This G is where we're grounding each measure of our music. So let me play that through for you and you can hear it was kind of a cool effect because peddling on that G creates a little more interest and it's a good example of something you can really only do with arpeggios, so we're still arpeggio hating each chord. We're still building our baselines from these arpeggios. It's just that we're not always having to start on the root note of the court, and that kind of liberates us to come over more interesting ideas. 20. Hands On: Inversions Over 12 Bar Blues: Now I want to look at a 12 bar blues and go over how we could play a 12 bar blues in G major with our newfound friends. The inverted arpeggio. Okay, so we start with RG way go quick to the fore. I think this example I'm actually rooting each chord. GNC, I don't want to do that. I want to use inversion. So I'm gonna do this. I'm just improvising a groove in a rhythm, but you get the idea. I'm using G major seven arpeggios over G. I'm using C major seven arpeggios ever see, But they both starting on the route G. What you want to do is download the G major blues jam track along with this lesson and play it using inversions. So try as often as you can to start on the same note. See how you can create new combinations of inversions but still be following the court progression. If you have any questions about any of this, please reach out to me. I'm 100% behind you. I can answer your questions quickly. I'll respond quickly. I want to make sure that all of my students get exactly what they want out, of course. And of course, that starts with really understand the material. And it may be that you just got a simple question. Need a simple answer to and then it can really help you get moving. So I want to make sure to facilitate that. If you have any questions or any concerns, please let me know in the next section we're gonna talk about groove, and we could talk about how tempos related to that. We're also going to talk about subdividing beats and kind of practicing different rhythms so you can start exercising the groove part of your bass player that's coming up in the next section. 21. Groove Overview: understanding how to use arpeggios to follow chords. That's part of the equation. But great bass player has good groove as well, and in this section we're gonna talk about groove in kind of four different compartments. First of all, we want to talk about tempo. Then we want to talk about emphasis. And then we're gonna talk about subdividing and subdividing in two different ways by hates on by Sixteens. So in the following lectures, you're gonna learn all about using tempo, emphasis and different forms of subdivision to kind of practice group. And that's what Resection is really about. Learning to practice how to groove, Of course, copying great bass players listening great baselines and trying to play along with them is gonna be instructive because you'll learn how to play like great bass players. But 99% of time, what they're really doing is they're kind of using tempo elements that will talk about their using emphasis, and then they're using subdivision, which will talk about as well 22. Improving Your Timing & Tempo: tempo is a simple concept to grasp its What's the pulse of your music? Right? But it has a different ramification when you start realizing that as a bass player, you have enormous influence over how people perceive tempo. So, for example, if we've got this tempo bond, you start playing it in subdivisions and and it changes. The mood changes the field in music, right? That's a way that you can work with tempo and actually wind up improving or changing how the music sounds. The main thing to practice here is having good tempo, Kevin. Good timing. So the best thing to do is break out your metronome. If you don't have one, get your hands on one. You can probably download an app on your phone. If that's the easiest thing to do, load up your metronome and practice playing along with the beat. Just simple driving right on the beam as you playing with your mention. Kate. What that trains you to do is to anticipate a beat correctly. The Metrodome is completely unforgiving, and that's why it's such a good teacher. If you can learn toe, follow a metronome like an ace, you're gonna be able to anticipate a human groove Well, and that's gonna give you better timing. It's gonna make your groove way more. Saad. 99% of the problems that all musicians have in playing music is that their timing is just not good. Their sense of rhythm is not good enough. And I am sorry to say it really is not something most people just haven't you can do 60 moving up to 70. Move it up to 80 later on in this section, we talk about subdividing that uses the Metrodome, too, for a slightly different purpose. But you want to get good at following a beat well, using a metronome, and that is a fundamental principle of developing good group. 23. How to Practice Emphasis: the next crucial element of group that we want to talk about. His emphasis emphasis is simple idea. You just emphasize certain up so playing symbol arpeggio with his monitor level. Where there's no emphasis, it is fundamentally less compelling. If you play with emphasis, then you wind up with a more interesting, more compelling baseline. This is how you practice playing with emphasis. Okay, first of all, get out your metronome. Set it to account one Teoh every thing you want to emphasize all the ones. 12341 Then you want to emphasize all the twos. Do you practice emphasizing specific beats until it's cake? Until it's so easy the junior naps think about. We're gonna be taking this kind of concept a step further with subdivisions in the next couple of lectures. 24. Subdividing by Eigths: So we all know that most great baselines are more complicated than just this kind of plotting sound, right? In fact, having this kind of plodding baseline is kind of a caricature of like a real common sort of predictable baseline. Now I want to talk a little bit about what's really happening there, because what's happening, they're essentially is certainly good timing, like we talked about in the temper lesson. And certainly a little bit of emphasis is happening there. But what's making a kind of groove and what's making it kind of pulsate is subdivision, right? So we've got a standard beat 123 Boom do three when you gotta follow a metronome or a drummer, and you kind of have this steady beat, right? Well, when you sub divide that being, you have 123 more and you're still only had four beats, but you subdivided into eighth notes. One do so in one measure of four beats. You have eight notes or a eight sort of subdivided beats. We call those eighths because their rates there's eight of them. 1234567 Now here's where this information serves. Your group What you want to do is get good at subdividing the beats with your Metrodome again, and then you want to take it a step further way you drop out. You don't play certain subdivided beats, right? So let's say we're not gonna play the end of two. So we have one in two and three and two and three, and suddenly it's a little more interesting. Now if you drop out a couple of them and say we dropped the end of two in the end of four. Yeah, you kind of move through all of the eighth notes, and the idea is that you practice choosing different eighth notes to omit you. Don't play them. You don't play a note or an attack on that beat or that subdivision that eighth now practicing this essentially will show you every groove that could be created within a four beat measure. Subdivided and eight, you'll find that by simply omitting eighth notes and subdividing your beats into small fractions like that, you can wind up with cool textures, cool grooves and if you practice trying to omit specific ones one after another, then it will train your ear. What these all sound like and it also kind of puts it in your hands. You find a groove, you like, you keep reusing it in the next lesson, we're gonna take this one step further by subdividing into 16th talking about how that works because you can really get some cool grooves happening there. 25. Subdividing by Sixteenths: All right, Welcome back. Now we're talking about subdividing into 16th and getting some really cool group. So we've got this 123 or right, how we want to subdivide from the last lesson eights where everyone do three. And now we're going to subdivide even further in 16th where we have one e Teoh. I'm just using a G major seven arpeggio here to play along with. Of course, the idea is that you could be playing one of the arpeggios needed for your court progression. Whatever's in key or whatever is the tonic. By subdividing into 16th you basically get kind of a higher resolution group, and you can wind up with things that sound a little bit more like That's got a better groove. It's kind of more interesting. Little more lilting wind up relying on the the, uh, the E and the 4th 16th note of a specific beat. Emphasize that it's kind of cool. You could look at triplets as well. You could subdivide your beats of the triplets. We have 123 something like that. And then you emphasize different subdivisions within each triplet. These are all ideas that center around one concept subdivision. They're no good if your timing stinks. So you've got to get good tempo and good timing by following a metro? No, like I talked about in the tempo lesson. And then, of course, once you get these kind of rhythmic patterns a little more fluid in your hands, the next step is to use emphasis so that you kind of can guide the music. A lot of that is intuitive. The more you do this, the more intuitively good grooves will just come to you. All right, that's it for this section in the next section. We're talking about another really important concept called Contour, and that's gonna be all about how we can move around the fretboard, move between chords, but also make sure that there's kind of this nice flowing contour. There's never sudden, jarring departures from alone, too high note during your baseline and some methods for practicing that, and some principles for making sure that your baseline has good contour 26. Contour Overview: in this section of the course, we're gonna be talking about contour now. Contour is really a very valuable concept. It's more advanced it has to do with as you move through the fretboard, not just choosing the right notes through arpeggios and not just having a good groove, but also making sure that you're not moving by leaps and bounds too often, so you don't want to go from a low note. Suddenly jump up to a high note. In most cases, good contour comes down to two main principles, first of all, using common tones, common tones or tones that are in common between your cords. And we talked about that in the Inversions example where we have a C major. Seven. You starting on G. Now that works because the C major seven arpeggio contains a G right. So G is a common tone between the chord C major seven and G seven. It's also a common tone between G seven and a minor seven. So common tones air one very important principle of building good contour. But a good rule is to never move more than a distance of a major third. So you want to get used to this on the fretboard, recognizing that that is a major third. Well, this some use of minor third. They have made your second behind her second, any of these intervals up to major third, those air fine. Those would all contribute to good contour. But once you start going to 1/4 or anything above that of fifth or sixth, generally speaking, you could doom or to create better contour. If you do need to go from a G, for example, of the would be to six is nice to do it via third, you have that you still have the same destination, but you learn those row in the right note in order to make sure you're never going a distance greater than a major third. But at the same time, you're still hitting your target note at the right time. And the next lesson I'm gonna give you a few kind of quick rules for determining common tones. 27. Finding Common Tones: Now we're gonna talk about some rules that you kind of just memorized and internalize. Recognize that these are great ways to find common tones. If you're accords are all based on odd numbers. So in other words, 1357 courts, then they'll all share a common tone. They'll always be a common tone in those courts. So if you're moving from a C to an e minor that's moving from a 1 to 3 in the key of C major, then you can be sure that they will have a common tone. Of course, E is a common tone. So his G and if you playing a C major seven. So with the be. So any time you have odd cords or even cords and their consecutive So you're looking at the court progression and consecutively one court after another, they are both odd or they're both. Even then they will have shared common tones. Let's look at a couple of examples, so if we go from an odd number, say 3 to 5 we go from in the key of G major, that would be a be mine record would be a three court two D major or D seven, which would be a five court. So, of course, our B minor contains the notes B, D F. And if we were to add in the seventh, then we would get in a The D seven chord contains the notes D F sharp A and C All right, so both chords contain a D. They both contain in F sharp these air common tones. You'll find that any time consecutive cords are both odd or both, even that they have shared tones and you start thinking about it. You start paying attention of that. After a while, you could just kind of recognize what those common tones are likely to be any time you have cords that are adjacent in the key, so that again at G major if we get from a 1 to 2 chord. In other words, they were Jason that right next to each other one, too. They're going for a G major to in a minor when that's happening. Cords or Jason, The seventh of one court is the root of the other, so the root of G is the seventh of age. Anytime there. Jason, there's that relationship between the root and the seventh. And if we're really looking at seventh chords, then you can also understand that theseventies of the key Okay, so let's look at the key of G major again is an example. The seventh is f sharp. That note is gonna be common to all the odd number courts. So a one court, which would be a G major seven chord that's gonna have enough sharpen it. The three, which is a B minor seven court that's gonna have enough sharpening the D the D seven chord that's gonna have enough. Sharpen it. Even the seven court. Obviously, he's gonna have a seven in it cause it's the route. So any time that you're playing an odd cord, the seventh of that key will be a common tongue. You could just grab it. A similar rule is that any even cord, so two or four or six, they'll always contain the root of the key. So if we look at G and we build a court off of our first even number two, we get an A minor seven where g, the root of our key is the seventh. Now we go to the next even one, which is four. It's the forecourt and we have C major, while G is in a C major chord ago. The next one, we have E minor and G once again, it's the third of E minor. So the root of your key, the root of your major key in this case G is always gonna be a common tone to all the even numbered chords in your key. So how do we apply these principles? Well, first things being aware of them. The second thing is, you wanna think about cords as numbers, right? Because then you can quickly discern. Are they odd? Are they even? And you just basically build a vocabulary in your mind that you understand that when you're seeing an odd cord, for example, that the seventh is always going to be a common tone, you see an even court, you know that the root of the key, the major key, is always gonna be a common tongue. You see a Jason cords, you always recognize that the root of the prior one is gonna be the seventh of the latter one. So you kind of just have to familiarize yourself with this through force by making yourself think about the cords that you're looking at in your progression and thinking about them numerically deciding where the adjacent are they even or they are what they have in common . How can I work with ease to create as many common tones as possible? Then, when you're playing your baseline, of course, you can find common tones more easily, and these four principles air just a great way to easily find a common tone, if you're not sure. 28. Switching 3rds and 7ths: now, Another cool thing happens when you playing arpeggios because the arpeggios that we've been discussing always contain 1/3 in the seventh, right? Well, when you're going from a minor chord to a dominant court So let's say you going from a minor to D seven, that would be from a to court to a five chord in the key of G major. We go from a minor to a dominant quality in the third and the seventh actually change roles , Right? So the third of our a minor chord, which is C, becomes the seventh of RG seven. So as we're transitioning, we see we're going from a minor to a dominant. If it's in the key, which most of the time it is. Then just seeing that you're going from a minor to a dominant, you can guarantee that the third of your minor is gonna become the seventh of your dominant court 29. Contour of Major 3rds: one of the most steadfast rules of good base. Contour is to never move in any direction by a interval greater than a major third. Okay, so when I'm playing long here with my G major playing the Army job going from the root major third the interval of a minor threat up to fifth major third up to the seventh, a minor second to The Octopus. I'm never going and distance grating. Major third. That's the biggest interval I'm using when I played it. Now, when you play a normal Bayside, but you want to do is make sure that you are only traveling the distance of a major third maximum in any direction Now. Occasionally you'll descend a major third, which, formally speaking, is actually a minor sixth. Or you might descend a minor third, which more on the is a major six. That's OK because you're still basically descending by major third or less. So playing with good contour means and you are always moving in distance of major third or less, and when you move the distance of fourth or fifth straight away, it tends to be a little bit clumsy. Now, if you want to do. This is very technical. Mason. We have gifts in the auctions, right? Well, that could be cool. And if you're playing a certain style than maybe you want to have that kind of jarring distance that fifth. But you can do this instead. That's better. Contour. It might make your sound a little different. So, of course, there's always artistic license on this. You got to go with the group and the baseline that you feel is right for the music. Generally, good Contour works the best, But in some cases I've found that it's not always what I want musically. Like if it's a hard edge rock song, sometimes I really just do want those brutes. It's not, but many times contour of major, third or less really adds a lot until I encourage you to study that to think about how your contours actually established when you're playing and start training your hands toe always kind of think about going distances of a major third or less to maintain good contra. I think that overall that's made my bass playing better. It's made my students bass playing better, and I think it'll make your bass playing better as well 30. What if You Have Questions?: We've covered a lot in this course, and if there are any topics that you feel either weren't explained well enough or if you have direct questions, you just want answered, please reach out to me. I'm always glad to get great feedback. So if you think the courses great, please do offer great feedback and it helps me get in touch with your students. But if you have questions or concerns, reach out to me because I'm 100% committed to making this course the best to composite we be in each one of my students is very important to me, so you can reach out to me through the discussion board. You can reach out to me directly through the messaging system, and I want to get back to my students same day. We're pretty much done with the course, so I'm going to move forward to the conclusion section now, which also has a valuable bonus lecture that points out some resource is that I think you might want to benefit from his well 31. Conclusion: I hope this course really does help you survive on stage, right, cause we're really talking about a survival guide and my intention as the instructor here was to frame up all the things I wish I had known is a bassist a long time ago. So things like how to create good contour, how to create good group, how to practice these principles, that you could take a core progression, any core progression. Turn it into numbers, and then you can apply different arpeggios to it and just kind of automatically come up with a great baseline on the fly. I'm so glad that you enrolled in the course. Thank you so much for getting through it. I think you've learned a lot. I hope that you do find that these tools really amplify and help you create, get more creative on stage and serve your bands Better. Get your own creative ideas out a little clear. That's what makes you survive on stage. That's what this course is all about. I hope you've learned a ton. I love to hear from you. If you have any questions