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| ii, V, I comping https://stickist.com/viewtopic.php?f=2&t=12728 |
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| Author: | atracksler [ Mon Dec 18, 2017 3:46 pm ] |
| Post subject: | ii, V, I comping |
I'm working on walking bass lines on the stick over comped chords. I'm using Scotts Bass Lessons walking bass video. [youtube2]https://www.youtube.com/watch?v=Ilh4uMAdss8[/youtube2] He is walking over a ii, V, I (Dm7, G7, Cmaj7) I'm okay the bass side, and the treble side is where I'm having trouble.. Any suggested fingerings for the m7, 7 and maj7? |
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| Author: | pcgonzales [ Mon Dec 18, 2017 4:04 pm ] |
| Post subject: | Re: ii, V, I comping |
Love Scott's channel, Have you had a chance to hear "Tune for Sunday"? Great stuff! Hopefully some of the masters can chime in on the chords you need. |
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| Author: | The_Afro_Circus [ Mon Dec 18, 2017 4:21 pm ] |
| Post subject: | Re: ii, V, I comping |
Just play the upper structure of the chord. IE Cmaj7 - walking bass implying C, treble side is doing jabs on an Em chord. If you tease out that concept and hang onto the 3rd and/or 7th of the chord in your upper voicing, you can get some pretty interesting sounds. Things like Bmin over C give you a the 7th, 9th and #11th, Dmaj would give you the 9th, #11th and 13th etc. If you want to get a bit weirder, check out the pentatonics wall method video I've got on my channel. It helps break up the pentatonic scales into small chunks that will always imply the root it's getting it's name from. One specific route you could take is something like Fmaj in 1st inversion (Bottom to top A, C, F) to Bdim in root position (B, D, F) to Em in 2nd inversion (B, E, G) |
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| Author: | pcgonzales [ Mon Dec 18, 2017 5:03 pm ] |
| Post subject: | Re: ii, V, I comping |
The_Afro_Circus wrote: Just play the upper structure of the chord. IE Cmaj7 - walking bass implying C, treble side is doing jabs on an Em chord. If you tease out that concept and hang onto the 3rd and/or 7th of the chord in your upper voicing, you can get some pretty interesting sounds. Things like Bmin over C give you a the 7th, 9th and #11th, Dmaj would give you the 9th, #11th and 13th etc. If you want to get a bit weirder, check out the pentatonics wall method video I've got on my channel. It helps break up the pentatonic scales into small chunks that will always imply the root it's getting it's name from. One specific route you could take is something like Fmaj in 1st inversion (Bottom to top A, C, F) to Bdim in root position (B, D, F) to Em in 2nd inversion (B, E, G) Awesome! |
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| Author: | greg [ Mon Dec 18, 2017 5:25 pm ] |
| Post subject: | Re: ii, V, I comping |
My strategy for these kinds of chords is to find a place where thehigh note of the triad or inversion your want gives you the sound you want, then modify the tonic to get the 7th chord you desire. You can keep the chords all on the same three strings, which is smoother on the hand and ear. Code: For example, on the Dm7, play a Dmin triad, then lower the tonic to the C (fingered as shown A | - | - | - | - | - |.........| A | - | - | - | - | - |.........| 1 | - | - | - | - | - | - | F | - | - | - | - |.........| - | F | - | - | - | - |.........| - | 2 | - | - | - | - | - | - | - | D | - | - |.........| - | C | - | - | - | - |.........| - | 3 | - | - | - | - | on the G7, play this GMaj inversion, then lower the G to the 7th - | - | B | - | - | - |.........| - | - | B | - | - | - |.........| - | - | 2 | - | - | - | - | - | - | G | - | - |.........| - | F | - | - | - | - |.........| - | 1 | - | - | - | - | - | - | - | D | - | - |.........| - | - | - | D | - | - |.........| - | - | - | 3 | - | - | and on the CMaj7, play this CMaj inversion, and lower the C to the Maj 7th. - | - | - | C | - | - |.........| - | - | B | - | - | - |.........| - | - | 1 | - | - | - | - | - | - | G | - | - |.........| - | - | - | G | - | - |.........| - | - | - | 2 | - | - | - | - | - | - | - | E |.........| - | - | - | - | - | E |.........| - | - | - | - | - | 3 | Note for 3-finger players If you let your first finger "lay down" on the strings rather than trying to play the last chord with just the fingertips, then it's easier, and you don't need to use your pinky. skype lessons I teach things like this in my skype lessons all the time, in case you're interested. |
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| Author: | atracksler [ Mon Dec 18, 2017 6:58 pm ] |
| Post subject: | Re: ii, V, I comping |
I have no idea why dropping the root note down didn't occur to me. I was trying to make this huge four fingered chord to get the b7.... The stickist is the best. |
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| Author: | Brett Bottomley [ Mon Dec 18, 2017 7:11 pm ] |
| Post subject: | Re: ii, V, I comping |
Check out my jazz stick video for som walking ideas. https://youtu.be/25ysT2sj170 As far as right hand chord voicings they are “almost” limitless a lot of flavor is derived from the 5 chord take a G7 it can be a G7alt G7 b9 G7 #5. G7 b13 G7 (#9#5) a Tritone sub and many many compound chords I haven’t scratched the surface. Dbsus2/G So study and learn, have fun. And good luck Brett |
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| Author: | Lee Vatip [ Mon Dec 18, 2017 7:56 pm ] |
| Post subject: | Re: ii, V, I comping |
Easy breezy. Each of these chords can be extended and substituted. Dm can become Dm7 Dm9 Dm11 etc So if your left hand is walking a Dmi bass line, the right hand is free to play triads that offer upper extension colors. If the right hand plays A minor for example, the A C E becomes 5, b7 and 9 of stated Dminor bass. Also the top notes of each triad creates melodic movement. So many possibilities. Of course your G7 can be replaced with Db7. So how about Dm11 Db7b5 CMaj7 where to top note stays on G? Steve A |
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| Author: | Lee Vatip [ Mon Dec 18, 2017 8:01 pm ] |
| Post subject: | Re: ii, V, I comping |
BTW...you're not really dropping the root. The two hands combined create the harmonic offering at each instant. Check out the polychords and walking bass lines section of "Stickology....." Steve Adelson |
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| Author: | Jayesskerr [ Mon Dec 18, 2017 8:14 pm ] |
| Post subject: | Re: ii, V, I comping |
How about something a bit more simplified, my take on Steve Adelson's "Compass Bass" concept? Lemme do my best to try and explain... (remember that I am nobody, though) Steve's Compass bass concept is generally a multi directional idea where you have a north-east/west/southtype sequence and pick and draw from them to create a backing that implies the chords while you play a melodic statement or you could extend the harmony by playing different triads/7th chords/whatever with the right hand. One "direction" of it might be something like this; (I'm rusty on my 5ths tuning, I used Mirrored 4ths, so pardon my feeble attempt to explain this...) Keep in mind this is just a starting point. Lots more could happen from here. Dmin7 (ii min7) here's a small scalar fragment that Steve might employ Root maj2 Min3 and P5 - All of which satisfy the chord's intervallic requirements from the bass player - and when played as 1/4 notes takes up one complete measure... No, there's no min7, but that's okay. The iimin function is strongly implied here, and once you play the same sequence from V it will feel even more like iimin C------------------------- G------7-9-10---------- D-----------------7------ A------------------------- E------------------------- G7 - again, it's as simple as Root, Maj2, Maj3 and P5 which once more satisfies the basic intervallic requirements of the bass - It doesn't get in the way, and it allows tons of room for all kinds of voicings played on top either by you or the rest of the ensemble. The 7th isn't present, but that's okay - The Dom7 tonality is implied, and you have a respectable "starter" bass line that has a bit of movement to it. Quarter notes gets you a full measure of it... C--------7-9-11-------- G------------------7----- D------------------------- A------------------------- E------------------------- Cmaj So for Imaj - The same sequence applies 1235 - Root maj2, maj3 and a p5. Again, just quarter notes to get one's self started... C------------------------- G------5-7-9---------- D--------------5------------ A------------------------- E------------------------- The minor one works for iimin iiimin and vimin and the major one works for Imaj ivmaj and V7. That's a lot of mileage from two patterns, and this info can be found on Steve's Ultimate Stick DVD, his Stickology Book, and if you have the ears, pretty much all of the video/audio footage of Steve's playing - it's a major component, although there's a ton of other stuff happening simultaneously. Now, obviously this could get a bit robotic on it's own as any sequence can, but if one had a whole BUNCH of sequences/motifs that implied various chord changes, and one practiced "interchanging" them I'm thinking one could get some pretty interesting things going. Just an idea to go along with what the other dudes are posting... A starting point I guess... At the time I made this video, I had about 8 or so main sequences that I practiced in the left hand with about 8 different things I practiced in the right hand. I show one of those melodic sequences (Just a scalar chunk) in the vid, and each LH motif is demo'd only implying one chord (Amin In this case) Of course, transposed to all chords within a key diatonically, and practiced in all 12 keys, and using all fingerings. It's grown to about 60 different accompaniment motifs, and about the same as far as RH sequences. All over the neck. |
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