Advanced Bass Work Level 3
OKAY – it now time for a MAJOR review AND a Step FORWARD in your left hand reading and the many styles and combinations of basses – that will make or break a song. As you will notice on all my arrangements – I will label the basses with the FULL CHORD as the original music notated – even IF WE DON”T HAVE the correct bass to play.
The reason I am doing this – is because you WILL NOT ALWAYS be reading from accordion transcripts – and you need to understand what to do on your Bass System – to get the full FLAVOR that the song is calling for.
Example – M7 or C9 or m7 or the slash chords like – CM/A
A couple of simple rules:
- If you see NO SYMBOL or letter after the Chord name – Play Major.
- If you see multiple letters or numbers after the name of the Bass – play the FIRST SYMBOL: i.e. Cm7 – Play Minor, GM6 – Play Major, FM7 – Play Major, etc.
- If you see something with a number you do not recognize – IF the number is smaller than 7 – PLAY MAJOR. If the number is larger than 7 – Play 7th: i.e. C6 – Play Major, D9 – Play 7th.
- Slash Chord symbols. The first letter tell you the name of the CHORD – the letter after the slash tells you the BASS: i.e. C/E – Play C Major Chord with the E Bass (Counter-bass), Am/C – Play the A Minor Chord with the C Bass, G/D – Play G Major Chord with the D Bass.
- In the case of a chord progression where it is obvious that the basses are moving up Chromatically in the succeeding measure – i.e. CM for 1st measure and C#M for 2nd measure – followed by D7 – this is where you would NOT JUMP to C#M bass – but instead play the C# counter-bass of A with the Gdim Chord – resolving to the D7. I nicknamed this pattern – SHOTGUN – I have done drills on this one.
- Example Solo with Shotgun Basses – Let Me Call You Sweetheart Level 2
Please see these links for more exercises – then try out the solo.
Review Link – Bass Chromatic Scale and Exercises
Link – Advanced Bass Work Level 3
Link – Time in a Bottle Both Hands