![]() A double chromatic from above and below approaches the 7 th, continue to the root, 3 rd, 5 th, double chromatic from above and below to the 7 th, continue to the root, 3 rd, and back down.Guitar Pro is a software program available on Windows and Mac OS that allows all musicians to read, write and share their tablatures. ![]() This final example approaches a third inversion of a G major 7 th arpeggio. A double chromatic from above and below approaches the fifth, continue to the 7 th, root, 3 rd, double chromatic from above and below to the 5 th, continue to the 7 th, root, and back down. The third example approaches a second inversion of a G major arpeggio. A double chromatic from above and below approaches the third, continue to the fifth, seventh, root, double chromatic from above and below to the third, continue up to the fifth and seventh, and back down. The next example approaches the first inversion of G major 7 th arpeggio. The first examples approach the root of a G major 7 th arpeggio as a double chromatic from above and below- before continuing to the third, fifth, seventh, double chromatic from above and below to the root, continue to the third, fifth, and come back down. My lesson on arpeggio inversions lays the groundwork for the approach note concept to be applied. If you are just starting this lesson, I recommend you go back to my first lesson on approach notes and follow them in sequence. As a starting point, these exercises should be applied to major 7, minor 7, dominant 7, minor 7 b5, and diminished 7 in all 12 keys for all inversions. Don’t make the mistake of only learning this material in the major keys. This lesson flips the concept around to approach notes from above and below. My previous lessons on the topic of approach notes covered approach notes from above, approach notes from below, and approach notes from below and above. This final example approaches a third inversion of a G major 7 th arpeggio.Ī double chromatic from above and below approaches the 7 th, continue to the root, 3 rd, 5 th, double chromatic from above and below to the 7 th, continue to the root, 3 rd, and back down. The third example approaches a second inversion of a G major arpeggio.Ī double chromatic from above/ single from below approaches the fifth, continue to the 7 th, root, 3 rd, double chromatic from above/ single from below to the 5 th, continue to the 7 th, root, and back down. The next example approaches the first inversion of G major 7 th arpeggio.Ī double chromatic from above/ single from below approaches the third, continue to the fifth, seventh, root, double chromatic from above/ single below to the third, continue up to the fifth and seventh, and back down. The first examples approach the root of a G major 7 th arpeggio as a double chromatic from above and a single chromatic approach from below -before continuing to the third, fifth, seventh, double chromatic from above/ single from below to the root, continue to the third, fifth, and come back down. In continuing with the concept of approach notes being applied to chord tones, this lesson approaches the root, third, fifth, and seventh degree of each arpeggio inversion by incorporating a double chromatic approach from above, and a single chromatic approach from below. Stay tuned for more great stuff in the next issue and keep in touch with #bassmusicianmag, #basslines, #bmmbasslines, #keepgrooving, #keepthegroovealive&kicking, #jdvinstrumental, #groovewars, #fullbassattack, #jdv, #boricuabass, #groovingtheworld, #bassgrooves, #groovemaniac, #blues, #jazz, #jazzblues, #allblues, #milesdavidallblues, #milesdavis, #kindofblue, #paulchambers & #johncoltrane.Ĭontinuing our lesson of Approach Notes, Part 5… Each chorus is usually separated by a four-bar vamp which acts as an introduction to the next solo/chorus. Further, there is a harmonically similar vamp that is played by the horns (the two saxophones in the case of Kind of Blue) at the beginning and then (usually) continued by the piano under any solos that take place. A particularly distinctive feature of the piece is the bass line that repeats through the whole piece, except when a V or ?VI chord is reached (the 9th and 10th bars of a chorus). “All Blues” is a jazz composition by Miles Davis. This month we are going to cover, Miles Davis – “All Blues”! Hello bass players and fans of bass playing! ![]()
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