Chords for A step-by-step guide to improvise bass lines
Tempo:
174.25 bpm
Chords used:
G
D
B
F#
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [E]
[Bm]
In this video I present an action plan [B] that you can use when you want to improvise [D] basslines.
You'll see that you do not need to know much theoretical knowledge to start improvising.
First of all we need a chord progression for our improvisation.
Let's use this.
One bar D major, [F#] one bar F sharp minor, [A] [B] one bar B [G] minor and one bar G major.
[D] If you have trouble finding the root notes, check out the video I made about finding all
the notes on the bass guitar in 5 minutes.
The first and most important step of this action plan is rhythm.
This is the basis for your bassline.
You can already improvise a lot with only rhythm.
For example.
[F#]
[B]
[G]
[D]
[F#]
[Dm] [B]
[G]
The next thing you can use are octaves.
Since this [D] is the same note as the root note, you can always use it without clashing the
melody or harmony.
You can find the octave of any note on the bass guitar doing the following.
You slide two squares to the right, in the direction of the body, and two strings upward.
Now let's combine the first two steps, using octaves in a rhythm.
[F#]
[B]
[G]
[E] The next step would be using fifths.
From this point on, it slightly starts getting theoretical, because there are different fifths.
When you use which one, depends on the chords that are played.
But the perfect fifth is located in major and minor chords.
That's the majority of the chords.
So probably most of the times the perfect fifth is usable.
You can find the fifth of any note on the bass guitar doing the following.
You slide two squares to the right, in the direction of the body, and one string upward.
You can also octave the fifth down.
Now let's combine this step with [D] rhythm.
[C#] [F#]
[B] [F#]
[G]
And combine it with using the octaves as [D] well.
[F#]
[B]
[G]
[G#] Next up you can use thirds.
A basic explanation is short.
Major has a major third, a three.
And minor has a minor third, a flat three.
You can find the thirds on different places from the root note.
Actually, this is also true for octaves and fifths.
I elaborate on this in the interval video.
For now, we use only one way.
Playing the major third contains sliding one square to the left, in the direction of the
head, and one string upward.
Playing the minor third contains sliding two squares to the left, and one string upward.
Let's first combine this step with rhythm.
[D]
[F#] [A]
[F#m] [B] [D]
[G]
[D] And now use all the other previous steps as well.
[F#]
[Bm]
[G]
[B] [D]
Another thing you can use is to play towards the next root note.
So when you play the first bar, D major, you already start thinking about the second bar,
F sharp minor.
You can play towards this note from above, or below.
Depending on the rhythm, you decide how many notes you want to play towards the next root note.
[F#]
[B] [A#]
[G]
[C#] [D] Let's combine it all.
[C] [F]
[Bm]
[A] [G]
[C#]
The next step is to use pentatonic scales.
We will use two scales.
Major pentatonic, that can be used on every major chord.
We already have the root note, third, fifth and octave.
And with this scale, we add the intervals second and sixth.
The other pentatonic scale is minor pentatonic, that can be used on every minor chord.
We already have the root note, third, fifth and octave.
And with this scale, we add the fourth and seventh.
Why the pentatonic scale consists of these extra notes, I explain at SV Method.
Let's combine all the steps so far.
[D] [B] [D]
[F#m]
[B] [A] [F#]
[G]
You now have seen that you can improvise a lot without much theoretical knowledge.
[D] But theory can give you inspiration.
These next steps, it's getting more theoretical.
This seventh step contains playing church scales.
Every chord in a chord progression has a scale that sounds natural.
If you want to know more about this, you can check out SV Method.
In this chord progression, it's the following.
These scales consist of a series of intervals.
I elaborate on this in the church mode video.
From the previous steps, you already know six intervals.
So this next step provides you with two additional notes.
You can add these new intervals in your improvisation.
[F#]
[A] [B]
[G] [C#]
[A] [G]
We've now used the scales belonging to the chords in the chord progression.
You can also use the intervals that are not located in the scales.
For example, when we look at the D major scale,
these intervals are not located in the scale.
This means that these notes are not natural to the chords in the context of the progression.
It's good to be aware of that, and it can actually be pretty cool to use them.
You may have already used some of them in step five.
[D]
[F] [F#]
[A#]
[G]
[E] So this actually means you can play any note.
You may ask, why use an action plan?
That's because every note has its own function.
And when you can play just any note, it doesn't mean that any note will sound right to you.
When you know the function of the note, you can start using it creatively in [N] your bass line.
[Bm]
In this video I present an action plan [B] that you can use when you want to improvise [D] basslines.
You'll see that you do not need to know much theoretical knowledge to start improvising.
First of all we need a chord progression for our improvisation.
Let's use this.
One bar D major, [F#] one bar F sharp minor, [A] [B] one bar B [G] minor and one bar G major.
[D] If you have trouble finding the root notes, check out the video I made about finding all
the notes on the bass guitar in 5 minutes.
The first and most important step of this action plan is rhythm.
This is the basis for your bassline.
You can already improvise a lot with only rhythm.
For example.
[F#]
[B]
[G]
[D]
[F#]
[Dm] [B]
[G]
The next thing you can use are octaves.
Since this [D] is the same note as the root note, you can always use it without clashing the
melody or harmony.
You can find the octave of any note on the bass guitar doing the following.
You slide two squares to the right, in the direction of the body, and two strings upward.
Now let's combine the first two steps, using octaves in a rhythm.
[F#]
[B]
[G]
[E] The next step would be using fifths.
From this point on, it slightly starts getting theoretical, because there are different fifths.
When you use which one, depends on the chords that are played.
But the perfect fifth is located in major and minor chords.
That's the majority of the chords.
So probably most of the times the perfect fifth is usable.
You can find the fifth of any note on the bass guitar doing the following.
You slide two squares to the right, in the direction of the body, and one string upward.
You can also octave the fifth down.
Now let's combine this step with [D] rhythm.
[C#] [F#]
[B] [F#]
[G]
And combine it with using the octaves as [D] well.
[F#]
[B]
[G]
[G#] Next up you can use thirds.
A basic explanation is short.
Major has a major third, a three.
And minor has a minor third, a flat three.
You can find the thirds on different places from the root note.
Actually, this is also true for octaves and fifths.
I elaborate on this in the interval video.
For now, we use only one way.
Playing the major third contains sliding one square to the left, in the direction of the
head, and one string upward.
Playing the minor third contains sliding two squares to the left, and one string upward.
Let's first combine this step with rhythm.
[D]
[F#] [A]
[F#m] [B] [D]
[G]
[D] And now use all the other previous steps as well.
[F#]
[Bm]
[G]
[B] [D]
Another thing you can use is to play towards the next root note.
So when you play the first bar, D major, you already start thinking about the second bar,
F sharp minor.
You can play towards this note from above, or below.
Depending on the rhythm, you decide how many notes you want to play towards the next root note.
[F#]
[B] [A#]
[G]
[C#] [D] Let's combine it all.
[C] [F]
[Bm]
[A] [G]
[C#]
The next step is to use pentatonic scales.
We will use two scales.
Major pentatonic, that can be used on every major chord.
We already have the root note, third, fifth and octave.
And with this scale, we add the intervals second and sixth.
The other pentatonic scale is minor pentatonic, that can be used on every minor chord.
We already have the root note, third, fifth and octave.
And with this scale, we add the fourth and seventh.
Why the pentatonic scale consists of these extra notes, I explain at SV Method.
Let's combine all the steps so far.
[D] [B] [D]
[F#m]
[B] [A] [F#]
[G]
You now have seen that you can improvise a lot without much theoretical knowledge.
[D] But theory can give you inspiration.
These next steps, it's getting more theoretical.
This seventh step contains playing church scales.
Every chord in a chord progression has a scale that sounds natural.
If you want to know more about this, you can check out SV Method.
In this chord progression, it's the following.
These scales consist of a series of intervals.
I elaborate on this in the church mode video.
From the previous steps, you already know six intervals.
So this next step provides you with two additional notes.
You can add these new intervals in your improvisation.
[F#]
[A] [B]
[G] [C#]
[A] [G]
We've now used the scales belonging to the chords in the chord progression.
You can also use the intervals that are not located in the scales.
For example, when we look at the D major scale,
these intervals are not located in the scale.
This means that these notes are not natural to the chords in the context of the progression.
It's good to be aware of that, and it can actually be pretty cool to use them.
You may have already used some of them in step five.
[D]
[F] [F#]
[A#]
[G]
[E] So this actually means you can play any note.
You may ask, why use an action plan?
That's because every note has its own function.
And when you can play just any note, it doesn't mean that any note will sound right to you.
When you know the function of the note, you can start using it creatively in [N] your bass line.
Key:
G
D
B
F#
A
G
D
B
_ _ _ [G] _ _ _ [E] _ _
_ _ _ _ [Bm] _ _ _
In this video I present an action plan [B] that you can use when you want to improvise [D] basslines.
_ You'll see that you do not need to know much theoretical knowledge to start improvising.
_ _ _ First of all we need a chord progression for our _ improvisation. _
Let's use this.
_ _ One bar D major, _ _ [F#] one bar F sharp minor, [A] _ [B] _ _ one bar B [G] minor and one bar G major.
[D] _ _ _ If you have trouble finding the root notes, check out the video I made about finding all
the notes on the bass guitar in 5 minutes. _ _ _
_ The first and most important step of this action plan is rhythm.
This is the basis for your bassline.
You can already improvise a lot with only rhythm.
For example. _ _ _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ _ [B] _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ _ [D] _ _ _ _ _
_ _ _ [F#] _ _ _ _ _
_ [Dm] _ _ [B] _ _ _ _ _
_ _ [G] _ _ _ _ _ _
_ _ _ _ _ The next thing you can use are octaves. _ _
Since this [D] is the same note as the root note, you can always use it without clashing the
melody or harmony.
_ _ You can find the octave of any note on the bass guitar doing the following.
_ You slide two squares to the right, in the direction of the body, and two strings upward. _ _ _ _
_ _ Now let's combine the first two steps, using octaves in a rhythm. _ _ _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
_ _ [B] _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
_ _ [E] _ _ The next step would be using fifths.
_ From this point on, it slightly starts getting theoretical, because there are different fifths.
_ When you use which one, depends on the chords that are played.
_ But the perfect fifth is located in major and minor chords.
That's the majority of the chords. _
So probably most of the times the perfect fifth is usable.
_ _ _ You can find the fifth of any note on the bass guitar doing the following.
_ You slide two squares to the right, in the direction of the body, and one string upward. _ _ _
You can also octave the fifth down. _ _
_ _ _ Now let's combine this step with [D] rhythm. _ _ _ _ _
_ _ _ [C#] _ _ [F#] _ _ _
_ _ [B] _ _ [F#] _ _ _ _
_ [G] _ _ _ _ _ _ _
_ _ _ And combine it with using the octaves as [D] well. _ _ _ _
_ _ _ [F#] _ _ _ _ _
_ _ _ [B] _ _ _ _ _
_ _ _ [G] _ _ _ _ _
_ _ _ [G#] _ _ _ Next up you can use thirds.
_ A basic explanation is short.
_ _ Major has a major third, a three.
And minor has a minor third, a flat three. _
_ You can find the thirds on different places from the root note.
_ Actually, this is also true for octaves and fifths.
I elaborate on this in the interval video. _ _ _
For now, we use only one way. _
_ Playing the major third contains sliding one square to the left, in the direction of the
head, and one string upward. _ _
Playing the minor third contains sliding two squares to the left, and one string upward.
_ _ _ _ Let's first combine this step with rhythm.
[D] _ _ _ _ _ _
_ _ [F#] _ _ [A] _ _ _ _
[F#m] _ _ [B] _ _ _ _ [D] _ _
_ _ [G] _ _ _ _ _ _
_ _ _ [D] _ And now use all the other previous steps as well. _ _
_ _ _ _ _ [F#] _ _ _
_ _ _ _ [Bm] _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ [B] _ [D] _ _ _ _ _
_ Another thing you can use is to play towards the next root note.
_ So when you play the first bar, D major, you already start thinking about the second bar,
F sharp minor.
_ You can play towards this note from above, _ or below.
_ Depending on the rhythm, you decide how many notes you want to play towards the next root note. _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
_ _ [B] _ _ _ _ _ [A#] _
_ [G] _ _ _ _ _ _ _
[C#] _ _ [D] Let's combine it all. _ _
_ _ _ _ [C] _ _ _ [F] _
_ _ _ _ _ [Bm] _ _ _
_ _ _ _ [A] _ [G] _ _ _
_ _ _ _ _ [C#] _ _
The next step is to use pentatonic scales. _
We will use two scales. _ _
Major pentatonic, that can be used on every major chord.
_ We already have the root note, third, fifth and octave.
And with this scale, we add the intervals second and sixth.
_ _ The other pentatonic scale is minor pentatonic, that can be used on every minor chord.
_ We already have the root note, third, fifth and octave.
And with this scale, we add the fourth and seventh. _ _
Why the pentatonic scale consists of these extra notes, I explain at SV Method.
_ _ _ _ Let's combine all the steps so far.
[D] _ _ [B] _ _ [D] _ _
_ _ [F#m] _ _ _ _ _ _
_ [B] _ _ _ [A] _ _ _ [F#] _
_ [G] _ _ _ _ _ _ _
_ _ You now have seen that you can improvise a lot without much theoretical knowledge.
[D] _ _ But theory can give you inspiration.
_ These next steps, it's getting more theoretical.
_ _ _ This seventh step contains playing church scales. _
Every chord in a chord progression has a scale that sounds natural.
_ _ If you want to know more about this, you can check out SV Method.
_ _ In this chord progression, it's the following.
_ _ _ These scales consist of a series of intervals.
_ I elaborate on this in the church mode video. _ _
From the previous steps, you already know six intervals.
_ So this next step provides you with two additional notes.
_ You can add these new intervals in your _ improvisation.
_ _ _ _ _ _ _ [F#] _
_ _ _ _ [A] _ _ _ [B] _
_ [G] _ _ _ [C#] _ _ _ _
_ _ _ _ [A] _ [G] _ _ _
_ We've now used the scales belonging to the chords in the chord progression.
_ You can also use the intervals that are not located in the scales.
_ _ For example, when we look at the D major scale,
_ these intervals are not located in the scale. _ _
_ This means that these notes are not natural to the chords in the context of the progression. _
It's good to be aware of that, and it can actually be pretty cool to use them.
_ You may have already used some of them in step five. _
_ _ [D] _ _ _ _ _ _
_ [F] _ _ _ _ [F#] _ _ _
_ _ _ _ _ _ [A#] _ _
_ [G] _ _ _ _ _ _ _
_ [E] _ _ _ So this actually means you can play any note.
You may ask, _ why use an action plan?
_ That's because every note has its own function.
And when you can play just any note, it doesn't mean that any note will sound right to you.
_ _ When you know the function of the note, you can start using it creatively in [N] your bass line. _ _ _ _
_ _ _ _ [Bm] _ _ _
In this video I present an action plan [B] that you can use when you want to improvise [D] basslines.
_ You'll see that you do not need to know much theoretical knowledge to start improvising.
_ _ _ First of all we need a chord progression for our _ improvisation. _
Let's use this.
_ _ One bar D major, _ _ [F#] one bar F sharp minor, [A] _ [B] _ _ one bar B [G] minor and one bar G major.
[D] _ _ _ If you have trouble finding the root notes, check out the video I made about finding all
the notes on the bass guitar in 5 minutes. _ _ _
_ The first and most important step of this action plan is rhythm.
This is the basis for your bassline.
You can already improvise a lot with only rhythm.
For example. _ _ _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ _ [B] _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ _ [D] _ _ _ _ _
_ _ _ [F#] _ _ _ _ _
_ [Dm] _ _ [B] _ _ _ _ _
_ _ [G] _ _ _ _ _ _
_ _ _ _ _ The next thing you can use are octaves. _ _
Since this [D] is the same note as the root note, you can always use it without clashing the
melody or harmony.
_ _ You can find the octave of any note on the bass guitar doing the following.
_ You slide two squares to the right, in the direction of the body, and two strings upward. _ _ _ _
_ _ Now let's combine the first two steps, using octaves in a rhythm. _ _ _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
_ _ [B] _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
_ _ [E] _ _ The next step would be using fifths.
_ From this point on, it slightly starts getting theoretical, because there are different fifths.
_ When you use which one, depends on the chords that are played.
_ But the perfect fifth is located in major and minor chords.
That's the majority of the chords. _
So probably most of the times the perfect fifth is usable.
_ _ _ You can find the fifth of any note on the bass guitar doing the following.
_ You slide two squares to the right, in the direction of the body, and one string upward. _ _ _
You can also octave the fifth down. _ _
_ _ _ Now let's combine this step with [D] rhythm. _ _ _ _ _
_ _ _ [C#] _ _ [F#] _ _ _
_ _ [B] _ _ [F#] _ _ _ _
_ [G] _ _ _ _ _ _ _
_ _ _ And combine it with using the octaves as [D] well. _ _ _ _
_ _ _ [F#] _ _ _ _ _
_ _ _ [B] _ _ _ _ _
_ _ _ [G] _ _ _ _ _
_ _ _ [G#] _ _ _ Next up you can use thirds.
_ A basic explanation is short.
_ _ Major has a major third, a three.
And minor has a minor third, a flat three. _
_ You can find the thirds on different places from the root note.
_ Actually, this is also true for octaves and fifths.
I elaborate on this in the interval video. _ _ _
For now, we use only one way. _
_ Playing the major third contains sliding one square to the left, in the direction of the
head, and one string upward. _ _
Playing the minor third contains sliding two squares to the left, and one string upward.
_ _ _ _ Let's first combine this step with rhythm.
[D] _ _ _ _ _ _
_ _ [F#] _ _ [A] _ _ _ _
[F#m] _ _ [B] _ _ _ _ [D] _ _
_ _ [G] _ _ _ _ _ _
_ _ _ [D] _ And now use all the other previous steps as well. _ _
_ _ _ _ _ [F#] _ _ _
_ _ _ _ [Bm] _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ [B] _ [D] _ _ _ _ _
_ Another thing you can use is to play towards the next root note.
_ So when you play the first bar, D major, you already start thinking about the second bar,
F sharp minor.
_ You can play towards this note from above, _ or below.
_ Depending on the rhythm, you decide how many notes you want to play towards the next root note. _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
_ _ [B] _ _ _ _ _ [A#] _
_ [G] _ _ _ _ _ _ _
[C#] _ _ [D] Let's combine it all. _ _
_ _ _ _ [C] _ _ _ [F] _
_ _ _ _ _ [Bm] _ _ _
_ _ _ _ [A] _ [G] _ _ _
_ _ _ _ _ [C#] _ _
The next step is to use pentatonic scales. _
We will use two scales. _ _
Major pentatonic, that can be used on every major chord.
_ We already have the root note, third, fifth and octave.
And with this scale, we add the intervals second and sixth.
_ _ The other pentatonic scale is minor pentatonic, that can be used on every minor chord.
_ We already have the root note, third, fifth and octave.
And with this scale, we add the fourth and seventh. _ _
Why the pentatonic scale consists of these extra notes, I explain at SV Method.
_ _ _ _ Let's combine all the steps so far.
[D] _ _ [B] _ _ [D] _ _
_ _ [F#m] _ _ _ _ _ _
_ [B] _ _ _ [A] _ _ _ [F#] _
_ [G] _ _ _ _ _ _ _
_ _ You now have seen that you can improvise a lot without much theoretical knowledge.
[D] _ _ But theory can give you inspiration.
_ These next steps, it's getting more theoretical.
_ _ _ This seventh step contains playing church scales. _
Every chord in a chord progression has a scale that sounds natural.
_ _ If you want to know more about this, you can check out SV Method.
_ _ In this chord progression, it's the following.
_ _ _ These scales consist of a series of intervals.
_ I elaborate on this in the church mode video. _ _
From the previous steps, you already know six intervals.
_ So this next step provides you with two additional notes.
_ You can add these new intervals in your _ improvisation.
_ _ _ _ _ _ _ [F#] _
_ _ _ _ [A] _ _ _ [B] _
_ [G] _ _ _ [C#] _ _ _ _
_ _ _ _ [A] _ [G] _ _ _
_ We've now used the scales belonging to the chords in the chord progression.
_ You can also use the intervals that are not located in the scales.
_ _ For example, when we look at the D major scale,
_ these intervals are not located in the scale. _ _
_ This means that these notes are not natural to the chords in the context of the progression. _
It's good to be aware of that, and it can actually be pretty cool to use them.
_ You may have already used some of them in step five. _
_ _ [D] _ _ _ _ _ _
_ [F] _ _ _ _ [F#] _ _ _
_ _ _ _ _ _ [A#] _ _
_ [G] _ _ _ _ _ _ _
_ [E] _ _ _ So this actually means you can play any note.
You may ask, _ why use an action plan?
_ That's because every note has its own function.
And when you can play just any note, it doesn't mean that any note will sound right to you.
_ _ When you know the function of the note, you can start using it creatively in [N] your bass line. _ _ _ _