Chords for EASY TRICK FOR PLAYING OUTSIDE THE BOX - Bass Lesson with Jayme Lewis
Tempo:
87.6 bpm
Chords used:
G
D
Em
E
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Okay, so as bass players, if we get a chance to solo, or whatever, it comes down to just
drums and just bass.
Everyone drops that, everyone stops playing.
Usually I'm just doing a one chord vamp, because if I'm the only one playing, I want to make it easy.
So we'll just stay on one chord.
So if I'm doing an E minor jam, we're just staying on an E minor chord, most people would
play an E minor pentatonic over it, right?
[Em]
But, and you can only go so far with that one scale.
You know what I mean?
After a while, it just kind of starts to sound like you're doing the same thing over and
over and over again, because technically you are.
So I'm a big fan of capitalizing, or maximizing the amount of damage you can do with one pattern,
with one shape, with one sound.
So when it comes to using pentatonic scales over a minor chord, there's kind of like three
different places you can play it.
So on an E minor 7 chord, the G pentatonic scale kind of goes easiest.
That's the same as an E minor pentatonic, the relative minor.
So another place, I mean again, that's the normal one, but another place that's actually
a great spot to do pentatonic scales is from the flat 7 of a minor chord.
That would be D pentatonic in this case, right?
So the 7 of E minor.
And if you look at the notes you're playing over E minor 7, [G] we're playing D, that's the 7.
[Em] We've got E, that's [F#] the root.
We've got F sharp, that's the [B] 9.
We got the 4, the 11, and then we got the 6.
[D] So [G] everything's still diatonic and staying inside the E minor chord.
And then another great place to do it is from the 4th.
So an A pentatonic [A] over
[D]
[G] And so in that case, again, in the context of E minor 7, I got the 4, I got the [C#m] 5, [E] I
got the 6, and I got the root.
[B] And an F sharp, and I got the 9 [G] also.
So just over one chord, can you just get that kind of thing happen?
So G pentatonic, [Em] [G]
that's the very inside the box one.
But D pentatonic, again, just like a little bit of a different flavor.
[C#m] And then A [C] pentatonic.
[Bm] [C#] [B] [Em]
That's a cool trick.
Again, it's the same
In my mind, it's the same pattern.
It's a pentatonic scale, [G] but I'm playing it in three different places.
[D] So [C] [G]
as far as my fingers are concerned, they're doing the same exact thing, but I'm just doing
it from three different positions.
And it sounds different, but as far as my hands are concerned, to me it's just the same thing.
You know what I mean?
So [G#m] in the context of E minor
[G] Three
[F#m] [Em]
[D] [G] different scales, [E] but technically just one.
That's so cool.
Want to give it a shot?
Yeah.
[D] [C#] [A] [G]
[D] [Gm] [F#m] [G]
[G#] Okay, [G] now here's the next level.
So level two is like you can kind of introduce some chromaticism.
If you notice, the three pentatonic scales that I outlined are G and D and A.
G and A
are two frets apart from each other.
It's a whole step.
So if [E] I want to play a [D] [G#] [F] pattern
[A]
[G] So literally I play G, [G#] G sharp, [E] A.
[G] It's the same pattern.
You just kind of work it up a step, work it up a step, and just kind of add some tension
and it brings you right back in.
Play that groove again.
I'll show it in context.
[G#]
[D#] [D] You [B] [G] [E] know what I mean?
And again, the cool thing is I'm not thinking, oh, scale, alter this and that.
It's literally one freaking pattern.
Move it up, move it up, and then you're just kind of at a place where it sounds good again.
Yeah, yeah.
Want to give it a try?
Just G, move it up a step, move [G] it up another half step.
[Em] [G] [F]
[D] Hey-o!
[G] [Dm] Can I do it down?
Yeah, that was [F#m] good.
[G] [G]
[C] [A] [D] [G]
[G#] [Dm] [F#] [A] [D]
[E] [N] So that's kind of the cool thing, right?
You get to step outside the box, but again, as far as your hand's concerned, it's the
same exact thing.
Not any different.
I love it.
That's awesome.
That's my pentatonic trick.
My pleasure, dude.
drums and just bass.
Everyone drops that, everyone stops playing.
Usually I'm just doing a one chord vamp, because if I'm the only one playing, I want to make it easy.
So we'll just stay on one chord.
So if I'm doing an E minor jam, we're just staying on an E minor chord, most people would
play an E minor pentatonic over it, right?
[Em]
But, and you can only go so far with that one scale.
You know what I mean?
After a while, it just kind of starts to sound like you're doing the same thing over and
over and over again, because technically you are.
So I'm a big fan of capitalizing, or maximizing the amount of damage you can do with one pattern,
with one shape, with one sound.
So when it comes to using pentatonic scales over a minor chord, there's kind of like three
different places you can play it.
So on an E minor 7 chord, the G pentatonic scale kind of goes easiest.
That's the same as an E minor pentatonic, the relative minor.
So another place, I mean again, that's the normal one, but another place that's actually
a great spot to do pentatonic scales is from the flat 7 of a minor chord.
That would be D pentatonic in this case, right?
So the 7 of E minor.
And if you look at the notes you're playing over E minor 7, [G] we're playing D, that's the 7.
[Em] We've got E, that's [F#] the root.
We've got F sharp, that's the [B] 9.
We got the 4, the 11, and then we got the 6.
[D] So [G] everything's still diatonic and staying inside the E minor chord.
And then another great place to do it is from the 4th.
So an A pentatonic [A] over
[D]
[G] And so in that case, again, in the context of E minor 7, I got the 4, I got the [C#m] 5, [E] I
got the 6, and I got the root.
[B] And an F sharp, and I got the 9 [G] also.
So just over one chord, can you just get that kind of thing happen?
So G pentatonic, [Em] [G]
that's the very inside the box one.
But D pentatonic, again, just like a little bit of a different flavor.
[C#m] And then A [C] pentatonic.
[Bm] [C#] [B] [Em]
That's a cool trick.
Again, it's the same
In my mind, it's the same pattern.
It's a pentatonic scale, [G] but I'm playing it in three different places.
[D] So [C] [G]
as far as my fingers are concerned, they're doing the same exact thing, but I'm just doing
it from three different positions.
And it sounds different, but as far as my hands are concerned, to me it's just the same thing.
You know what I mean?
So [G#m] in the context of E minor
[G] Three
[F#m] [Em]
[D] [G] different scales, [E] but technically just one.
That's so cool.
Want to give it a shot?
Yeah.
[D] [C#] [A] [G]
[D] [Gm] [F#m] [G]
[G#] Okay, [G] now here's the next level.
So level two is like you can kind of introduce some chromaticism.
If you notice, the three pentatonic scales that I outlined are G and D and A.
G and A
are two frets apart from each other.
It's a whole step.
So if [E] I want to play a [D] [G#] [F] pattern
[A]
[G] So literally I play G, [G#] G sharp, [E] A.
[G] It's the same pattern.
You just kind of work it up a step, work it up a step, and just kind of add some tension
and it brings you right back in.
Play that groove again.
I'll show it in context.
[G#]
[D#] [D] You [B] [G] [E] know what I mean?
And again, the cool thing is I'm not thinking, oh, scale, alter this and that.
It's literally one freaking pattern.
Move it up, move it up, and then you're just kind of at a place where it sounds good again.
Yeah, yeah.
Want to give it a try?
Just G, move it up a step, move [G] it up another half step.
[Em] [G] [F]
[D] Hey-o!
[G] [Dm] Can I do it down?
Yeah, that was [F#m] good.
[G] [G]
[C] [A] [D] [G]
[G#] [Dm] [F#] [A] [D]
[E] [N] So that's kind of the cool thing, right?
You get to step outside the box, but again, as far as your hand's concerned, it's the
same exact thing.
Not any different.
I love it.
That's awesome.
That's my pentatonic trick.
My pleasure, dude.
Key:
G
D
Em
E
A
G
D
Em
Okay, so as bass players, if we get a chance to solo, or whatever, it comes down to just
drums and just bass.
Everyone drops that, everyone stops playing.
Usually I'm just doing a one chord vamp, because if I'm the only one playing, I want to make it easy.
So we'll just stay on one chord.
So if I'm doing an E minor jam, _ _ _ _ _ _ we're just staying on an E minor chord, most people would
play an E minor pentatonic over it, right?
_ [Em] _
_ But, and you can only go so far with that one scale.
You know what I mean?
After a while, it just kind of starts to sound like you're doing the same thing over and
over and over again, because technically you are.
So _ I'm a big fan of _ capitalizing, or maximizing the amount of damage you can do with one pattern,
with one shape, with one sound.
So when it comes to using pentatonic scales over _ a minor chord, there's kind of like three
different places you can play it.
So on an E minor _ _ 7 chord, the G pentatonic scale kind of goes easiest.
_ _ _ That's the same as an _ E minor pentatonic, the relative minor.
So another place, I mean again, that's the normal one, but another place that's actually
a great spot to do pentatonic scales is from the flat 7 of a minor chord.
_ _ That would be D pentatonic in this case, right?
So the 7 of E minor.
And if you look at the notes you're playing over E minor 7, [G] we're playing D, that's the 7.
[Em] We've got E, that's [F#] the root.
We've got F sharp, that's the [B] 9.
We got the 4, the 11, and then we got the 6.
[D] So [G] everything's still diatonic and staying inside the E minor chord.
And then another great place to do it is from the 4th.
So an A pentatonic [A] over_
_ _ [D] _
[G] And so in that case, again, in the context of E minor 7, I got the 4, I got the [C#m] 5, [E] I
got the 6, and I got the root.
[B] And an F sharp, and I got the 9 [G] also.
So _ just over one chord, can you just get that kind of thing happen?
_ So G pentatonic, [Em] _ [G] _
_ _ that's the very inside the box one.
But D pentatonic, _ _ _ again, just like a little bit of a different flavor.
[C#m] And then A [C] pentatonic.
[Bm] _ _ [C#] _ [B] _ [Em] _
_ That's a cool trick.
Again, it's the same_
In my mind, it's the same pattern.
It's a pentatonic scale, [G] but I'm playing it in three different places. _
[D] _ So _ [C] _ [G] _ _ _
_ as far as my fingers are concerned, they're doing the same exact thing, but I'm just doing
it from three different positions. _ _ _ _ _
And it sounds different, but as far as my hands are concerned, to me it's just the same thing.
You know what I mean?
So [G#m] in the context of E minor_
_ [G] Three _
_ _ _ [F#m] _ _ [Em] _ _ _
[D] _ [G] _ _ _ different scales, [E] but technically just one.
That's so cool.
Want to give it a shot?
Yeah. _ _ _ _ _
_ _ [D] _ _ [C#] _ _ [A] _ [G] _
_ _ _ _ _ _ _ _
_ _ [D] _ _ [Gm] _ [F#m] _ _ [G] _
_ [G#] Okay, [G] now here's the next level.
So level two is like you can kind of introduce some chromaticism.
If you notice, the three pentatonic scales that I outlined are G and D and A.
G and A
are two frets apart from each other.
It's a whole step.
So if [E] I want to play a _ [D] _ _ [G#] [F] pattern_
[A] _
_ _ [G] So literally I play G, [G#] G sharp, [E] A.
[G] It's the same pattern.
You just kind of work it up a step, work it up a step, and just kind of add some tension
and it brings you right back in.
Play that groove again.
I'll show it in context. _
_ _ _ _ _ _ _ [G#] _
[D#] _ [D] You _ [B] _ [G] _ [E] know what I mean?
And again, the cool thing is I'm not thinking, oh, scale, alter this and that.
It's literally one freaking pattern.
Move it up, move it up, and then you're just kind of at a place where it sounds good again.
Yeah, yeah.
Want to give it a try?
Just G, move it up a step, move [G] it up another half step.
_ [Em] _ _ _ [G] _ _ _ [F] _
[D] _ Hey-o!
[G] _ [Dm] Can I do it down?
Yeah, that was [F#m] good.
[G] _ _ _ _ _ _ _ [G] _
[C] _ _ [A] _ [D] _ _ [G] _ _ _
_ _ [G#] _ [Dm] _ _ [F#] _ [A] _ [D] _
_ _ [E] _ [N] So that's kind of the cool thing, right?
You get to step outside the box, but again, as far as your hand's concerned, it's the
same exact thing.
Not any different.
I love it.
That's awesome.
That's my pentatonic trick.
My pleasure, dude.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
drums and just bass.
Everyone drops that, everyone stops playing.
Usually I'm just doing a one chord vamp, because if I'm the only one playing, I want to make it easy.
So we'll just stay on one chord.
So if I'm doing an E minor jam, _ _ _ _ _ _ we're just staying on an E minor chord, most people would
play an E minor pentatonic over it, right?
_ [Em] _
_ But, and you can only go so far with that one scale.
You know what I mean?
After a while, it just kind of starts to sound like you're doing the same thing over and
over and over again, because technically you are.
So _ I'm a big fan of _ capitalizing, or maximizing the amount of damage you can do with one pattern,
with one shape, with one sound.
So when it comes to using pentatonic scales over _ a minor chord, there's kind of like three
different places you can play it.
So on an E minor _ _ 7 chord, the G pentatonic scale kind of goes easiest.
_ _ _ That's the same as an _ E minor pentatonic, the relative minor.
So another place, I mean again, that's the normal one, but another place that's actually
a great spot to do pentatonic scales is from the flat 7 of a minor chord.
_ _ That would be D pentatonic in this case, right?
So the 7 of E minor.
And if you look at the notes you're playing over E minor 7, [G] we're playing D, that's the 7.
[Em] We've got E, that's [F#] the root.
We've got F sharp, that's the [B] 9.
We got the 4, the 11, and then we got the 6.
[D] So [G] everything's still diatonic and staying inside the E minor chord.
And then another great place to do it is from the 4th.
So an A pentatonic [A] over_
_ _ [D] _
[G] And so in that case, again, in the context of E minor 7, I got the 4, I got the [C#m] 5, [E] I
got the 6, and I got the root.
[B] And an F sharp, and I got the 9 [G] also.
So _ just over one chord, can you just get that kind of thing happen?
_ So G pentatonic, [Em] _ [G] _
_ _ that's the very inside the box one.
But D pentatonic, _ _ _ again, just like a little bit of a different flavor.
[C#m] And then A [C] pentatonic.
[Bm] _ _ [C#] _ [B] _ [Em] _
_ That's a cool trick.
Again, it's the same_
In my mind, it's the same pattern.
It's a pentatonic scale, [G] but I'm playing it in three different places. _
[D] _ So _ [C] _ [G] _ _ _
_ as far as my fingers are concerned, they're doing the same exact thing, but I'm just doing
it from three different positions. _ _ _ _ _
And it sounds different, but as far as my hands are concerned, to me it's just the same thing.
You know what I mean?
So [G#m] in the context of E minor_
_ [G] Three _
_ _ _ [F#m] _ _ [Em] _ _ _
[D] _ [G] _ _ _ different scales, [E] but technically just one.
That's so cool.
Want to give it a shot?
Yeah. _ _ _ _ _
_ _ [D] _ _ [C#] _ _ [A] _ [G] _
_ _ _ _ _ _ _ _
_ _ [D] _ _ [Gm] _ [F#m] _ _ [G] _
_ [G#] Okay, [G] now here's the next level.
So level two is like you can kind of introduce some chromaticism.
If you notice, the three pentatonic scales that I outlined are G and D and A.
G and A
are two frets apart from each other.
It's a whole step.
So if [E] I want to play a _ [D] _ _ [G#] [F] pattern_
[A] _
_ _ [G] So literally I play G, [G#] G sharp, [E] A.
[G] It's the same pattern.
You just kind of work it up a step, work it up a step, and just kind of add some tension
and it brings you right back in.
Play that groove again.
I'll show it in context. _
_ _ _ _ _ _ _ [G#] _
[D#] _ [D] You _ [B] _ [G] _ [E] know what I mean?
And again, the cool thing is I'm not thinking, oh, scale, alter this and that.
It's literally one freaking pattern.
Move it up, move it up, and then you're just kind of at a place where it sounds good again.
Yeah, yeah.
Want to give it a try?
Just G, move it up a step, move [G] it up another half step.
_ [Em] _ _ _ [G] _ _ _ [F] _
[D] _ Hey-o!
[G] _ [Dm] Can I do it down?
Yeah, that was [F#m] good.
[G] _ _ _ _ _ _ _ [G] _
[C] _ _ [A] _ [D] _ _ [G] _ _ _
_ _ [G#] _ [Dm] _ _ [F#] _ [A] _ [D] _
_ _ [E] _ [N] So that's kind of the cool thing, right?
You get to step outside the box, but again, as far as your hand's concerned, it's the
same exact thing.
Not any different.
I love it.
That's awesome.
That's my pentatonic trick.
My pleasure, dude.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _