t c electronic
APP EXTRA ©
OUR MAN GEARY HAS
.. AND SO
W ILL YOU
his month I would like to
continue our exploration of
chords and begin to put them
into a progression. Rem em ber
to play all of these exam ples
above the 12th fret. Any lower
on the bass and they begin to sound
a little dull and muddy. Try to keep
a steady pulse while playing the
following exam ples. A s you begin
to get more familiar with the actual
chord shape, your fingers should
adapt quite quickly to the various
positions, and in turn this will help
you to move through the progression
sm oothly and effectively with good
tone and meter. The key is repetitive
practice of the chord shapes: this will
help to build m uscle memory.
Let's start with a Gm 7 Use your
first finger of your fretting hand to
play the root of G, your second on
the F and your third finger on the
Bb. M ake sure you hit all the strings
cleanly with the sam e velocity, this
will help the chord to project and
sound full. Next is the C7 The root of
C should be played with the second
finger of the fretting hand, followed
by the first finger on the 14th fret of
the D string playing the E. Finally, let
the third finger play the Bb on the
15th fret of the G string.
chord change should becom e quite familiar as your fingers are programmed
to the shape. Use your thumb plus the first and second fingers of your
picking hand to strike the strings at the sam e time. This, combined with the
fretting hand, should deliver a clean-sounding chord.
The next chord is an F7 Put your first finger on the 13th fret of the E string
playing the F note, followed by the second finger on the 13th fret of the D
string playing the Eb, and finally the third finger on the 14th fret of the G
string, playing the A note which is the major 3rd of F7 Notice that the major
3rd A is played higher to get a much cleaner sound.
The last chord is Bb7 U se the sam e shape as the C7, but start on the root
of Bb at the 13th fret of the A string. On the third bar of the second line you
will notice a Fm7. Again use the exact sam e shape as the Gm 7 but start on
the root of the Fm 7 at the 13th fret of the E string.
This collection of chords represents a standard jazz blues progression. Start
out at 80bpm , making sure all of the chords are played cleanly and in time.
Experim ent using your thumb and
fingers of your plucking hand to
strike the strings.
Rem em ber that each note of
the chord needs to be heard, so
they m ust be played with the sam e
pressure and velocity in order to get
the right sound and tone.
In bar three w e have a Cm 7
chord. The fingering pattern is
slightly different to the previous
minor shape. U se the second finger
of your fretting hand to play the root
of C, your first finger to play the
minor 3rd Eb, and your third finger to
play the minor 7th Bb.
Starting at bar five, a Bb7 chord
is played over two bars. Have a go
at changing the rhythm with your
plucking hand in bar six. This should
deliver som e nice variations around
the chord shape. Next up is the
Am7. This can be played as written,
using the sam e shape as the Gm7.
Finally w e have the turnaround:
this sequence of chords gets
us back to the beginning of the
progression. There are no new
chords to learn, but you will see
for the first time that w e have two
chords in each bar. This m eans you
have to be quick with your chord
changes. I have deliberately left the
chord stacks out on the turnaround,
because the sam e chords occur
earlier in the sequence.
See you next time!
5trings for Bass
Driven by Perfection.
Developed by B assists.
'.efi(ir41 rnl) D
ufc l i j l i
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