Chromatic Melody in Bass Notes

[Open_Tuna]

(This regards playing solo guitar.)

When using chromatic links via "passing" chords between "structural" chords, I seem to hear those chromatic melodies as the highest note in the passing chords. Is it possible to construct such passages with the chromatic melody in the bass (or lowest) note? But if so, won't I "hear" the note that is the highest in those chords, basically ruining the chomatic melody I had in mind?

Wouldn't it be better to stay in the original chord/voicing with the top 3 notes to let the bass note provide that melody. In other words, holding the top three notes of the chord fixed is the only way a bass melody will cut through.



* I have several questions related to this subject. I'll post them all in this sub-forum. I have no guitar or other instrument at this itime.

[ksjazzguitar]

I think that you are talking about a chord progressions like C,C#dim7,Dm7,D#dim7,Em7 or something like that. Am I right? And you are asking where can that C,C#,D,D#,E melody be? Am I right?

Well, the bass player is probably going to be playing that chromatic lines, so would avoid doubling it in the melody.

As to voicing chords, are you asking if you need to reflect those dim chords? If they are original to the tune, then I think you should. If they are just being added in as passing subs by the bass, then it depends. If they are lasting long enough to be noticed then you probably should. If they are just very quick (for 2 beats at a quick tempo) then I wouldn't worry too much about them, unless you want to.

That's how I see it anyway.

Oops, just noticed that you are talking about solo guitar. But my thoughts are roughly the same. If that chromatic passing tone is quick, it may not be that important to catch it with the voicing, but if it is slow, I think your ear will want it. Just play through it both ways and see what your ear says. Play it for some other jazz musician friends and see what they say. Don't forget that your ear is the most important tool that you have.

Peace,
Kevin

[BigDaddyLoveHandles]

If you want a passing chord to sound less chromatic, make the top note diatonic (keep it in key).

Example (in C). Chromatic:

x77787
x66676
x55575

More diatonic (I tweaked the D-string note, too, to make it more dominant):

x77787
x67678
x55575
...
x43453
x32442 (love me some #11s!)

[Open_Tuna]

Thanks for the responses, so far.

I'll get more specific, although my question could pertain in general.

--------------------------------------

This is an original compostion for just guitar. Blues progression in G.
I have (stole) the bass "lick" and I am thinking about "jazzing" it up.

The "lick" is when you go to the V(D) chord (not the turnaround) and then go back to the G, although I don't think it's gonna pass thru the IV(C).

It's similar to (or the same as) the lick in Ted Nugent's "Hey Baby."
It's something like this - 2 measures, each note gets exactly one beat.
I think this is it.

a - b - c - c# = Measure 1

d - e - f - f# = Measure 2

So, my question really is: should I just leave this as a single note walk up, OR can I jazz it up with chords?

And here was my question, if I DO jazz it up with chords, won't the top note in each of the chords distract the listener from "hearing" the bass run? In other words, won't the "melody" be altered to whatever is on the top?

If so, in my mind there would be two choices:
1. Make the top note the melody listed above, i.e., take the melody out of the bass.
2. Keep the melody in the bass, but keep the other 3 notes a D7 chord with perhaps changing the voicing from measure 1 to measure 2.

[BigDaddyLoveHandles]

That sounds like a bass line to me, so I'd keep it down low rather than turning it into a treble melody. If you want it to stand out, snap those bass notes and play softer chords, maybe brushing the strings with your fingertips or muting the chords by releasing your grip as you play the chord. Also: try a pattern like playing short chords on the "and" of 1 and 3: | Thump (and) thump thump (and) thump | Thump (and) thump thump (and) thump |

[ksjazzguitar]

Yeah, if that is a bass line, I'd harmonize it in 10ths. I might do something like:


-------------|-------------
-------------|-7--8--9--10-
-6--7--8--9--|-5--5--7--7--
-5--5--7--7--|-------------
-------------|-5--7--8--9--
-5--7--8--9--|-------------


This is a pretty common pattern to expand a dominant chord. It can be changed to a Maj7 quality if needed, and the middle part can be left out if you want it ambiguous or if you want the thinner texture. You can do more adventurous things with the top voice, but this will get you started.

I hope that helps.

Peace,
Kevin

[Reg]

---------------------------------------------
---7------3-----4----5---------------------------
---6------2-----2----4---------------------------
---5------4-----4----5--------------------------
----------2-----3----4---------------------------
---5------------------------------------------

---------------------------------------------
----7------8-----9----10--------------------------
----5------7-----7----9-------------------------
----7------9-----9----10--------------------------
----5------7-----8----9-------------------------
---------------------------------------------

Another standard use... Freedom jazz dance, a little more on the jazz side
A13, B-7, Cdim7, C#-7b5
D13, E-7, Fdim7, F#-7b5

[wolflen]

to me..monks "blue monk" would be a good example of this type flavor...