Dropping notes off chords

Open_Tuna · #1 01-12-2011, 05:09 PM

Some times I see folks say you can leave off the root note of a chord because (if you are playing in an ensemble) the bass player (or other) will be playing it. But will that be ALL the bass will be playing?

Suppose you have a minor 7th chord for a measure and you play the b3 and the b7 . . . how do you know the bass player won't be playing either of those notes at some point in time during that measure when you are?

I guess what I am asking is SHOULD you leave off the notes that the bass player is playing to avoid unisons; and if so, then isn't it desirable to also drop non-root unisons?

(My frame of reference is "generally accepted procedures." Surely, if you are jamming with players and songs you aren't very familiar with, the expectations would be less.)

dkaplowitz · #2 01-12-2011, 05:53 PM

Playing the same notes as the bass player on occasion isn't a problem, it's just that when there's too much redundancy and overlap, things can start to sound boring. The point is to not play notes that are already being covered by other players -- which frees you up to play cool, interesting things that will sound good against what the other players are playing.

docbop · #3 01-12-2011, 05:55 PM

The 3rd and 7th give the chord it's identity so you can just play that and in an ensemble that can be enough. Now if the 5th was altered then I would be adding that next. If not then I would start adding color tones like the 9th.

I think with experimentation you will find smaller voicings fit better especially when working with a bass player and another harmony instrument like KB.

As to your comment about bass only on root for short time that's all that is need. The ear fills in things and has expectations. That's why one chord voicing can have multiple names/uses. The ear hears it in context of the sounds preceding it.

JonnyPac · #4 01-12-2011, 08:23 PM

I think I see a potential problem. If a bass player started thinking like a horn, etc and nobody played the fundamental chord tones, the sound might morph into something unclear, etc.

Getting to know your bassist is a good start. Also assume they will hit a root in the measure, and probably the other triad tones along the way walking. You can play the 3rd and 7th to be extra clear, or you can play other extensions to make the sound ambiguous/modal or otherwise. You do not have to avoid roots like the plague like some teachers insist, just be tasteful and make conscious choices. You can also play several voicings that convey the tonality over the measure, etc. See it as a creative problem with many "right" answers and a few not so good ones that are generally easy to avoid.

I just posted a little youtube lesson on these kinds of partial chords over a walking bass line. It's in the showcase forum. I kind of ramble, but you might enjoy it. Good luck!!