Tony Grey Bass Academy  

©  2012  tonygreymusic    

Sequential Diatonic Triads From The Major Modes Thank you for downloading I hope this lesson give you some ideas for your own improvisations. This lesson will help you develop an instinctive way of moving around the fingerboard. Your goal really is to not have to think about which note is where on the instrument. You want to develop your knowledge where your only obstacle or limitation is your own imagination. In the Tony Grey Bass Academy there are lots of exercises designed to develop this freedom for your instrument where everything becomes second nature. www.tonygreybassacademy.com The benefits are the following.

• Improve Knowledge and awareness of the fingerboard • Melodic ideas and vocabulary • Improve technique • Melodic Development • Improve ears • Develop fluency and an instinctive way of moving around the

fingerboard This lesson is broken up into 3 parts. You will have to have some knowledge of the Diatonic Triads from the Major Modes if not just watch and absorb the video and hopefully it will inspire you to want to learn more. In the Tony Grey Bass Academy there are courses for learning fundamental harmony. Here are all the Diatonic Triads found in the C Major Modes

 

©  2012  tonygreymusic    

Part 1 For Part 1 of this lesson we will look at a fingering pattern for the sequential alternating ascending and descending diatonic Triads found in the C Major Modes. Here is the fingering pattern for the sequential alternating ascending and descending diatonic Triads found in the C Major Modes over a 1 octave range. I didn’t include the rhythms, as there are several variations, I personally play these triads as triplets. Notation And Tablature

Fingerboard Fingering Patterns The numbers inside the dots represent the finger to use. It’s really important to understand the fingering patterns and position shifts. Step 1 - Ascending C Maj Triad Step 2 - Descending D Min Triad

Step 3 - Ascending E Min Triad Step 4 - Descending F Maj Triad

 

©  2012  tonygreymusic    

Step 5 - Ascending G Maj Triad Step 6 - Descending A Min Triad

Step 7 - Ascending B Dim Triad Step 8 - Descending C Maj Triad

Step 9 - Ascending B Dim Triad Step 10 - Descending A Min Triad

Step 11 - Ascending G Maj Triad Step 12 - Descending F Maj Triad

 

©  2012  tonygreymusic    

Step 13 - Ascending E Min Triad Step 14 - Descending D Min Triad

After you have played Step 14 you return back to the top of the pattern. Step 1 - Ascending C Maj Triad

How to practice Part 1 Put a metronome on at a slow tempo and make sure you can play this 1 octave pattern 3 times without stopping. Once you can do this raise the metronome increment by a small amount and repeat. Continue this way until you can play at a good challenging tempo for you. Once ready move on to part 2. Part 2 For Part 2 of this lesson I want you to continue this concept by paying the sequential pattern over 2 octaves. In Part 1 we introduced a position shift ascending and descending. Understanding where these position shifts happen is really important to gaining full mastery of your fluency and knowledge of the fingerboard. I will give you the notation and tablature for this exercise but no Fingerboard patterns. There are quite a few position shifts over 2 octaves so take your time understanding and observing where these happen and as you practice them you will start to memorize the shapes and be able to draw from these instantly whist improvising. Here is the fingering pattern for the sequential alternating ascending and descending diatonic Triads found in the C Major Modes over a 2-octave range. I

 

©  2012  tonygreymusic    

didn’t include the rhythms, as there are several variations, I personally play these triads as triplets. Notation And Tablature

How to practice Part 2 Put a metronome on at a slow tempo and make sure you can play this 2 octave pattern 3 times without stopping. Once you can do this raise the metronome increment by a small amount and repeat. Continue this way until you can play at a good challenging tempo for you. Once ready move on to part 3. Part 3 For Part 3 of this lesson I want you use the knowledge and technique you have built up to try and incorporate these sequential lines along with scale fragments to create an improvised line. Try to be as organic and musical as possible as we don’t want our solos sounding too much like exercises. Watch the video demonstration of my own improvisation and download the playalong track and try some of your own ideas. Hope to see you in the Academy you can sign up here. www.tonygreybassacademy.com Thank you and work well. Tony Grey