The chord is placed on the one to make the change to the subdominant clear. The Eb7, Diminished chord, and the minor II Vīar 5 is the beginning of a new 4 bar period. This helps to make the sound of the extra chords clear. The chords are here played as sustained chords. The final bar of the first line is an Fm7 E7. Here the E can be used to lead into an Fm7. The bass line is identical to bar 1 using the triad and the E leading note. On the Bb7 the chord is the same shell-voicing as the A7. Reusing the bassline and adding a tritone sub. The A is harmonized with an A7 that acts as a leading chord to the Bb7 on one of the following bar. The bass line is again all chord tones with an A leading note on beat 4 to take us back to Bb7. You can hear this if you compare to bar 1. The function of having a short stab on a chord like that is more to add to the groove than to make the harmony clear. This adds a bit of variation and makes the line a bit more exciting both melodically and rhythmically. To break up the quarter note bassline I add a D under the Eb that I then use a hammer on to lead into the bar. On beat 4 I have an E as a leading note for Eb. The bass line melody for the rest of the bar is a Bb triad. On the one of the bar, the Root is in the bass and a Bb7(13) voicing is added. The first bar is a prime example of a simple very usable bassline on the Bb7. The analysis of the Bass line and chord voicings
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