The nature of bass chords is they sound a bit muddier. In this example, we’ll play a Dm instead of a C because it sounds good with the whole progression.
Posts by Darrin Koltow:
We’ve been playing the C ionian or C major sound with chords whose melody notes sit on string 1 or string 2. Let’s try out some C Io chords that cover all twelve frets.
Last issue we covered diatonic (within a key) C major chords whose melody notes lay on string 1. A natural progression for us this time would be chords for string two.
We’ve been exploring modes, the C Ionian mode in particular. Now let’s take a look now at moving from one position to another, as we stick to making the C Ionian sound.
We’ve used chords and arpeggios to convey the C Ionian sound, and have started on using scales to convey that sound. Let’s continue our exploration of modes.
So far we’ve been looking at how to get a C Ionian or C major sound through arpeggios and chords. Now let’s look at different ways to convey those sounds.
This is the second in a series of articles on modes. Specifically, we’re building exercises that focus on getting the Ionian, Dorian, Mixolydian, and Phyrgian sounds into our ear and under our fingers.
This is the start of a series of articles on practicing modes. We’ll cover a routine you can use to explore, understand and apply modal thinking to your music.