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Understanding Intervallic Relationships and Harmony pt. 1

by Max Valentino

As bassists, our function, even in its most conservative form, is to outline and define both the rhythm and the primary harmony of a tune. It is this role, which allows many bassists to gravitate toward the role of "Musical Director" in many groups and ensembles. This function also means that we must have a thorough and working knowledge of the functions of harmony, which means understand the construction and function of chords.

While it is totally possible, and in some cases appropriate to play actual chords on the bass, in most cases out knowledge of chords and their functions and construction provides us with a template for outlining what the harmony of a tune is to be.

It helps to know what chords are even if we never play a full chord on the bass.

Chords are made of at least three tones from a given scale. The most common and widely used triad of tones is the 1st, 3rd and 5th degrees of the major scale. This is equivalent to pressing every other white key on a piano keyboard. When these notes are played simultaneously they are referred to as "chords", and when they are played sequentially they are referred to as "arpeggios" or "broken chords".

While it is certainly possible to memorize the actual note construction for every chord, it is much more practical and efficient to perceive chords, scales and arpeggios in terms of their intervallic relationship.

An Interval is the measured distance between two notes. In our system of music the scale is divided into 12 equal segments known as half-steps, therefore you get the 12 half steps of the chromatic scale which runs all notes from a given root to its octave. Each one of these tones, in reference to its' pitch, is given a letter name (A, B, C D, E, F, G) and a qualifying sharp or flat (# or b) such as C#, F#, Eb etc.
Although the letter names may change, the interval (the measured number of half steps between any two notes remains constant. The distance from any root note to its octave is always 12 half steps. The distance from any root note to its third is always four half steps, and so on. Here is a chart showing the measured number of half steps for each interval and its musical symbol or abbreviation:

It is important to understand these relationships, and those musical abbreviations and terms, as this is the most widely used terminology for defining a chord or scale. Once this sort of chord and scale formation based upon the intervals is learned, it is possible to move these forms, or formulas, to other positions on the neck, and hence new keys, to derive new chords and scales.

The terms "flat" represented by the symbol b and "sharp" represented by the symbol # refer to alterations to the intervallic pattern of the major scale, whose formula is always 1 2 3 4 5 6 7 1 . For instance, if you took any major scale, such as a C major scale whose notes are CDEFGABC, and played the 1st, 3rd and 5th notes of that scale, you would have the notes of a C major chord. But, if you "flatted" the third note of that scale, making the E an Eb, you would have an C minor chord.

Here is a chart showing the intervallic relationships of a great number of widely used chords. (Ma = Major m = minor sus= suspended)

Major 1-3-5
Minor 1-b3-5
7 1-3-5-b7
9 1-3-5-b7-9
11 1-3-5-b7-9-11 (it is not necessary to play the 3rd)
13 1-3-5-b7-9-11-13 (it is not necessary to play the 11th)
Ma7 1-3-5-7
Ma9 1-3-5-7-9
Ma11 1-3-5-7-9-11
Ma13 1-3-5-7-9-11-13
m7 1-b3-5-b7
m9 1-b3-5-b7-9
m11 1-b3-5-b7-9-11
m13 1-b3-5-b7-9-11-13
6/9 1-3-5-6-9
6 1-3-5-6
m6 1-b3-5-6
m(Ma7) 1-b3-5-7
sus4 1-4-5
7sus4 1-4-5-b7
9sus4 1-4-5-b7-9
7b9 1-3-5-b7-b9
7#9 1-3-5-b7-#9
7b13 1-3-5-b7-9-b13
7b9b13 1-3-5-b7-b9-b13
7b5 1-3-b5-b7
add 9 1-3-5-9
sus2 1-2-5
m7b5 1-b3-b5-b7 same chord as half-diminished.

5 1-5 or 1-5-8 the famous power chord. 1 and 5 only. Technically, this is not a chord, or at least a triad, because it only has two notes, and by definition a chord (triad) has three or more notes.

+ 1-3-#5 also known as aug. or augmented
+7 1-3-#5-b7 augmented seventh chord
o 1-b3-b5 diminished: abbreviated as "o", as in Go for a G diminished chord)
o7 1-b3-b5-bb7 double flat seven is, of course, the same note as 6
1-b3-b5-b7 This is known as a half-diminished chord.
The symbol for half-diminsished is like the "null" sign. (A small circle with a diagonal line through it)

Many of these chords have "extensions" built onto the basic 1-3-5 triads. Keep in mind that is 8=equals the octave(or the root one octave higher), then 9=2nd an octave higher, 11=4, 13=6 and so on.

Though many of these chords are found mostly in jazz styles, the function of harmony allows bass players to superimpose "implied" harmony into simpler chord sequences, and therefore, to better your musical knowledge and growth, you must know all of these. You must know them instantly. If you have to stop and think, you don't know them well enough.

PRACTICE THESE AS ARPEGGIOS; that is to say play the necessary interval chord in each key. To help you memorize the notes and positions on the fingerboard, recite the note names as you learn the fingerings.
Remember that there are at least two fingerings for each possible note….find both, and then determine which is the most efficient fingering for you to use. Practice that fingering, and then try to play the same arpeggio is the more difficult fingering.

Try to play all the arpeggios to a metronome or click. Set for a slow tempo, play the arpeggios as quarter notes (1 note for every click), then as eighth notes (two notes to every click)…only then can you (slowly) raise the tempo of the metronome.
Practice fingerings for all these chords. You should practice fingerings that have no open strings (moveable fingerings) and fingerings that do include open strings.
You should be able to play the notes in any order or any octave.