in today’s video I’m going to show you
that knowing the inversions of the three string triad shapes is a game changer
when it comes to connecting chords with a bass line or in a solo context bass hack coming up hey Basshackers Mischa here with MMEducation showing you how to
learn faster and practice smarter by using the latest findings in neuroscience so
you can become the bass player you want to be express yourself freely on the
instrument and connect with your audience on a deeper level so if you’re new
here consider subscribing and at any point during the video go check out the
show notes in the YouTube description bullet points for this video links to
related videos and to the music I’m using as well as links to free resources
all in the youtube description so dig in but for now let’s go and build some new
neural pathways first here’s a problem that a lot of us bassist have and it’s
connected to the instrument and the function in the band we bass players
always think root notes first which is good if we just play a bass line but it
also limits us because we tend to… also when we play fills or solos always look
for the root note of the key or the chord and then look for the scale or the
arpeggio that sits above it this whole thought process just takes too long to
come up with really cool ideas plus we then tend to play the root note first
not just think about playing as well just to have that “okay from here this is
home base now I can do anything but with fills and solos we don’t necessarily
always want to start at home base for every chord change it gets boring pretty quickly
as bass players we think of chord tones related to the root note
but what we should do in solos and even in bass fills or just to connect one
chord to the other with a bass line we should think in chord tones related to
the chord that was before and the chord we want to dissolve into how can I use
the chord tones available to smoothly get to the next note that I’m aiming for
which might be the root note if it’s a bass line which might not be a root note if
it’s a solo in short when playing over chord progression think voice leading
instead of looking at every chord on its own here is the minor triad in its root
position let’s just play D minor D on the A
string fifth fret F on the third fret of the D string and A on the second fret of the G
string all together for the first inversion all we have to
do now is we take the root note the lowest note one octave up so one octave
would be seventh fret on the G string so now we have to move these two notes
so we can play them all at the same time formula for that is pretty simple
just go five frets up one string down so this note the eight on the G string goes
to the A on the D string seventh fret and the F on the D string goes to the F
on the A string 8th fret now we could fret it like this with three fingers
or we can fret it like that with just two
so we have number one number two 2nd inversion same thing we take the
lowest note take it up an octave the F goes to the tenth fret of the G-string
and those two notes go up five frets and down a string so we get this shape and
now we have the two inversions plus the root
position of the D minor triad root position first inversion and second
inversion now let’s have a look at major we’re
gonna stay in D but we’re gonna do major now D major all that changes is
the F becomes an F# so it’s not on the third fret so it’s on the fourth
fret obviously so same thing D goes up an octave the A goes to the seventh
fret of the D string and the F# to the ninth fret of the A-string first inversion
now for the 2nd inversion same thing F#p goes up an octave to the 11th
fret of the G string and the other two five frets up one
string down second inversion of a major triad root
position first inversion second inversion here you can see the shapes one more
time and if you look at them and compare major and minor you might notice a
couple of things the first and the second inversion of each of these triads
is geometrically the same in minor and major it’s just mirrored around the
vertical axis and then around the horizontal axis
you got one here – there goes to one here – that one here
– there goes to one here to there and even the root position is just a mirror
image of itself the root note for minor two frets apart and then one frett further and for major it’s the same thing if we start the other way around
one note 2 frets further and one fret further so one thing that’s really cool
about 3 string triads is that you really see how close all these notes are
to each other when playing a chord progression let’s take a 1 5 6 4 in D
major we start with the root shape now we go to A you already have the A here
so we leave that one we just move the other two ones D becomes C# the
major third of A and the F# becomes E the fifth of the A major yeah D major to A major first
inversion then we go to B minor first inversion so from here to there just because they
sit right next to each other all notes move but they all just move one
diatonic step we’re looking for small movements so we can really connect the
chords without always ending on the one on the root note so we get D major A
major B minor and then only one more note changes to go to the G major so now we can already see if I want to
get from D to A I probably won’t play that A as the last note over D because I might
want to resolve into it playing the root note on the one if I play a solo now I
might want to play one of either the root note or the f# last so I can
dissolve them and into the closest chord tone of
the following chord here’s a little example how I get from D to A in a solo
context or maybe even a baseline context without insisting on playing the A on
the one so makes perfect sense because it’s all chord tones it could as well be a
bassline it’s gonna get melodic there’s gonna be a little bit more focus on this
bassline then just be aware of that you don’t want to steal the show from any of
the other musicians you want to make them sound better go out of whack with
your bass line if that makes sense musically let’s go to the next chord
we’re here now at the A major and we want to go to the B minor so now all of
the chord tones work because they all just move diatonically up one note I
think you get the idea let me play a few rounds so you have a
few examples and then you can try it out by yourself here are a couple of examples how you
can apply three string triad inversion shapes for bass fills let’s
just play a G minor / C7 chord progression and come up with some fills of course you can
go way further with this and use other triads of the same key to play your
fills but start out with the ones from the chord and expand from there so today
I showed you how to avoid the root note curse by learning the inversions of the
three string triad shapes I also showed you how this impacts your freedom of no
choice when jamming a bassline by understanding harmony on a vertical
level now it’s up to you to not just take in the information but create new
neural pathways by applying the newly gained knowledge question of the day
which is your favorite chord progression to jam on let us know in the comments
section and remember some of the coolest ideas come from you and MMEducation
community so connect with everyone in the comments section and if there’s
a specific topic that you would like to have covered in one of the future
episodes let me know I’ll do an episode on that topic just for you
all right Basshackers thanks for checking out this video I hope you got
you one step further towards becoming the bass player you want to be
definitely subscribe for more videos just like this one and if you want to
deep dive into the universe of triad shapes go check out my triad hack
series right here until next time MMEducation is helping you to learn faster
and practice smarter so keep up the good work love and bass

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