I SPY…
Hey there, bass players! In our previous column, we spied major arpeggios in their natural habitat. We learned how to use them in a ‘I-IV-V-I’ chord progression, discovered that Paul McCartney frequently put them to good use, and realised how effortlessly they provide the groove to Memphis soul classics. The next logical step is, of course, the minor arpeggio. We’ll highlight the difference between major and minor, adapt the exercises to reflect minor tonality, and discover a few aural examples of arpeggios in action.
As we begin playing songs, we start to realise that it’s quite rare to have a chord progression with all major chords – even when we’re dealing with a three-chord folk, rock, or country song. A simple progression like C-Am-F includes, obviously, an A minor chord. Some players tend to think that knowing the root is enough to get by: after all, how else can you strategically avoid wrong notes? If you’re a beginner, then sure. Get comfortable with root notes. But trust me, there’s a much bigger world out there, and I encourage you to train your ear, train your hands, and take responsibility for chord tones.
To understand the difference between a major chord and minor chord, go back to the elementary descriptions of ‘happy-sounding’ or ‘sad-sounding’. Major arpeggios tend to sound more pleasant and positive; minor arpeggios tend to sound a little bluer and more melancholy. It may take time to hear this distinction, especially because bass players tend to be particularly good at honing in on root notes, but practice makes perfect.
In addition to hearing the difference, it’s important to know that the third of the chord will signify major or minor, while the root and fifth will stay the same. Therefore, in an A Major chord, the notes would be A-C#-E; in an A minor chord, the notes would be A-C-E. Major triads have a major third, or the distance of two whole steps from the root. Minor triads sport a minor third, or the distance of one and a half steps from the root. Now that you understand the distinction, you can easily switch between the major or minor arpeggio. All you have to do is shift the third scale degree down a half step.
Exercises 1 and 2 will feature different (and equally useful) fingering patterns for minor arpeggios. We’ll be working in the key of A minor, so no sharps or fla
