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Feeling Tense About Tensions? - Page 3

by Chris Tarry
 
Pages: 1 · 2 · 3
 
Now, let?s try this exercise.

Put the tensions on top of the arpeggio. Remember, the tensions have to stay on top of the arpeggio, so this will mean that you will have to invert the tension to get this exercise to work.

CMaj 7 (9, #11, 13)
Root position - 1 (C), 3(E), 5(G), 7(B), 9(D), #11(F#), 13(A)
1st Inversion - 3, 5, 7, 1, 9, #11, 13
2nd Inversion - 5, 7, 1, 3, (invert the tensions here ) #11, 13, 9
3rd Inversion - 7, 1, 3, 5, (invert the tensions here) 13, 9, #11

Notice that the 9, #11, 13 of Cmaj7 create a Dmaj triad up a whole step from the root (C).

This is consistent with every major seventh chord. This little bit of knowledge can be taken a long way. Forinstance, every time you see a major seventh chord just think up a whole step from the root and play a major triad and you have automatically grabbed all the tensions available on that chord. Look at other tensions on the other chord qualities and see what kind of triads they create!

On a minor 7th chord the tensions are 9,11, and 13. Give the chord a root, (let?s say D) and you have an E minor triad above D. E, G, and B.

Now, do this with all chord qualities I listed on page one in all keys and with all available tensions.

Have fun!
Below is Cmaj7 arpeggios with tensions above.

 
 
 
Pages: 1 · 2 · 3
 
 
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