BazzLow
ENIT
Module 9 · Lesson 3

Chord tones over changes

Use the 3rd, 5th and octave of each chord and move smoothly between chords.

Before this lesson: 9.2 Root, fifth and octave

Roots and 5ths keep a line solid. Adding the 3rd makes it say what the chord is. Here you start to build lines that follow the changes.

Adding the 3rd

The 3rd tells the listener whether the chord is major or minor: the bass line now “spells” the chord (lesson 7.1). Common arpeggio patterns are 1–3–5–3, 1–3–5–8 and 1–5–8–10. The 10th is the 3rd an octave up; it sounds clearer than a low 3rd.

Bass tablatureThe pattern 1–3–5–3 over C – Am – F – G as tab. C: C E G E; Am: A C E C; F: F A C A; G: G B D B.TABC3252TABAm0323TABF1030TABG3252
The pattern 1–3–5–3 over C – Am – F – G as tab. C: C E G E; Am: A C E C; F: F A C A; G: G B D B.
Bass clef staffThe same pattern on the staff, with the note names under the notes.44CEGEACECFACAGBDB
The same pattern on the staff, with the note names under the notes.

Moving between chords

Target the root of the next chord on its first beat (the target note). Choose the chord tones in each bar so that the last one is close to the next target, a step or a small leap away.

Chords in the same key share notes (lesson 8.1): C and Am share C and E. A shared note, a common tone, can be held or repeated across the change for a smooth line.

In practice, the root on beat 1 and other chord tones on the weaker beats is the most reliable plan. It is a strong tendency, not a rule.

Try it

Play 1–3–5–3 in quarter notes over C – Am – F – G, one bar per chord. Then reorder the notes in each bar so that the last note is the chord tone closest to the next root.

New terms