By Graeme Carswell
Introduction
Many chord progressions in popular music are based around a formula whose basis can be found in the Harmonized Major Scale. Of course there are exceptions to the rule but generally if you become familiar with how to Harmonize the Major Scale you can use this to good effect in the basis of your playing.
The Positions
Position 1 (i)
If we take the Major Scale of C, that is
C - D - E - F - G - A - B - C
We use the C Major Scale as there are no sharps or flats. From here we can build what's called Triads from each note in the scale (Triad meaning 3 notes, based on the 3rd and the 5th notes of the scale).
So the first position of the C Major Scale is C, the root. So using the 3rd, E, and 5th, G we build a Triad or chord in C Major
Position 2 (ii)
Taking the next note in the scale, the D, and using the same formula again, the 3rd, F, and 5th, A, we have a Dminor.
Position 3 (iii)
Taking the next note in the scale, the E, and using the same formula again, the 3rd, G, and the 5th, B, we have an Eminor.
Position 4 (iv)
Taking the next note in the scale, the F, and using the same formula again, the 3rd, A, and the 5th, C, we have an Fmajor.
Position 5 (v)
Taking the next note in the scale, the G, and using the same formula again, the 3rd, B, and the 5th, D, we have an Gmajor.
Position 6 (vi)
Taking the next note in the scale, the A, and using the same formula again, the 3rd, C, and the 5th, E, we have an Aminor.
Position 7 (vii)
Taking the next note in the scale, the B, and using the same formula again, the 3rd, D, and the 5th, F, we have an Bdiminished.
Position 8 or the octave (viii)
Taking the next note in the scale, the C, and using the same formula again, the 3rd, E, and the 5th, G, we have a Cmajor again.
Conclusion
Study the positions closely and try to remember how each triad is built from the notes, you'll always get maj,min,min,maj,maj,min,dim,maj from the Major Scale regardless of root position. Each position I've marked with Roman numerals. By referring to these numerals we can dictate positions a song may take around the root, regardless of the what the key of the song is. We'll discuss that further in another lesson.
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About Graeme Carswell
Graeme has been playing bass for 19yrs now, having first found his love for the instrument after hearing The Spirit Of Radio by Rush. Graeme considers Geddy Lee as his teacher in the early days as he tried to learn all Rush's back catalogue, and since then has caught onto other inspiring artists like Marcus Miller, Billy Sheehan, Victor Wooton, Chris Squire, Adam Nitti, Jaco and many more to influence his playing. "The internet has been a godsend...it makes it so easy to find, hear and watch inspiring musicians from across the globe".
Graeme has played in venues up and down the UK from small pubs with thriving music scenes in Pollockshaws, to The Armadillo in Glasgow. Graeme is currently involved with recording artist John Gilmour Smith, who was signed last year to Aquarian Nation Records. Graeme recorded bass on this John's first album on the label, due for release in 2010. Other than this he has been involved with many corporate acts as 'dep of choice', with his own prog rock covers band and newly formed functions bands Graeme is busier than ever it seems and is happy to be part of the Songstuff collaborative and looks forward to reviewing gear and taking care of bass-related articles.
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