Global Bass Online                                                                           July 2001

by George Urbaszek

Generally, a passing tone is considered to be a scale tone between two chord tones. However, it could also be a semitone between two scale tones that are a wholetone apart. And, in a strict classical sense, passing tones are meant to be on “weak” beats. Whatever the definitions, passing tones are an excellent means of connecting notes. 

All examples/experiments below have the A minor and D minor triads as their basis. The rhythm is the same for Ex 1-8. It is a two-bar phrase compatible with the chord changes. Watch out! ... these examples are in 3/4 time signature. Your two-bar count-in should therefore be 123, 223.

Ex 1 starts with the predetermined rhythm using the chord tones from Am and Dm.   (See “Creating Bass Grooves”, April 2001.)

Ex 2 introduces the passing tone (PT) B between chord tones A (root) and C (3rd) and the passing tone E between chord tones D and F. Note how the line already takes on a different shape/sound.

Ex 3 has the passing tone between the 3rd and 5th of each chord.

Ex 4 has passing tones between all chord tones.

Ex 5 introduces a chromatic passing tone (CPT) in the first bar of each chord. Note how the line takes on a major tonality. I have indicated this by placing suggested chords in parentheses. This would then make the second note of each bar a leading tone (LT) to the major 3rd (which was originally intended to be a CPT).

Ex 6 has the fourth note of bars 1 and 3 both passing and leading.

Ex 7 has passing tones alternating with leading tones.

Ex 8 strongly suggests a major tonality, with the originally intended passing tones becoming leading tones.

Ex 9 adds an eighth note to the original rhythm, using scalar and chromatic passing tones.

Ex 10 - You work it out.

When you play Ex 1-10 non-stop you will hear the experimental, developmental process taking place. For example, when experimenting with passing tones, they may become leading tones and therefore alter the chord qualities (as Ex 5 & 8 demonstrate).

Be aware of this as you experiment with your own ideas. There are still many more combinations possible. Try mixing up individual bars of any of the examples. Try a b9 (Bb) on the Am chord to create a phrygian tonality. (What’s that?! you ask. Check out “The Modes” by Lucas Pickford, December 2000.) 

Here are some possible results of such experimentation: 

·        more melodic bass lines

·        developing intensity in your accompaniment of extended solos

·        becoming more aware of harmonic implications

·        enjoying the fruits of your labor

·        others enjoying the fruits of your labor

·        getting gigs ... and so on

Until next time. Keep creating....and Bass of Luck!

George Urbaszek

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