I SPY…
MINOR ARPEGGIOS
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 realized 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 realize 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.