The next step in our study of triads is to use them to play a chord progression or tune. For this exercise, I've chosen the time-honored 12 Bar Blues form. Once again, using our scale (A this time) as a model, I've come up with the I-IV andV changes of A, D, and E. Here is the twelve bar form in numbers: I I I I IV IV I I V IV I V (This is called the turnaround; the last V chord will be replaced by a I chord at the end of the tune.)

A A A A
D D A A
E D A E (A on end.)

We'll use the major and minor shapes from the last lesson - with a slightly different rhythmic feel - to play the blues. Note that in a minor blues, the V chord (E here) is generally a dominant 7th (E7) chord. Here's the minor progression:

Am Am Am Am
Dm Dm Am Am
E7 Dm Am E7 (Am on end.)

I've not included the tablature on these examples. It's a good idea to read the music only, since that's all that you encounter in the Real World. I've never had to read tablature in over 30 years of playing as a professional bassist.

You can use the chord shapes and fingerings from last month's lessons to help you out. Hint: The A is the fifth fret of the E string and you can plug in your fingering shapes there.

I've included play along tracks with and without bass for both of these progressions. Listen to the bass track, find the notes on your instrument and then give it a try. Then, find a guitarist, a drummer and any other musicians you can and play the Blues….

• MP3 with bass (1 meg)
• MP3 without bass (1 meg)

• MP3 with bass (1 meg)
• MP3 without bass (1 meg)

Peace and Low Notes,
Roy C. Vogt
Nashville Bassist
Bass Instructor, Belmont University, Nashville, TN

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