Intermediate Bass 17: Chromatic Approach Tones-Funk
By Roy Vogt
Bass Instructor, Belmont University 		Print This Lesson
Roy Lest you all think the realm of chromatic approach tones is reserved for the realm of bass soloing and other fancy-schmancy Jazzbo pursuits, I feel it's time to use these chromatic approach tones in a Funk/R and B context.

This last weekend I played a gig where the singer/keyboardist (the very Funky Nashville diva Terry Reid) called the Aretha Franklin tune "Rock Steady". Chuck Rainey played bass on the original recording, and he played a landmark figure using chromatic approach tones into the 3rd, 5th, 7th and octave to create a fill at the end of each measure.

In the first example, I've just used a chromatic approach tone series (2 and b3) into the 3rd of a D7. In the second example, I've used the approach tones to lead into the Root, 3rd and 5th. Finally, I've used the approach tone technique in a line reminiscent of Francis Rocco Prestia with Tower of Power before doing a little bit of freeform jamming out with this concept.

Learn these patterns and try some of your own with the track. Remember, if you hit a bad note a better one is one fret away. Have fun!

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

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