This is the second and last part of an article called “Chaining arpeggios with bass (I)”, previously published in these pages. Reading the first part is essential to understand this one, because the exercise is described there at full details.

In this second part we are going to chain minor arpeggios, again focusing on left hand, being indifferent our right hand technique. Fingers are numbered as ever, it means, 1 for index, 2 for middle, 3 for ring and 4 for little finger. We’ll start with a minor triad formed by root, third and fifth. We’ll play the ascending arpeggio (C, Eb, G, Eb) and the descending one (C, G, Eb, G). We’ll use two different fingerings for the ascending arpeggio (Ex.A and Ex.C, see below) and another two for the descending one (Ex.B and Ex.D). In Ex.1 we’ve got again the so-typical progression i-iv-i-V, this time with minor chords, to play along with and practice the proposed fingerings. Remember, numbers over the tab refer to fingering.

In order to explore and expand the possibilities of these fingerings let’s take a look at Ex.2a. It consists on moving through the cycle of fifths using the proposed fingerings showed in examples A, B, C and D. As we saw in the first part, the exercise tends to drive us way up (towards the pick-ups). This can be solved by switching from fingering A to D, as shown in Ex.2b. It will allow us, any time we need it, to move way down the fingerboard towards the machine heads. In the case of minor arpeggios we can add another example or fingering, very helpful when dealing with downwards motion. Try Ex.E (in fact a variation of D), then switch to B and then to A. You’ll be moving way down, as shows Ex.2c.

Sure, it always will be useful for warming up before a gig, but practicing major and minor arpeggios all along the cycle of fifths may become a bit boring after awhile. So we can add some interest by combining major and minor arpeggios in a I-vi-IV-V progression. Or even better, in a ii-V-I-vi progression. This one, in G, is the one choosen to ilustrate Ex.3. The example shows a new situation, passing from I to vi. This interval, a major sixth, really defines a contrast with the so-and-only used perfect fourth. Spend some time exploring other progressions to achieve confidence.

Since here we have expanded the original exercise including minor chords. Can we add the remaining chords: diminished, augmented, half-diminished, etc? Of course we can. Take it as homework or as a challenge, now that you realize the mechanics of the exercise.

Another good exercise will be to pick up again the last example with major and minor chords (Ex.3). But now focus on starting with the third of the chord instead of the root (i.e.: E, C, G, E instead of C, E, G, E). Then try to start with the fifth (fits well with dominant seventh chords). This will be very profitable when you find chord inversions or dash chords (as C/E, Cmaj7/G, etc).

Building your own exercises can be a useful tool to learn. It’s always neccesary to gather others information, but it’s also amazing the amount of things we can teach ourselves when we really try and persist. At the same time, it’s interesting to self-build techniques to improve our skills in some aspects, as a fitness instructor would: designing the propper exercise to train specific muscles. Or to train the ear, the most important muscle for musicians. So, when building up an exercise we’ll need first to accurately define our goal. Maybe “winning the Bassist Of The Year award” sounds a bit pretentious to start. But “chaining whatever pair of chords on the run” doesn’t.

Become familiar with the above exercises and then move from arpeggios to scales. If you learn how to master each scale or mode you’ll really improve your music skills. These exercises are useful in so many ways. They provide confidence to jam with others, to draw turnarounds or to extemporize without losing chord and tonality reference. A profitable ammunition for bass players.