When a chord incorporates a “tension” (i.e., 9, b9, #9, 11, #11, 13, b13), it is meant to be added to a chord having a flat 7, so G9 is a G7 chord with A in it, and G13 is a G7 with an E. Notice a G6 and G13 both use E but the G13 also has a b7 (F) in it. Check out Ex. 1 for chord types and arpeggios with added tensions.

A question that sometimes arises is, “In a G7b9 chord, must I play the Ab (the b9) only above the other notes of the chord?” The answer is no—the Ab may be used anywhere in the note choices. There is not, however, an An in the low octave and an Ab in the higher one.

Ex. 2 shows a few unique chord symbols. A Gadd9 is a G major triad with an A on top, whereas a G2 uses an A in place of the 3rd (B). These are both used in folk, country, bluegrass, etc. The G5 is your ever-popular and much-loved power chord. 

Okay, now that you have these under your fingers, I encourage you to understand them and learn them in all keys. Next, I urge you to learn them in two-octave ranges (see Ex. 3).

Now for some simple groove applications: Ex. 4 shows some simple grooves using triads, and Ex. 5 uses more complex chords.

One suggestion: Try using your middle finger on the root of chords having a major 3rd, your 1st finger on the 3rd, and your pinkie on the 5th. On minor chords, however, play the root with your 1st finger, the minor 3rd with your pinkie, and the 5th with your 3rd finger.

Also, even though we usually start a line with the root of the chord, this is not mandatory. In reggae, for example, the line often starts on the 3rd. In walking jazz lines there are many options. So it is beneficial to try practicing the inversions of these chords as well (i.e., starting on the 3rd, 5th or 7th).

Ex. 6 gives a little demo of this.

I hope this gives some fundamental insight to creating a bass line. Next time we’ll look at scales and modes that support these chords.

Ed Lucie is currently freelancing in the Boston area. He holds a MM in Jazz Studies from New England Conservatory and has served as assistant professor at Berklee College of Music and Bass Department Chair at Los Angeles Music Academy.