Stylistic Interpretation of Chord Symbols
February, 2005
Last time, I discussed how chord symbols are built and how to read them. Once you understand how a chord symbol is divided—i.e., where the chord prefix ends and the suffix begins—you know every note contained within that chord. But chord symbols tell you only what notes are available to you; they don’t indicate how yo
Last time, I discussed how chord symbols are built and how to read them. Once you understand how a chord symbol is divided—i.e., where the chord prefix ends and the suffix begins—you know every note contained within that chord. But chord symbols tell you only what notes are available to you; they don’t indicate how you should interpret them. When someone hands you a chord chart, there will be some type of stylistic indicator, either written or verbal. On a well-written chart, the style is indicated in the upper-left-hand corner. “Eighth-note rock,” “swing,” “shuffle,” “bossa nova,” or “polka” are just some of the stylistic descriptions you may encounter. After that, it’s up to you to play notes outlining those chords, using an appropriate rhythmic feel. You also need to keep your place in the form of the tune.
Part of being a well-versed bassist is knowing many different musical styles. For the last few years in this column, I have focused on acquainting you with contemporary music’s most popular grooves. It’s important to realize that a song can be played in any style; after all, the chords and melody are the factors that really define a tune. The rhythm—although important—can be changed, while the song, ahem, remains the same.
Ex. 1 is a simple four-measure chord progression in the key of C. First, examine the chord symbols and make sure you know the complete structure of each chord. While it is possible to play this progression using only the roots, understanding the full chord structures gives you the option to use the other notes that belong to each chord. Remember, you aren’t obligated to play every single note of every chord; in fact, if you do, it will probably be too much. But if you do choose to venture away from the root, you’d better know the details: Is the chord major or minor? Is the 5th natural, flatted, or augmented? Is the 7th flatted or major? If you don’t know the correct answer, you’re better off sticking to the root.
Ex. 2 shows the same chord progression interpreted in a half-time 16th-note funk feel, typical of the band Earth, Wind & Fire. Notice that there’s a balance between roots and the other chord tones. Ex. 3 is another interpretation, this time played in a two-beat polka style. (Hey, who doesn’t dig a good polka?) Ex. 4 is a blues-shuffle interpretation, while Ex. 5 is a rocksteady reggae groove. As you can see, in all of these examples, the root motion and significant chord tones do not change. If there were a melody or vocal line, it would also remain intact, although the different grooves might influence aspects of the phrasing. Ex. 6 is a slow 12/8 feel reminiscent of a ’50s doo-wop groove. Ex. 7 is the classic “singer/songwriter feel”—the dotted quarter/eighth-note rhythm that has fueled the groove of artists as diverse as Jewel and Babyface.
It’s common for musicians to play songs in styles that are different from the original versions. Reggae artists play country tunes, blues artists play jazz songs, and jazz artists play rock songs. An iTunes search for the Beatles’ “Eleanor Rigby” brings up versions by artists as diverse as Chick Corea, Aretha Franklin, and John Denver. Are the chords and melody the same? Probably. Are they played the same way? No.
It’s fun to take your favorite songs and see how they feel in different styles. You never know—you may just discover that polka is the definitive groove for Nirvana’s “Smells Like Teen Spirit”!
I’d like to mention that this will be the final installment of The Right Foot. Since February ’97, this column has covered a lot of ground, and if you’ve been following all along (and practicing everything), by this point you are undoubtedly out there gigging and grooving in every style of music. But this is not the end—actually a new beginning. Starting next month, you will see exciting new changes in BP, changes that will continue to distinguish it as the world’s best bass magazine. And I am fortunate to say I will be part of it. My new column, The Real World, will be here every month. I’ll be focusing on important topics, bass playing fundamentals, gig survival skills—in other words, practical advice for the bass player in the real world. I’m looking forward to a new chapter in BP history. Stay tuned—it’s going to get even better!
Ed Friedland’s latest Backbeat book is Bass Grooves: Develop Your Groove & Play Like the Pros in Any Style.www.edfriedland.com
