Chord Progressions For Bass Return to catalog Table Of Contents  TO UNDERSTAND THIS BOOK  FINGERBOARD FACTS  INTERVALS    Parallel Intervals  ROOT MOTION IN CHORD PROGRESSIONS    The Cycle of Fifths    The Diatonic Cycle of Fifths    Major Third Cycles    Minor Third Cycles    Major Second Cycles  TRIADS    Major Triad Progressions    Minor Triad progressions    Mixed Triads Around The Diatonic Cycle of Fifths    Mixed Triads Around Diatonic Third Cycles  SEVENTH CHORDS    Seventh Chord Comparisons    Major Seventh Chains    Dominant Seventh Chains    Minor Seventh Chains    Half-diminished Seventh Chains    Diatonic Seventh Chord progressions  FIFTHLESS SEVENTH CHORDS  CHROMATIC PASSING CHORDS  MISCELLANEOUS CHORD PROGRESSION FRAGMENTS  CATEGORIES OF CHORD PROGRESSIONS  BLANK FINGERBOARDS	Sample Page...   Parallel Intervals The intervals most pleasing to the ear are tenths, sixths, and thirds. Playing each type as parallel intervals along a scale - Major, minor, or chromatic - intensifies the pleasing effect. But sixths and thirds tend to sound muddy when heard in the lowest pitch areas of the bass register. They therefore sound most effective when their top notes lie on the first string. The next group of examples illustrates the succession of parallel diatonic and chromatic tenths along the fourth and first strings, and the succession of parallel diatonic and chromatic thirds along the second and first strings. Parallel Tenths An easy fingering for all parallel tenths keeps the third finger on the top string, with the first finger completing Major tenths on the bottom string, and the second finger completing minor tenths on the bottom string. In the next four examples, notes on the bottom string move from Tonic to Tonic along the designated scale. Two circles make a Major tenth; two dots make a minor tenth.