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Jazz Lick for Minor-7th Type Chords #1 (L#39)

In this new bass lesson, I'm taking you through a lick that we can play over an E minor 7th chord or over its relative major chord which is G Major 7th.

I'll be showing you what triads and arpeggios I'm using, so you're not only learning a new lick but you can also expand on that and build your own lines.

Remember that although learning a ton of licks is better than learning nothing ;), if you understand how a lick is built, you'll be much better equipped to create your owns and, more generally, you'll become a much better musician, not just a "lick player".

Full tab/notation & workbook available to Academy members »

  • Mac

    Trying hard to wrap my little brain around music theory or music term usage: :-)

    A few questions in that context:

    1. You mention the F# in the context of Emin as being the “9th”, even though
    the F# is the 2nd note in the Emin that the convention to identify the 2nd
    as the 9th, even though the notes are in the same octave?

    2. Would it be accurate to identify the lick in an Emin context as being Emin11?
    and in a Gmaj context as Gmaj13..or maybe Gmaj6/9 since there is no 11?
    E F# G B D A G A B D E F#
    1 2(9) b3 5 7 4 (11) 1 9 3 5 6(13) 7

    Well, even more pertinent, are the naming conventions strict or the usage more dependant on how the user learned them. :-)


  • stuart

    I know you are asking scott, but when a chord contains a 7th, instead of there being a 2nd, a 4th, and a 6th, they would then become the 9th 11th and 13th, as well as the # and b of each. So when you se a
    g-7(b9) the chord would be spelled G Bb D F Ab.. Hope that helps. Also they are referred to as tensions. When the chord does not contain a 7th, that is when you will see add 2 add 4 add 6 as well as the # and b of each. Hope that makes since