Hi guys back with another thread. I think - Im not quite sure though as of yet - that I finally learned how to - I think thats what its called "comping." Well, to make a long story short. I had started messing around with bass notes of chords. And what I would do is I'll a take chord, for example, a C major chord and I'll strike the bass note first if your thinking what is the time signature I play the root note on beat one and then on beat two I strum or strike very quickly all the notes in the chord so that it sounds like all the notes in the chord were played at the same time.
And I would just repeat this pattern over and over again. I was able to use percussive sounds to fit with it and the rhythm along with me comping sounded pretty good. I started trying this experiment with the IV and V chords along with the "I" chord. That is when my ear was starting to hear how any "I" chord root when moved to the V chord root bass note sounded. But I did not like how or what my ear was hearing when I would play the I major chord root first then its chord and then play the IV major chord root and then its chord and then the V major chord root then its chord.
For example, in the key of C, you have C major C E G and F major F A C and G major G B D which are all listed in root position. What I was doing for this chord progression I was going from tonic - sub dominant - dominant, I was playing C major x x C E G C and F major x F A C F x and G major x G B D G x. I would play that C major chord root first as you can see which is the note C and then strike all the notes in the chord second, and then when I got to the IV major chord I would play the root first as you can see which is the note F in the IV major chord and then strike all the notes in the chord second, and then when I got to the V major chord I would play the root first as you can see which is the note G in the V chord and then strike all the notes in the chord second. (That sounds similar to what a pianist would do!)
But with this bass movement moving from C - F - G. Where as C to F is a perfect fourth interval and F to G is a major second interval I thought how can I create a bass line where the notes are probably not a perfect fourth or a perfect fifth away. Then I understood E - F - G bass would fit. How? E comes before F in the C major scale and F comes before G in the C major scale. So bass movement is going Minor second to Major second. But does that really matter though? So the only chord that I changed was the C major which is listed as x x C E G C now it is x E G C E x (<- an inversion) to F major x F A C F x and G major x G B D G x. There were also instances such as when I played the C major chord root first and then strum or strike all the notes in the chord, I would move to the IV major chord which had F in the bass but this time it was G dominant seventh with F the b7 in the bass.
So in other words the chord progression went as C major x C G C E x - x x F B D G a G7th. This bass movement is very deceptive cause my ear kept telling me it wanted for that bass note F to be the IV major chord which so happens to turn out as a G7th with F in the bass. But this is what I learned. Hope this helps somebody!
