PHIL

MANN
FUNCTIONAL
THEORY FOR
BASSISTS:
VOLUME 2

SBL Course Workbook

FUNCTIONAL
THEORY FOR
BASSISTS: Course Description
VOLUME 2 In the second part of the Functional Theory for Bassists
series, Phil Mann will take you further through the various
with Phil Mann functional aspects of harmony and theory.
One of the main elements of music is tension and
resolution. Extensions, cadences, minor harmony and
re-harmonization are all components that can be used to
move a song or melody forward. Knowledge of these
concepts will help you understand what gives harmony
life and movement, and in this course you are going to
find out how to use these elements in your own playing.
 LESSON 1: EXTENSIONS
INTERVALS & EXTENSIONS

REMEMBER: Music is a LANGUAGE!

! > Harmony & theory is not about what ’s right and wrong—it ’s about ANALYSIS.
It ’s about being able to perceive what ’s MEANT.

Intervals (08:05)
• The MAJOR, or IONIAN, scale (T - T - ST - T - T - T - ST ) is the starting point for
harmony and theory - we can associate everything to it. Comparing something
new to the major scale can help us to better understand it.
d TRIAD d
e
e

C Major Scale:
Y
C D Y
E F Y
G A Y
B C

e
d
e

d 7th CHORD
• If we continue a “play one, miss one” method of adding thirds, we see we haven’t
reached the end of the road just yet - we can add more thirds before we return to the root.
Simple and Compound Intervals (13:01)
• To harmonize every note of the major scale, we require TWO octaves to complete
the entire harmonization process when developing chords.
• Intervals in the first octave are called simple; intervals in the second octave are compound.
SIMPLE Intervals
ROOT 3rd 5th 7th

Y
C DY
E FY
G AY
B CY
D EY
F GY
A BY
C
9th IIth I3th (ROOT)
COMPOUND Intervals
• 9ths, 11ths & 13ths are extensions to the basic
voicings of a chord, and add color & texture. » 9th = a 2nd, one octave higher
IIth = a 4th, one octave higher
• Extensions may get altered to reduce tension, I3th = a 6th, one octave higher
depending on the type of triad/chord they
are added to. (e.g., maj7#11)

To learn more about triads & 7th chords, check out SBL’s “FUNCTIONAL THEORY FOR BASSISTS VOL. 1”

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 2: SUPERIMPOSING PENTATONICS
super intereresante
Tension and Release (02:57) BUSCAR!
• Certain notes (or chords) in a scale produce tension: when played, the musical phrase
often sounds “incomplete” and feels like it wants to continue.
• Tension-producing notes (or chords) want to resolve to another note (or chord).
• The tonic, or root, is the definitive resolution to a musical phrase—it “finishes” it.

Superimposing Pentatonics (04:42)

• When soloing, ending a phrase on the root finishes the phrase.
• By avoiding finishing on the root, the phrase feels as though it
wants to continue—it remains unresolved.
MAJOR PENTATONIC SHAPES
» PENTATONIC SCALE: A scale with the tensions removed.

• Playing pentatonics in specific positions can avoid the root

(or another specific note) and enhance other notes, while at
the same time avoiding resolution.
MINOR PENTATONIC SHAPES
Superimposed Pentatonics over an E Major Chord (06:56)
• Playing an E Major pentatonic scale (R - 2 - 3 - 5 - 6) over an E Major chord works,
but isn’t very “flashy” ...
• HACK #1 Play a major pentatonic scale starting on the perfect 5th of the major scale (B).
» The B Major pentatonic scale contains the notes B - C# - D# - F# - G#,
which are the 5 - 6 - 7 - 9 - 10 (3rd an octave up) in the E major scale.
» Playing these notes avoids the root, and creates compound extensions
that produce a more exotic & complicated sound.
• HACK #2 Play a minor pentatonic scale from the major 3rd of the major scale (G#).
» The G# minor pentatonic scale contains the notes G# - B - C# - D# - A#,
which are the 3 - 5 - 6 - 7 - 9 in the E major scale.

! Pentatonics are easy to play, and by using superimposition,

the listener hears something very different!

! This also works with MINOR chords.

Experiment - you’ll find great textures!

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 3: CADENCES
CADENCES (02:40)
• Cadences are seen in music all the time as part of chord progressions:
» A chord wants to “move” to somewhere else, or “do” something else.
» A chord creates tension, and wants to be resolved.
» A chord wants to travel in a certain direction to reach its “final” destination.

• There are four types of cadences, and each occurs at a specific time:

PERFECT (Authentic): V I

w w w w
IMPERFECT: I V
PLAGAL: IV I
INTERRUPTED (Deceptive): V anything other than the I chord

Perfect (“Authentic”) Cadence (04:18)

• Definitive cadence. The solo, song, etc., is “done and dusted”. “Thank you! Goodnight!”
• V7 I maj7 chord movement
w

The dominant chord in a perfect cadence ( V7 ) wants to

resolve down a perfect 5th to the tonic ( I maj7 ) ... but WHY?

• Guidetones are the tones that actually “manipulate” specific sounds you hear.
» In chords, those notes are the 3rd and the 7th.
• Let’s examine the relationship of the guidetones in the dom7 and the maj7 chords.
(For this example, we’ll use the key of G Major):
Root 3rd 5th 7th
(V chord) D7: D
YN Y
NY
F# A C ² = ²Þ = ‹ƒ‰Þ
(I chord) G²: G
N Y N
B D F#
The 3rd of the V7 chord (F #) becomes
The 7th of the V7 chord (C) is a semitone away from the the 7th of the ²chord - it remains
3rd of the ²chord (B), creating tension that wants to the same, but has changed its
be resolved. harmonic position.
[The 5th of the V7 chord (A) and the root of the ²chord (G)
also have some tension as they’re only a tone apart.]

» The relationship of the notes within the chords creates the cadences.
» The way the notes bounce against each other creates tension
and the desire to find a resolution.

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 3: CADENCES

OTHER CADENCES (11:44)

Imperfect (“Half-Cadence”) Cadence

• I V chord movement
w

• The opposite of the perfect cadence.

• This is also know as the “McCartney Cadence”
» Sir Paul McCartney often uses this cadence to start a song, letting the song’s
Intro end on the V chord, just before the melody/lyrics enter.
» This cadence naturally sets you up to start a song, since the V chord
wants to move somewhere else.

Plagal (“Church Music”) Cadence

• IV I chord movement
w

• The movement you hear when saying, “A - men”.

• Tensions are not quite as strong as in the perfect cadence.
» A few more tones rather than semitones when comparing the two chords.
• Much softer cadence; a bit “dreamy” and “romantic”.

Interrupted (“Deceptive”) Cadence

•V any chord other than the I chord movement
w

» For example, V II, V III, V VI, etc.

w

• Can be used to trick the ear of the listener - things go in a different direction!
• Often seen in the “Middle 8” of a song
» An interlude or “middle section” between solos, choruses, verses, etc.

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

LESSON 4: HARMONIZING THE NATURAL MINOR SCALE
MINOR SCALES
The “Problem” With Minor Scales (02:19)
• Minor scales are nowhere near as straightforward as major when harmonized.
» Major scales are definitive: 7 triads, 7 chords, and can be expanded with extensions.
• The Natural Minor Scale is the Aeolian Mode of the major scale.
• The issue is that the V chord is not dominant when harmonizing the Natural Minor Scale.
» Cadences are pivotal on the V chord being dominant, and its resulting tensions.
» Harmonizing the natural minor scale doesn’t produce a V chord that creates
those tensions.

Relative Minor Scale (04:10)

• The Natural Minor Scale is the relative minor of its relative major scale.
• Minor scales are the same as major scales:
» Same notes, same formula—but starting in a different place on the scale.
• The Natural Minor Scale has two “cousins”: the Melodic Minor Scale & Harmonic Minor Scale

» To find the RELATIVE MINOR of a major scale:

» Go down 3 semitones (frets) from the first note of the major scale.
» The resulting note is the beginning of the relative minor scale.
» For example: C Major A Minor
w

Harmonizing the Natural Minor Scale (06:12)

• Harmonize the Natural Minor Scale is the same as harmonizing the major scale,
simply start at the sixth degree of the major scale:
d
MAJOR d
e
e

I II III IV V VI VII
maj7 min7 min7 maj7 dom7 min7 min7b5
min7 min7b5 maj7 min7 min7 maj7 dom7
I II III IV V VI VII
d
d NATURAL MINOR
e
e

• Note that the harmonized Natural Minor Scale does not have a dominant V chord!
» Both the IV and V chords are min7 chords.
» The lack of a dom7 V chord adversly affects the tensions, resolutions, & cadences
making melody writing & resolution much more tricky.
» The resulting resolutions are far less strong.

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

LESSON 4: HARMONIZING THE NATURAL MINOR SCALE

Minor Chord Key Signatures (12:07)

• Key signatures are always written as major.

• Songs written in minor use the key signature of its relative major:

» To find the MINOR KEY SIGNATURE:

» Go up 3 semitones (frets) from the first note of the minor scale.
» The resulting note is the beginning of the relative major scale.
» Use the key signature of the relative major.
» For example: E Minor G Major
w

• Examples:
E Minor G Major D Minor w F Major
w

F # Minor A Major C Minor E b Major

w
w

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 5: MINOR SCALES
MINOR SCALES
• A scale that uses the same notes as a major scale (Ionian mode) but starts on the sixth note
of the scale is the NATURAL MINOR SCALE (Aeolian mode), and is the relative minor of the
major scale.

CADENCES + MINOR SCALES (04:00)

• Recall that most cadences are centered around one chord: the V chord
» In major scales, that chord is a dominant 7 chord.
• However, in the natural minor scale, both the IV & V chords are minor chords.
» The dominant V chord we want is not present!
» All of the other notes are not as powerful or effective in the way the chords “travel”.
» This creates a “problem” in the harmonization of the natural minor scale.
» We need to find a way to make that V chord dominant again...
Þ = ‡›‹Þ
min7 Chords vs. dom7 Chords (05:30)
m7: Root 5 ‹Þ = ‹…‘Þ
• Looking at the intervals in the chords: b3 b7
Y
7: Root 3 5 b7
N

• If we simply raise the 3rd of the natural minor scale, The 3rd is the only difference
we get out dom7 chord back—allowing us to use N between m7 and 7 chords.
the cadences we already know.
Q

Types of Minor Scales (06:48)

• There are three types of minor scales:
» MELODIC MINOR SCALE, HARMONIC MINOR SCALE and NATURAL MINOR SCALE.
» The minor scales are determined by the 3rd, 6th & 7th degrees of the scale.
» Let’s see how they compare to the major scale:
MAJOR SCALE
Root 2 3 4 5 6 7
d
e
e

NATURAL MINOR SCALE

Root 2 b3 4 5 b6 b7
MELODIC MINOR SCALE HARMONIC MINOR SCALE » V chord is minor
Root 2 b3 4 5 6 7 Root 2 b3 4 5 b6 7
» The V chord is dominant

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 5: MINOR SCALES
» MINOR SCALES*
MELODIC MINOR = Major Scale with a b3
HARMONIC MINOR = Major Scale with a b3 and b6
NATURAL MINOR = Major Scale with a b3, b6 and b7
* (in relation to the major scale)

• Note that each of these minor scales can also be referred to in relation to the other...
» e.g., Harmonic Minor could be referred to as a “Natural Minor with a sharp 7th”.

• Here are the minor scales in the Key of A:

MELODIC MINOR can create nice, melodic textures—and it’s familiar.

w

» The familiarity is because it’s only one note different from the major scale.
» It’s hard to tell it’s minor scale, especially descending.
Y
b3

HARMONIC MINOR known for its “Arabic” or exotic sound.

w

» Not quite as “melodic”.

» The minor 3rd between the b6 and 7 make it somewhat difficult to use.
Y
Y

b3 b6

NATURAL MINOR The Aeolian Scale, or the Relative Minor Scale ( ... see Lesson 4! )
w

Y
Y

b3 b6 b7

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 5: MINOR SCALES
Identifying Which Minor Scale is Being Used in Chord Progressions (15:49)
• The II-V-I chord progression appears in everything—and is the key to determining
the minor scale we’re playing in.

! If the V chord is NON-dominant NATURAL MINOR

w
• But what about the other two minor scales—harmonic minor and melodic minor?
• Let’s look at two II-V-I progressions in the key of C Minor as an example:
Dm7 | G7 | Cm7 | £ | (Melodic Minor)

Dm7b5 | G7b9 | Cm7 | £ | (Harmonic Minor)

To determine whether it ’s harmonic and melodic minor, first examine the II CHORD:

!
• If the II chord is a m7b5 suggests HARMONIC MINOR...
w

» But if the V chord has an extension (e.g. 7b9) HARMONIC MINOR

w
• If both the above are absent likely MELODIC MINOR
w

• Since melodic & harmonic minor differ by only one note, you can easily
play melodic minor over harmonic progression ... and vice-versa.
» No right or wrong—just what’s preferable.

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 6: HARMONIZED MELODIC & Harmonic Minor Scales as 7ths
Minor Tonality (01:45)
• Major scale harmony is “bread and butter”—the chords are all the same,
and requires no interpretation but minor scale harmony does!

w
• We started by harmonizing the relative minor scale—the Natural Minor:
» The harmonized chords are all the same as major, but in a different order.
» Results in the I, IV, and V chords all having minor tonality.
» No dominant V chord to drive our cadences.
• We developed the melodic minor and harmonic minor scales, which gave us
the dom7 V chord that we desired when harmonized.

HARMONIZATION of the MELODIC and HARMONIC MINOR SCALES (03:45)*

MELODIC HARMONIC Often substituted for

with a m7 chord
MINOR MINOR

k
I m(maj7) m(maj7) ‹[‹ƒ‰Þ] = ‹…‘[‹ƒ‰Þ] = -/²Þ MINOR MAJOR 7th

w
II m7 m7b5 ‹ÞbÜ HALF-DIMINISHED 7th
w

III maj7#5 maj7#5 ‹ƒ‰Þ#Ü AUGMENTED 7th

w

IV dom7 m7
V dom7 dom7
VI m7b5 maj7
Includes a bb7
VII m7b5 dim7 ‡…‹Þ = ºÞ DIMINISHED 7th k
k Made up of stacked
w

minor 3rds
k

This is what makes the MELODIC MINOR so ... melodic!

» 2 arpeggios are repeated twice ( dom7 & m7b5 )
» Each arpeggio is just one tone away from the others.

» EXAMINE the chords in a progression - do the chord types fit above?

» Proper analysis will allow you to choose the appropriate scales
and/or arpeggios to create your bass lines and solos!

! INTERNALIZE these arpeggios for the MELODIC and HARMONIC minor scales.
» Go through ALL the shapes and be able to play them FLUENTLY!

* See Lesson 4 for further detail on harmonization.

FUNCTIONAL THEORY FOR BASSISTS VOL. 2
 LESSON 7: Secondary Dominants
» BASIC PRINCIPLE OF SECONDARY DOMINANTS
Play a dominant chord a 5th HIGHER just before the chord you are targeting.
That ’s it.

SECONDARY DOMINANTS (04:17)

• Playing a dominant V immediately before a chord you are targeting—regardless of the chord
being replaced—generates a sense of motion, similar to a perfect cadence.
• Let’s look at a common chord progression, the VI-II-V-I, in G Major, as an example:

N
Y Y VI II
Em7 | Am7 |
V
D7 | G^7
I
|
N

To reharmonize with a
secondary dominant k Target chord is Am7 k A fifth higher than A is E k Play E7 instead.
• A dominant V wants to resolve down a fifth to the I chord.
» In this case the secondary dominant E7 wants to resolve to the “I” which is Amaj7.
» But even if the target chord is minor rather than major, this secondary dominant
still adds motion and draws you towards the target chord (here, the Am7).

IDENTIFYING SECONDARY DOMINANTS (09:08)

? Spotting SECONDARY DOMINANTS in CHORD PROGRESSIONS

I. Locate the key you’re in.
2. Once you’ve analyzed the chords ... look for a II-V-I
3. Is the V dom chord diatonic (part of the harmonization)?
» YES the other dom chord doesn’t belong ...
w

It ’s a secondary dominant*
*unless there’s a chord change

• Secondary dominants work anywhere, and can create continuous waves of motion.
» For example, add an A7 between the Am7 and D7 chords it draws you to the D7!
w

• A secondary dominant is a NON-FUNCTIONING DOMINANT since it is not diatonic.

» The diatonic dom V chord is a FUNCTIONING DOMINANT and draws you to the I chord.
• By reharmonizing th VI chord with a secondary dominant, it’s no longer the
VI chord: we must refer to the resluting chord by something else:
a V/II the V of the II chord.
w

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 8: TRITONE Substitution
TRITONE SUBSTITUTION (02:46)
• The “holy grail” of reharmonization ... it’s the “big one”
• Sounds complicated—but it’s not at all:

» WHAT IS A TRITONE?
I. Pick a note on the bass.
2. Go UP three tones (a tritone).
3. The resulting note - a b5 interval above - is your TRITONE.

• Tritone substitution gives us variation in the chord progression:

» It’s still about playing the II-V-I, but making it more interesting.
• Let’s again look at a II-V-I in the key of G Major:

II V I
Am7 | D7 | G^7 | £ |
Q

TRITONE SUBSTITUTION “HACK”:

1. Find the V chord D7
2. Go up a b5 Ab
3. Play another dom chord based on that note. Ab7
Q

Our tritone-substituted “II-V-I” then becomes:

II (V) I
Am7 | Ab7 | G^7 | £ |

• You can use tritone substitution for any V chord, but it works best for a V-I a perfect cadence.
w

» It adds a little “spice and color”; it’s a little more sophisticated.

» Can make repeated chord progressions a little more exciting.
» Note, you can use tritone substitution on secondary dominants, but the V-I is best.

FUNCTIONAL THEORY FOR BASSISTS VOL. 2

 LESSON 8: TRITONE Substitution

WHY DOES TRITONE SUBSTITUTION WORK? (09:23)

• Let’s examine the notes in our V chord and tritone substitution:
Root 3rd 5th 7th
(V chord) D7: D YN
N YF# A C

N Y YN
(Tritone substitution) Ab7: Ab C Eb F# (Gb)
The 3rd of the V chord (F #) becomes
The 7th of the V chord (C) becomes the 7th of the substituted chord -
the 3rd of the substituted chord - it also remains the same, but has changed
it remains the same, but has changed its harmonic position.
its harmonic position.

• BOTH guidetones (the 3rd and 7th) are the same in each chord - they just switch places.
» One of the reasons tritone substitution works so well.
• Also note that the substitution causes the bass line in our modified II-V-I
to become chromatic : A Ab G
w

FUNCTIONAL THEORY FOR BASSISTS VOL. 2