A.

1 6 4 5 6 4 5 1

B. 1 4 5 4 3 6 5 1

C. 1 5 6 5 4 3 2 1

D. 1 2 5 6 4 5 7 1

E. 1 6 2 5 6 4 5 1

F. 1 4 2 5 6 4 2 1

G. 1 5 1 4 6 2 7 1

H. 1 2 4 5 6 4 5 1

I. 1 4 3 6 5 1 7 1

J. 1 4 6 5 7 1 2 1

K. 1 3 5 6 2 4 7 1

L. 1 6 3 4 3 2 5 1

M. 1 5 6 4 5 5 2 1

N. 1 3 4 5 6 2 5 1

O. 1 7 6 5 3 4 5 1

P. 1 4 1 5 1 6 7 1

Q. 1 4 2 3 6 5 7 1

R. 1 5 6 4 3 5 2 1

S. 1 4 2 5 6 2 5 1

T. 1 3 7 4 7 5 2 1

U. 1 5 4 6 4 5 7 1

V. 1 2 5 1 2 6 4 1

W. 1 4 5 1 5 6 3 1

X. 1 3 4 2 6 4 5 1

Y. 1 6 2 7 3 1 4 1

Z. 1 3 6 4 5 6 7 1
 SINGING BASSLINES
AN INDISPENSABLE SKILL FOR ANY MUSICIAN
AND THE FIRST STEP TOWARDS ACCURATE TRANSCRIPTION

Singing basslines is the best way to learn to hear basslines. Effectively hearing and recognizing basslines
is the best way to create accurate chord charts. In modern pop songs, inversions are somewhat infrequent,
so hearing each bass tones as the root of a chord (usually a major or minor triad) is the first necessary
step towards gaining the invaluable skill of transcription - defined as being able to instantly write down
the abstracted, underlying harmony you are hearing.

The attached two pages, or excerpts from them, can be sung as a group, which allows the more confident
or advanced singers to carry the less experienced singers. They should also be used in individual, unaided
a cappella performances. Placing yourself on-the-spot this way in front of your classmates is the only
surefire way to know whether or not you can sing, and therefore correctly hear and distinguish, each note
within the key.

The basslines on the first page are all written in the major mode - that is, in a major key. I have not marked
the minor chords in the key as such, for ease and clarity of sight-singing. Nevertheless, you should
remember that if you build triads on each root, the 2, 3, and 6 chords will all be minor (2m, 3m, and 6m; or
2-, 3-, and 6-). The 7 chord, of course, is diminished in the major key (7°).

The basslines on the second page are all written in the minor mode - that is, in a minor key. Therefore,
chords 3, 6, and 7 all have flats before them (b3, b6, and b7) since compared to the major mode, those
tones are each a half-step lower than their major key counterparts. Remember that 1, 4 and 5 are minor
chords in the minor mode (1m, 4m, and 5m), and 2 is diminished (2°). The others are all major chords (b3,
b6, and b7).

All minor key basslines use the natural minor scale. The harmonic minor scale, while very common and
quite singable, is a bit more complex, and not generated from the diatonic elements (WWHWWWH) in the
same way that the natural minor scale is generated organically as the 6th mode of the major scale. It is
important to master your recognition and reproduction of the tones in the the natural minor scale first.

When singing the attached basslines, each of the following two methods should be employed at different
times:

1. Sing each tone using its scale degree number. Include the word "flat" for b3, b6, and b7 in the minor key,
in order to reinforce your understanding of these pitches and their placement within the key.

2. Sing each tone using its solfege syllable, by translating each given scale degree into a solfege syllable on
the fly. Be sure to differentiate mi from me, la from le, and ti from te.

Your accompanist for this exercise (an instructor, a fellow student, or yourself) can and should provide a
starting note, and may also render the appropriate triads if desired. The note A is a good tonic note to start
with for both male and female singers, but later different tonics should be used. For each tone, pitch
choices in multiple octaves are allowable; i.e. scale degree 1 can be either A3 or A4. If you wish, you may
discuss the relationships you hear between the tones, or the tendencies you hear unique to each
individual tone.

Please practice singing these basslines at home, and retain these sheets for use in future classes.
A. 1 b3 5 4 5 b6 2 1

B. 1 b3 4 5 2 1 b7 1

C. 1 b7 b6 5 4 5 b3 1

D. 1 b6 4 5 b6 4 5 1

E. 1 5 b3 4 2 5 b7 1

F. 1 4 b6 5 4 b3 5 1

G. 1 5 b6 5 4 b3 b7 1

H. 1 b7 1 b3 4 5 b7 1

I. 1 5 1 4 b3 4 5 1

J. 1 b6 b3 4 5 b6 5 1

K. 1 4 5 b3 b6 4 b7 1

L. 1 b3 1 b7 b6 5 b7 1

M. 1 2 b3 5 b6 2 5 1

N. 1 b6 4 2 5 4 b3 1

O. 1 b7 1 b6 b3 2 5 1

P. 1 b3 5 b7 b6 5 b7 1

Q. 1 b3 2 5 b7 b6 5 1

R. 1 b7 b6 5 b6 b3 4 1

S. 1 b3 1 4 1 b6 5 1

T. 1 b3 4 5 b6 b7 2 1

U. 1 b7 1 2 b3 4 5 1

V. 1 5 2 4 b3 1 5 1

W. 1 5 b7 b3 b6 5 2 1

X. 1 b6 b7 1 b3 2 5 1

Y. 1 5 b7 5 b6 4 5 1

Z. 1 b3 b6 4 b7 5 1