Once you’ve got the sound of B♭-7 and E♭7 in your head, let’s try an extremely simplified version of the bassline. Click to play E-flat Mixolydian on the aQWERTYon. You could think of this new scale as being E-flat Mixolydian, or B-flat Dorian starting on E-flat they’re perfectly interchangeable. To make E♭7, you’re going to use the same seven pitches in the same order, but you’re going to treat E-flat as home base rather than B-flat. If you want to add extensions to the chord, just keep skipping scale degrees, like so: Then skip over the sixth to land on the seventh, A-flat. Skip over the fourth scale degree to land on the fifth, F. Skip over the second scale degree to land on the third, D-flat. To make B♭-7, start on the root of the scale, B-flat. You build both of them using the notes in B-flat Dorian. The opening section of “Chameleon” is an endless loop of two chords, B♭-7 and E♭7. You can learn more about scales and modes in my Soundfly course. If you find that fact confusing, then feel free to ignore it. I recommend doing some jamming with it over the song before you move on.įun fact: this scale contains the same pitches as A-flat major. Click the image below to play it on the aQWERTYon. To understand how it’s put together, it’s helpful to take a look at the scale that Herbie built the tune around, the B-flat Dorian mode. The “Chameleon” bassline packs an incredible amount of music into just two bars. Here’s a transcription I did in Noteflight – huge props to them for recently introducing sixteenth note swing.Īnd here’s how it looks in the MIDI piano roll: If you have even a passing interest in funk, you will want to familiarize yourself with Herbie Hancock’s “Chameleon.” And if you are preoccupied and dedicated to the preservation of the movement of the hips, then the bassline needs to be a cornerstone of your practice.
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