Sneak Peek: Behind the Scenes of the Applied Music Theory Accelerator
Hey Groove Masters! James here from eBassGuitar.
I’ve just wrapped up something I’m really proud of – our brand new Applied Music Theory Accelerator. This course is all about showing you how to actually use music theory in the real world... not just dusty theory from a book. And today, I wanna take you behind the curtain of Modules 2 and 3.
These two modules dive deep into Minor Harmony and a seriously powerful tool called Voice Leading. Trust me, they’re a game changer.
Module 2: Minor Harmony – From Polka to Reggae
We kick things off with a classic chord progression:
A minor – D minor – E7 – A minor
That E7 is a spicy little chord that throws some players, but in the Accelerator we break it all down. And from there, we explore how different musical feels change everything.
Here are four vibe-packed bass line styles we explore:
- The Polka Feel – Think toe-tapping minor triads climbing up the neck. Super satisfying.
- Latin Rock Style – That reverse triad feel with a nod to Santana. Groovy, rhythmic, and full of flavor.
- Driving Rock Feel – We bring in the open position here. Long notes, big energy. You’ll feel it in your chest.
- Reggae Vibe – Add a bit of triplet magic on beat four, and boom—you’ve got that laid-back reggae swagger.
All these grooves are part of our 10-part riff pack in the course, showing you exactly how to create with triads in the home, reverse, and open positions. It's super hands-on and fun.
Module 3: Voice Leading – The Secret Weapon of Great Bass Lines
Now, this is where it gets spicy.
Voice leading is all about connecting chords smoothly, using clever approach notes. It's inspired by players like Paul McCartney, Carol Kaye, Brian Wilson, and even a guy named J.S. Bach. (Heard of him? 😄)
We break down a 4-bar chord loop:
G – C – G – D
And here’s what we do with it:
- Example 1: Walking bassline using G major scale, with approach notes sneaking in just before the chord changes.
- Example 2: 60s vibe with muted pick technique – it’s sparse, but tasty.
- Example 3: We crank it up – weaving lines that flow beautifully between chords.
- Example 4: Mixing upper and lower approach notes to really show off your musical storytelling chops.
Every example shows you exactly how to approach the next chord with one note above – a trick used by the greats to make bass lines sing.
Final Favour
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Catch you soon,
James